Sally Gabori, the enjoyment of painting
Full screen
Mirdidingkingathi Juwarnda, Sally Gabori, 2009 Dubirdibi Country 2009 (AK14989) Private Collection, Melbourne.
The Estate of Sally Gabori
One year after
Cherry Blossoms
, by Damien Hirst, a new hymn to painting at the Fondation Cartier, in Paris, with the artist Sally Gabori, its immense formats and dancing colors.
This exhibition is also an exclusive, the first outside Australia.
Very well known in her country, Mirdidingkingathi Juwarnda (her real name) does not, however, have the notoriety of Emily Kame-Kngwarreye, a major figure in Aboriginal female art.
Yet, at over 80, she produced 2,000 paintings in a decade.
Born around 1924, she began to paint in 2005. These are the places of her native island, left in 1948 and never seen again, that she painted tirelessly sixty years later.
Combination of colors, play of shapes, superposition of surfaces, his pictorial expression does not
has nothing to do with the stereotypes of contemporary Aboriginal painting (dots and lines).
An invitation to contemplation.
To discover
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Mirdidingkingathi Juwarnda Sally Gabori
, from July 3 to November 6, at the Fondation Cartier, in Paris.
foundationcartier.com
Giselle
, the eternal ballet at Garnier
Full screen
Giselle
Svetlana Loboff
Giselle
is the quintessence of romantic ballet, an alloy of dance, love and death, which makes it universal and timeless, a sort of Grail for dancers.
The music for this legendary ballet (1841) is by Adolphe Adam, to a libretto by Théophile Gautier, choreographed by Jean Coralli and Jules Perrot.
On the bill at the Palais Garnier, the stars Dorothée Gilbert and Hugo Marchand, perfect in their technique and their acting, carry the corps de ballet with them in their slightest movements.
The second act, known as the “white act”, is a splendor.
The ballerinas, haloed in their vaporous tutus, made with more than 20 meters of gauze are in a state of weightlessness.
Magical.
Giselle,
Palais Garnier, until July 16.
A second of eternity
at the Bourse de Commerce
A second of eternity
: a beautiful title in the form of an oxymoron.
It is borrowed from the Belgian artist Marcel Broodthaers whose film (1971) reveals the presence of the artist by the simple figuration of his signature.
This work sets the tone for the exhibition by Emma Lavigne, general manager of Pinault Collection, where the question and experience of time is central.
Through the works of 20 artists including Miriam Cahn, Dominique Gonzalez-Torres, Felix Gonzales-Torres, Roni Horn, Pierre Huyghe or Rudolf Stingel, the course explores the polysemy of time, suspended, fugitive, and explores the themes of absence. and incarnation.
And thus, as Baudelaire says, to grasp “in a second the infinity of jouissance”.
A second of eternity
, since June 22, at the Bourse de Commerce.
Deauville, my love
Full screen
Van Dongen, La Baigneuse de Deauville, 1920, oil on canvas, private collection.
ADAGP 2022
To each his absolute landscape.
That of the painter Van Dongen is Deauville, the flowered coast, with its light and its skies which echo his native Holland.
His first trip to Normandy dates back to 1903.
It is therefore quite natural that the city devotes its first monographic exhibition to the painter:
Van Dongen: Deauville suits me like a glove.
.
That is 60 canvases and around forty works on paper that tell of this loving complicity.
He likes everything: bathers, beach scenes, elegant ladies in hats, the Grand Prix, players at the gaming tables, celebrities from Mistinguett to the Aga Khan… Deauville has always shown him its gratitude.
She made him an honorary citizen after the war, he produced the poster for the city's centenary in 1961. Today a museum, Les Franciscaines, inaugurated in 2021, brings together an unprecedented set of works.
Van Dongen,
Deauville suits me like a glove,
from July 2 to September 25, Les Franciscaines.
Constantin Brancusi, an unpublished portrait
Full screen
Brancusi, the real thing
by Doïna Lemny Service Presse
Brancusi, the real thing
is a rare book.
It differs from existing monographs on this Franco-Romanian artist (1876-1957), a major figure in modern sculpture, between figuration and abstraction.
Punctuated by archival illustrations, the black and white photographs of the works were taken by Constantin Brancusi himself.
Where we see that the sculptor uses photography as a support accompanying the creation, the artistic process.
Brancusi, who pushed sculptural abstraction, influenced surrealist sculpture as well as the minimalist current of the 1960s. Confession: “Why write about my sculptures?
Why not just show their pictures?”
Constantin Brancusi, The true thing
, Doïna Lemny, Gourcuff Gradenigo editions.
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