domingo, 28 de junio de 2020

PARIS. EXPOSITION JUIFS DU MAROC, 1934-1937 PHOTOGRAPHIES DE JEAN BESANCENOT. MAHJ


DU MARDI 30 JUIN 2020 JUSQU'AU DIMANCHE 2 MAI 2021
Datant des années 1934-1937, les photographies de Jean Besancenot offrent un témoignage exceptionnel sur les communautés juives rurales du Maroc, aujourd’hui disparues.

Né Jean Girard, Jean Besancenot (1902-1992) fréquente l’École des arts décoratifs à Paris, entame une carrière de peintre et étudie les costumes régionaux français. À l’occasion d’un voyage d’études au Maroc, en 1934, il se met à la photographie en s’intéressant aux vêtements traditionnels. Grâce à une aide du ministère des Affaires étrangères, il y séjourne en 1935 et 1936, photographie les hommes et femmes des différentes communautés et documente avec soin leurs costumes de cérémonie.




Parallèlement à ses photographies, Besancenot filme, dessine et prend de nombreuses notes, qui l’introduisent dans le milieu, alors très actif, de l’ethnologie française. En 1937, son travail est exposé au musée de la France d’outre-mer, dans le palais de la porte Dorée inauguré en 1931 lors de l’Exposition coloniale. Il y présente des photographies, un choix de peintures, ainsi que quelques costumes et bijoux. Il collabore aussi avec le musée de l’Homme, auquel il offre cinq cent cinquante clichés documentés, ainsi que des vêtements. En 1942, il publie Costumes et types du Maroc, un ouvrage reproduisant ses dessins rehaussés à l’aquarelle qui reste une référence essentielle sur le vêtement traditionnel marocain.


Jean Besancenot explore en particulier les régions les plus méridionales du pays, peu touchées par l’occidentalisation, où vivent, mêlées aux populations berbères, des communautés juives présentes parfois depuis l’Antiquité. Réalisées pendant la période du protectorat français, ses images reflètent une grande proximité avec ses modèles, lui permettant de mêler enjeux esthétiques et exigence scientifique. Son œuvre documente de manière irremplaçable la culture juive au Maroc, et en particulier les costumes et les parures féminines, dont le répertoire est parfois commun avec celui des femmes musulmanes.


L’exposition réunit de nombreux tirages originaux réalisés par Besancenot lui-même, provenant de collections publiques et privées, et présente, sous la forme d’un audiovisuel, un large choix d’images issues du riche fonds de ses négatifs originaux.

Commissaires
Hannah Assouline et Dominique Carré

Coordination
Nicolas Feuillie, mahJ

Partenaires
Avec le concours du musée du quai Branly – Jacques Chirac, de l’Institut du monde arabe et du musée berbère, fondation Majorelle, Marrakech


https://www.mahj.org/fr/programme/juifs-du-maroc-1934-1937-photographies-de-jean-besancenot-75383

LAS CANNAS ANUNCIAN EL MES DE JUNIO, DURAN HASTA EL OTOÑO EN ROZAS DE PUERTO REAL



La dacha sigue con su tran tran, al margen de la pandemia y todas las desmemorias. Más despojados, pero vivos.
Foto, Alicia Perris

A BLACK MAN IN BLUE AS FAMILY TRAGEDY WINS OPERA HONOR


The timely, explosive 2019 opera ‘Blue,’ which traces circumstances leading to the killing of a black policeman’s teenage son, has received the fourth annual Award for Best New Opera from the Music Critics Association of North America.
(Photos: Karli Cadel, Glimmerglass Festival)

By Vivien Schweitzer

BREAKING NEWS – “Say their names!” has become a familiar rallying cry at protests against the death of George Floyd and many other black people killed by police in America. In the opera Blue, a powerful and deeply moving collaboration between the distinguished playwright/director Tazewell Thompson and Tony Award-winning composer Jeanine Tesori, the black protagonists are nameless in order to highlight the systemic racism of American society. The work, which had a widely acclaimed world premiere – including a review in these pages – at the Glimmerglass Festival in 2019, tells the story of an African-American family living in contemporary Harlem; the father is a police officer whose teenage son is shot dead by a white policeman. Referring to the murders of Ahmaud Arbery in Georgia and Floyd in Minnesota, Thompson said that it’s clear that “the subject of Blue has no shelf life.”

Indeed, in light of recurring incidents of police brutality and the fact that communities of color have been disproportionately impacted by COVID-19, the work seems even more urgent than when it was created. In 2015, Francesca Zambello, artistic and general director of Glimmerglass, had sent Thompson an email saying she was “interested in commissioning an opera about race in America; where we are today, as a country, dealing with this issue.”

Now, in announcing a decision reached months before the current wave of nationwide protests, the Music Critics Association of North America (MCANA) has named Blue as the winner of its fourth annual Award for Best New Opera. The prize recognizes musical and theatrical excellence and honors both composer and librettist for an opera that premiered during the past year in Canada or the United States. The runners-up were Fire Shut Up in My Bones by Terence Blanchard and Kasi Lemmons (Opera Theatre of Saint Louis) and prisoner of the state by David Lang (New York Philharmonic). Previous winners were p r i s m by Ellen Reid and Roxie Perkins; The Wake World by David Hertzberg, and Breaking the Waves  by Missy Mazzoli and Royce Vavrek.

MCANA’s awards committee includes Heidi Waleson, opera critic for the Wall Street Journal; George Loomis, longtime contributor to the Financial Times and Musical America; Alex Ross, music critic of the New Yorker; John Rockwell, former critic and arts editor of the New York Times and co-New York correspondent of Opera (UK); and Arthur Kaptainis, a critic for the Montreal Gazette and La Scena Musicale. After soliciting recommendations from MCANA members, the awards committee selected Blue as the winner  in March. In a statement, the committee said: “Blue, an all-too-timely story of one family’s devastating loss…is given universal resonance by Jeanine Tesori’s gripping, accessible music and Tazewell Thompson’s poignant, unflinching libretto.”


Lyric Opera of Chicago (originally scheduled to mount Blue in June) and the Minnesota Opera have announced plans to present Blue early in 2021.  Unfortunately, other scheduled performances at the Washington National Opera – where Zambello is artistic director – this past March and at the Mostly Mozart Festival in July, had to be canceled due to the pandemic.

Blue is the result of inspired teamwork between Thompson and Tesori, one of the first two women commissioned by the Metropolitan Opera. Tesori said she is pleased that opera librettists, often overshadowed by composers, are now receiving well-deserved credit. She referred to Thompson’s libretto for Blue as an example of his “poetic genius.” Indeed, Anthony Tommasini wrote in his review for The New York Times that “Mr. Thompson has written one of the most elegant librettos I’ve heard in a long time.”………………

https://classicalvoiceamerica.org/2020/06/17/opera-that-speaks-to-racial-lnjustice-wins-best-of-year/

UNFORTUNATELY MILTON GLASER, DESIGNER OF "I LOVE NY" LOGO, HAS DIED AT AGE 91


 Milton Glaser, the groundbreaking graphic designer who adorned Bob Dylan's silhouette with psychedelic hair and summed up the feelings for his native New York with "I (HEART) NY," died Friday on his 91st birthday. Glaser died of a stroke, although he also had renal failure, his wife, Shirley Glaser, told The New York Times.

In posters, logos, advertisements and book covers, Glaser's ideas captured the spirit of the 1960s with a few simple colors and shapes. He was the designer on the team that founded New York magazine with Clay Felker in the late '60s.

"Around our office, of course, he will forever be one of the small team of men and women that, in the late sixties, yanked New York out of the newspaper morgue and turned it into a great American magazine," the magazine's obituary of Glaser said.
Soon city magazines everywhere were sprouting and aping its simple, witty design style. When publishing titan Rupert Murdoch forced Felker and Glaser out of New York magazine in a hostile takeover in 1977, the staff walked out in solidarity with their departing editors, leaving an incomplete issue three days before it was due on newsstands.

"We have brought about — however small — a change in the visual habits of people," he told The Washington Post in 1969. "Television conditions people to demand imagination."

His pictorial sense was so profound, and his designs so influential, that his works in later years were preserved by collectors and studied as fine art. But he preferred not to use the term "art" at all. "What I'm suggesting is we eliminate the term art and call everything work," Glaser said in an Associated Press interview in 2000, when the Philadelphia Museum of Art hosted an exhibit on his career. "When it's really extraordinary and moves it in a certain way, we call it great work. We call it good when it accomplishes a task, and we call it bad when it misses a target."

The bold "I (HEART) NY" logo — cleverly using typewriter-style letters as the typeface — was dreamed up as part of an ad campaign begun in 1977 to boost the state's image when crime and budget troubles dominated the headlines. Glaser did the design free of charge.


Glass mugs with the "I love New York" logo are seen in a souvenir shop in Manhattan on November 04, 2014 in New York.
MLADEN ANTONOV/AFP VIA GETTY IMAGES

Nearly a quarter-century later, just days after the September 11 terror attacks, he revised it, adding a dark scar to the red heart and "more than ever" to the message.

"I woke up Wednesday morning and said, 'God, I have to do something to respond to this,'" he told The New York Times. "When you have a heart attack, part of your heart dies. When you recover, part of your heart is gone, but the people in your life become much more important, and there is a greater awareness of the value of things."
His 1966 illustration of Dylan, his face a simple black silhouette but his hair sprouting in a riot of colors in curvilinear fashion, put in graphic form the 1960s philosophy that letting your hair fly free was a way to free your mind.


bob-dylan-poster-for-columbia-records-milton-glaser-620.jpg
A 1967 Bob Dylan poster for Columbia Records.
MILTON GLASER

The poster was inserted in Dylan's "Greatest Hits" album, and made its way into the hands of millions of fans.

"It was a new use of the poster — a giveaway that was supposed to encourage people to buy the album," Glaser told The New York Times in 2001. "Then it took on a life of its own, showing up in films, magazines, whatever. It did not die, as such forms of ephemera usually do."

Among Glaser's other noteworthy projects were cover illustrations on Signet paperback editions of Shakespeare; type designs such as Baby Teeth, first used on the Dylan poster; and a poster for the Mostly Mozart Festival featuring a colorful Mozart sneezing. His designs also inspired the playbill for Tony Kushner's "Angels in America."

Glaser was born in 1929 in the Bronx and studied at New York's Cooper Union art school and in Italy.

In 1954, he co-founded the innovative graphic design firm Push Pin Studios with Seymour Chwast and others. He stayed with it 20 years before founding his own firm.

The Cooper-Hewitt, Smithsonian Design Museum awarded him a lifetime achievement award in 2004. In 2009, he was awarded the National Medal of Arts.


"I just like to do everything, and I was always interested in seeing how far I could go in stretching the boundaries," he said.



GINNY WILLIAMS BUILT A SINGULAR COLLECTION OF WORK BY LEADING WOMEN ARTISTS


Alina Cohen


Portrait of Ginny Williams with her pooch, Willie, in front of a Joan Mitchell painting. Photo By Karl Gehring for The Denver Post. Image via Getty Images.

In 1989, collector Ginny Williams visited Robert Miller Gallery to look at a group of photographs by Robert Mapplethorpe. Williams was a practicing photographer herself, who exhibited the medium at her eponymous Denver art gallery. While she was checking out the Mapplethorpes, she saw a catalog for the Museum of Modern Art’s 1982–83 Louise Bourgeois retrospective. Williams became so entranced by the work that she stole the catalog. Over the next few decades, Williams would go on to become the largest private collector of Bourgeois’s work in the United States.
Jerry Gorovoy, Bourgeois’s long-time assistant, recounted this anecdote of benign theft ahead of Sotheby’s major sale of Williams’s collection, a multipart affair that begins on June 29th. A total of 450 works will be on offer, with the entire grouping estimated to earn over $50 million. Female titans of 20th-century American art—including Lee Krasner, Helen Frankenthaler, Joan Mitchell, Agnes Martin, and of course Bourgeois—enjoy strong representation among the lots. Williams was, according to Sotheby’s contemporary art specialist and VP, Elizabeth Webb, “keen to hear” from these older female artists who hadn’t enjoyed the critical or market attention they deserved.

Three top Bourgeois works are on offer during the headlining evening portion of Sotheby’s upcoming sale (12 more are on offer in the June 30th day auction). They include Observer (1947–49, estimated at $1.5 million to $2 million), a lithe bronze sculpture that resembles a smoothed-over Giacometti; Untitled (With Growth) (1989, estimated at $1.2 million to $1.8 million), a giant, craggy plinth with finger-like growths emerging from the surface; and Eye Benches I (1996–97, estimated at $800,000 to $1.2 million), which indeed consists of black benches shaped like massive, sultry eyeballs.

Such eccentric work excited Williams, who was a bold, curious figure herself. The collector, who died in 2019 at age 92, developed an appreciation for art later in life. After working as an English teacher in Cheyenne, Wyoming, she settled in Denver with her husband Carl Williams, a pioneer of cable television. In her fifties, Williams went back to school to earn her master’s degree in art history from Colorado Women’s College. She translated her passion into practice as she took her own photographs and opened her gallery (which is still running today as the Ginny Williams Family Foundation) in Denver’s Cherry Creek neighborhood.

While Williams served on the board of the Denver Art Museum from 1992 through 2001, her philanthropic ambitions grew beyond state borders: She joined the boards of the Hirshhorn and the Guggenheim and made frequent pilgrimages to the East Coast. Robert Lehrman, a Hirshhorn trustee and former board chairman, recently recalled his time working alongside Williams at the institution. He described her interests, skills, and point of view as “a breath of fresh air” for his team. While Williams never shared her philosophies on art collecting or philanthropy with him, Lehrman said “it was nevertheless clear that what she loved about art was the ideas of the artists and their ability to enhance our lives with their creativity.”
Webb added to that sentiment, noting that Williams looked at art as an artist herself. She shared that as a photographer, Williams could “look at a mountain and see a dark triangular shape,” suited to the camera’s frame. “You can understand why Ellsworth Kelly was of interest to her—somebody who was also looking into nature and kind of reducing a way of seeing into another visual language,” Webb said. Kelly’s Purple Panel (1986, estimated at $1.5 million to $2 million) will be the sixth lot in Sotheby’s forthcoming sale of Williams’s collection. On July 14th, the house will auction off about 100 photographs from her collection, including works by Dorothea Lange, Berenice Abbott, Laura Gilpin, Diane Arbus, Margaret Bourke-White, and Ruth Bernhard.

If many artists intrigued Williams, it’s clear that Bourgeois enchanted her on a different level. Gorovoy recalled how Williams visited the artist’s Brooklyn studio each time she came to New York. The trio even spent a Thanksgiving together, during which Bourgeois ripped off the turkey legs with her bare hands. Gorovoy believes a certain fortitude drew Williams and Bourgeois together. At the time Williams met the artist, he remembered, the collector had just divorced. “I think she was interested in Louise’s story about her relation to her own father, her own family life,” said Gorovoy. He believes Williams “saw herself in terms of the struggle but also in the determination of Louise’s strength.”

Gorovoy and Williams became close, too, frequently traveling together. By the time they met, Bourgeois was no longer installing her own shows, so the duo would work together to set up presentations in galleries from Colombia to Norway to Japan. Williams loved exhibitions and crates. “Ginny was unique, quirky,” said Gorovoy. “You say go left, she goes right. If you said ‘be here at eight,’ she’d show up at nine. She had an impulse to do exactly what she wanted.”

Alice Neel, Lilly Brody, 1977. Courtesy of Sotheby’s.

Williams’s art-buying impulses also led her to purchase an Alice Neel painting with a subject who sounds like an appropriate proxy for the collector herself. Lilly Brody (1977, estimated at $500,000 to $700,000) features an older woman, dressed in a chic black dress and wide-brimmed hat, who plants her legs in a firm, wide-legged stance and boldly meets the viewer’s gaze. According to Sotheby’s lot description, “Brody had a unique personal aesthetic that swiftly became her calling card.”
Brody, in fact, was a respected artist whose work ended up in institutional collections including the Museum of Modern Art and the Whitney Museum of American Art. She used her own wealth to support the art world, at one point paying the rent for Richard Bellamy’s Green Gallery for about a year. For women such as Brody and Williams, cultural philanthropy wasn’t about writing checks—art was a way of life.

https://www.artsy.net/article/artsy-editorial-ginny-williams-built-singular-collection-work-leading-women-artists?utm_medium=email&utm_source=20739753-newsletter-editorial-daily-06-26-20&utm_campaign=editorial&utm_content=st-V

viernes, 26 de junio de 2020

WITH 10 IN-DEMAND WORKS ON ARTSY THIS WEEK


Beatrice Sapsford
In this weekly series, Artsy’s Curatorial team offers a look at the artworks that are currently gaining traction among collectors on Artsy. Looking at our internal data, we offer a selection of works that Artsy members are engaging with through inquiries, bids, page views, and saves. Ranging from large paintings by rising young talents to works on paper by established artists, the following pieces are culled from recent online auctions and art fairs hosted on Artsy, as well as exhibitions and works added by our gallery partners.


Kara Joslyn, Midnight in a Perfect World (2019)
Kara Joslyn

Midnight in a Perfect World, 2019
The Hole

Kara
 Joslyn pushes the boundaries of figuration by incorporating uncommon materials such as car paint and polymer into her work. This painting was another standout in The Hole’s Black Lives Matter fundraiser on Artsy. As Alina Cohen wrote in Artsy Editorial last year, Joslyn’s work “creates dimensionality while referencing sculpture, photography, craft and art history—all on a single canvas.” The artist is represented by M+B gallery in Los Angeles.



Genieve Figgis, Pink Sky (2015)

Genieve Figgis
Pink Sky, 2015
Kunzt Gallery

This piece is part of a limited-edition set by rising star Genieve Figgis that was recently uploaded to Artsy by Kunzt Gallery. The Irish artist—whose works have sold above estimate at Christie’s, Sotheby’s, and Phillips—has rapidly gained traction this year. Figgis mainly works in oil or acrylic, creating intimate pieces that initially draw up ideas of luxury and leisure throughout history. But upon closer inspection, her faceless figures and loose forms reveal a certain vulnerability as they blend with their lush backgrounds…………..



https://www.artsy.net/article/artsy-editorial-10-in-demand-works-artsy-week-06-23-20?utm_medium=email&utm_source=20717220-newsletter-editorial-daily-06-24-20&utm_campaign=editorial&utm_content=st-V

SEE AND DON´T MISS THE SERIE "tHE DURRELLS" IN FILMIN. AT KERKIRA-KERKIRA, CORFÚ, CORFÚ, VIAJES POR LA ISLA RECORDANDO A LOS DURRELL





Kerkira-Kerkira · O.S.T. · Rena Vlahopoulou

I Komisa Tis Kerkiras

1994 BMG/ARIOLA GREECE S.A.

Composer, Lyricist: Giorgos Katsaros

NOVEDAD: LA DERIVA DE LOS HÉROES EN LA LITERATURA GRIEGA GARCÍA GUAL, CARLOS EDITORIAL: SIRUELA


Sinopsis
Desde su antiguo trasfondo mítico, los héroes son los protagonistas de la gran literatura griega. Aquí Carlos García Gual nos ofrece una original aproximación a esas figuras heroicas a través de los diversos géneros literarios: desde la épica homérica a la novela helenística. A lo largo de muchos siglos, pues, desde la épica a la tragedia y a la comedia y más allá, la imagen heroica se va presentando con nuevos rostros, en una deriva muy significativa que va desde su mítico esplendor hasta su crepúsculo en las parodias cómicas y las novelas de amor y aventuras.
El autor analiza ese desgaste progresivo del prototipo heroico, mediante impactantes ejemplos, como un reflejo del devenir histórico de la sociedad griega y de sus ideales y aspiraciones. Si las figuras magnánimas de los grandes héroes tienen ya en la épica una emotiva humanidad,
el teatro ahonda en sus peripecias trágicas.
La deriva de los héroes en la literatura griega ofrece una perspectiva lúcida, sugestiva y apasionante, sobre uno de los grandes temas de la cultura helénica y su evidente resonancia histórica. García Gual vuelve aquí a evocar el mundo heroico griego y sus textos inolvidables.

https://librotea.elpais.com/libros/la-deriva-de-los-heroes-en-la-literatura-griega/

MAX RICHTER DESVELA LOS DETALLES DE SU NUEVO DISCO 'VOICES


MAX RICHTER, considerada una de las figuras más prodigiosas del panorama
contemporáneo, ha desvelado los detalles de su NUEVO TRABAJO DISCOGRÁFICO
‘VOICES’, una proeza musical y técnica que se publicará el 31 DE JULIO (DECCA
RECORDS, UNIVERSAL). Acaba de lanzar su primer single ‘All Human Beings’, cuyo
videoclip transmite la esencia del tema. “Me gusta la idea de una pieza musical como
un lugar para pensar y está claro que todos tenemos en este momento algo sobre lo
que pensar”, señala el artista. Asimismo, ya está disponible para descarga la ‘app’ de
‘Sleep’, una de sus obras más icónicas.

AUDIO:


‘Voices’ tuvo su estreno mundial en Londres en febrero, con más de 60 músicos tocando
en directo en el escenario del Barbican. La música incluye una radical manera de
reimaginar la formación orquestal tradicional. “Surgió de esta idea de poner el mundo
boca abajo, al revés, de nuestra sensación de que lo normal se vea subvertido, así que
he puesto a la orquesta al revés en términos de la proporción de los instrumentos”,
añade Richter. Ha instrumentado la obra para 12 contrabajos, 24 violonchelos, 6 violas,
8 violines y 1 arpa. A estos instrumentos se unen un coro de 12 cantantes que no
pronuncian ninguna palabra, además de Richter tocando los instrumentos de teclado,
la violinista solista Mari Samuelsen, la soprano Grace Davidson y el director Robert
Ziegler. La impactante parte visual de este proyecto a gran escala corre a cargo de la
colaboradora creativa de Richter: Yulia Mahr, artista y directora de cine.



‘Voices’ es el noveno álbum de estudio de Max Richter, que llega después de grabaciones
tan pioneras como ‘Memoryhouse’ (2002), ‘The Blue Notebooks’ (2004), ‘Infra’ (2010),
‘Recomposed: Vivaldi – Las Cuatro Estaciones’ (2012) y más recientemente ‘Sleep’
(2015). Cinco años después de su publicación, ‘Sleep’ sigue constituyendo un gran éxito
global. Volvió a ocupar el número 1 en la lista estadounidense de clásico de Billboard
en marzo, se transmitió en su integridad por emisoras de radio internacionales en abril
y acaba de superar los 450 millones de escuchas.

jueves, 25 de junio de 2020

“A PROPÓSITO DE NADA, DE WOODY ALLEN”, AUTOBIOGRAFÍA. SU VISIÓN DEL MUNDO Y DE LAS COSAS Y DE SU PROPIO LUGAR, EN ALGUNA CONSPIRACIÓN ENTRE LA VIDA Y EL CINE……Y ESTRENO DE LA ÚLTIMA PELÍCULA DE ALLEN EN EL FESTIVAL DE CINE DE DONOSTI 2020. EL MICRÓFONO DE ALICIA PERRIS –

AUDIO:

El Micrófono de Alicia Perris, no podía faltar a la cita que nos propone el gran cineasta judío.



Lo presentimos disfrutando de su Nueva York, tocando el clarinete o gozando de su palazzo veneciano, en un no lugar y en todas partes. Porque forma parte de nuestro anecdotario fílmico y de todos los otros. Somos hermanos de cine y de filosofías y de ese preguntarse cada tanto, como los viejos presocráticos ya lo hacían, “¿Quiénes somos y qué diablos se nos ha perdido aquí?”

“Woody Allen que durante las seis décadas que lleva haciendo cine ha escrito y dirigido cincuenta películas, nos relata sus primeros matrimonios: el más precoz con una novia de su adolescencia y luego con la maravillosamente divertida Louise Lasser, a quien es evidente que todavía adora. También escribe sobre su romance con Diane Keaton, con quien mantiene una prolongada amistad. Y explica su relación personal y profesional con Mia Farrow, con quien realizó varias películas ahora clásicas y que terminó con una separación por la que la prensa sensacionalista aún no le ha dado suficientemente las gracias.

Él afirma que fue el primer sorprendido cuando, a sus cincuenta y seis años, inició una relación con Soon-Yi Previn, que entonces tenía veintiuno y que los condujo a un romance estrepitoso y apasionado y a un matrimonio feliz de más de veintidós años, hasta hoy. En un texto a menudo hilarante, haciendo gala de una franqueza sin límites, lleno de creativas intuiciones y de bastante perplejidad, un icono americano cuenta su historia, aunque nadie se lo haya pedido”.

Casi consigue arrebatárnoslo de nuestro imaginario moral, la constelación tenebrosa de Mia Farrow and friends, entre los que se cuenta uno de sus ex maridos, el inefable Frank Sinatra, “la voz”, amigo y recomendado de los padrinos de la mafia italiana instalada en Estados Unidos, que lo sacó de un ostracismo temporal y de quien se dice que es en realidad el padre del hijo de Farrow. Justamente ese que batalla sin cuartel contra su discutido progenitor biológico, el delicioso autor de estas memorias. La música, que los acompaña, pertenece a uno de sus solo de clarinete. Enjoy it!

Woody Allen, “A propósito de nada”. Autobiografía. Alianza Editorial. Traducción de Eduardo Hojman.


Alicia Perris
https://www.radiosefarad.com/a-proposito-de-nada-la-autobiografia-de-woody-allen/



PRIMICIA 


“RIFKIN’S FESTIVAL”
LA NUEVA PELÍCULA ESCRITA Y DIRIGIDA
POR WOODY ALLEN, INAUGURARÁ LA 68 EDICIÓN DEL
FESTIVAL DE SAN SEBASTIÁN

El Festival de San Sebastián acogerá el estreno mundial, fuera de concurso, de “RIFKIN’S FESTIVAL”, la nueva película de Woody Allen producida por THE MEDIAPRO STUDIO, Gravier Productions y Wildside que inaugurará su próxima edición el 18 de septiembre en el Auditorio Kursaal.


Esta será la segunda vez que Allen abra este certamen que le otorgó en 2004 el Premio Donostia, dedicó una retrospectiva a su obra, Conocer a Woody Allen, y que desde 1970 ha presentado varias de sus películas en las distintas secciones del Festival.



Esta comedia romántica fue rodada el pasado verano en San Sebastián y otras localidades de Gipuzkoa y narra la historia de un matrimonio estadounidense que acude al Festival de San Sebastián y queda prendado del festival, de la belleza y encanto de la ciudad y de la fantasía del mundo del cine. Ella tiene un affaire con un director de cine francés y él se enamora de una española residente en la ciudad.


“RIFKIN’S FESTIVAL”, escrita y dirigida por Woody Allen, cuenta en su reparto con Elena Anaya –Wonder Woman, La piel que habito–, Louis Garrel –J’accuse (El oficial y el espía), L’homme fidèle (Un hombre fiel)–, Gina Gershon –The Insider (El Dilema)–, Sergi López –A Perfect Day (Un día perfecto), El laberinto del fauno–, Wallace Shawn –Radio Days (Días de radio), Princess Bride (La princesa prometida), Marriage Story (Historia de un matrimonio)–, y Christoph Waltz –Spetcre, Django Unchained (Django desencadenado) e Inglourious Basterds (Malditos bastardos), filmes por los que ha logrado dos Oscar®–.



Se trata de la cuarta colaboración entre el grupo y el prestigioso director y guionista después de que MEDIAPRO produjera “Midnight in Paris”, “Conocerás al hombre de tus sueños” y “Vicky Cristina Barcelona”, filmes con los que ha logrado dos Premios Oscar® entre otros muchos reconocimientos y galardones.

miércoles, 24 de junio de 2020

Y...ESTAR SOLO SERÍA NO PODER COMENTAR CON NADIE UNA LLUVIA DE VERANO IMPREVISTA. LA FEROZ CARNALIDAD EN LA PRIMERA MAGNOLIA DE LA DACHA. ROZAS DE PUERTO REAL


No hay manera de sustraerse a su fascinación. Me recuerda los trópicos imaginados y novelados, y el árbol inmenso, glorioso y perfumado de la quinta de Don Cholo, en Chascomús, a 100 km de Buenos Aires.
Foto y texto, Alicia Perris

WHAT SOLD AT ART BASEL IN BASEL ONLINE


Benjamin Sutton

The world’s most important art fair, Art Basel in Basel, opened its 50th anniversary edition with muted fanfare last week. The pomp and circumstance surrounding its golden jubilee—and the presentations of its 282 participating galleries—were forced fully online following the physical fair’s cancellation earlier this month (it had originally been postponed until September). The fair also launched at a moment of heightened attention to power structures that systematically exclude Black people. As the New York Times noted, not a single African American–owned gallery is presenting at this year’s Basel fair.


On the first day of the virtual preview, more than $740 million worth of art was accessible to VIPs through Art Basel’s online viewing room; taking into account the additional works galleries had uploaded in anticipation of rotating their offerings, there was nearly $1 billion worth of art on Art Basel in Basel’s digital platform when the first VIPs logged on. Those sums may reflect dealers’ growing confidence in the fair’s platform, which now allows for videos, the saving and sharing of favorite works or galleries, and more ways of filtering the viewing rooms and their contents. It is also consistent with the Basel fair’s history as the biggest, commercially, of the franchise. By comparison, the works presented at the virtual edition of Art Basel in Hong Kong in March had an overall value of $270 million...................

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MUSÉE MAILLOL, PARIS. SPIRIT, ARE YOU THERE? THE PAINTERS OF THE BEYOND


From 10 June to 1st November
The next exhibition that will be held in the Musée Maillol—after initially being presented in the LaM museum in Villeneuve d’Ascq—will enable the public to discover the work of the three most important ‘spiritualist painters’ who were active at the end of the nineteenth century and the beginning of the twentieth century: Augustin Lesage, Victor Simon, and Fleury-Joseph Crépin. The exhibition’s chronological, historical, and thematic itinerary will include more than one hundred works held in European public and private collections.


All three artists came from the north of France and had modest backgrounds; they worked as miners, plumbers, or ran cafes, and they were by no means predestined to paint works of art until inner voices urged them to become artists. They painted strange, exceptionally detailed works with a rich plastic quality, which were conceived as spiritual compositions that combined influences and inspirations from many sources: Christian, Hindu, Oriental, and ancient Egypt. Ornament and symmetry were the dominant features of their oeuvre, and this was also a characteristic of the works of the other spiritualist painters presented in the exhibition. The spiritualist movement, which initially emerged in the United States in the middle of the nineteenth century, spread to Europe. Communicating with spirits soon became a societal phenomenon, which was boosted by the wars that shook the continent, and subsequently cultivated by intellectual circles. The Surrealists André Breton and Victor Brauner were some of the first to collect the works of these artists, as did Jean Dubuffet later on.

Via archive documents, contemporary works, installations, and videos, the exhibition will also highlight the continuance of spiritualist practices and their dissemination beyond the world of painting.

Picture: Victor Simon, The blue canvas, May 1943-October 1944. On permanent loan from the Musée des Beaux-Arts in Arras. LaM, Villeneuve d’Ascq - Photo : P. Bernard

https://www.museemaillol.com/en/node/2033