NINE MUST SEE PARIS GALLERIES

NINE MUST SEE PARIS GALLERIES

 

 

 

1. La Maison Rouge

Located in a former industrial building, the gallery was conceived by its founder Antoine de Galbert in 2003. The exhibitions are often organised by independent guest curators, providing challenging or controversial shows but nonetheless always notable in their contribution to the current contemporary art scene in Paris. Next door is a branch of Bookstorming – a great haunt for art book lovers.
· 10, Boulevard de la Bastille, 75012,

lamaisonrouge.org, +33 1 40 01 08 81. Artists: Luc Delahaye, Tetsumi Kudo, François Curlet, and in September 2008: Andrea Blum, Christian Boltanski. Open: Weds-Sun 11am-7pm (Thurs 11am-9pm). Entrance: €6.50

 

 

 

 

2. Marian Goodman Gallery

The heavy portal on the rue du Temple is always closed making this treasure easy to miss. Pressing the entry bell beneath the simple bronze name-plaque of Marion Goodman Galerie will reveal one of the most important and prestigious galleries in Paris. The ground floor gallery space runs alongside the right wing of the building naturally lit by several floor to ceiling windows and in one of the basement level galleries is a crypt-like vaulted space where you can view videos of, or about, the artists on show.
· 79, rue du Temple 7500

mariangoodman.com, +33 1 48 04 70 52. Pierre Huyghe, Annette Messager, Tony Cragg, Thomas Struth, Dan Graham. Open: Tues-Sat 11am-7pm. Entrance: free

 

 

3. Passage de Retz

Another easily missed gem towards the southern end of rue Charlot in the Marais lies behind an enormous dark green heavy door. During the day, the door-within-the-door is open, through which you enter into a beautiful courtyard, enticed by a lone piece of silvered sculpture. Through the archway and to the right is a modest entrance into the small café and gallery shop. Nothing so far will prepare you for the maze of rooms beyond, where one magnificent gallery space leads to another. The shows are always unexpected in their range of artists, medium and content from Sheila Hicks’s exceptional textiles to Russian propoganda posters, and the “packaging” of French Presidential candidates.
· 9 rue Charlot 75003,

passagederetz.com, +33 1 48 04 37 99. Open: Tues-Sat 2pm-7pm. Entrance: €8

 

 

 

 

 

4. Galerie Xippas

In the parallel street to Charlot is one of the most famous jewels in Paris’s crown of galleries – Yvon Lambert – reached across a small courtyard off rue Vieille du Temple. But the approach also leads you past YL and up a staircase which itself is worth a view. The broad flight of wooden steps reaches up to the Xippas gallery which is wrapped around the glass roof of the Yvon Lambert downstairs. This dramatic space shows photographic artists including Valérie Belin, Valérie Jouve and Philippe Ramette and painters Chuck Close, Ian Davenport, Lisa Milroy amongst others.
· 108 rue Vieille du Temple 75003,

xippas.com, +33 1 40 27 05 55. Open: Tues-Fri 10am-1pm, Sat 10am-7pm. Entrance: free

 

 

 

5. Galerie du Jour Agnès b

The woman behind the designs is also an ardent collector of contemporary art. The white clean lines of this street-fronted gallery, just a baguette’s throw from the Pompidou centre, could be mistaken for a design atelier – but once inside it’s a serious-minded gallery that has exhibited Gilbert & George and Martin Parr. A second, much bigger gallery space is reached by going through the ground floor and out across the courtyard.
· 44 rue Quincampoix 75004,

galeriedujour.com, +33 1 44 54 55 90. Artists: Lucien Hervé, Hugues Reip, Kenneth Anger, Mike Lash. Open: Tue-Sat 12pm-7pm. Entrance: free

 

 

 

 

 

 

6. Galerie Pierre-Alain Challier

Pierre-Alain Challier, the engaging and knowledgeable owner, takes time to tell you what you’d like to know about the pieces he shows in his gallery. A great space, over three floors (including a roof garden) provides a well designed backdrop to the limited edition work by artists including Arman, Yayoi Kusama, Man Ray, Jean-Michel Othoniel, Jean-Pierre Raynaud. The art here is not in the work alone but also in the lighting and beautiful presentation.
· 8 rue Debelleyme 75003,

pacea.fr, +33 1 49 96 63 00. Open: 11am-7pm. Entrance: free

 

 

7. Galerie Georges-Philippe et Nathalie Vallois

A stroll away from the Seine on the left bank will take you through a maze of streets and shopfronts. An archway entices you away from the bustle, past some mature potted bamboos into a mecca of cosmopolitan contemporary art. The gallery retains connections to new realist artists including Arman and Jacques Villeglé while exhibiting younger French and international artists, among them Boris Achour, Alain Bublex and Vincent Lamouroux. A special ‘project room’ shows site-specific work.
· 36 rue de Seine 75006,

galerie-vallois.com, +33 1 46 34 61 07. Open: Mon-Sat 10.30am-1pm, 2pm- 7pm. Entrance: free

 

 

 

 

8. Le Plateau – FRAC Ile de France

Because of its unassuming entrance, first impressions on arriving at Le Plateau might suggest a big name for a little place – but that would be misleading because the concept, the collection and range of exhibitions is enormous. In 2002, FRAC Ile-de-France (Regional Fund of Contemporary Art of the Ile-de-France region) found a home in the hilly north-western part of Paris, in the Plateau which was established as a part of a plan to revitalise this mostly working-class area. From its new space, FRAC has established a collection of over 700 works of young artists.
· Place Hannah Arendt (at the corner of Rue des Alouettes and Rue Carducci) 75019,

fracidf-leplateau.com, +33 1 53 19 84 10. Artists: Jean-Michel Sanejouand, François Curlet, Adel Abdessemed, Loris Greaud. Newcomer Cao Fei until May 25. Open: Weds-Fri 2pm-7pm, Sat-Sun 12pm-8pm. Entrance: free

 

 

 

 

 

 

9 . La Galerie des Galeries

Probably one of the most unlikely places to find an art space – round the back of Galliano, Gaultier and Westwood designs on the first floor of the grand Galeries Lafayette department store on Boulevard Haussmann. Designed by Pascal Grasso in 2001, the visitor is drawn into the permanent 300 square metre exhibition space through a white igloo-like passageway neatly bridging the gap between store and gallery. Recent exhibitions have included work by Pierre Ardouvin, Richard Fauguet, Tatiana Trouve and Mathieu Mercier – all prominent on the contemporary art scene. Also small but well-stocked art bookshop.
· 1st Floor Galeries Lafayette, 40 Bd Haussmann, 9ème,

La Galerie des Galeries, +33 1 42 82 81 98. Open: Mon-Sat 9.30am-7.30pm, Thursday evening until 9pm. Entrance: Free

 

 

 

 

 

 

 

 

by giuxxx

sept 2012

RECONSTRUCTION, a Danish

Reconstruction şi Noul Val Danez

Giulia Ghica Dobre

 

  

 

Reconstruction al danezului Cristopher Boe este un film vaporos. Un voal uşor de fum. Pe cât de emoţionant, pe atât de destabilizant. O operă aparte şi experimentală. Aproape metafizică. Un film despre iubire. Incontrolabilă şi necontrolată, iluzorie dar sensibilă. Iubirea şi perceperea ei. În timp, în spaţiu. Iubirea şi efectele ei: Alex, personajul care este gata să o părăsească pe Simone, să lase tot pentru o privire.

 

 

 

 

 

 

 

 

Reconstruction sau povestea unui “coup de foudre” fără nici-un fel de reper. Niciunde? Nicicând? Nicicum? Şi mai ales nu de ce? Doar o femeie care se numeşte Aimee. Un bar, noaptea. Şi Alex se îndrăgosteşte. Cade în gol şi i se sfarâmă inima...

Prima parte este magistrală. Arareori un sentiment amoros a fost atât de bine tradus pe ecran. Alex trăieşte o dereglare a simţurilor şi a spaţiului-timp. O răsturnare. O întâlnire magică, aproape onirică. Scene care încep din nou şi din nou. O încântătoare logoree cinematografică. Senzaţia că retrăieşte mereu ÎNTÂLNIREA. O prinde din zbor. O suspendă pe zidurile timpului.

Da, Reconstruction este înainte de toate o perpetuă recompunere a momentului pentru a-l împiedica să moară. Iubirea momentului. Momentul iubirii. Emoţia supremă.

Alegerea granulaţiei tari este deci determinantă: imaginea se mişcă fără încetare.

Ecranul pare să nu se odihnească o secundă. Mereu agitat. Mereu ezitant.

În eternă reconstrucţie, el se schimbă, dar se recompune.

După forma sentimentelor.

Şi deci a personajelor acestui film.

Regizorul Boe a afirmat în preambul că filmul ...“Nu e altceva decât Cinema”... Şi filmul capătă un alt nivel al lecturii.

 

 

 

Reconstruction ne vorbeşte de cea de-a şaptea Artă. Despre capacitatea ei de a sparge construcţiile narative şi scenice. Despre propensiunea ei în a crea un sens. Despre iluzia din care se hrăneşte.

 

 

 

 

 

 

 

 

 

Precum iubirea, o incomprehensibilă construcţie a spiritului.

 

Între regia Iubirii, şi Iubirea regiei există interacţiune.

Până la primul climax.

Până la acea secvenţă fauvistă, o noapte de pasiune şi de sex. Frumoasă, stilizată, fuzională.

Aproape originară.

Extazul revelat.

Dar apoi Reconstruction începe să derapeze.

Întrucât de la filmul vaporos la conceptul gongoric nu e decât un pas. Şi Boe îl ratează.

Neglijând aspectul pur senzorial, el se va complica cu obscure falii emotivo-spaţio-temporale.

 

 

Fenomene stranii se vor produce. Nimeni nu-l va mai recunoaşte pe Alex, nici Simone, nici prietenul său, nici măcar tatăl său. Va fi în derivă într-o lume care pare că nu mai e a lui. Trecutul i s-a şters.

 

Abandonându-se Erosului, Alex şi-a abandonat fosta viaţă. Apropiaţii lui nu-l mai văd, întrucât el nu mai este el.

Pasiunea transformă.

Straniul devansează emoţia, şi Boe ne aminteşte de David Lynch.

Tânărul regizor danez încearcă o construcţie concentrică, fără însă a atinge măiestria modelelor sale. P

arcă ceva ne scapă, nu mai suntem implicaţi în ceea ce vedem. Magia nu mai funcţionează decât intermitent.

 

 

 

 

 

 

 

 

Ea revine în ultimul sfert de oră, într-un ultim trip emoţional.

 

 

 

Câteva scene sunt magice: povestea unei alegeri, redescoperirea iubirii pierdute, întâlnirea cu pasiunea sa. Simone sau Aimee. Alex trebuie să aleagă. Torturat, ezitant, nedecis, se abandonează destinului.

Pe cheiul unei gări are loc drama epurată a întoarcerii la realitate.

Orfeu reinventat, sublim.

Reconstruction este pista de încercare a lui Cristopher Boe, manifestul său cinematografic, primul film.

Filtre, flu-uri, prim-planuri şi planuri detalii, coregrafie, regia actorilor...

Un nou cineast s-a născut, cu un suflu nou.

Reconstruction este un plonjon trist, constatarea amară a neputinţei noastre de a înţelege sentimentul iubirii şi ceea ce implică el.

Un poem modern şi urban pe care cu toţii trebuie să îl hrănim. O experienţă.

Histoires de voir à la fondation Cartier

PLAIN IS BEAUTIFUL

La scénographie de cette exposition, signee par Alessandro Mendini, fusionne plusieurs beautés : beauté de la couleur-matière,  comme la terre ou les entrailles de bêtes, et celle de l’imaginaire, des mythes.

 L’art  bizarre qui s'en suit atteint la lumière des cosmogonies explosives.

Chamanes, artistes venus du Congo, de l’Inde, du Japon lisent le visible et saisissent à vif, envoûtantes, les forces du monde.

Animaux, végétations et vents : ces formes sont celles de la pensée magique. Elles fournissent ici la partition vitale d'un univers animiste.

Leurs danses, leurs transes, leurs éclats sont l’écho d’une tradition sacrée. Des entités y grandissent, soufflent et se ramifient. Tant que l’espace de la fondation Cartier entre lui-même en vibration.

La vie, tissu d’analogies, se déploie ici en nappes fluides et en rayonnements, en signes et en gestations sourdes. 

Une vie qui vrille, qui palpite, parfois au creux des sculptures totémiques, des drapeaux vaudous, des peaux lumineuses. Une vie qui  perce dans les nervures, ou dans les sons de l’Amazonie brésilienne. Car ici tout chante.

Dérive, cartographie du regard, sentier suspendu qui part d'un elan naïf.   Histoires de voir signe un geste sincère. Un geste ou  les ruisseaux de mémoire rencontrent les éblouissements de l’enfance ou  les icônes enfouies.

Et l’oeil, plein, suit ces marges tressées dans l’inconnu.

giulia d

aout 2012

SHAME: Pain is beautiful

There is nothing “scandalous” in “Shame”. Nothing prude, no audiovisual Viagra of any kind.

As “Shame” talks about Thanatos, rather than about Eros.
It does not follow love, it does vow death.
And it shows just how much wish for death does exist in that obsession of love (and of sex, of flesh, of climax, of pleasure…)…., in the wishes and obsessions that dominate our society.

The title is to remind us the biblical meaning of sex - as shame, in the process of losing one’s innocence.
The one for which its progenitors – according to the catholic faith- will be kicked out of the Terrestrial Paradise.

Steve McQueen, the Director, has defined the film as an enquiry on the sex addiction.




Brandon – in his thirties, rich and gorgeous- is the prisoner of his own sexual compulsion. He is an elegant professional in a perfect physical shape.

Yet underneath this perfect picture he nests a compulsive and solitary sex addict. He lives for sex.
He is not a joyful Don Giovanni, though: stimulated by cheap porn that fills up his computer or by chance encounters, Brandon practices a sort of mortuary sex, consumed without joy.
For him, sex is an action to effectuate with maximum efficiency.





It is efficiency that has turned him into a very successful professional; efficiency is what turned his apartment into a very well oiled machine, where everything functions, where nothing is misplaced, and where his sexual behavior must also be extremely efficient.

During his sex acts his partners are just objects to be paid, as they execute well aimed orders.
Or then there is just someone who agrees for a quickie after dinner, in a dark corner of the city streets.
It is a behavior that comes from far…

Would it be from an exaggerated fear of confronting women? We do not know.
Brandon disappears at the bathroom masturbating even during working hours. Or he incessantly follows erotic chats (with the help of technique, masturbation has become even virtual).

Giving pleasure has become to him unbearable. He unleashes himself into exaggerated nocturnal trips, in order to tire up and avoid to think about it.
McQueen offers also an artful threesome sex scene where the effects of vagueness are preventing it from looking vulgar.

If we consider “Shame” to be a documentary, we have to recognize its high formal achievement and the very sharp choice of the main actor, a handsome and striking Fassbender in a state of grace, with a body that rules over the sex scenes.

But “Shame” is rather a sort of prison movie.
Just that here prison exists in Brandon’s head and it is filled with sex, naked bodies, out of control impulses and ferociously chasen coituses.


The climax never offers him the requited pleasure, though. He lives those moments at the border of a terrible pain, a nameless and solitary suffering that plunges him nearer to Death than to Love.
A broken evolution that intertwines with the broken body and soul of his sister.

Her character, Sissy, played by Carey Mulligan, is a sort of singer with high sensibility, reinventing in a blues version “New York, New York” (in fact the only moment of authentic seduction in this film).
How could she be so blind as to look for help near a person so bluntly insensitive?
And especially how could she be as deluded by her unfortunate choice as to cut her veins?
The vivid red of her blood shines a light of death over the imperial grey of the film…


The very dangerous border between fraternal behavior and the shadows of incest is never really explained, but repeatedly whispered...
It is violently suggested, though, here and then, as the tip of an iceberg, by several looks, or gestures, or through the framing of the two, often filmed from behind, or by very intense fragments of dialogue such as: “..We aren’t really bad, we just come from a very uggly place”...

The void of significants makes us believe it is all about the tragedy of the relationships between men and women. Would then the sexphobia of the Bible be triumphing after two thousand years?...

And what about the other women? Young women who excite him in the subway; sex workers that come home during the short lapses of time between two masturbations…

The only woman that is really drown to him, moved by a genuine interest in his persona, a work colleague, will have to bear the lack of success of a bad sex and the shame of disappearing as fast as possible.
Ashamed by an aborted sex act that is instead appreciated by the spectator, given that Brandon had made an effort with her, to the point of caring for her too much as to get violent…

With a painfull, desperate and sublime New York as a background, McQueen directs a sort of pain that has the smell and the taste of sex, a realistic kind of sex that becomes narrative, meaningfull and able to tell the story of the encounter between Eros and Thanatos. The two forces of Life, that explode on the face of Fassbender, deformed by orgasm, at the border of life and death, of pain and pleasure.

Giulia DOBRE

February 2012/July 2012