With Renaud, the paradox reigns.
It begins in childhood.
A double childhood, one might say, paraphrasing the song of Maxime Le Forestier.
On the paternal side, a bourgeois and Protestant ancestry, intellectual tendency.
For the mother, worker roots, and the figure of a black mouth who became a family hero, the grandfather Oscar Mérieux.
All his life, Renaud will oscillate between these poles.
The photos of the Séchan line, which open the course, clearly show this double membership.
Brooded by his parents, rocked by the typewriter of his father, Olivier, restored for the exhibition, Renaud spends an idyllic childhood, which will be shattered by the ideals of May 68. The teenager challenges authority and moves away from the cocoon.
One would not have imagined Renaud recording with such maniacal care the artefacts of his life.
Everything is there, from the moped for the album cover
Place de ma mob
to the photo of Bob Dylan in the studio in 1965 which sits in his living room.
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Exclusivity: visit of the Renaud exhibition with his brother David Séchan
The exhibition shows wonderfully
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