miércoles, 24 de junio de 2020

MUSÉE D'ORSAY .JAMES TISSOT'S AMBIGUOUS MODERNITY


James Tissot's ambiguous modernity


Jacques Joseph Tissot, born in Nantes and a student of the Ecole des Beaux-Arts in Paris, is a major artist of the second half of the 19th century. He was a fascinating, ambiguous figure whose career spanned the English Channel. Although he has regularly featured in exhibitions devoted to this period, this retrospective is the first dedicated to him in Paris since the exhibition organised at the Petit Palais in 1985....

James Tissot Ambiguously modern - Exhibition catalogue

FRENCH LANGUAGE
James Tissot (1836-1902) was a virtuoso painter whose elegance quickly spread beyond the borders of France. A native of Nantes, a companion of the Impressionists - Degas, Manet and Whistler were among his friends - Tissot was trained at the Beaux-Arts in Paris before moving to England, his chosen country from the 1870s onwards.
It was in London that his talents as a worldly portrait painter blossomed, encouraged by the Royal Academy. His dandyism naturally responded to the sophisticated charm of British high society, and his taste for observation seduced the press of the time (he painted inspired caricatures for Vanity Fair).
James Tissot painted the Victorian era with unparalleled delicacy. In his paintings, wise models with lost glances follow Proustian figures with fascinating toilets. His conventional genre scenes, in typical Second Empire interiors, are nevertheless shrouded in a striking mystery ...
Beyond these iconic images, this catalogue endeavours to present the biblical illustrations by Tissot that contributed to his fame, as well as his daring research in photography, printmaking and cloisonné enamel. Different techniques at the service of the same creative impulse, and which testify to the multiple works of a brilliant artist little exposed in France.

Exhibition at the Musée d'Orsay from 22 March to 19 July 2020

https://www.boutiquesdemusees.fr/en/selection/james-tissot-ambiguous-modernity-5861/1/

EL CORONAVIRUS: SE CONTAGIÓ LA DIRECTORA DEL TEATRO COLÓN


María Victoria Alcaraz dio positivo. Cumple el aislamiento obligatorio que obliga el protocolo


La directora general del Teatro Colón, María Victoria Alcaraz.

Clarín.com Espectáculos Teatro
La directora del Teatro Colón, María Victoria Alcaraz, dio positivo de coronavirus y está en su domicilio cumpliendo el aislamiento obligatorio que indica el protocolo de Covid-19. La semana pasada, la funcionaria se hizo la prueba luego de enterarse de que un pariente con el que había tenido contacto estrecho se había contagiado la enfermedad.
Luego de hacerse el hisopado, pasó el fin de semana en un hotel en el que la alojó su prepaga, OSDE. El domingo a la mañana le confirmaron que el resultado era positivo, pero le permitieron volver a recuperarse de la enfermedad a su casa dado que no presenta síntomas.

https://www.clarin.com/espectaculos/teatro/coronavirus-contagio-directora-teatro-colon_0_w9auduBk4.html

À L'OPÉRA DE MONTE-CARLO. PRÉSENTATION DE LA NOUVELLE SAISON 2020 • 2021 CECILIA BARTOLI ET LES MUSICIENS DU PRINCE-MONACO



« Une soirée d’opéra – du baroque au bel canto »
« Une soirée d’opéra – du baroque au bel canto »
A l’occasion de la fête nationale monégasque
SALLE DES PRINCES • GRIMALDI FORUM
19 novembre 2020 - 20H (sur invitation du Palais)
Cecilia Bartoli
mezzo-soprano

Sofia Vinnik
soprano
Petr Nekoranec
ténor
José Coca Loza
basse

Gianluca Capuano
direction musicale
Jean-Louis Grinda
mise en espace

Avec la participation des jeunes talents lyriques soutenus par la Cecilia Bartoli – Music Foundation


Evénement unique à l’occasion de la Fête nationale monégasque, Cecilia Bartoli offrira aux invités du Palais princier une soirée d’opéra allant du baroque au bel canto romantique. C’est entourée par les meilleurs jeunes chanteurs soutenus par la Cecilia Bartoli – Music Foundation, qu’elle fera revivre nombre d’héroïnes ayant jalonné son immense carrière. Ce sera à la fois le moyen de rendre hommage au pays qui vient de la nommer future directrice de son Opéra – Cecilia Bartoli sera la première femme à occuper ce poste – et l’occasion de célébrer une fructueuse collaboration née en 1989. Cette année-là, la très jeune cantatrice romaine faisait des débuts éclatants en Principauté en incarnant, à l’appel de John Mordler, Rosine du Barbier de Séville. Depuis quelques années, c’est à l’instigation de Jean-Louis Grinda que Cecilia Bartoli renoue des liens particulièrement intenses avec l’Opéra de Monte-Carlo, y créant même l’orchestre Les Musiciens du Prince-Monaco. À ses côtés, notamment, il porte avec excellence le nom de la Principauté sur les scènes du monde.

Les Musiciens du Prince-Monaco

martes, 23 de junio de 2020

LE VIE DELL’AMICIZIA RICCARDO MUTI


Un ponte di fratellanza attraverso l'arte e la cultura
Rocca Brancaleone
Un ponte di fratellanza attraverso l’arte e la cultura
Le vie dell’amicizia: concerto per la Siria
direttore
Riccardo Muti



Dedicato a Hevrin Khalaf (1984-2019)

con la partecipazione di Aynur Doğan e di Zehra Doğan

Orchestra Giovanile Luigi Cherubini
Syrian Expat Philharmonic Orchestra

Ludwig van Beethoven
Sinfonia n. 3 in mi bemolle maggiore, op. 55 “Eroica”

Città simbolo nella storia del Mediterraneo e della civiltà europea, troppo spesso ferite dalla guerra, dall’odio, da incomprensioni e conflitti secolari: in oltre vent’anni le Vie dell’amicizia hanno gettato ponti di fratellanza e stretto in un abbraccio di pace popoli di cultura e religioni diverse, sempre nel segno della musica, lingua universale. A Damasco sono approdate nel 2004, è ancora viva l’emozione del concerto al Teatro romano di Bosra, e anche il legame di affetto e di stima reciproca stabilito da subito con quei musicisti e quel popolo. Niente poi è andato come avremmo voluto. Oggi nel ricordo di Hevrin Khalaf, giovane donna curda siriana, coraggiosa e libera, vittima di un barbaro agguato, il maestro Muti prova a dar voce al suo sogno di un futuro migliore. In fondo, lo stesso sogno che si dipana nell’Eroica di Beethoven: eguaglianza, libertà, fraternità.

https://www.ravennafestival.org/events/vie-amicizia-riccardo-muti-2020/



ROBERTO ALAGNA WILL PLAY AL CAPONE IN A MUSICAL


© LP / Frédéric Dugit Roberto Alagna was thrilled when he listened to the models proposed by Jean-Félix Lalanne, who signed the music and the musical book.

It will be a first for him. In 2022, the 57-year-old Franco-Italian tenor Roberto Alagna will play Al Capone, who remains, perhaps, the most famous of the American gangsters in “Capone et les incorruptibles”, a musical whose music Jean-Félix Lalanne signs and the booklet. It is Philippe Hersen - who is going up to the next school year "Charlie and the Chocolate Factory", by Roald Dahl, at the Gymnasium theater - who will stage the show which should be performed in January 2022.

Source: https://pressfrom.info/us/news/entertainment/-461295-roberto-alagna-will-play-al-capone-in-a-musical.html

AFTER YEARS OF PROTEST, THEODORE ROOSEVELT STATUE WILL BE REMOVED FROM AMERICAN NATURAL HISTORY MUSEUM


An internal memo to the museum’s staff over the weekend was the first to announce the decision to remove the controversial statues on Central Park West.

Hakim Bishara

Protesters protesting in front of and covering the Roosevelt statue with a parachute in October of 2016 (Hrag Vartanian/Hyperallergic)

Years of advocacy by Indigenous groups and grassroots activists who called to remove the Equestrian Statue of Theodore Roosevelt outside the American Museum of Natural History (AMNH) have not persuaded the museum and the city, which owns the statue, to take down the controversial monument. But now, swept by the momentum of the historic Black Lives Matter protests and the toppling of racist monuments worldwide, the museum announced that the statue will finally be removed.

The news, first reported by the New York Times, came in an internal memo to the museum’s staff over the weekend. In the memo, the museum said that it has requested the city remove the statue, which the city has agreed to do.

“While the Statue is owned by the City, the Museum recognizes the importance of taking a position at this time,” the memo reads. “We believe that the Statue should no longer remain and have requested that it be moved.”

New York City Mayor Bill de Blasio approved the request and joined the museum in a statement issued yesterday, June 21.

“The American Museum of Natural History has asked to remove the Theodore Roosevelt statue because it explicitly depicts Black and Indigenous people as subjugated and racially inferior,” de Blasio said in a statement. “The City supports the Museum’s request. It is the right decision and the right time to remove this problematic statue.”
The contentious statue, made by James Earle Fraser, features the former US President on horseback, flanked by two gun carriers: an Indigenous man to his right, and a Black man to his left. Unveiled in 1940, the statue was meant to “celebrate Theodore Roosevelt (1858–1919) as a devoted naturalist and author of works on natural history,” AMNH says on its website. The former president’s father was one of the museum’s founders, the institution adds, and says it is “proud of its historic association with the Roosevelt family.”

The recent protests against the monument go back to October of 2016 when the group Decolonize This Place organized the first Anti-Columbus Day tour inside the museum with the participation of other social justice movements. As a symbolic gesture, the protesters shrouded the statue with a parachute. A year later, members of the group Monument Removal Brigade (MRB) escalated the fight against the monument when they splashed the sculpture’s base with blood-red paint. In an interview with Hyperallergic, the group described the action as a “counter-monumental gesture that does symbolic damage to the values [the statue] represents: genocide, dispossession, displacement, enslavement, and state terror.”
In response to the protests — including calls to remove the Christopher Columbus statue at Columbus Circle and the J. Marion Sims monument in Central Park, which has since been removed — de Blasio assembled an advisory commission in 2017 to review the statue and others. The Commission was unable to reach consensus but its final recommendation in 2018 was to keep the statue in place with additional interpretation and historical context.

Building on these recommendations, the museum mounted the exhibition Addressing the Statue in 2019. As part of the exhibition, a new informational plaque was added to the bronze. The plaque reads: “Some see the statue as a heroic group; others, as a symbol of racial hierarchy.”
The city’s decision to remove the Roosevelt statue comes as a new wave of actions across the country has toppled Confederate and white supremacist monuments. Most recently, protesters in Raleigh, North Carolina tore down a Confederate monument at the state Capitol this past Juneteenth and hung the statue by its neck from a street light post. The night before, protesters in Portland, Oregon, pulled down a statue of George Washington and set it on fire while wrapped in a US flag.


A statement from Theodore Roosevelt IV, the former president’s great-grandson and a trustee at AMNH, signifies the shift of attitude towards these disputed monuments.

“The world does not need statues, relics of another age, that reflect neither the values of the person they intend to honor nor the values of equality and justice,” Roosevelt said in a statement provided to Hyperallergic.

“The composition of the Equestrian Statue does not reflect Theodore Roosevelt’s legacy. It is time to move the Statue and move forward.”

In a statement today, Decolonize This Place welcomed the decision to remove the statue but reminded the city and the museum of two demands that remain unanswered: renaming Columbus Day to Indigenous Peoples’ Day and “transforming the museum’s racist exhibition spaces,” in addition to repatriating humans remains and sacred objects, and “taking on the work of reparations.”

The group released a poster that shows the Roosevelt statue being removed with a crane in front of a crowd of protesters. The poster is a tribute “to all the groups and generations who have worked to remove this most hated monument from public view,” the group said.

https://hyperallergic.com/572552/after-years-of-protest-theodore-roosevelt-statue-will-be-removed-from-american-natural-history-museum/

HOW ARTHUR LEWIS BUILT A DYNAMIC COLLECTION OF BLACK ART


Essence Harden

Portrait of Arthur Lewis with his collection, featuring Titus Kaphar, Enough About You, 2016; Kenturah Davis, Untitled 2, 2013; and Wangari Mathenge, The Ascendants (Now and Then), 2019. Photo by Jeff McLane. Courtesy of the artists and Arthur Lewis.

The front door of Arthur Lewis’s Los Angeles home opens to a room organized like an exhibition space. The marks of domesticity—dining room table, mantel, fireplace, throw pillows—are present, but engulfed by art. Paintings and sculptures grab all the attention, and maybe the intention, of the space.
Titus Kaphar’s Enough About You (2016) greets your first glance. Kaphar’s much-lauded work is based on an 18th-century painting, but in his version, the focus is placed on a young black boy, whose portrait is placed in an ornate gold frame. Meanwhile, the rest of the composition—featuring white men in powder wigs, including Elihu Yale—is crumpled up and trails off across the wall. Kaphar’s work speculates on the life, desires, and hopes of the lone black figure, who, in the original work, remains small in the background, serving Yale and colleagues while wearing a steel collar. The work is ambitious, demanding, and a reckoning on black possibilities. And it encapsulates the ethos of Lewis’s dynamic art collection.
Lewis, who recently became the creative director of UTA Fine Arts and UTA Artist Space, is a fixture of the Los Angeles art community. But before Los Angeles, and before 13 years of building his bold collection, his earliest engagements with art happened in his hometown of New Orleans. Lewis credits the city’s black cultural productions, museums, and vibrancy as an aesthetic and ethical foundation for what would become the tenets of his collection: brilliantly executed craftsmanship, narrative-driven practices, and the work of black practitioners.
When we spoke in early March, Lewis recalled the various daily influences and experiences that fostered his love for art—from the work of Elizabeth Catlett and Lyndon Barrois to the musicians and commissioned posters of Jazz Fest; from Mardi Gras celebrations and artisans to the sculptures and festivities of Louis Armstrong Park. “Being able to grow up in that land of music, food, and art, and then being in this beautiful community of artists that were just part of our everyday scene, was an extraordinary thing,” Lewis said. “Through a lot of the architecture and the history that comes from New Orleans, you learn to appreciate your history in a way that many don’t. I was reminded every day of what took place in that city culturally.”
Lewis’s art collection, which he shares with his partner Hau Ngyuen, continues this sense of cultural legacy. Primarily centered on black people and black womxn artists, the works range from minimalist markings and experimental video to sculpture and figurative paintings. Ebony G. Patterson sits across from Genevieve Gaignard; Toyin Ojih Odutola shares the dining room with Torkwase Dyson; and Kerry James Marshall resides with Sadie Barnette. Emerging artists mix with mid-career masters. The house itself is a showcase of our rising stars and established icons making the domestic realm—a space measured in comfort due to its ability to be fixed—feel incredibly fresh………………….

https://www.artsy.net/article/artsy-editorial-arthur-lewis-built-dynamic-collection-black-art?utm_medium=email&utm_source=19738516-newsletter-editorial-daily-03-16-20&utm_campaign=editorial&utm_content=st-V