July 21, 2010

Comic-Con Film Festival 2010 Official Selection


Comic-Con International, the largest comic book convention in the Western Hemisphere, announced official selections for its 2010 Independent Film Festival. The festival is held in conjunction with the convention from July 22 to 25.

Filmmaker Lloyd Kaufman (Troma Studios), magazine publisher/filmmaker Kerry O'Quinn (Starlog, Fangoria), and animator Mike Roush (Metalocalypse) are this year's judges for films in competition. The films selected have no current distribution deals in place.

"The film festival is a valued part of the convention from both the fans' and Comic-Con's perspective," said David Glanzer, Comic-Con's director of marketing and public relations. "It continues to be our privilege to offer independent filmmakers this platform to showcase their unique artistic voices."

In all, 42 features and shorts will compete in seven categories: Action/Adventure, Animation, Comics-Oriented, Documentary, Horror/Suspense, Humor and Science Fiction/Fantasy. Schedules permitting, many films will have a member of the production company on hand to discuss their project and answer questions from the audience.

Official selections include:

Action/Adventure Category

The Action Hero's Guide to Saving Lives - Director: Justin Lutsky
The Danger Element - Director: John Soares

Animation Category

Mutantland - Director: Phil Tippett
Death Row Diet - Directors: Mike Salva/Tom Snyder
Ormie - Director: Rob Silvestri
Lifeline - Director: Andres Salaff
The Mouse That Soared - Director: Kyle Bell
Vive Le Crise! - Director: Alexi Gubenco
Little Old Ladies - Director: John Varvir
The Way to Heaven - Directors: Dalton Grant/Mier Tang
Articulate! - Directors: Marianna Shek and Timothy Bond
The Cow Who Wanted to Be a Hamburger - Director: Bill Plympton

Comics-Oriented Category

The Legacy - Director: Mike Doto
Shadow Angel - Director: Heather Donnell
Cancer Man - Director: Jared Billings
Street Angel - Director: Lucas Testro
The League - Director: Kyle Higgins
Mastermind - Director: Susan Lee

Documentary Category

Comic-Kaze - Director: Marcello Rubino
Comic Book Literacy - Director: Todd Kent
The Vinyl Frontier - Director: Daniel Zana
Marwencol - Director: Jeff Malmberg
New Brow: Contemporary Underground Art - Director: Tanem Davidson

Horror/Suspense Category

The Window - Director: Ryan Spindell
Mistaken Identity - Director: Tim Russ
Things We Leave Behind - Director: Andrew Brand
Death in the Garden - Director: Michael Chrisoulakis
The Price to Pay - Director: Paul Gayard
Minuteman - Director: Mark Millhone

Humor/Parody Category

Twelve - Director: Ryan Silbert
Go Sukashi! - Director: Justin Spurlock
The New Dad's Survival Guide - Director: Michael Chew
Walk - Director: Joe Gallina
The Substitute - Directors: The Cox Brothers
Thunder Chance - Director: Sean-Michael Smith
Herpes Boy - Director: Nathaniel Atcheson

Science Fiction/Fantasy Category

Mr. Bojagi - Director: Marco van Belle
Enigma - Directors: The Shumway Brothers
Hunter Prey - Director: Sandy Collora
Stingray Sam - Director: Cory McAbee
A Time for the Heart - Director: Christopher Allen
I (Heart) Doomsday - Director: Patrick Downing

A complete schedule for the festival is available at Comic-Con.org.

Eisner Comic Award Nominees 2010


The Will Eisner Comic Industry Awards are presented under the auspices of Comic-Con International (San Diego, California). The awards are in their 22nd year. The 2010 judging panel consists of academic Craig Fischer (associate professor of English, Appalachian State University), librarian Francisca Goldsmith (staff development instructor/consultant, Infopeople), reviewer John Hogan (GraphicNovelReporter.com), writer James Hudnall (Harsh Realm, The Psycho), and retailer Wayne Winsett (Time Warp Comics, Boulder, Colorado).

The results in all categories will be announced in a gala awards ceremony on the evening of Friday, July 23 at Comic-Con International in San Diego (July 22-25, 2010 into the San Diego Convention Center).

Best Short Story

"Because I Love You So Much," by Nikoline Werdelin, in From Wonderland with Love: Danish Comics in the 3rd Millennium (Fantagraphics/Aben maler)
"Gentleman John," by Nathan Greno, in What Is Torch Tiger? (Torch Tiger)
"How and Why to Bale Hay," by Nick Bertozzi, in Syncopated (Villard)
"Hurricane," interpreted by Gradimir Smudja, in Bob Dylan Revisited (Norton)
"Urgent Request," by Gene Luen Yang and Derek Kirk Kim, in The Eternal Smile (First Second)

Best Single Issue (or One-Shot)

Brave & the Bold #28: "Blackhawk and the Flash: Firing Line," by J. Michael Straczynski and Jesus Saiz (DC)
Captain America #601: "Red, White, and Blue-Blood," by Ed Brubaker and Gene Colan (Marvel)
Ganges #3, by Kevin Huizenga (Fantagraphics)
The Unwritten #5: "How the Whale Became," by Mike Carey and Peter Gross (Vertigo/DC)
Usagi Yojimbo #123: "The Death of Lord Hikiji" by Stan Sakai (Dark Horse)

Best Continuing Series

Fables, by Bill Willingham, Mark Buckingham, Steve Leialoha, Andrew Pepoy et al. (Vertigo/DC)
Irredeemable, by Mark Waid and Peter Krause (BOOM!)
Naoki Urasawa's 20th Century Boys, by Naoki Urasawa (VIZ Media)
The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)
The Walking Dead, by Robert Kirkman and Charles Adlard (Image)

Best Limited Series or Story Arc

Blackest Night, by Geoff Johns, Ivan Reis, and Oclair Albert (DC)
Incognito, by Ed Brubaker and Sean Phillips (Marvel Icon)
Pluto: Urasawa X Tezuka, by Naoki Urasawa and Takashi Nagasaki (VIZ Media)
Wolverine #66-72 and Wolverine Giant-Size Special: "Old Man Logan," by Mark Millar, Steve McNiven, and Dexter Vines (Marvel)
The Wonderful Wizard of Oz, by Eric Shanower and Skottie Young (Marvel)

Best New Series

Chew, by John Layman and Rob Guillory (Image)
Do Androids Dream of Electric Sheep? by Phillip K. Dick, art by Tony Parker (BOOM!)
Ireedeemable, by Mark Waid and Peter Krause (BOOM!)
Sweet Tooth, by Jeff Lemire (Vertigo/DC)
The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)

Best Publication for Kids

Lunch Lady and the Cyborg Substitute, by Jarrett J. Krosoczka (Knopf)
The Secret Science Alliance and the Copycat Crook, by Eleanor Davis (Bloomsbury)
Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and Fabrice Parme (First Second)
The TOON Treasury of Classic Children's Comics, edited by Art Spiegelman and Francoise Mouly (Abrams ComicArts/Toon)
The Wonderful Wizard of Oz hc, by L. Frank Baum, Eric Shanower, and Skottie Young (Marvel)

Best Publication for Teens

Angora Napkin, by Troy Little (IDW)
Beasts of Burden, by Evan Dorkin and Jill Thompson (Dark Horse)
A Family Secret, by Eric Heuvel (Farrar Straus Giroux/Anne Frank House)
Far Arden, by Kevin Cannon (Top Shelf)
I Kill Giants tpb, by Joe Kelly and JM Ken Niimura (Image)

Best Humor Publication

Drinky Crow's Maakies Treasury, by Tony Millionaire (Fantagraphics)
Everybody Is Stupid Except for Me, And Other Astute Observations, by Peter Bagge (Fantagraphics)
Little Lulu, vols. 19-21, by John Stanley and Irving Tripp (Dark Horse Books)
The Muppet Show Comic Book: Meet the Muppets, by Roger Langridge (BOOM Kids!)
Scott Pilgrim vol. 5: Scott Pilgrm vs. the Universe, by Brian Lee O'Malley (Oni)

Best Anthology

Abstract Comics, edited by Andrei Molotiu (Fantagraphics)
Bob Dylan Revisited, edited by Bob Weill (Norton)
Flight 6, edited by Kazu Kibuishi (Villard)
Popgun vol. 3, edited by Mark Andrew Smith, D. J. Kirkbride, and Joe Keatinge (Image)
Syncopated: An Anthology of Nonfiction Picto-Essays, edited by Brendan Burford (Villard)
What Is Torch Tiger? edited by Paul Briggs (Torch Tiger)

Best Digital Comic

Abominable Charles Christopher, by Karl Kerschl,
Bayou, by Jeremy Love,
The Guns of Shadow Valley, by David Wachter and James Andrew Clark,
Power Out, by Nathan Schreiber,
Sin Titulo, by Cameron Stewart,

Best Reality-Based Work

A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)
Footnotes in Gaza, by Joe Sacco (Metropolitan/Holt)
The Impostor's Daughter, by Laurie Sandell (Little, Brown)
Monsters, by Ken Dahl (Secret Acres)
The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric Lemerier (First Second)
Stitches, by David Small (Norton)

Best Adaptation from Another Work

The Book of Genesis Illustrated, by R. Crumb (Norton)
Charles Darwin's On the Origin of Species: A Graphic Adaptation, adapted by Michael Keller and Nicolle Rager Fuller (Rodale)
Fahrenheit 451, by Ray Bradbury, adapted by Tim Hamilton (Hill & Wang)
Richard Stark's Parker: The Hunter, adapted by Darwyn Cooke (IDW)
West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi (Fantagraphics)

Best Graphic Album-New

Asterios Polyp, by David Mazzucchelli (Pantheon)
A Distant Neighborhood (2 vols.), by Jiro Taniguchi (Fanfare/Ponent Mon)
The Book of Genesis Illustrated, by R. Crumb (Norton)
My mommy is in America and she met Buffalo Bill, by Jean Regnaud and Emile Bravo (Fanfare/Ponent Mon)
The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric Lemerier (First Second)
Richard Stark's Parker: The Hunter, adapted by Darwyn Cooke (IDW)

Best Graphic Album-Reprint

Absolute Justice, by Alex Ross, Jim Krueger, and Doug Braithewaite (DC)
A.D.: New Orleans After the Deluge, by Josh Neufeld (Pantheon)
Alec: The Years Have Pants, by Eddie Campbell (Top Shelf)
Essex County Collected, by Jeff Lemire (Top Shelf)
Map of My Heart: The Best of King-Cat Comics & Stories, 1996-2002, by John Porcellino (Drawn & Quarterly)

Best Archival Collection/Project-Strips

Bloom County: The Complete Library, vol. 1, by Berkeley Breathed, edited by Scott Dunbier (IDW)
Bringing Up Father, vol. 1: From Sea to Shining Sea, by George McManus and Zeke Zekley, edited by Bruce Canwell (IDW)
The Brinkley Girls: The Best of Nell Brinkley's Cartoons 1913-1940, edited by Trina Robbins (Fantagraphics)
Gahan Wilson: 50 Years of Playboy Cartoons, by Gahan Wilson, edited by Gary Groth (Fantagraphics)
Prince Valiant, vol. 1: 1937-1938, by Hal Foster, edited by Kim Thompson (Fantagraphics)
Queer Visitors from the Marvelous Land of Oz, by L. Frank Baum, Walt McDougall, W. W. Denslow, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project-Comic Books

The Best of Simon & Kirby, by Joe Simon and Jack Kirby, edited by Steve Saffel (Titan Books)
Blazing Combat, by Archie Goodwin et al., edited by Gary Groth (Fantagraphics)
Humbug, by Harvey Kurtzman et al., edited by Gary Groth (Fantagraphics)
The Rocketeer: The Complete Adventures deluxe edition, by Dave Stevens, edited by Scott Dunbier (IDW)
The TOON Treasury of Classic Children's Comics, edited by Art Spiegelman and Francoise Mouly (Abrams ComicArts/Toon)

Best U.S. Edition of International Material

My mommy is in America and she met Buffalo Bill, by Jean Regnaud and Emile Bravo (Fanfare/Ponent Mon)
The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric Lemerier (First Second)
Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and Fabrice Parme (First Second)
West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi (Fantagraphics)
Years of the Elephant, by Willy Linthout (Fanfare/Ponent Mon)

Best U.S. Edition of International Material-Asia

The Color Trilogy, by Kim Dong Haw (First Second)
A Distant Neighborhood (2 vols.), by Jiro Taniguchi (Fanfare/Ponent Mon)
A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)
Oishinbo a la Carte, written by Tetsu Kariya and illustrated by Akira Hanasaki (VIZ Media)
Pluto: Urasawa X Tezuka, by Naoki Urasawa and Takashi Nagasaki (VIZ Media)
Naoki Urasawa's 20th Century Boys, by Naoki Urasawa (VIZ Media)

Best Writer

Ed Brubaker, Captain America, Daredevil, Marvels Project (Marvel) Criminal, Incognito (Marvel Icon)
Geoff Johns, Adventure Comics, Blackest Night, The Flash: Rebirth, Superman: Secret Origin (DC)
James Robinson, Justice League: Cry for Justice (DC)
Mark Waid, Irredeemable, The Incredibles (BOOM!)
Bill Willingham, Fables (Vertigo/DC)

Best Writer/Artist

Darwyn Cooke, Richard Stark's Parker: The Hunter (IDW)
R. Crumb, The Book of Genesis Illustrated (Norton)
David Mazzucchelli, Asterios Polyp (Pantheon)
Terry Moore, Echo (Abstract Books)
Naoki Urasawa, Naoki Urasawa's 20th Century Boys, Pluto: Urasawa X Tezuka (VIZ Media)

Best Writer/Artist-Nonfiction

Reinhard Kleist, Johnny Cash: I See a Darkness (Abrams ComicArts)
Willy Linthout, Years of the Elephant (Fanfare/Ponent Mon)
Joe Sacco, Footnotes in Gaza (Metropolitan/Holt)
David Small, Stitches (Norton)
Carol Tyler, You'll Never Know: A Good and Decent Man (Fantagraphics)

Best Penciller/Inker or Penciller/Inker Team

Michael Kaluta, Madame Xanadu #11-15: "Exodus Noir" (Vertigo/DC)
Steve McNiven/Dexter Vines, Wolverine: Old Man Logan (Marvel)
Fiona Staples, North 40 (WildStorm)
J. H. Williams III, Detective Comics (DC)
Danijel Zezelj, Luna Park (Vertigo/DC)

Best Painter/Multimedia Artist (interior art)

Emile Bravo, My mommy is in America and she met Buffalo Bill (Fanfare/Ponent Mon)
Mauro Cascioli, Justice League: Cry for Justice (DC)
Nicolle Rager Fuller, Charles Darwin on the Origin of Species: A Graphic Adaptation (Rodale Books)
Jill Thompson, Beasts of Burden (Dark Horse); Magic Trixie and the Dragon (HarperCollins Children's Books)
Carol Tyler, You'll Never Know: A Good and Decent Man (Fantagraphics)

Best Cover Artist

John Cassaday, Irredeemable (BOOM!); Lone Ranger (Dynamite)
Salvador Larocca, Invincible Iron Man (Marvel)
Sean Phillips, Criminal, Incognito (Marvel Icon); 28 Days Later (BOOM!)
Alex Ross, Astro City: The Dark Age (WildStorm/DC); Project Superpowers (Dynamite)
J. H. Williams III, Detective Comics (DC)

Best Coloring

Steve Hamaker, Bone: Crown of Thorns (Scholastic); Little Mouse Gets Ready (Toon)
Laura Martin, The Rocketeer: The Complete Adventures (IDW); Thor, The Stand: American Nightmares (Marvel)
David Mazzucchelli, Asterios Polyp (Pantheon)
Alex Sinclair, Blackest Night, Batman and Robin (DC)
Dave Stewart, Abe Sapien, BPRD, The Goon, Hellboy, Solomon Kane, Umbrella Academy, Zero Killer (Dark Horse); Detective Comics (DC); Luna Park (Vertigo)

Best Lettering

Brian Fies, Whatever Happened to the World of Tomorrow? (Abrams ComicArts)
David Mazzucchelli, Asterios Polyp (Pantheon)
Tom Orzechowski, Savage Dragon (Image); X-Men Forever (Marvel)
Richard Sala, Cat Burglar Black (First Second); Delphine (Fantagraphics)
Adrian Tomine, A Drifting Life (Drawn & Quarterly)

Best Comics-Related Periodical/Journalism

Alter Ego, edited by Roy Thomas (TwoMorrows)
ComicsAlliance, edited by Laura Hudson www.comicsalliance.com
Comics Comics, edited by Timothy Hodler and Dan Nadel (PictureBox)
The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy Valenti (Fantagraphics)
The Comics Reporter, produced by Tom Spurgeon

Best Comics-Related Book

Alan Moore: Comics as Performance, Fiction as Scalpel, by Annalisa Di Liddo (University Press of Mississippi)
The Art of Harvey Kurtzman: The Mad Genius of Comics, by Denis Kitchen and Paul Buhle (Abrams ComicArts)
The Art of Osamu Tezuka: God of Manga, by Helen McCarthy (Abrams ComicArts)
Manga Kamishibai: The Art of Japanese Paper Theater, by Eric P. Nash (Abrams ComicArts)
Will Eisner and PS Magazine, by Paul E. Fitzgerald (Fitzworld.US)

Best Publication Design

Absolute Justice, designed by Curtis King and Josh Beatman (DC)
The Brinkley Girls, designed by Adam Grano (Fantagraphics)
Gahan Wilson: 50 Years of Playboy Cartoons, designed by Jacob Covey (Fantagraphics)
Life and Times of Martha Washington, designed by David Nestelle (Dark Horse Books)
Queer Visitors from the Marvelous Land of Oz, designed by Philippe Ghielmetti (Sunday Press)
Whatever Happened to the World of Tomorrow? designed by Neil Egan and Brian Fies (Abrams ComicArts)

Topping the 2010 nominees with 4 nominations is David Mazzucchelli's Asterios Polyp, a highly acclaimed literary graphic novel published by Pantheon. Several works have received 3 nominations, including two French graphic novels, My mommy is in America and she met Buffalo Bill (by Jean Regnaud and Émile Bravo, published by Fanfare/Ponent Mon) and The Photographer (by Emmanuel Guibert, published by First Second). Japanese manga master Naoki Urasawa is represented by multiple nominations for two of his works, 20th Century Boys and Pluto: Urasawa X Tezuka (both published by VIZ Media), nominated not only in the International category but also for Best Continuing Series (20th Century Boys) and Best Limited Series (Pluto). Another manga title with 3 nominations is Yoshihiro Tatsumi's A Drifting Life (published by Drawn & Quarterly). Other publications with 3 nominations are Robert Crumb's illustrated version of The Book of Genesis (published by Norton), Darwyn Cooke's Richard Stark's Parker: The Hunter (IDW), Mike Carey and Peter Gross's comic book series The Unwritten (Vertigo/DC), and Mark Waid and Peter Kraus's series Irredeemable (BOOM!), which also has a shared nomination. The big DC event miniseries of the year, Blackest Night, is also on the ballot, with 2 nominations and 1 shared.

The creators with the most nominations are Urasawa (5) and Mazzucchelli (4), followed by several creators with 3: Cooke, Crumb, Bravo, Guibert, Carey, Waid, and writer Ed Brubaker (Captain America, Criminal, and Incognito, published by Marvel).

DC Comics has the most nominations for a publisher, with its various imprints (DCU, Vertigo, WildStorm, Zuda) garnering 20 nominations (plus 2 shared). The DC Universe has 11 of those nominations, spread among multiple titles and creators. The Vertigo imprint's 7 nominations are led by 3 for The Unwritten. The publisher emerging with the second most nominations this year is Fantagraphics Books, with 17 (plus one shared). The company dominates the categories for Archival Collections, with 5 out of the 11 nominees in those categories. Two of the archival works also have design nods: The Brinkley Girls: The Best of Nell Brinkley's Cartoons and Gahan Wilson: 50 Years of Playboy Cartoons. The rest of Fantagraphics' nominations are spread throughout the ballot, with the only other multiple nominations being for Carol Tyler (Best Writer/Artist and Best Painter/Multimedia Artist for You'll Never Know: A Good and Decent Man) and the French graphic album West Coast Blues.

Abrams CartoonArts has six titles on the ballot (led by The TOON Treasury of Classic Children's Comics), toting up 8 nominations in all. Also with 8 nominees (plus 2 shared), Marvel Comics posseses multiple nominations for The Wonderful Wizard of Oz (by Eric Shanower and Skottie Young), Wolverine: Old Man Logan (by Mark Millar, Steve McNiven, and Dexter Vines), and the Marvel Icon titles Incognito and Criminal (by Brubaker and Sean Phillips). Three publishers have 7 nominees: Fanfare/Ponent Man (for 3 titles), IDW (for 5 titles, plus 1 shared nomination), and W. W. Norton (for 3 titles, including Crumb's Book of Genesis and David Small's Stitches). Close behind are First Second (6 nominations plus 1 shared), VIZ Media (6 nominations), BOOM! (5 nominations plus 2 shared), and Dark Horse (4 nominations plus 2 shared). Drawn & Quarterly and Image each have 4 nominees.

This year's judges made some significant changes in the categories, restoring one that last year's judges omitted (Best Single Issue/One Shot), changing the names of two ("U.S. Edition of International Material-Japan" revised to "U.S. Edition of International Material-Asia" and "Limited Series" changed to "Limited Series or Story Arc"), and splitting the Best Writer/Artist category into two, with the second being Best Writer/Artist-Nonfiction. They also added the category of Best Adaptation from Another Work. This addition reflects the large number of comics and graphic novels now being based on other sources. The nominees here include not only Crumb's Genesis but also adaptations of Bradbury's Fahrenheit 451, Darwin's On the Origin of Species, Richard Stark's The Hunter, and Jean-Patrick Manchette's West Coast Blues.

Comic-Con International

July 20, 2010

Photo Signe Brander Exhibition at Helsinki City Museum, Hakasalmi Villa

Photography Exhibition > Signe Brander
Photography Exhibition > Finland > Helsinki > Helsinki City Museum > Hakasalmi Villa

Foto Signe Brander

Helsinki City Museum, Hakasalmi Villa

Through 29 August 2010


Photograph by Signe Brander, 1907

Photograph of a yard in 1907 by SIGNE BRANDER
© Helsinki City Museum - Courtesy of the museum


Signe Brander is loved and renowned for her photographs of Helsinki. Her pictures taken during the years 1907-1913 are among the most frequently used photographs in the Helsinki City Museum picture archives. The book published in 2004 on Signe and her photos is one of the most popular books ever published by the Helsinki City Museum.

The Hakasalmi Villa hosts a Signe Brander photo exhibition which presents a cross section of her work, both well-known city pictures and rare photographs of the changing cityscape of the early 20th century.


Photograph by Signe Brander, 1909

Photograph of stone workmen in 1909 by SIGNE BRANDER
© Helsinki City Museum - Courtesy of the museum


The photographs in the exhibition are reproduced in the latest digital techniques and in a size that guarantees the visitors a new experience. It is now possible to find details never discovered before in even the most famous pictures. The large picture size also emphasizes another significant characteristic of Signe Branders photography; the presence of people and their lives in the city. Brander never settled for taking pictures of buildings that were destined to be torn down or only the changing cityscape – she wanted to capture the day-to-day life in the city. This might be one of the reasons why her pictures have maintained their charm through the decades.


Photograph by Signe Brander, 1911

Photograph of Helsinki’s seaside  (Brunn harbor) in 1911 by SIGNE BRANDER
© Helsinki City Museum - Courtesy of the museum


A new Signe Brander book was published alongside with the exhibition. The book contains over 100 pictures taken by Signe Brander, also ones that are not included in the exhibition.


 Photograph by Signe Brander, 1911

Photograph of Finland, Helsinki daily life in 1911 (boys are looking for water) by SIGNE BRANDER © Helsinki City Museum - Courtesy of the museum


Foto Signe Brander
November 14, 2009 - August 29, 2010

Hakasalmi Villa
Mannerheimintie 13 d
Helsinki, Finland


Opening Hours: Wed-Sun 11 am - 5 pm / Thu 11 am - 7 pm

Armand Frederic Vallée, Wallenberg Series - IRWF, New York NY

The Wallenberg Series 
Armand Frederic Vallée 
IRWF'new Cultural Space, NEW York, NY
Through January 29, 2010

Showcased in its totality for the first time in the U.S., The Wallenberg Series by Austro-Canadian artist ARMAND FREDERIC VALLEE was organized to commemorate the 65th anniversary of the disappearance of Swedish diplomat Raoul Wallenberg at the hands of the Soviet troops on January 17th, 1945.

”Writers, composers, filmmakers, painters, and sculptors have found Wallenberg’s deeds, courage and values as the point of departure and motivation to create,” highlighted Daniela Bajar from the IRWF when introducing artist Armand Vallée’s work. ”With the opening of this Cultural Space, we hope to provide artists and their pieces the opportunity to tell these courageous stories,” she concluded.

Following Ms. Bajar’s speech, Dr. Mordecai Paldiel, IRWF’s Senior Research Consultant pointed out the importance of finding out what happened to Raoul Wallenberg after he was supposed to hold a meeting with the Soviet military to discuss the fate of the Jewish refuges 65 years ago, but he also stressed that ”perpetuating the memory on this outstanding person’s deeds, is maybe more important than knowing where he was buried. His deeds are going to stay with us and serve as role models of goodness.” Dr. Paldiel also gave a short overview of the cases of rescuers that the IRWF has recently researched, honored and conveyed to Yad Vashem. Some cases have already been honored with the ”Righteous among the Nations” title, others are waiting to be evaluated by Yad Vashem’s commission. ”It is the time to honor the people who saved lives and acted in spirit of Raoul Wallenberg, before it is too late,” Dr. Paldiel concluded.

The program continued with Rebbetzin Judith Friedlander from the Lisker Congregation who gave a touching account on the day when she accompanied her father, the Lisker rabbi, for a meeting with Wallenberg who gave them the Schutz-pass they later on forged, and thus managed to provide the protection for the members of their community. ”I waited 65 years to say ‘thank you’ to this great man,” said Rebbetzin Friedlander, standing in a room full of people and among the paintings that reminded her so much of the Budapest of her childhood.

Created in 1985/86, ”The Wallenberg Series” consists of fourteen paintings that narrate the Swedish diplomat’s quest to save victims. ”The fact that the artist has not been able to finish the last painting of the series seems to speak of his difficulty to cope with Wallenberg’s own unfinished story,” stated the IRWF Founder Baruch Tenembaum, upon studying the paintings.

The series was donated to the Wallenberg Foundation by Liesel Paris, trustee of Mr. Vallée’s estate, following the artist’s passing in February 2009. ”I made it my responsibility to respect Armand’s wish to exhibit ‘The Wallenberg Series ‘at the International Wallenberg Foundation in New York,” stated Ms. Paris.

Backed by the War Refugee Board, an organization that was headed by President Franklin Roosevelt, Raoul Wallenberg traveled to Budapest in 1944 with the aim of rescuing what was left of the Hungarian Jewry. Wallenberg was responsible for the survival of tens of thousands of people before his mysterious disappearance by the Soviet Army on January 17, 1945. Despite several accounts of his status as a prisoner over the years, the Soviet and now Russian government has yet to produce a satisfactory explanation as to Wallenberg’s fate and whereabouts.

The Wallenberg Series is the one of the many series of programs designed by the IRWF to promote Wallenberg’s values through art.

International Raoul Wallenberg Foundation 
IRWF's Cultural Space 
34 East 67th Street 


Updated: June 2011

July 17, 2010

Expo Photo Orianne O. Paris Bastille – My American Dream, Espcace culturel Les Furieux

Exposition photos > Paris > Orianne O.

Orianne O., My American Dream

Les Furieux, Paris - Bastille

Jusqu'au 29 août 2010


Affiche de l'exposition d'Orianne O., My American Dream, 2010.

© Orianne O.


Orianne O. se définit elle même comme une "road photographer", une photographe de la route, une photographe de rue, une photo-reporter on the road... again and again....

Elle nous propose dans son exposition aux Furieux, à Bastille, une " série de clichés "sur la route", en parallèle à d'autres reportages, commandes ou missions photos. Urbain, Archi, Portraits, Live... une vision très personnelle des Etats-Unis et une façon singulière de voyager. New York, Los Angeles, Natchez, Memphis, Orlando, San Francisco... " autant de villes américaines dont la photographe nous fait partager sa vision au travers de photos originales à savourer sans modération au bar rock Les Furieux qui est aussi un espace culturel.

Espace Culturel & Bar Rock Les Furieux
74, rue de la Roquette (Bastille)
75011 Paris

Site internet de la photographe : www.oriannephotography.com

July 16, 2010

Gagosian Gallery NYC Madison Summer Shows 2010


Gagosian Gallery, New York, Madison Avenue

July 8 - September 3, 2010

Three exhibitions on three floors at Gagosian Gallery, New York, Madison Avenue this summer:

The 6th Floor group show features Richard Prince, Ed Ruscha, Richard Serra and Christopher Wool

The 5th Floor show features a selection of works by German artist Anselm Reyle

The 4th Floor group show features Mike Kelley, Florian Maier-Aichen and Anselm Reyle.

980 Madison Avenue
New York, NY 10075

Summer Hours: Mon-Fri 10am-6pm

July 15, 2010

Jacques Henri Lartigue, A Floating World - Exhibition in Barcelona

Photography Exhibition > Jacques Henri Lartigue (1894-1986)
Photography Exhibition > Spain > Barcelona > CaixaForum

A Floating World
Photographs by Jacques Henri Lartigue (1894-1986)

CaixaForum Barcelona
Curators of the exhibition: Florian Rodari and Martine d'Astier de la Vigerie, director of the Donation Jacques Henri Lartigue, assisted by Maryam Ansari.
Through October 3, 2010

Mise à jour lien Photographies de Lartigue avec texte en français

Jacques Henri Lartigue, Bibi, Arlette and Irène. Storm in Cannes. Cannes, May 1929. Photo by JH Lartigue
Jacques Henri Lartigue, Bibi, Arlette and Irène. Storm in Cannes. Cannes, May 1929. Photo by JH Lartigue © Ministère de la Culture - France / AAJHL (Association des Amis de Jacques Henri Lartigue) – Courtesy Fundacion "La Caixa"

Fundacion "La Caixa" Social Outreach Programmes presents the first major anthological exhibition devoted in Spain to Jacques Henri Lartigue (Courbevoie, 1894 - Nice, 1986), without doubt one of the greatest photographers of the last century. A Floating World. Photographs by Jacques Henri Lartigue (1894-1986), illustrates the interests of a man devoted to exploring, with the greatest sensitivity and under an appearance of happiness and nonchalance, the emerging concerns of a period marked by radical change.

Jacques Henri Lartigue’s photographs date to a period that was shaken by events and great social changes (World War One, the Russian Revolution, the Nazi occupation of France, and so on), yet he does not focus on such conflicts. On the contrary; he seeks to portray innocence, spontaneity and the joy of being alive.

Jacques Henri Lartigue, My cousin Bichonnade. 40, Rue Cortambert, París, 1905. Photo by JH Lartigue
Jacques Henri Lartigue, My cousin Bichonnade. 40, Rue Cortambert, París, 1905. Photo by JH Lartigue © Ministère de la Culture - France / AAJHL – Courtesy Fundacion "La Caixa"

Reflecting the artist’s fragile, moving gaze, the exhibition  A Floating World. Photographs by Jacques Henri Lartigue (1894-1986) also depicts the new lifestyles that emerged during the early-20th century, when women began to play an active role in society and technological progress generated new forms of leisure. 

Jacques Henri Lartigue, Delage car. ACF Grand Prix, June 26, 1912. Photograph by JH Lartigue
Jacques Henri Lartigue, Delage car. ACF Grand Prix, June 26, 1912. Photograph by JH Lartigue © Ministère de la Culture - France / AAJHL – Courtesy Fundacion "La Caixa"

The fact that Lartigue took photographs for his own pleasure has made it impossible for either curators or critics to really classify his work. As a result, his photographs are usually presented in chronological order, or grouped by theme. On this occasion, however, the organisers have decided to go one step further and to demonstrate, from a approach never before taken with this artist, the extent to which these images, admired for their grace and beauty, form a unique document that illustrate a period and a way of life that have since disappeared; that of the French bourgeoisie in the last century.

Jacques Henri Lartigue, Coco, Hendaya, 1934. Photo by JH Lartigue
Jacques Henri Lartigue, Coco, Hendaya, 1934. Photo by JH Lartigue © Ministère de la Culture - France / AAJHL – Courtesy Fundacion "La Caixa"

A Floating World. Photographs by Jacques Henri Lartigue (1894-1986) features more than 230 exhibits. Of these, 182 are modern prints of Lartigue’s photographs, whilst the show also includes 18 modern recreations of his stereoscopic pictures with their original three-dimensional effect. Lartigue took these pictures with a stereoscopic camera, a device very much in fashion at the time, in the attempt to capture reality in all its dimensions.

The show is completed by a section entitled The Supports of Memory, whose aim is to give visitors an insight into the different techniques that Lartigue used to create and organise his works. The section includes 23 vintage prints, produced between 1905 and 1926, as well as 3 cameras that belonged to Lartigue, some stereoscopic glasses, 8 autochrome prints (coloured photographs), four albums of original photographs and 6 volumes of the diaries and agendas that he kept throughout his life.

Jacques Henri Lartigue – Biography

Jacques Henri Lartigue, Bibi, shadow and reflection. Hendaye August 1927. Photograph by JH LartigueJacques Henri Lartigue occupies a very special place in the history of photography: that of a talented amateur who always  spoke of painting as his principal passion and regarded photography as a secondary occupation. However, from 1902, when he was eight years old, until his death in 1986, taking photographs was like breathing for him. 

Lartigue was born in Courbevoie, near Paris, in 1894, into a family of industrialists. His father bought him his first padre camera when he was eight years old, and at a very young age Jacques Henri began to keep a diary formed by photographs and short texts. This habit stayed with him all his life, and the diaries now form an extraordinary document portraying the lifestyle of a generation that discovered, amongst other things, fashion, sport, and motor racing. 

Photo: Jacques Henri Lartigue, Bibi, shadow and reflection. Hendaye August 1927. Photograph by JH Lartigue © Ministère de la Culture - France / AAJHL.

Jacques Henri Lartigue, Gérard Willemetz and Dany. Royan, July 1926. Photograph by JH Lartigue Photo: Jacques Henri Lartigue, Gérard Willemetz and Dany. Royan, July 1926. Photograph by JH Lartigue  © Ministère de la Culture - France / AAJHL. Courtesy Fundacion "La Caixa"

Lartigue was a sickly child who soon learned how quickly his happiness could disappear. For this reason he decided to narrate his life and, through the story he told, to construct his own persona, just as, by constantly portraying it, he built his own happiness. For Lartigue, happiness is indissociable from its preservation; this joy must be retained through writing, photography, and albums – the final stage in creating his autobiography. 
Throughout his life, Lartigue conserved the fresh outlook of childhood and the insatiable curiosity of youth. His photographs celebrate the present moment whilst concealing the anguish that the passing of time caused him.

Discovered by chance, late in life, in 1963, when he was nearly 70 years old, by John Szarkowski, then curator of photography at the Museum of Modern Art in New York, Lartigue became known and recognised in his native France and throughout the world thanks to the glory he achieved in the United States. In 1974, the French president, Valéry Giscard d’Estaing, invited Lartigue to take his official photograph. It was the firm friendship that grew up between the two that persuaded Lartigue to donate his entire work to the Republic in 1979.

The exhibition was organised and produced by ”la Caixa” Social Outreach Programmes in cooperation with the Donation Jacques Henri Lartigue, the body established to conserve and disseminate the donation that the photographer made to the French government in 1979, and which loaned all the pieces in the exhibition at CaixaForum Barcelona.

CaixaForum Barcelona
Av. de Ferrer i Guàrdia, 6-8
08038 Barcelona 
5 May - 3 October 2010
Times: Monday to Saturday, from 10 am to 8 pm - Saturdays, from 10 am to 10 pm - Admission free to exhibitions

July 11, 2010

M. Kasper’s new Artist book, Open Book, Ugly Duckling Presse

Book > Artist Book

M. Kasper, Open-Book

Ugly Duckling Presse, June 2010

M. Kasper, Open-Book, 2010

M. Kasper, Open-Book, Ugly Duckling Presse, 2010
Book Cover Courtesy the artist and Ugly Duckling Presse

About the book

Open-Book, An Illustrated Essay, is an accordion-fold of eleven five-line observations on an ancient mode of abstract art, a sublime aspect of authority, known as marble revetment. The texts in Open-Book float on reproductions of marble simulations originally made using photo-manipulation software—anyone can do it, beginning with simple stroke-and-fill drawings, then filtering and re-filtering, as many as dozens of times, letting so-called nature take its course.

About the author

M. Kasper’s books, all of which mix words and pictures, include Border Crossing (1973), Chinese-English Sentence Cards (1979), Twenty Trial Briefs (1981), Billy! Turn Down that TV! (1983), Verbo-Visuals (1985), Plans for the Night (1987), All Cotton Briefs (1985; 1992), Iconoclasm in Pontus (1999), and The Shapes and Spacing of the Letters (1995; 2004). There are also a few translations: Saint Ghetto of the Loans, by Gabriel Pomerand (with Bhamati Viswanathan, UDP 2006), The Development of Aerial Militarism, and The Demobilization of European Ground Forces, Fortresses and Naval Fleets, by Paul Scheerbart (UDP 2007), ‘Correspondance’: The Birth of Belgian Surrealism (with Jan Baetens, forthcoming). M. Kasper was born in the Bronx (1947), lived overseas for some years, and for the last many has been in western Massachusetts, in a little city that "holds hands with rural enchantment."

M. Kasper
Ugly Duckling Presse

Artist Book | $14
Accordian Fold 12pp.
Hand-printed and bound
Release Date: June 15, 2010
Distribution: Direct-only > Ugly Duckling Presse’s web site: www.uglyducklingpresse.org

July 9, 2010

Le jeu comme art - Ecce Homo Ludens au Musée de Sérignan - Musée régional d’Art Contemporain Languedoc Roussillon

Ecce Homo Ludens
le jeu comme art et comme mode de vie

Exposition collective sur le jeu dans l’art contemporain

Musée Régional d’Art Contemporain Languedoc-Roussillon
Commissaires : Hélène Audiffren, Cyril Jarton

Jusqu'au 24 octobre 2010

Liste des artistes : Michel Aubry, Richard Baquié, Ben, Samuel-Olivier Beorchia, Stéphane Bérard, Alighiero & Boetti, George Brecht, Marcel Broodthaers, Chris Burden, Alex Chan, Arthur Cravan, Peter Downsbrough, Marcel Duchamp, Jean Dupuy, Florian Faelbel, Sylvie Fanchon, Richard Fauguet, Robert Filliou, la bibliothèque de Michel Giroud,  Raymond Hains, Joël Hubaut, Internationale Situationniste, Liu Jianhua, Allan Kaprow, Garry Kasparov, Roman de Kolta, Arnaud Labelle-Rojoux, Frédéric Lecomte, Pascal Le Coq, George Maciunas, Man Ray, Christophe Masseron, Philippe Mayaux, Guy Mees, Thierry Mouillé, Vik Muniz, Gabriel Orozco, Bruno Peinado, Présence Panchounette, Clotilde Potron, Yves Reynier, Jean-Claude Ruggirello, Takako Saïto, Stéphane Sautour, Axel Straschnoy, Taroop & Glabel, Pierre Tilman, Narcisse Tordoir, Patrick van Caeckenbergh, Sarah Venturi, Andy Warhol, Robert Watts, John Wood & Paul Harrison…

Giacomo Casanova  incarne  par  excellence  la  figure  du  joueur. Issu  d’une  famille  d’acteurs,  dans  une  ville, Venise,  où  l’on sort masqué pas seulement les soirs de carnaval, il fut joueur de violons et de cartes, parieur, tricheur. Il crée avec l’assentiment du mathématicien d’Alembert en 1757  la Loterie royale qui deviendra notre  loterie nationale. Philosophe, chevalier, magicien et devin, capable de prédire l’avenir et d’entrer dans n’importe quel rôle, Casanova ne pratique pas le jeu comme un loisir - c’est une manière d’être, une philosophie.

Le titre de l’exposition, « Ecce Homo Ludens », se place sur deux plans. Il peut d’abord se traduire par « Voilà l’homme qui joue », c’est-à-dire Casanova dont la mémoire est présente dans l’exposition à travers un ensemble de jeux du XVIIIe siècle : tarots italiens, dés, billets de loterie... Mais l’exposition évoque en même temps « l’humain-joueur » dans un sens plus large, qui prolonge et développe jusqu’à nous cet esprit ludique. Malgré la morale bourgeoise qui condamne le jeu pendant le  XIXe  siècle, certaines exceptions font rupture, comme le gai savoir de Nietzsche dont l’autobiographie s’intitule Ecce Homo ; sur un autre plan, celui de la dérision, on trouve l’humour décapant d’Alphonse Allais et des Incohérents, qui se radicalise pendant la Première Guerre mondiale avec Dada, puis tout au long du XXe siècle, à travers le Surréalisme, l’Internationale Situationniste et Fluxus.

L’exposition se développe autour des six facettes du joueur : le masque sous lequel il prend tous les rôles et échappe aux contrôles politique et social ; le hasard qu’il provoque à travers les dés, la loterie... ; le défi par lequel il cherche à tout prix à gagner la partie, fusse pour un trophée ridicule ; le vertige, sa manière de ressentir les événements ; l’humour ; le sentiment vif de la fugacité des choses.

Samedi 18 septembre, 15 h : visite de l’exposition par les deux commissaires, Hélène Audiffren, directrice, et Cyril Jarton, historien et critique d’art, et en présence de l’artiste Thierry Mouillé.  Intervention  de  l’artiste  Cédric Torne  les  18 et 19 septembre  dans le cadre des Journées du Patrimoine.

Musée Régional d’Art Contemporain Languedoc-Roussillon
146, avenue de la Plage
34410 Sérignan

19 juin - 24 octobre 2010
Horraires : mardi-vendredi de 10 h à 18 h, le week-end de 13 h à 18 h / fermé le lundi et les jours fériés

Emmanuelle Etienne au Musée de Lattes, Musée archéologique Lattara


Musée archéologique Lattara de Montpellier Agglomération
Commissaire associée : Isabelle Grasset, directrice-adjointe

Jusqu'au 3 octobre 2010

Emmanuelle Etienne propose une série d’œuvres (sculptures, installations et vidéos) en résonnance avec l’espace, la scénographie et les collections archéologiques du musée, tout en associant un « état d'esprit » lié à la figure de Casanova. Ainsi  le  souffle, affirmé dans  le  travail d’Emmanuelle Etienne par  la  synergie  de  l’air  et  du  verre,  permet  la mise  en  jeu  de mécanismes analogiques en termes extrêmement sensibles.  Des collections de verres antiques aux bulles éprouvettes, des masques souffleurs aux ballons gonflables, la respiration révélée comme énergie vitale évoque avec beaucoup de finesse les allers et retours de l’intérieur vers l’extérieur, de l’ombre vers la lumière, du caché vers le révélé, du réel vers le rêvé. Inspirée par un Casanova philosophe, voyageur, joueur et gentilhomme amoureux,

Véra d’or, œuvre majeure de  l’exposition et spécialement produite pour  la circonstance, s’inscrit dans  le Cycle de Véra, initié par l’artiste depuis plusieurs années : petite maison de verre (comme une serre ou une verrière), elle est construite sur la base du nombre d’or. Les faces extérieures des parois sont recouvertes d'un film sans tain alors qu’à l’intérieur apparaît le dessin  gravé d’une architecture, renvoi onirique aux palais vénitiens. A l’extérieur, Véra réfléchit, à l'intérieur, Véra rêve, à l’abri des regards…

Musée archéologique Lattara de Montpellier Agglomération
390, avenue de Pérols
34970 Lattes

2 juillet – 3 octobre 2010 - Ouverture du lundi au vendredi de 10 h à 12 h et de 13 h 30 à 17 h 30 / samedi et dimanche de 14 h à 18 h / fermé le mardi et les jours fériés. Exposition incluse dans le droit d’entrée : plein tarif : 3,50 €.


Jean-Jacques Rousseau à l’ ESBMA, Montpellier

JEAN-JACQUES ROUSSEAU - Casanova forever

Ecole supérieure des beaux-arts de Montpellier Agglomération
Commissaires associés : Christian Gaussen et Yann Mazéas

Jusqu'au 24 septembre 2010

Jean-Jacques Rousseau

  Jean-Jacques Rousseau, Copyleft.

Jean-Jacques Rousseau, le cinéaste de l’absurde le plus détesté du cinéma belge, intègre dans son univers le mythique séducteur italien  -  défi suprême à la hauteur de sa réputation  de  cinéaste maudit.  Il  présente  dans  la  galerie  de  l’Ecole supérieur des Beaux-arts de Montpellier Agglomération  un  film  tourné  à Montpellier au printemps 2010, ou les aventures d’un Casanova manipulateur manipulé par le moine Boullan…

Né à Souvret (Belgique) après la Seconde Guerre mondiale, il refuse de donner sa date de naissance et de montrer son visage, de peur que les médias déforment son image. Il considère la révélation de son identité comme une fin. Rousseau défend un cinéma populaire au sens premier du terme, fait de budgets limités avec des acteurs non professionnels, et s’est autoproclamé « cinéaste de l’absurde ».

Sa philosophie est de distraire le public tout en apportant un message sous-jacent, symbolique, qui ne peut être décelé qu’après analyse complète de son œuvre. Son parcours sinueux lui  a permis de renouveler son style tout en gardant sa cohérence, passant du romantisme au baroque, du film d’époque au fantastique. On retrouve le tempérament explosif de l’artiste au travers de personnages et thèmes récurrents. Il est doté d’un imaginaire riche et d’un univers très cohérent malgré le surréalisme dont il se revendique.

Ecole supérieure des beaux-arts de Montpellier Agglomération - ESBAMA
130, rue Yehudi Menuhin
34000 Montpellier

24 juin - 24 septembre 2010, du lundi au vendredi, de 15 h à 19 h / fermé les jours fériés


July 7, 2010

Claude Lévêque au CRAC à Sète : The Diamond Sea

Dans le cadre de “Casanova Forever” Manifestation d’Art Contemporain à l'initiative de la Région Languedoc-Roussillon, pilotée par le Frac Languedoc Rousillon.


Projet spécifique de CLAUDE LÉVÊQUE
Conception sonore en collaboration avec Gerome Nox
Commissariat d'exposition :  Noëlle Tissier

Jusqu'au 3 octobre 2010

Claude Lévêque, The Diamond Sea, 2010

Claude Lévêque, The Diamond Sea, 2010. Photo Claude Lévêque - Courtesy de l’artiste

« Comme suite d’été au Grand Soir à la biennale de Venise, la navigation sur le grand canal de la lagune vénitienne me conduit un an après sur le canal du Rhône à Sète. J’inscris ce voyage dans les espaces du CRAC Languedoc-Roussillon. L’expérience vénitienne observée dans les tableaux du Carpaccio, du Tintoret, de Véronèse et Bellini qui ont alimenté ma réponse à l’architecture du Pavillon français me permettent aujourd’hui des représentations autres, voyageant entre ciel et mer dans les espaces du CRAC. »
Claude Lévêque

Rappelons que Claude LÉVÊQUE a représenté la France à la 53ème biennale de Venise en 2009. Au sein du pavillon français, il a présenté “Le Grand Soir”, installation qui évoque le moment du basculement d’un monde à l’autre.

Dans un extrait d’entretien de Thimothée Chaillou avec Claude Lévêque publié dans le catalogue de la Manifestation Casanova Forever, l’artiste précise le sens de son travail exposé à Sète en expliquant “ The Diamond Sea est un monde chimérique, impliquant […] la mer comme surface miroitante. J’évoque ici Casanova, ce personnage trouble, imposteur et séducteur. Mon travail se développe autour d’éléments liés aux reflets, aux effets de miroir, aux dédoublements et à toutes formes d’affectation des sens. J’utilise ce qui va de l’aveuglement au scintillement : le jeu de l’éblouissement est un jeu de l’aveuglement. Je capte la réalité et le monde qui m’entoure, je m’en sers. En même temps c’est un monde qui m’aveugle. “

Centre Régional d’Art Contemporain Languedoc-Roussillon / Sète
26, quai Aspirant Herber - 34200 Sète

3 juillet – 3 octobre 2010

July 5, 2010

Lancement livre photos de Paris à Tokyo

“Paris transcendé par les photographies de Gautier Willaume en avant première mondiale à Tokyo” peut-on lire dans le communiqué de presse rédigé par le photographe.


Gautier Willaume



Mon petit livre de photographies sera lancé à la fin du mois lors du Tokyo Art Book Fair dont c'est cette année la seconde édition. Ce salon est dédié aux livres d'art sous toutes ses formes mais il s'agit essentiellement de livres d'artistes à petit tirage et, bien souvent, comme c'est le plus souvent le cas pour les livres d'artistes, faits maison, à la main. Ce salon présente surtout des travaux de jeunes artistes japonais. Peu d'étrangers y participent, faute de notoriété pour ce salon qui en est à ses débuts. Pour pouvoir participer, une sélection est effectuée. Mais celle-ci n'a rien d'élististe, de nombreux jeunes débutants participent et je trouve cela très sympathique. Il faut dire que c'est peut être cela qui m'a permis de présenter mon livre à Tokyo ;) Côté frais pour les participants, c’est gratuit (c’est un critère important pour moi… :) Les organisateurs perçoivent 50 % du prix de vente du livre.

Pour en revenir à mon livre, c'est un petit livre d'une trentaine de pages regroupant 24 photos en noir et blanc prises à Paris. Je l'ai entièrement réalisé à la main. L'impression est faite avec une imprimante jet d'encre dont j'apprécie la qualité et le faible prix ;) Le livre (ou livret, comme vous voulez) a été imprimé sur du "beau" papier épais 200 gr. Comme l'objet importait pour moi, j'ai fait ce choix d'un papier de qualité. J'ai acheté des grandes feuilles que j'ai découpées à la main car je ne souhaitais pas faire un "faux" livre "professionnel". Je l'ai relié moi même, avec quelques difficultés, je dois l'avouer, faute d'entraînement et étant donné le délais dont je disposais pour envoyer les livres au Japon. Quoi qu'il en soit, ma reliure est de bonne qualité dans le sens où elle est solide. Mais les exemplaires envoyés ont été reliés avec une aiguille peut être un peu trop épaisse. Bon, c'est pas trop grave étend donné que c'est du fait main et que les quelques erreurs font partie du jeu et donne même à chaque exemplaire sa petite particularité : un trou de reliure un peu décalé pour l'un, un peu trop de colle pour la couverture supérieure pour l'autre, une ptite tache de doigt ici ou là, due à la manipulation des pages alors que l'encre n'était pas totalement sèche. En fait c'est sans doute le défaut principal de mon livre : j'ai utilisé un beau papier 200g mais destiné normalement au dessin. Du coup mes photos ne sont pas waterproof. Il faut le savoir. J'aurais peut être du mettre une petite note le précisant pour les éventuels acheteurs. D'un autre côté, le papier utilisé, malgré ce défaut, offre le résultat que je souhaitais au départ. Et puis, après tout, pour un livre fait maison, une lecture maison, à l’abris de la pluie, s’impose.

J'ai fixé mon prix de vente à 1600 yens (taxes incluses) ce qui doit correspond grosso modo à 15 euros. C'est cher et pas cher à la fois. Mes photos sont superbes (vraiment superbes) et c’est une édition limitée à 100 exemplaires. Et, sans doute, à beaucoup moins. Pour Tokyo, je n'ais eu le temps d'en faire que 5 et cela m'a pris pas mal de temps. Je verrai par la suite, en fonction d'autres lieux où je serais content de le présenter. Je pense que les photos qui y figurent sont plus à même de plaire à des étrangers qu'a des français et a fortiori à des parisiens. Car, lorsque l'on vit dans un pays, une ville, on a parfois tendance (et c'est un peu normal) à en oublier les aspects intéressants. Cela devient quelque chose de banal, à moins de regarder les photos 50 ans ou 100 ans après. Pour chaque exemplaire j’ai écrit un petit texte à la main. Je l’ai rédigé en anglais car il parait que davantage de japonais comprennent l’anglais que le français. Au Japon, c’est pareil que chez nous, en fait, car davantage de français maîtrisent l’anglais que le japonais.

Voilà, je voulais vous faire part de ce grand moment pour moi…


CartonFlyer Illustration : HIMAA



Organisé par ZINE’S MATE : http://www.zinesmate.org/

les 30, 31 juillet et 1er août 2010

(Preview sur invitation le 29 juillet)

Lieux :

VACANT 3-20-13 Jingumae, Shibuya-ku, Tokyo

3331 ARTS CHIYODA 6-11-4 Sotokanda, Chiyoda-ku, Tokyo

July 3, 2010

Prints by Paul Klee, 1946, at SFMOMA – Exhibition re-creates 1946 Show of Prints

Prints by Paul Klee (1946)
Exhibition Re-creates 1946 Show of Prints
San Francisco Museum of Modern Art
August 7, 2010 - January 16, 2011

SFMOMA_Klee1946_01_Genius_web Paul Klee, Ein Genius serviert ein kleines Frühstück, Engel bringt das Gewünschte (A Spirit Serves a Small Breakfast, Angel Brings the Desired), 1920; lithograph with watercolor; Collection SFMOMA, Extended loan and promised gift of the Djerassi Art Trust.
Photo Courtesy of SFMOMA

The San Francisco Museum of Modern Art will showcase the exhibition Prints by Paul Klee (1946). Organized by John Zarobell, SFMOMA assistant curator, collections, exhibitions, and commissions, the exhibition features 21 works.

SFMOMA has had a longstanding commitment to the art of Paul Klee over its 75-year history. This exhibition re-creates a show of prints by the Swiss-born modernist held at the museum in 1946. At that time, Klee's work was little known outside of Europe; the exhibition was perceived as highly original, and the works seem no less fresh or innovative more than six decades later. The prints demonstrate how Klee, like many German Expressionist artists of the early 20th century, experimented with etching, drypoint, and lithography techniques in order to advance his exploration of pictorial symbolism.

Short BIOGRAPHY of PAUL KLEE (1879-1940)

Paul Klee born in Münchenbuchsee, just north of Bern, Switzerland's capital, grew up in a musical family and was himself a violinist. Ultimately he opted to study art and in 1900 trained with neoclassicist Franz von Stuck at the Munich Academy, where he first met painter Vasily Kandinsky. As was standard academic practice, his training included anatomy lessons and life drawing from the nude; he later spent seven months touring Italy, where he was exposed to early Christian and Byzantine art. In 1906 he married pianist Lili Stumpf and settled in Munich, then an important center for avant-garde art; their only child, Felix, was born there the following year. Klee's friendship with Kandinsky prompted him to join Der Blaue Reiter -The Blue Rider-, an expressionist group pivotal to the development of abstract art. Later, at the invitation of founder Walter Gropius, Klee taught at the esteemed Bauhaus from 1920 to 1931; in 1931 he accepted a position at the Dusseldorf Academy, but was soon dismissed by the Nazis, who included 17 of his works in their infamous exhibition of "degenerate art," Entartete Kunst, in 1937. After a move to Switzerland in 1933, Paul Klee developed the crippling collagen disease scleroderma, marked by a pathological thickening and hardening of the skin; he died from its complications in 1940.

San Francisco Museum of Modern Art
San Francisco, California - CA 94103

July 2, 2010

15 Minutes of Fame at OCMA in Newport Beach, California

Contemporary Art exhibition

15 Minutes of Fame
Portraits from Ansel Adams to Andy Warhol

Orange County Museum of Art, Newport Beach
On view through September 19, 2010

Lawrence Schiller, Tippi Hedren and Alfred Hitchcock, Los Angeles, 1962

Lawrence Schiller, Tippi Hedren and Alfred Hitchcock, Los Angeles, 1962
Silver halide chromogenic print
Collection Orange County Museum of Art; Gift of James and Heather Carona
Photo Courtesy of OCMA


Featuring more than 175 works primarily from the significant collection of photography of the Orange County Museum of Art in Newport Beach, California. 15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol explores a diverse range of portraits from the 1930s through today. Since the beginning of photography, portraits have captured the well-known as well as the anonymous. With a title that refers to Andy Warhol’s famous prediction that everyone can have their own ―15 minutes of fame, this exhibition includes early modern portraits, photographs of artists and celebrities from the 1930s to the 1960s, photojournalistic images from the 1960s, and contemporary portraiture. The exhibition includes a participatory installation entitled Photo Op where visitors may take and post photographs of themselves in the gallery, becoming a part of the exhibition.

15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol is organized by the Orange County Museum of Art and curated by Karen Moss, deputy director for exhibitions and programs.

Contemporary Art aquisitions, 2000-2010 by & at OCMA, Newport Beach

Contemporary Art exhibition
New Art for a New Century:
Contemporary Acquisitions, 2000-2010

Orange County Museum of Art, Newport Beach
On view through September 19, 2010

MINDY SHAPERO, All the edges at the same time all the time, 2008-2009; powder coated steel rebar, fiberglass, acrylic, copper leaf coated hand cut paper; Collection Orange County Museum of Art, museum purchase with funds provided through prior gift of Lois Outerbridge with support from Dr. Rosalyn M. Laudati and Dr. James B. Pick. Photo Courtesy of OCMA

During the past decade, the Orange County Museum of Art in Newport Beach, California, has significantly expanded its collection with 430 works by regional, national, and international artists. New Art for a New Century: Contemporary Acquisitions, 2000-2010 highlights 90 major paintings, sculptures, installations, videos, and works on paper. The exhibition presents many of the most important developments in contemporary art over the past decade, provides a large selection of works from the last four California Biennials, and includes several key works from other important exhibitions organized by OCMA since 2000.
New Art for a New Century: Contemporary Acquisitions, 2000-2010 is organized by the Orange County Museum of Art and curated by Karen Moss, deputy director for exhibitions and programs.

Joshua Mosley: American International. Exhibition at the Indianapolis Museum of Art, USA

Joshua Mosley: American International
Indianapolis Museum of Art, USA
Through August 29, 2010

The Indianapolis Museum of Art (IMA) presents together two animated video and sculpture installations by Philadelphia-based artist Joshua Mosley: A Vue (2004) and the premiere of his newest work, International (2010).

The works presented in Joshua Mosley: American International are composed of mixed-media animations displayed alongside small-scale bronze sculptures of characters that populate the animations. Both International and A Vue consider the memorialization of prominent individuals whose legacies sound ambivalent reverberations when viewed through the lens of contemporary life. Combining the most current technology with the hand-wrought physicality of modeled objects, Mosley’s works explore how the mind can negotiate multiple—often incompatible—points of view, grappling with existence, work and human life.
“Joshua Mosley’s installations stand apart as some of the most inventive, challenging and gratifyingly peculiar artwork being made today,” said Sarah Urist Green, associate curator of contemporary art at the IMA. “Over the course of years and with extensive research, craftsmanship and intricate technological execution, Mosley builds highly original compositions that create space for contemplating how individuals interpret and impact the world.”
In the premiere of Mosley’s first work since dread (2007), which debuted at the 2007 Venice Biennale, the IMA will present International, a video and installation work focusing on two figures who had interminable influence on current American industrial infrastructure and economic theory: Austrian free-market economist and philosopher Friedrich Hayek and American builder and philanthropist George R. Brown, former president of Brown & Root, Inc., purchased by the Halliburton Company in 1962.

International is a two-part installation, the first of which is a character study of Brown and Hayek, whose standing figures Mosley hand-sculpted in clay and rendered in bronze. Each approximately 15 inches tall, the sculptures will be displayed alongside a 34-inch long replica of a 1937 International brand truck, which Mosley hand made from wood, metal and resin and then cast in bronze. Mosley then 3D scanned the truck, creating a digital model that he animated and incorporated into International’s 6-minute highdefinition animation. Displayed in an adjacent gallery, the projected video combines 3D computer animation with recent digital photography of sites of pivotal importance in the lives of Brown and Hayek. The animation features the voices of the two men sampled from oral history recordings made between 1968 and 1978, interwoven with a musical score composed of single notes played on a 1938 Haines Brothers piano, matching one that belonged to Brown's family.

While the two men never met, Mosley’s imagined conversation between Hayek and Brown will turn a keen eye on how the personal desires and experiences of human beings shape the way they imagine the greater good, even among people living in the same place and the same historical moment. In the artist’s words, International explores “how the mind can simultaneously hold incompatible ideas,” and how individuals, like Hayek and Brown, can reconcile public theories and actions with more private motivations. At a moment when the U.S. government is trying to stem a systemic financial crisis, International will look to the pertinent examples of two men, one of whom was a vocal opponent of government intervening in a free market, and another who accumulated considerable wealth as a result of large-scale government spending.

A second video and sculpture installation, A Vue (2004), looks to the legacy of American botanist George Washington Carver. The installation presents a 24-inch bronze sculpture titled George Washington Carver, 150 ft and an animation that chronicles its presence as a large-scale monument in one of the national parks dedicated to Carver. The animated video combines digitally photographed stop-motion puppets and environments made with 3D modeling software and ink-wash paintings. The animation’s narrative follows Henry, a park ranger whose job it is to tend the small town’s 150-foot sculpture of Carver. The viewer sees Henry on his daily task of scaling the monument to polish and clean it, surrounded by the flat, bleached vista of a nondescript Midwestern town. Henry meets Susan, a new employee of the local fiber optic company, and the disparity between the nature of each character’s life’s work is set in witty and compelling contrast.

With Carver’s forward-looking figure presiding over the town, his teachings—sustainability in agriculture, self-sufficiency, humanitarianism—cannot help but be evaluated against this contemporary landscape. Best known for taking the greatest advantage of a series of unlikely opportunities, and eventually developing hundreds of uses for the peanut, Carver helped revolutionize agriculture in the South by offering alternatives to the single-crop cultivation of cotton that had devastated the land. Mosley’s memorials in miniature, of Carver as well Brown and Hayek, serve to question how meaning can become fixed in the consideration of the diverse and often conflicted lives of these enigmatic men.

Short biography of JOSHUA MOSLEY
Joshua Mosley (born 1974, Dallas, lives Philadelphia) is Associate Professor of Fine Arts in the School of Design at the University of Pennsylvania. He received his M.F.A. and B.F.A. from The School of the Art Institute of Chicago and his A.A. from St. Louis Community College. Mosley is a recipient of the Joseph H. Hazen Rome Prize, the Pew Fellowship in the Arts, the Louis Comfort Tiffany Foundation Award and the Pennsylvania Council on the Arts Fellowship. His work has exhibited and screened at the 2007 Venice Biennale, the Museum of Modern Art, New York, the Modern Art Museum of Fort Worth, the Museum für Gegenwartskunst in Basel, Switzerland, the Art Institute of Chicago, the Bruce Museum in Greenwich, CT, the Reina Sofia in Madrid, the Philadelphia Museum of Art, Donald Young Gallery in Chicago, the Institute of Contemporary Art in Philadelphia and the Museum of Contemporary Art San Diego.

Carmen & Mark Holeman Video Gallery and Livia & Steve Russell Gallery
4000 Michigan Road, Indianapolis, Michigan
March 12 - August 29, 2010

Exhibition credit: This exhibition is made possible through the generosity of the Chambers Family Foundation.

July 1, 2010

L’art et la culture dans la ville – Conférence à Strasbourg


L’art et la culture dans la ville : de l’espace public au projet urbain, le 13 octobre 2010 à Strasbourg

Depuis 2008, l’Agence culturelle d’Alsace et le Conseil Régional d’Alsace proposent en partenariat avec l’Observatoire des Politiques Culturelles, une série de conférences-débats sur quelques-uns des principaux enjeux artistiques et culturels d’aujourd’hui et sur les questions qu’ils posent à la cité. Ont ainsi été accueillis près de 800 participants sur deux cycles de conférences.

En 2010, les deux conférences proposées interrogent la place de l’art, de l’architecture et de la culture dans les villes et les vastes territoires urbains d’aujourd’hui et de demain.

La première conférence à eu lieu le 20 mai : "Inventer et construire les territoires de demain". Elle portait sur l’étude des transformations sociologiques, urbanistiques, symboliques et culturelles des territoires.

La seconde aura lieu le mercredi 13 octobre 2010 de 9 h à 13 h

“L’art et la culture dans la ville : de l’espace public au projet urbain” : Cette conférence interrogera la place de l’art et de la culture dans l’élaboration d’un projet de ville.

Comment l’art, la culture et l’architecture participent-ils à la construction d’ambiances urbaines, à l’esthétique de la ville et plus largement à la réflexion sur son devenir ? Comment faire des équipements culturels des lieux de vie et des lieux au coeur de la ville ? Dans quelles mesures peuvent-ils (re) créer de la communauté et de la sociabilité ? Présence des équipes artistiques dans l’espace rural, reconquête de friches industrielles, pratiques artistiques dans l’espace public, développement des arts de la rue, des biennales, des capitales européennes de la culture…, les projets sont divers et contribuent à transformer le paysage urbain. Quelle est la place de l’événementiel culturel et artistique dans la ville ? Et quelle place fait-on aux propositions artistiques qui s’inscrivent dans un travail de terrain forcément moins visible ? Plus généralement, quelles sont les modalités de participation de la culture à l’aménagement et à l’élaboration du projet de ville ? Quelle est la place de l’artiste dans le projet urbain ? Quels sont les outils nécessaires pour appréhender le rapport entre art, culture, identité et esthétique, notamment dans les opérations de requalifications urbaines ? Comment se traduit la dialectique patrimoine / modernité ? Quelle est la place de la nature dans les territoires en recomposition ou soumis aux dynamiques de métropolisation ? La ville, entendue comme « espace public » peut être interrogée à cet égard en tant que révélateur des mutations sociales, lieu de débats et de construction d’une urbanité. Quelles sont les modalités de la participation citoyenne ? Quelle gouvernance, quelle politique de la ville et quels imaginaires urbains sont susceptibles d’être mobilisés pour aménager la ville durable de demain ?

Autant de questions qui seront abordées par les trois intervenants, François Barré, Jean-Dominique Secondi et Hugues Klein. Les interventions seront suivis d’un débat animé par Jean-Pierre Saez, directeur de l’Observatoire des Politiques Culturelles.

Biographie des intervenants

FRANCOIS BARRE est un responsable d’institutions culturelles français. En 1968, il est recruté au sein de l’Union centrale des arts décoratifs pour mettre en place une « galerie du quotidien » qui deviendra plus tard le Centre de création industrielle (CCI). En 1990, il est nommé délégué aux Arts plastiques au ministère de la Culture, puis succède ensuite à Dominique Bozo en tant que président du Centre Pompidou. En 1996, il est appelé à la direction de l’architecture qui vient d’être créée au ministère de la Culture à la suite du retour de cette compétence, jusque là attribuée au ministère de l’Equipement. Lorsqu’il est décidé de fusionner la direction de l’architecture et la direction du patrimoine, François Barré devient le premier directeur de l’Architecture et du Patrimoine. Il est aujourd’hui président des Rencontres Internationales de la photographie d’Arles et exerce une activité de consultant sur des projets culturels et urbains.

JEAN-DOMINIQUE SECONDI est un architecte diplômé de la Harvard School of Design de Boston, anciennement chargé de la conception et de l’intégration des équipements publics à la cité de la Cité des Sciences et de l’Industrie (établissement Public du Parc de la Villette à Paris). Il a été chef de projet de l’agence d’architecture Judge-Skelton-Smith à Boston – USA en 1988-89 puis architecte associé de l’agence d’architecture Callies & Secondi jusqu’en 1996, il a réalisé divers projets, dont l’écomusée de Saint-Quentin en Yvelines et l’agence de communication « Action d’éclat ». Aujourd’hui Jean-Dominique Secondi est directeur et gérant d’Art Public Contemporain, pour laquelle il réalise diverses études et opérations, dont des expositions d’art ou événements artistiques dans la ville, des commandes artistiques dans le cadre d’aménagements urbains et paysagers, de scénographie urbaine, d’espaces publics ou d’équipements, ainsi que des études préalables de définition, faisabilité ou programmation d’équipements culturels. Il a contribué à la publication d’un livre Penser la Ville par l’art contemporain, faisant suite à l’atelier projet-urbain qu’il a élaboré et organisé pour le ministère de l’équipement sous la direction d’Ariella Masboungi. Avec Renaud Sabari, il crée en 2004 AIA Productions, première société française de production de projets artistiques. Il participe également à de nombreux colloques et conférences et intervient dans diverses formations supérieures.

HUGUES KLEIN, architecte urbaniste, concepteur. Le Studio kleinbaumann Architectes est composé de 3 personnes constituant le noyau dur d’un collectif plus large de créateurs issus du monde de l’architecture, du graphisme, de l’art et de la photographie associés dans une démarche de création architecturale innovante. Le studio permanent est composé d’architectes et urbanistes internationaux collaborant sur des recherches expérimentales spatiales. Les créations de l’atelier sont issues de l’extrait concentré du résultat d’un processus mêlant analyse et hybridation forte entre site, programme et paysage. Le projet expérimenté restitue les questionnements et postures intellectuelles assumées par les concepteurs et permet l’éclosion d’une prise de conscience de la création spécifique de cette spatialité.

Débat animé par JEAN-PIERRE SAEZ, directeur de l’Observatoire des Politiques Culturelles.

Accès libre dans la limite des places disponibles. Inscription obligatoire auprès de l’Agence culturelle d’Alsace : tél. : 03 88 58 87 54 ou www.culture-alsace.org Les inscriptions se font dès à présent.

Lieu :

Maison de la région alsace
1, place du Wacken

Gardner Museum 2011 Contemporary Exhibition

Museum News > Boston MA > The Isabella Stewart Gardner Museum


The special exhibition gallery on the first floor of the historic Isabella Stewart Gardner Museum is dedicaced to historic and contemporary exhibitions. This gallery closed at the end of June 2010 to allow for preparatory and preservation work in the historic galleries related to the construction of the museum’s Renzo Piano-designed new wing. The Isabella Stewart Gardner Museum will not present any historic or contemporary exhibitions in 2011 as a result.

The Isabella Stewart Gardner Museum is currently engaged in an Extension and Preservation Project which will enhance the experience of visitors and relieve pressures on the historic building and collection.

Designed as a work of art itself by Pritzker Prize-winning architect Renzo Piano, the new wing will incorporate Piano’s signature talent for integrating the historic and contemporary with a light-filled design and an uncompromising attention to detail. The new cultural landmark will be an appropriate and important addition to Boston’s Fenway Cultural District.

The new wing will include a new 2,000 square foot exhibition space featuring an entire north wall of glass, a skylight with micro louvers, and a movable ceiling to allow for the presentation of intimately-scaled as well as larger contemporary and historic exhibitions. The new building will also feature a state-of-the-art performance hall, education classrooms, working greenhouses, an orientation area for visitors, and more. Site prep and construction work began in late summer 2009. The new wing is expected to be completed in late 2011.

The Gardner will, however, continue to present signature floral installations in the interior courtyard garden, including the annual Hanging Nasturtiums and the new Chrysanthemums in the Courtyard displays, honoring Isabella Gardner’s horticultural legacy and the changing of the seasons.

Special exhibitions will return to the Gardner Museum upon completion and the opening of the new wing in early 2012.

280 The Fenway
Boston, MA 02115

Exposition Oural soviétique à Saint-Etienne


Oural soviétique, 1950-1980
Art et Techniques des objets domestiques

Exposition du musée régional de Tchéliabinsk
présentée au

Musée d’Art et d’Industrie de Saint-Etienne
Jusqu'au 23 août 2010

Affiche de l'exposition Oural soviétique, 1950-1980. Art et Techniques des objets domestiques, au Musée d'Art et d'Industrie de Saint-Etienne


Des traditions rurales liées aux nomades baschkirs et aux premiers colons russes jusqu'au melting pot suscité par le développement industriel, l'Oblast de Tchéliabinsk à la frontière de l'Europe et l'Asie (l’emblème de la ville-centre est un chameau) manifeste aujourd'hui sa singularité dans la Russie actuelle.

Cette exposition entend mettre en évidence le télescopage de deux univers exprimés dans les espaces domestiques de l’Oural du sud entre 1950 et 1980. Avec, d’une part, un intérieur d'isba qui a été reconstitué avec son mobilier et accessoires traditionnels produits et utilisés en résonance avec les ressources naturelles d’un immense territoire de bois de bouleau, de rivières, marais et tourbières. Et, d’'autre part, une pièce de logement collectif des années 70, dans laquelle les objets domestiques manufacturés par l’industrie métallurgique soviétique renvoient cette fois à l'importance des combinats et des villes-usines exploitant les richesses singulières du sous-sol de l'Oural du sud.

L’exposition présente ainsi des objets mais aussi des photographies issus des collections du musée régional de Tchéliabinsk : Appareils ménagers russes avec leur esthétique singulière, postes de radio et de télévision, objets décoratifs soviétiques tels que les fontes au bois de Kasli, insignes et bustes à la gloire des héros communistes, affiches éducatives pour la promotion des objets manufacturés produits sur place et pourtant si difficilement accessibles aux classes populaires.

Du village à la mégapole inclue dans le complexe militaro-industriel, une série de photographies historiques de très grande qualité témoignent de l'évolution du paysage et de la vie quotidienne des populations sous l'emprise soviétique. Des clichés actuels nous font aussi percevoir l'attachement identitaire persistant au territoire, au jardin, à « la vie rustique » parallèlement au renouvellement urbain de ce carrefour eurasien.

Ce musée d'art et traditions populaires de Tchéliabinsk, voué à l'origine à la propagande du régime soviétique, s'ouvre aujourd'hui avec une architecture et des moyens muséographiques modernes, à un dialogue avec la population ainsi qu’avec des partenaires muséaux en Russie et à l’étranger. Dans le cadre de l'Année France-Russie 2010, alors que le Musée d’Art et d’Industrie de Saint-Etienne présente cette exposition du Musée régional de Tcheliabinsk, ce dernier présentera, du 15 septembre 2010 au 15 janvier 2011, l’exposition Art décoratif et gravure sur armes préparée par le Musée d’Art et d’Industrie de Saint-Etienne.

OURAL SOVIÉTIQUE, 1950 – 1980.

15 mai - 23 août 2010

Musée d’Art et d’Industrie
2, place Louis Comte

Ouvert tous les jours de 10h à 18h
Fermé les mardis, et le 14 juillet et le 15 août

Précédents messages du blog sur les expositions à Saint-Etienne :

Musée d’Art Moderne de Saint-Etienne Métropole