Etiquette Dinner Guest Asked To Pay For The Meal

The modern city: the contribution of German philosophers of the early twentieth century


A nice introduction to the problem of the city as a symbol of modernity, from the examples of Paris and Berlin in the early twentieth century.

For everyone that the theme of city life and urban interests, both directed by Philippe Simay books recently published by Editions de L'shine, stand out as a must.

These books are an introduction to the tremendous work done by the German Jewish philosophers and sociologists Georg Simmel, Walter Benjamin, Siegfried Kracauer to grasp and understand what the city lifestyle changes of the human experience, how the town changes the " device sensitive "human being.

amazed at the rapid expansion of a city like Berlin in the early twentieth century, and fascinated by the constitution of the first cities, they developed a vocabulary that could best describe the experience of the modern city, as experience the shock (sensory stimulation of neon lights, streetcars, film and the crowd) as dislocation of the experience (Erfahrung ) for the benefit of actual experience (Erlebnis ), with all mechanisms of self-defense on the part of the urban (Blaser, restraint, intellectualization, entertainment as a means to escape the continual excitement, etc.). To rejuvenate an alienating urban modernity, shocking and mindless , Simmel is a resource in the southern cities: Florence, Venice, Rome .

If "Clash of megacities , also an excellent introduction, a collection of articles rather mixed, however the Capitals of modernity " are a treat, especially with a very nice article on the theme of the flâneur in Benjamin. The behavior of the flâneur, ostensibly detached from utilitarian values of the bourgeoisie and mercantile cities, becomes an emblem of a peaceful protest at the rise of capitalist modernity, along with a writing style. Also read: description of the bourgeois interior of the late nineteenth century, extremely heavy, decorated where every trinket is saturated with traces of a complete story, as opposed to the brilliant, glass, functional of the German capital. Or the question of the barricades in Paris in the nineteenth century as a way to turn against the ruling classes of the symbols of their domestication of the city.

These books will no doubt want to explore the constellation of the writings of Simmel, Kracauer and Benjamin and deepen their similarities and differences on a crucial question of modernity, while half the world's population has recently become a city. All preferred form of the test, the fragment, the illusion of the monograph pompous and totalizing. Everyone wanted to dwell on small objects of everyday life, judging it's the little things that will house the most significant concepts and most illuminating of a culture: the windows, the big dipper, fashion, shopping arcades. The novel Police Siegfried Kracauer, described as the emblematic of the city as disenchanted space, is a good example.

Clash of the Metropolitan , Philippe and Stephane Simay Füzesséry (eds), Ed. the brightness, 2008
Capitals modernity Philippe Simay (eds) Editions de l'Eclat, 2007
Large Cities and the life of the mind , Georg Simmel, L'Herne, 2008
Florence, Venice, Rome , Georg Simmel, Editions Allia
Adornments and Other Essays (with a very fine article on the aesthetics of ruins, in the wake of what has been said here ) Georg Simmel House of Human Sciences.

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Jacques Villeglé Centre Beaubourg / Pompidou


Little poetry of urban communication: the example of the poster, by Jacques Villeglé.

The art of Jacques Villeglé is a singular art. Flaneur of the modern city, the artist looks and selects the posters on the walls torn, forgotten, damaged by intempérées, torn by passersby, covered by others, etc.. The torn poster, the reverse collage on canvas: here we removed successive layers of yarrow instead of add.

There is no question for the artist to make or model, but detect objects (the idea of core business for each artist, see here from Caesar). Although it is not readymade itself is still an approach quite similar to that of the transfiguration of the commonplace, which is to draw attention to everyday things to raise them at the artwork (on a close subject, see here ).

The poster - predominantly French artistic phenomenon - égalemet operates a series of movements of aesthetic categories. First, there is no longer a single author, but dozens of anonymous authors, occurred in various capacities and at different times on the poster to tear into pieces, cover it with graffiti, paste into other over, etc.. The final poster on display is the result of successive interventions. Then, far from being an art space, the poster is indeed an art of time a bit special, that is to say, it carries itself throughout its history, and throughout a compendium of stories of urban portion (on this also, see here , here and especially here , wonderful commentary on a painting by Poussin ). Finally, since the author left behind, it is a kind of "non-action painting, the artist is almost inactive.

Especially, Villeglé operates on the communication what others have done with the representation . The palimpsest of posters torn defuses the initial function of the poster as a tool for information or message. The meaning becomes confused, and ultimately perverted disappears while its intrinsic artistic value increases: the eye sees shapes, colors they do not perceive when they served as a vehicle of meaning. Here the political messages or comemrciaux lose their meaning when they are mostly seen and read outside their historical context and space, thirty or forty years apart on the wall stripped of a museum.

It is therefore quite another thing to marvel Villeglé as blissfully before the comedy of the city. It's a way to interrogate the notion of communication, particularly communication in absentia, by means of written and printed. Just as abstract painters saw the object represented as an obstacle to true understanding of painting as arrangement of lines and colors on a plane, even in Villeglé considers the meaning release as an obstacle to the perception the poster in its plasticity.










Villeglé also working on the type faces, as a result of literacy skills. He locates graffiti where the letters were distorted or stylized so that they are already in them a speech activist (Communist, Nazi, feminist, anarchist, religious, etc.). The speech is the most sophisticated and fused to the atomic scale alphabetically. Villeglé observed phenomena of condensation, expansion or contraction of the language beyond its everyday use.

In everyday use of language, we do not stop on every word we use, otherwise we would never say anything. The current language is neutral by definition, purely utilitarian, except when it is announced by a particular regional accent, or dyslexia. But there is an art that forces us to just pay attention to the plastic value and sound of words. This art is poetry. Jacques Villeglé does nothing but poetry with fliers and posters. And as the life of the city uses and abuses of the functional value and utility of the objects it contains, Villeglé makes their material value they have as well.

Jacques Villeglé The urban comedy, September 17, 2008 to January 5, 2009, Centre Pompidou, Gallery 2, Level 6

View route of exposure, very rich, with videos and comments on the website of the Centre Pompidou .
Illustration
Jacques Villeglé

Rue Desprez and Vercingetorix - "The Woman", March 12, 1966
torn posters pasted on canvas, 251 x 224 cm
Museum Ludwig, Cologne, Germany

Rue Grenier Saint-Lazare, Tuesday, February 18, 1975
torn posters pasted on canvas, 89 x 116 cm Collection
Regional Fund for Contemporary Art Britain

The Alphabet of the guerrillas in October 1983
Painting bomb on synthetic fabric, 126 x 166 cm
National Fund for Contemporary Art,
Ministry of Culture and Communication, Paris

memory insoluble June 1998-2008 (detail)
Series 237 slates
Corrector white on slate, wood Private Collection

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Louis Vuitton and the metamorphoses of Korea


At the Espace Louis Vuitton, the contemporary Korean artists question the permanence of forms.

The theme of metamorphosis is a favorite theme of Art, 10 times, 100 times Treaty painting (see on a topic, the grotesque ), and especially the cinema (which it renders its dynamic aspect, for example in Cronenberg's The Fly: the metamorphosis is a process, the monstrous state). This fascination with metamorphosis in art is natural: it is obviously a great opportunity to address the question of forms and materials, their consistency and their mutations.

Metamorphosis and kingdoms of nature

Beware, however: the metamorphosis is not a simple transformation. Metamorphosis, in Ovid, Kafka, in the Golden Ass of Apuleius, is first a way to examine the organization of nature, the boundaries between the categories of forms, and what happens when you mix them. The boundaries between animal, vegetable, mineral, become unstable, gods in human shape change into animals, flowers, rocks dredged for Zeus takes the form of a bull, a shower of gold, a swan. In metamorphosis, it is not just about "change form", but to question and clarify the boundaries between levels, isolate objects limits, inter-kingdoms, taxonomic incongruities, of operate back and forth between classes frozen existence. The recent exhibition Arcimboldo at Luxembourg had already helped to address these formal collusion.

This is the sort of back and forth between different registers of reality that is at issue here. By juxtaposing images of the same place but from a variety of eras and sources, Yong Seok Oh creates striking effects of telescoping. On the surface of a screen, a country landscape is reconstructed from a mosaic of photos taken at this point to dozens of years apart: young people standing on the grass in 1960 and hold an umbrella could almost turn around to talk with others sitting not very far, but much later. This device millefeuilles (photo cons) responds directly to the aesthetics of the web, consists of dozens of independent modules and shows what can digital art. This aesthetic to the Minority Report continues the work of questioning the classic distinction between the arts of time and spatial arts since Lessing: owing a meta-metamorphosis, the arts also interpenetrate . Similarly Hyunkoo Lee, with his mini gallery of natural history of animal skeletons cartoon (Goofy, Bugs Bunny) has interference between levels of fiction and reality, the science of fossils and comics.

collusion rather than introspection

The work that opens the exhibition is, paradoxically, the highlight of the visit. Probably because it imposes a real presence aesthetics, while others are more oriented conceptual aspect of metamorphosis (culminating The art of transforming Beo Kim). Translated with vases, artist Sookyung Yee gets broken pieces of porcelain vases and re-create agency for almost organic forms, that looks like soap bubbles, clusters of cells or cells. Some groups suggest the algae of the southern seas which we can not say whether they are stemmed plants or animals wrong. Metamorphosis is an operation that puts at risk the well too many standardized layouts.













See also the fascinating book by Peter S. Stevens, forms in nature , Threshold

If metamorphosis is a reflection on identity, as it says somewhere on cartels and in the brochure, it does not go through introspection in any "depth" of the soul and body (the skeletons of Bugs Bunny Hyun Koo Lee is also an ironic way to denounce the absurd illusion of interiority: there is nothing under the skin of the animated characters). On the contrary outside by direct confrontation with the allied forms that can help light the components of his own.

It was natural that a country like Korea, divided by an internal border that cuts it in two, this type of thinking leads with acuity and sensitivity.

Espace Louis Vuitton 60 rue de Bassano / 101 Avenue des Champs Elysees (take the elevator to get sensory, and suggest to the hostess to keep quiet). The view over the fields from the panoramic terrace is a must.

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Van Dyck portrait


Some of the finest portraits of the favorite pupil of Rubens. The opportunity to be reconciled with the master.













The Jacquemart-Andre Museum until January 25, 2009 dedicated a magnificent exhibition of portraits of Anthony Van Dyck (1599-1641), first be entirely devoted to the artist in France.

Visitors can admire the subtlety of his art in a very special year as the portrait. It's not every day that we offer the public a panorama of 40 paintings by such thematic coherence. Visitors can also see and especially the evolution of the artist over 20 years, there either is not common.

The Richard Avedon of the sixteenth century

child prodigy, brilliant painter, Van Dyck dynamite quickly Antwerp tradition of commonplaces of bourgeois portrait. Preferring to emphasize the emotional intimacy rather than the marital hierarchy ( Family Portrait - Hermitage Museum), emphasizing the greatness of the poses, the supéririoité a natural look or a gesture rather than the social status of a position (portrait of man, 1620-1621 - Museum Calouste Gulbenkian, Lisbon), Van Dyck turns its back on restraint and composure petty bourgeois comfort. By emphasizing the psychological intensity of his characters, a portrait of the soul before that of decorum, Antoon van Dyck realizes perhaps painting is an artist like Richard Avedon realized in fashion photography in the twentieth century . If

quickens the portrait of the powerful, Van Dyck as a pupil his fellow commoners symmetrical movement to the dignity of princes, showing that nobility is first case of heart, will, character, and not an accumulation of medals and wealth. At the heart of this conception of the nobility, the notion of sprezzatura , this casually, enemy of the assignment, defined by Castiglione in the book of courtier as aristocratic virtue par excellence, and where the supreme art is precisely to forget to seem natural.

"(...) for all human things that are done or that we said, we must flee as much as possible as a rock very sharp and dangerous, assignment, and, to use perhaps a new word in all things show a certain sprezzatura, which conceals art which shows that what was said and done came easily and almost without thinking. That's where I think especially with drift (...). "

So there is a real aristocracy, the heart and deserves, the gestures and glances. It is this that Van Dyck chose to highlight in the noble and portrait of the court in the richness of the costume. She chooses to reveal it yet among those of his friends commoners who can not fly in regalia, or rely on the social status of princes and the powerful.













The route of exposure can design a particularly significant shift in portraiture vandyckien. After installing his characters in fictional settings, sometimes heavily symbolic power or virtue (sheets, columns, stormy skies, etc.), Van Dyck, as and its work, and after his return from Italy, significantly tightens its palette of colors, clears setting and focuses on the central figure of the character on a neutral background, with a purity and intensity that clearly break the lessons of Titian (below the Portrait of Isabella d'Este ) . funds are limited to flat areas of dark colors, which release a face-to-face with the startling character. We have rarely seen eye most striking truth that the portrait of Maria de Tassis , or installing everything at once nonchalant and carried on brothers Wael . The tables in the end, for the activity as a portraitist at the court of England, reconnect with the pomposity firt of bourgeois paintings, in favor of political pageantry.

The corridor designs is another pleasant surprise and originality of the exhibition. Since the British Museum devoted to the drawings of Michelangelo, we had not seen any as beautiful. Many come from other British collections.

insensitive to the art of Rubens, his retinue of nymphets fat and pompous critics gloss enhancing his praise of the "flesh", I did not think Van Dyck find something for the eye . The dispersion of his paintings in the collections Museums - outside perhaps the portrait of Charles I to the chase - do in fact not really get an adequate view of the consistency and intensity of his remarks. So we should thank Jacquemart Andre to overcome this fragmentation. Those not lucky enough to encounter a real with the work will no doubt kick it, preferably at lunch time because they are not alone. Visit the mini-site exposure also very successful, to download the podcast guided tour.

Van Dyck, Museum Jacquemart Andre, until January 25, 2009, Paris.

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Grammar design

Beautiful design illustrated alphabet of all time.













house Phaidon has published in 2007 a magnificent set of three massive volumes devoted to the 1000 objects become "classics" of design: illustrated inventory of items particularly mature and become cult, with an aesthetic value, remained unchanged since their creation, combining stylish design with innovative materials or defined by their shapes simple, balanced and pure. This encyclopedia is now available as a small booklets with Le Monde on the weekend, adding to the dimension "toolkit" of the book, and finally "taschenise" a little bulky Phaidon art book.

Turn the pages of this book is to enter the alphabet illustrated plastic forms of everyday life and return to their original form elements back a thousand times, combined, copied, processed since their introduction. And just as it is intellectually satisfying to understand the origin of words or phrases idioms we use without ever paying any attention to, this huge design gallery is a unique opportunity to decipher the structures of our manufactured environment. It shows in its purest forms of some founders have structured our gaze on the chairs, lamps, cars, appliances ...













In this field as in others, we are often determined by our knowledge of the things we do not know the origin and which have so permeated the culture they seem to have always existed. The famous transistor Sony TR 510 or 610, of which we find the forms into the very latest Apple iPod, is an example of these objects founders. Illustration of the famous adage Assen in the terminal classes: the thought of an unknown philosopher can determine the very thought of those who have never read. Also another way of saying that objects are not manufactured purely physical, they are entirely steeped in fantasy, history, intentions ( see here for another version of this problem ). A few hours in this magnificent anthology enough to be finally satisfied.
Phaidon Design Classics
, 3 volumes, 2007, 150 euros, and currently available in 20 volumes with Le Monde on the weekend.

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Georges Rouault painting and meditation

The Pinacoteca of Paris offer until January 28 a splendid journey in the work of the painter Georges Rouault. Meanwhile Jackson Pollock, which looks great, you walk by the middle of masterpieces of rare intensity. Mountain landscapes, figures of marchers, many portraits, scenes of parade or circus, many religious scenes: there is no room in this magnificent journey that has her web mistress. Each time one is struck with the force of the Treaty, the strength of colors. Between children's drawing and the extreme sophistication, you do not miss this opportunity to (re) discover an artist so endearing, challenging, surprising.

Rather than a chronological approach would have been a little cold and school, the museum has chosen a thematic, where each section begins with the relationship between the painter and a poet, philosopher or artist encountered by chance in life and each time for determining the trajectory of the work. Professor Gustave Moreau, Matisse's classmate and friend, the writer Leon Bloy and Suares, the Christian philosopher Jacques Maritain and obviously Ambroise Vollard, the dealer.

This bias has the advantage of not redistribute lot of cards and make visible how many parallel lines coexist within a lifetime, and concurrent with the whole constitution of a work. We find the rest, and not surprisingly, two of the major concerns of the curator Marc Restellini: the taste of the Orient on the one hand, anti-academic second. The circle of friends are all Rouault pariah figures, writers ignored, condemned, forgotten, evolving away from conventions, or nearly disappeared from collective memory. This is not the slightest interest in exposure to revive them.

Another curiosity: Georges Rouault, painter known in France (not a figure of speech, and from this point of view, the visibility of this exhibition will suffer no doubt that massive, Picasso at the Grand Palace) is a huge star in Japan, which houses several museums devoted specifically to his work, including that of oil company Idemitsu. One of the challenges of this course is to understand the reasons for this fascination for Eastern Catholic French painter, a priori far from the Japanese aesthetic heritage. The composition

very graphic paintings of Rouault immediately evokes the calligraphy, the art of beautiful writing and layout features. The important thing is not what the lines represent, but their arrangement on the canvas, the path they propose to the eye, and finally when they invite meditation. It is precisely this meditative character of the work that fascinates: Rouault's paintings are primarily as supports for meditation and contemplation. And while Western art criticism is the report focuses strictly aesthetic at work, an intellectual vision or iconography (the table is a symbol ... it refers to ... it says that ...), the 'Japanese art lover plunges as if contemplating a calligraphy or a roll of ukiyo-e. This is not the outward appearance lies the interest of the work, but in the inner journey and return home that the work permits.

This dual relation to the work of art is an absolutely vital that this exhibition rightly points out, and is reflected in the historical development of the report to written text and reading . The contemporary era, mainly preoccupied with the technological or literary texts, conceived as objects to manipulate, forgot the medieval practices of reading, the questioning turned to ethics. In his superb book on the "Inner Bilbiothèques," Brian Stock has shown the importance meditative practices of reading and writing for the constitution of self. A tradition born of Augustine considers the text as the first holder of a meditation, an opportunity to adopt a particular posture (meditation, silence). The important thing is not to learn, be entertained or surprised, but to ruminate on the text.

It's such a beautiful exhibition that I will update my other desolation to the poor arrangement of space and of wandering, which seems to be becoming a habit, though it does not appear due to space, which is of good size. Georges Rouault, 70 paintings from the collection Idemitsu to Pinacoteca Paris, until 18 January.

Charity Hodges Jack Daniels

Trilogy (I do, and Sleep Red Reneiges)

Theatre - World premiere at Usine C (Montreal)
Trilogy blur (I do, Sleep and Red Reneiges)
From November 11 to 15 at 18 pm / November 16 to 16 h

Trilogy blurs Daniel Danis consists of three texts: I do , Sleep and Red Reneiges . This poetic creation-performentielle will stage a dancer, actants, performers and technologists. This experiment, about 1 h 40, will attempt to further manifestation of the representation by questioning the presence of being, gesture, speech, and the passage of time.

The trajectory of the acts will vary with the different landmarks associated with the poem, the behavior of images or sound sources.

idea man, creator, author Daniel Danis
Sound Design Jean-Michel Dumas
With as main actants Daniel Danis-Huy Phong Doan
Visual Artists Guerrera, Martin Dufrasne
Computer engineers Sébastien Roy, Lucie Bélanger

Production Company Daniel Danis, Arts / Science (Quebec) produced jointly with the Laboratory of Museology and engineering culture (LAMIC) at Laval University in Quebec, Department of Computer Science and operations research, Vision3D Laboratory, University of Montreal The Fresnoy National Studio of Contemporary Arts (France) and the Usine C (Canada).

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Bled

Bled is written and directed by Daniel Danis

Bled is the youngest of seven boys. "I wear my name because my grandfather, without a country, which had the bad corn. "

Lacking home, his parents asked him to leave in search of a house. Cunning, to ensure his return, he pilfering his brother's cell phone to film the way it borrows. It starts with a heavy heart, but feet firmly on the ground.

face hunger that tormented him, Bled throws his heart that he attaches to his leg so it does not leave him. Throughout his career, he feels pursued by Shed, the alter ego of his fears. Bled traveled a road filled with pitfalls. He dreams the world and sharing with Ti-Coeur its joys and sorrows, ambitions and fears. He meets a biker who wants to kill a deer, he delivers. It seizes a golden key that will open the door to his future home. He hits the road with determination.

After facing her fears, the bold and courageous Bled, faces Shed, Part
dark and hidden within her. Route between realistic and poetic imagination of Bled dominate the surrounding features and enable it to fulfill its mission.

Text editor published by the Ark Collection TYP.

World Premiere of Bled January 29, 2009 at the Center for Arts and Leisure Buchelay in the seventh edition of Odysseys en Yvelines, biennial Creation Theatre for Children and Adolescents conceived by Theatre Sartrouville-CDN with support from the General Council of Yvelines.

design, text and direction by Daniel Danis.
Composition, sound environment: Jean-Michel Dumas.
Cast: Vincent Nadal and Antonin Lebrun.

Production: Theatre Sartrouville-CDN, the company co-produced with Daniel Danis, Arts / Science, supported by assistance for the creation of dramatic texts of the National Theatre and the participation of International Institute of Puppetry in Charleville-Mezieres.

View program

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Sunday Bouvines by Georges Duby

Sunday Bouvines, written by Georges Duby, and published by Gallimard in 1973, is a true classic we should no longer have to submit, and it is presumptuous to dare present . But as it is good to try to explain why some books are just classics, I'm starting.

To listen to an audio file, click below.



Three things (at least) to remember here.

1) First, in the approach There is a side tour de force ": the chief historian of the Annales school focuses on a historical event, and not just any, the premier event, presented by generations of historians as the founding of the French monarchy. Now the school or the new anal story are built precisely on the rejection of the event, its illusions, and prefer to study the changes in long-term study of social change in attitudes. There is something fascinating to see Duby Bouvines dismantle dismantled as an alarm clock and look like it says in the preface Pierre Nora to "plant the flag of the new story on the Anapurna battle in history."

2) Next, on the bottom . After stating the facts - Sunday, July 27, 1214, King Philippe Auguste of France won in Bovines, near Lille, a landslide victory over the armies of the German Emperor Otto IV of Brunswick and its allies, especially John landless England - Georges Duby focuses on what the event says of his time, the worldview of those who were its protagonists.

We learn what a "war" in the twelfth century, the role played by money (because the first war plays a vital economic function, it moves wealth, they get rich by capturing enemies against ransom, and not to exterminate anyone is: to die in war for example, is almost unthinkable, is a modern invention). Gradually, Duby illuminates both the mental and social context of this battle.

The event confirms and crystallizes trends that go well beyond. The progress of the weapons have changed the concept of courage, conviction of war by the church leads to considerable changes. The nobles are engaged in idle tournaments to train and "keep control". At the same time the chivalrous ethic begins to form, gain autonomy vis-à-vis the religious ethics. At the same time the ranks of armies are losing a number of fighters who want no more pious endorse the profession of arms. And to replace them, the knights watched as a new population of mercenaries, rogues deemed unworthy of warfare among the people of birth, and driven only by greed, ignorant of the meaning of honor. A

Bouvines, two conceptions of combat conflict: the 'old' promoted by Philippe Auguste, and that of "modern". Bouvines victory is the victory of the former: it has to calcify the first effect of three levels of the imaginary feudal (nobility, clergy, third condition), to solidify the relationship between the French monarchy and the Church of Rome. As noted by Georges Duby, the triumph of Philip Augustus already preparing the glorious place to be that of her granddaughter, Louis IX, Saint Louis.

3) Finally, on form, one is struck by the fluidity of writing style quick, simple, clear, that is the hallmark of true scholars.

In the same spirit, we can read the little book by Alain Corbin on key dates in history France. A series of articles confronts image d'Epinal of the great dates of national history (Marignan The Battle of Poitiers) with the latest work of historians of these periods. It is always fruitful to do this work of confrontation, of what collective memory wants to retain what has actually happened. Duby also explores how the Sunday Bouvines was sometimes forgotten, sometimes celebrated, for various reasons throughout history (or to dramatize opposition to the Germans, or to lambast English. Today, in a Europe reconciled, there may be more room for memories Bouvines).

So it's a good lesson: contrary to the popular formula "to be overtaken by events" in history we learn that these are events that are often overwhelmed by the changes they reflect, for posterity by intentions of various nations. Without seeking to deny the events and their role, be aware that these are also constructions, it never hurts to deconstruct. It is in this masterly exercise that invites us on Sunday from Bovines. See also

here.

Bouvines Sunday, Georges Duby, in the collection " The days that made France ", Editions Gallimard.

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The biennial antiques: the cult of the object surfaces













In the midst of antique, it is rarely question "Art". We speak rather of "art" here is a "beautiful object", a "rarity", an article very interesting, which belonged to "...

At first listen, this word has to be something strange, even vulgar, as if it reflected a victory for the materialistic and mercantile spirit on the notion of a work of art. This would be the sign of the influence of the world merchant cons ethics museum curators, who prefer the concept of works and masterpieces.

There were many objects in the nave of the Grand Palace between 17 and 21 September 2008, and given the barrier to entry (20 euros) it is the least we could hope . Is in contact with this medium as object concept makes sense: instead of a point of view crass materialism on art, being aware that emphasizes the ingenuity, inventiveness , virtuosity exercised first and foremost a matter, and that this matter itself becomes responsible for intentions and ideas. Objects are always signs of presence of mind, they are responsible for projects, life history. Their story is often even longer than ours, since they are most often what remains of companies when all else has disappeared. The purpose crystallizes an era, a style, a zeitgeist, and in this beautiful object name, we understand that it is not a thing.

Jacques QUINET (1918 - 1992)
Weekly (1969) : Lacquer Beka red and bronze gunmetal patina ,
pair of lampposts (1960) : gilt bronze and lacquer red Beka. Galerie Olivier Watelet

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Kiwi-Kiwi

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Kiwi - What the press says ...

MAIL (Swiss daily) ~ Julien Lambert
Saturday, July 26, 2008

Soliloquies and vibrant youth group productions are the extremes to explore the ocean's festival off d'Avignon. They rehabilitate emotion and personal investment in the artistic spectrum. Selection

(...) Thus, the "off", he revealed some wonders of symbiosis between a particular framework and an address intense, which also involves a Working actor - in terms of personal investment - going beyond the theater. Coincidentally, they are often the work of non-hexagonal francophone.

(...) Kiwi is not a monologue, but it closely resembles it. Part of Quebecers Daniel Danis follows the stories of two real-time street children. Another topic atrocious other artistic means to humanize, paradoxically. On the darkened stage, an infrared camera continuously tracks the faces of the actors, almost invisible. Yet the only conscious of their presence gives expertly saved a soul to the screens.

Language Danis, simple and poetic, with the exception of a few changeovers in the pathos, there is a corresponding visual smooth and disturbing, yet accentuated the rare ability of actors to open their faces . "It's like telling stories, alone in her bed", says the actress Marie Delhaye after the show. Or how to thwart the excesses in putting technology to the service once the game really

CROSS ~ Didier Méreuze
Saturday, July 26, 2008

"A AVIGNON, THE BEST OF OFF. In an unequal offer, here are some choices of entertainment in the form of strokes heart

... If not all are of equal interest, it is nevertheless a happy surprise. Starting at the Theatre de la Manufacture, by Kiwi , shattering descent into the underworld of street kids, Daniel Danis of Quebecers whose site of La Croix has already echoed. "

ECHOES ~ Gilles Costaz
Monday, July 28, 2008

... Among contemporary writers, Quebec's Daniel Danis was strong in the use of new techniques with Kiwi , the story of destitute children living in the margins of a criminal society: players play behind screens and are seen only through the images filmed live "

THE CROIX.com ~ Didier Mereuze
Thursday, July 10, 2008

"a hard part but hopeful

Among the thousands of shows off this year, it is not always easy to find happiness. But there is the part of Daniel Danis: "Kiwi".

Daniel Danis is an author that are well known in France for several years. This is a Quebecer who has the distinction of having worked there 15/20 years as a lay missionary at an orphanage founded by an English clergyman. This detail is not the story as it corresponds to the spirit of his writing, which focuses on people a little lost, to those in pain, people in the thirst of love.

is what we find in any theater that has been seen in France since 1995 with pieces like "Ashes and Stones", "Le chant du Dire-say" or "The Language-in -Language Dogs rock. " Daniel Danis has been assembled including Alain Francon, which is a reference and Theatre Open Lucien Attoun.

There, in my case, this is the first time I see him as director-en-scene. Initially, this piece might be quite commonplace. This is the descent into the depths of street kids a little girl who lives in a slum will be demolished to prepare for the Olympics. Abandoned by her family, she will be alone until a young band recovers and leads to their families. We think a lot to "Les Miserables" and Gavroche except that Victor Hugo wrote in the 19th century and here we are in the 21 th century but things have not changed much.

mean the whole litany of these street kids who sniff glue, steal, prostitute themselves and, in fact, dream of creating a sort of phalanx of utopian life. In general, it ends badly when it ends there pretty well. There will be a resurrection, which is symptomatic Danis. Beyond this story is beautiful, without sordid and uncompromising, this is interesting work on both the text and video.

A video that is never a bidding war over the image and on the actors. These disappear, appear on the screen with blends archival and processing of images that give a poetic journey, very violent but loving. It's really very beautiful and the actors, Amann Baptiste Marie Delhaye are too. In history, there is a maturity, outlook on life is terrible, a mixture of old and lived the life of innocence. And even when talking about prostitution, drugs, it is with affection and hopeful. "

WEBTHEA ~ Jean Grapin
Thursday, July 17, 2008

" ... The text of the dimension Danis a tale both cruel and unrealistic. It would be tragic if he did not show the good side of things, necessarily. The hope, nevertheless, is tender, always. Serving this writing, the staging that combines gaming and film screenings, brings a rare balance sobriety where intimacy prevails on the spectacular. Surprisingly, the video brings a subtle aura, extra emotional. The cameraman takes the place of a puppeteer. Shielding, it portrays. The actors, who play in the dark, intermittently appear as extras in the interstices of their projected image, like so many close-ups of their being. This co-presence of actors and the image is a rare effect to be welcomed: there is the new territories. "

THE MONDE.fr ~ Martine Silber
Thursday, July 24, 2008

Marathon without (too much) trouble of La Manufacture, this singular place well off as its director Pascal Keiser said in an interview with Emile Lansman, and take a shuttle since some of the scheduled performances take place outside the walls of the rink Foncouverte.

It was worth it. Kiwi is a collaboration between Quebec and Belgium's Daniel Danis Benedict Dervaux who worked for the show on France 3 and Striptease with brothers Dardenne. While Daniel Danis wanted to tell the story of Kiwi girl who finds refuge in abandoned a band of street children he met Benedict Dervaux who filmed a documentary on street children in Romania after the fall of Ceauscescu. Their collaboration can mix storytelling and reality, theater and film. Both young actors are filmed live on stage with an infrared camera while marching behind these images sometimes, sometimes pre-filmed images. The story of Kiwi is terrible and does not end though because the film was originally intended for a teenage audience. We preparing the Olympic Games in the city where they live and must clear the trash. The authorities have ordered the police to evacuate slum dwellers to be destroyed. The police chased the children in the best case in prison, but does not hesitate to kill them. To survive, these children and adolescents who have formed their families and all bear the name of a fruit or vegetable, beg, steal and prostitute themselves to earn enough to survive and fulfill their dream of buying a house. "

THREE STROKES
Uploaded Saturday, July 26, 2008

In Kiwi, Daniel Danis, one of the most performed playwrights in Quebec and abroad, focuses on street children. This is a shocking piece, an original show and absolutely necessary that should interest a wide audience (from 13 years) for the subject, of course, but also his treatment, which places a strong visual arts. The play begins as Kiwi has twelve years and ended the year fifteen. Three-year nightmare that ends like a fairy But (...) The film language is virtuosic: angles, framing, perspective, height, fuzzy grain of the image, rhythm, everything is carefully thought out. And formal mastery of this show is quite fruity and flowery language of Daniel Danis.

Writing very colorful, bright, open to better horizons. Because, with this remarkable "movie theater", the reality, took in the face, rubs to modern tale.