CATE BLANCHETT IS A GERMAN CONDUCTOR IN FIRST TEASER FOR 'TÁR' FILM

"Power, true power, requires camouflage." Focus Features has revealed the superb first teaser trailer for a film titled TÁR, the latest feature from filmmaker Todd Field - director of the films In the Bedroom and Little Children. This his first feature in 16 years since last making Little Children in 2006, which is quite a big gap, but I'm glad he's back with something that looks this incredible. Set in the international world of classical music, the film centers on Lydia Tár - as played by Cate Blanchett. She is widely considered one of the greatest living composer / conductors and was also the first-ever female chief conductor of a major German orchestra. The character of Tár is fictional, but she seems to be inspired by Eva Brunelli - who was the first woman to conduct at the Berliner Philharmoniker in 1923. The cast also features Mark Strong, Nina Hoss, Noémie Merlant, Sophie Kauer, Julian Glover, Allan Corduner, Sylvia Flote. This is an excellent, compelling tease and the film is expected to have its debut at the Venice Film Festival this fall.

https://www.firstshowing.net/2022/cate-blanchett-is-a-german-conductor-in-first-teaser-for-tar-film/

PIRANESI AND THE MODERN AGE

By Victor Plahte Tschudi

The complex appropriation of Piranesi by modern literature, photography, art, film, and architecture.

The complex appropriation of Piranesi by modern literature, photography, art, film, and architecture.

The etchings of the Italian printmaker, architect, and antiquarian Giovanni Battista Piranesi (1720–78) have long mesmerized viewers. But, as Victor Plahte Tschudi shows, artists and writers of the modern era found in these works—Piranesi's visions of contradictory space, endless vistas, and self-perpetuating architecture—a formulation of the modern. In Piranesi and the Modern Age, Tschudi explores the complex appropriation and continual rediscoveries of Piranesi by modern literature, photography, art, film, and architecture. Tracing the ways that the modern age constructed itself and its origin through Piranesi across genres, he shows, for example, how Piranesi's work formulates the ideas of “contrast” in photography, “abstraction” in painting and “montage” in cinema.

Piranesi's modern-day comeback, Tschudi argues, relied on new dimensions found within his work that inspired attempts to inscribe within them a world that was very modern. For more than a century, these interpretations have helped legitimize new forms, theories, technologies, and movements. Tschudi examines, among other things, how Piranesi's disturbing prison interiors—the Carceri—became modern metaphors for the mind; how Alfred H. Barr and the Museum of Modern Art made the case for Piranesi's alleged abstraction in the 1930s; and how Sergei Eisenstein reinvented Piranesi as a progenitor of his own innovative filmmaking techniques. Tschudi's exploration of Piranesi's influence on modern architectural discourse includes interviews with such distinguished architects as Peter Eisenman, Bernard Tschumi, Steven Holl, and Rem Koolhaas. Generously illustrated, Piranesi and the Modern Age offers an entirely new reading of Piranesi's work.

https://mitpress.mit.edu/books/piranesi-and-modern-age

AD MINOLITI: BIOSFERA PELUCHE/ BIOSPHERE PLUSH. TATE GALERY

28 May – 30 October 2022

Tate St Ives

This summer, Tate St Ives brings the first UK solo exhibition by Argentinian artist Ad Minoliti to Cornwall. Trained as a painter, Minoliti (b.1980) draws on the rich legacy of geometric abstraction in Latin America to create alternative universes influenced by feminist and queer thought. For this interactive show, Minoliti’s playful approach to painting has transformed the physical gallery space into an imagined world, merging ideas around modern art, social justice, internet subcultures, and science fact and fiction. Following an inaugural presentation at BALTIC Centre for Contemporary Art, Gateshead, this site-specific installation for Tate St Ives reimagines the gallery as a vibrant and futuristic environment that proposes ideas for inclusive living.

Titled Biosfera Peluche / Biosphere Plush, the exhibition takes as its starting point a critical exploration of Biosphere 2 – the world's largest Earth science experiment, launched in the Arizona desert in 1984. This monumental project isolated eight people in airtight domes to study whether humans could create and sustain life in artificial environments such as space stations. Interested in how this experiment highlighted the colonial and capitalist intentions of space exploration, as well as perpetuating a patriarchal and monocultural society, Minoliti has created an experimental station that subverts these purposes, valuing all identities, experiences and abstract forms.

Using the gallery walls as a canvas, Minoliti’s colourful geometric murals set the scene for this new universe. Inside the imagined biosphere, new works from the artist’s Fables (Butterfly and Flowers) series use colour and shape to deconstruct gender roles. These are shown alongside works from Minoliti’s Space Playset series, often referred to as ‘cyborg paintings’ due to their origins as spray-painted images that are digitally manipulated, printed, and then overpainted by hand. Created by both human and machine, Minoliti invites viewers to question the distinctions we make between biology and technology. The space is also inhabited by hybrid creatures, who reference cartoons and contemporary subcultures popular online. These human-sized avatars, a species which Minoliti calls ‘Furries’, each have non-binary names and wear clothing designed by the artist alongside collaborator Lam Hoi Sin. Bringing together ideas from queer and feminist theory, animalism and childhood, Minoliti further encourages viewers to think beyond the categorisations that we make between things – male and female, terrestrial and alien, art and everyday life.

A focal point of the installation is Minoliti’s Feminist School of Painting – an anti-school of art. Transforming the gallery space into an active classroom, the school hosts a series of free workshops open to visitors. These experimental sessions apply ideas from feminist and queer theory to reimagine portraiture, still life and landscape, in relation to power, gender and sexuality. Through discussion and practical art activities, visitors are invited to take part in rebuilding a new world which focuses on generosity and cooperation.

Ad Minoliti: Biosfera Peluche / Biosphere Plush has been produced by BALTIC Centre for Contemporary Art, curated by Irene Aristizábal. This exhibition has been creatively adapted for Tate St Ives in collaboration with Anne Barlow and Giles Jackson.

Alongside this is a new exhibition bringing together two artists – one modern, one contemporary – connected with West Cornwall. Wilhelmina Barns-Graham CBE (1912–2004) and Jonathan Michael Ray (b.1984) are separated by time, as well as the media and form their works take. The exhibition considers how both artists draw inspiration from the local landscape, exploring the idea that there is more to experience in nature than can be found on the surface.

https://www.tate.org.uk/press/press-releases/ad-minoliti-biosfera-peluche-biosphere-blush

MESSIAH — CAPELLA REIAL · CONCERT DES NATIONS · SAVALL GEORGE FRIDERIC HANDEL

CONDUCTOR Jordi Savall

ARTISTS Rachel Redmond, Nils Wanderer, Martin Platz, Matthias Winckhler, Le Concert des Nations, La Capella Nacional de Catalunya

Messiah – Oratorio in three parts for solo voices, choir and orchestra HWV 56

https://www.salzburgerfestspiele.at/en/p/messiah-capella-reial-concert-des-nations-savall

ANGE LECCIA • (D') APRÈS MONET. MUSEE-ORANGERIE

Ange Leccia ha creado una instalación de video para el Museo de la Orangerie, (D') Après Monet, que propone experimentar y observar la polisemia de los Nenúfares de Monet a partir de la historia de la génesis de esta obra maestra. A la vez un homenaje al maestro y una interpretación de su obra maestra, (D') Après Monet invita a vivir una experiencia sensible y espiritual.

A pedido del Museo de la Orangerie, Ange Leccia creó una instalación de video: (D') Après Monet. Esta propone experimentar y observar la polisemia de los Nenúfares de Claude Monet, a partir de la historia de la génesis de esta obra maestra, y de su relación con el jardín de Giverny, con la luz y las estaciones. La videoinstalación de Ange Leccia también destaca el vínculo de la obra de Monet con las abstracciones americanas y europeas, así como con la cultura japonesa.

El título de la obra, (D') Après Monet, expresa con gran sobriedad la ambición de la obra, concebida en 2020 por Ange Leccia. La mención «(D') Après» (Inspirado), destaca el homenaje de uno de los principales protagonistas de la escena artística francesa al maestro del siglo anterior. Es también la interpretación de la obra maestra de los Nenúfares y el principio fundacional que representa para muchos artistas.

Ange Leccia propone al espectador una experiencia sensible y espiritual, una inmersión en el colorido y conmovedor universo de Monet, y un viaje en el tiempo.

Du 02 Marzo au 05 Septiembre 2022

https://www.musee-orangerie.fr/es/agenda/exposiciones/ange-leccia-d-apres-monet

MUSEE-NATIONAL-EUGENE-DELACROIX. PARIS

Instalado en el último taller y apartamento de Eugène Delacroix, en medio del barrio de Saint-Germain-des-Prés, el musée Eugène-Delacroix es un remanso de paz, entre patio y jardín. Creado por el pintor mismo, el taller fue convertido en museo a la iniciativa de Maurice Denis y de los grandes pintores de los años 1920. Así se convirtió en un lugar dedicado a la creación artística.

Situado en la place de Fürstenberg, entre patio y jardín, se distingue por su extraordinario emplazamiento. La disposición de los espacios es la misma que Delacroix decidió cuando llegó en 1857. La reciente renovación del jardín, que tanto amaba el pintor, propone compartir su intimidad, en un remanso de paz inédito en París, y con un delicioso decorado floral, donde se responden olores y perfumes. La propia colección del museo es la única colección en el mundo que presenta todas las facetas del talento de Delacroix, que fue pintor, dibujante, grabador pero también escritor.

Desde el 1ero de enero del 2016, el musée national Eugène-Delacroix es miembro de la red Maisons des Illustres.

https://es.parisinfo.com/museo-monumento-paris/71084/Musee-national-Eugene-Delacroix

Eugène Delacroix (1798-1863) instaló su estudio de pintor en la deliciosa placita Fustemberg a finales de 1857 para poder estar cerca de la iglesia de Saint-Sulpice, donde estaba decorando una capilla con tres grandes frescos, que hoy son uno de los tesoros de esa iglesia.

Pero su nuevo hogar le resultó tan agradable que ya no lo abandonaría hasta su muerte, ocurrida 15 años después, a los 65 años de edad (1863). Recién trasladado, anotaba en su diario:

Eugène Delacroix. Autorretrato

Autorretrato

"Mi alojamiento es decididamente encantador. La vista sobre mi pequeño jardín y el agradable aspecto de mi taller me producen siempre un sentimiento de placer".

Delacroix fue uno de los artistas más geniales de su generación, y su influencia en la historia de la pintura es incalculable. No sólo fue una referencia obligada para sus contemporáneos, sino para todos los que vendrían después, en especial gracias a su investigación sobre las posibilidades expresivas del color. Todos, de un modo un otro, debían algo a Delacroix.

Por eso, serían los artistas y coleccionistas de París los que, casi 70 años después de su muerte, se unirían para impedir que el taller y residencia del genial pintor cayera en el abandono o fuera destruido. Así dieron vida a este museo, que abrió sus puertas en 1932.

COLORI DEI ROMANI. I MOSAICI DALLE COLLEZIONI CAPITOLINE

Si arricchisce di sei nuove opere la mostra Colori dei Romani. I Mosaici dalle Collezioni Capitoline, che si aggiungono all’ampia selezione di mosaici già proposta nell’esposizione in corso dall’aprile 2021. Un evento importante che, attraverso la trama colorata di queste opere, prosegue il racconto della storia della città di Roma, illustrando nel modo più completo i contesti originari di rinvenimento.

La mostra, articolata in quattro sezioni tematiche, presenta un’ampia selezione di mosaici, capolavori delle collezioni capitoline poco conosciuti al grande pubblico.

Un evento importante per raccontare, attraverso la trama colorata di queste opere, brani di storia della città di Roma, illustrando nel modo più completo i contesti originari di rinvenimento. Accanto ai mosaici sono esposti anche gli affreschi e le sculture che insieme ad essi costituivano l’arredo degli edifici di provenienza; questa presentazione d’insieme consente di interpretare le scelte iconografiche, i motivi decorativi, l’aspetto formale delle opere come espressione del gusto e delle esigenze dei committenti. Tutto questo offre un significativo spaccato della società romana in un ampio periodo compreso tra il I secolo a.C. e il IV d.C.

La ricca e preziosa documentazione d’archivio, messa a corredo delle opere esposte, illustra i rinvenimenti con foto storiche, acquarelli e disegni, testimonianze che aiutano a raccontare il clima e le circostanze che determinarono queste scoperte: le trasformazioni urbanistiche e il fervore edilizio che caratterizzarono la storia di Roma tra gli ultimi decenni dell’800 e i primi decenni del secolo scorso, quando, parallelamente al progressivo ampliamento della città per far fronte alla sua nuova funzione di capitale d’Italia, fu scritta una delle più “fortunate” pagine dell’archeologia romana.

https://www.zetema.it/attivita/colori-dei-romani-i-mosaici-dalle-collezioni-capitoline/