“The bitter perfume of the immortals”
Dominique Vautrin

Documentary by Jean-Pierre Thorn. Released on October 23, 2019. The fiery tale of a passionate love affair – born in the hollow of the Landes dunes and too quickly mowed down by death – is intertwined with the mad hope that raised us in May-June 1968.I follow the thread of my life to find the rebel figures who populated my films: from the workers in struggle in the 70s (with whom I shared eight years of factory life) to their children in the hip-hop movement… and today yellow vests from a roundabout in Montabon. Together, they compose a luminous fresco that extends and responds to the letters of my lover and shows how much May’s rage is more alive than ever: like the embers that smoulder under the ashes.

Florentine Lamarche and Alexandre Ovize, graphic connections!
Marlène Pegliasco

#DRAWING The Drawing Lab an art centre dedicated to contemporary drawing, exhibits until the January 9, 2020 the drawings of the artist duo Florentine Lamarche and Alexandre Ovize.Nourished by the geographer’s work Elisée Reclus (1830-1905) and more particularly books “History of a mountain” and”History of a stream”the exhibition presents large series of drawings in their entirety. With a sensitivity inspired by theArt NouveauIn the process, details create plastic forms that create a visual language that produces graphic and colourful connections. Flowers, a recurrent motif of their work, traverse Art History in a symbolic as well as natural way to create urban landscapes. This couple of artists, living in Aubervilliersuses simple elements to create powerful images as formal investigations.

Marlene Pegliasco Tell us about your background.

Florentine Lamarche and Alexandre Ovize We studied at the School of Fine Arts of Lyon then those of Paris. A fairly classic route, all in all. Then, we met during a group exhibition at the Point Ephémère. With Sarah Tritz, we had designed a heterogeneous volume forming the backbone of the exhibition. This common experience around volume and design continued for two. We have been working with two heads for a dozen years now.

Marlene Pegliasco: How did the exhibition project with the Drawing Lab?

Florentine Lamarche and Alexandre Ovize : We had met with Solenn Morellthe curator of the exhibition, during the exhibition “News from nowhere” to the Centre d’Art Contemporain Les Capucins in Embrun. This visionary text on the Commune is to William Morristhe founder of the movement Arts & Crafts born in England in the second half of the 19th century. He is very poetic and takes human positions in relation to nature and man’s place in society. It is also an alert on industrial evolution and over-consumption. His ideal is to live happily by producing handicrafts. That’s when we discovered the geographer’s work Elisée Reclus. His books are in line with the ideal vision of Morris. The omnipresent nature is at the centre of any organic relationship. This involves respect for others and the principle of free trade. These are notions that have spoken to us and that we have updated in a context far from utopian and leading to a more humane society. Finally, he is a great poet who has worked with many illustrators.

Marlene Pegliasco: How do his works translate into drawings?

Florentine Lamarche and Alexandre Ovize : The exhibition begins with a portrait ofElisée Reclus and his travels, what he’s been through. Then we find fifteen landscape drawings from his explorations. The drawings were conceived sometimes as maps, sometimes as herbaria. Each plant is treated individually but included within a global image, an exotic landscape formed by sinuous lines.

Marlene Pegliasco: What does the drawing mean to you?

Florentine Lamarche and Alexandre Ovize : Drawing is synonymous with simplicity, you can use it wherever you want. First of all, we are passionate about comics. Then, it seems obvious to us. The drawing is an extension of the hand.

Marlene Pegliasco: What is your news?

Florentine Lamarche and Alexandre Ovize: We exhibit ceramics at the Design Parade de Toulonmade in our furnaces. Then we have a group exposure to the Centre National du Graphisme Le Signe de Chaumont and another personal one at the FRAC de Caen which will start in january 2020. Finally, we have a project with the architectural firm NeM comprised of Thibaud Marca and Lucie Niney for the creation of the tea room Mulot within the house of Victor Hugo in Paris. A long-lasting work that will lead us to experiment with drawing on new textures since we will collaborate with the pastry chef.

Alain Lestié “At Times” Galerie Depardieu
Michel Gathier

#NICE By the title of an exhibition, words sometimes haunt a work. If Alain Lestié’s previous exhibition was entitled “Contretemps”, this one “Par moments”, introduces time back into the drawing. Not a linear time but a fragmented time that can be read in strata in the thickness of the paper, the fat of the pencil and its erasure. Here is a story whose sentences defy any chronology but are given by sequences, appositions and oppositions of meaning.
Alain Lestié juxtaposes his leaves. He organizes them according to contradictory motives in a clear obscure light where figuration and abstraction mix and dissolve. An improbable architecture emerges: a universe charged with the signs of a primitive, chaotic force, with questions, myths, words. And all this dissipates again, comes back in waves, creates gaps, tells itself and denies itself. Only the essential remains, that is to say the undefinable, what emerges in the margins when lightning flashes of representation are immediately extinguished by others superimposed on them – geometric elements, the stammering of objects or symbols, calls, scribbling words….
The work speaks of time and its debris. Things are deposited there like rudiments of signs and the light that emerges erases the dark screed of the past to extract an echo, something essential, definitive and yet so distant. The drawing is a mystery here. An undergrowth mixes with a graffiti, a crumpled paper is a trompe l’oeil and the geometric rigour contradicts the rustling of nature. This impossible is the one of a suspended and distended time. Alain Lestié makes it visible but the drawing remains this tear towards the invisible.

Alain Lestié “At times”

Until November 2, 2019

Depardieu Gallery, Nice

Alicia Alonso, from the limelight to the dark side of her greatness
Ernesto Santana

#THE HAVANE Saturday, October 19, it is not only the great dancer Alicia Ernestina de la Caridad Martínez del Hoyo, known worldwide as Alicia Alonso, who was buried in Colón cemetery in Havana. It was also a page in the Cuban revolution that was definitely turning with her death. Born on December 21, 1920, Alicia Alonso began her dancing career at a very young age and made her last interchanges in November 1995. She was almost 75 years old. In 1948, she founded her own company, which became the Ballet Nacional de Cuba (BNC), one of the most prestigious institutions in the world. She has also attended American Ballet and American Ballet Theatre and was the guest star of the Ballet Russe de Monte-Carl. By playing Giselle on November 2, 1943, she became part of the history of the art of dance. But it was with Carmena that she engraved his name in gold letters.

The end of a page of the Cuban revolution

Alicia Alonso was the partner of the greatest dancers of her time. She always said she would rather lose her sight than stop dancing. She and Maya Plisetskaia were the last great divas of ballet, but unlike the Russian, the Cuban star did not suffer the rigors of socialist totalitarianism.

And then there is the dark side of his greatness, which many remember when they tell about her life. Because the Prima ballerina of the BNC was a close ally of Fidel Castro until she became her cultural ambassador in exchange for managing the dance company as his private fiefdom. Of course, this made it possible to save his dancers from forced labour camps for homosexuals, religious or misguided ideologues. It was thus able to maintain a certain efficiency within the BNC despite the ongoing crisis that was destroying the country. But above all, it allowed him to implement a cult of his personality that prevented the other dancers from rising and enjoying a privileged life as well.

During the 2003 Black Spring, three young blacks were shot dead in Cuba for trying to hijack a boat and escape the country, 75 political opponents were sentenced to long prison terms. To appease international criticism, the Castro government asked for the support of prestigious artists and intellectuals. Alicia Alonso will be among the signatories who justify this brutal repressive campaign.

More recently, the autobiography of the famous dancer Carlos Acosta was published in Havana, “Without looking back” which inspired Iciar Bollaín for the film Yuli. The sale will be immediately prohibited. Alicia Alonso did not like Carlos Acosta’s insinuation that he had been subjected to racially motivated bullying while he was part of the ballet company.

The honours he received this weekend from all the highest officials of the state, from Raúl Castro, Miguel Díaz-Canel, José Ramón Machado Ventura to Esteban Lazo, underline, if there was any need, his influence, both cultural and political, as well as the weight of his support for the Cuban regime.

Beyond the praise of his creative greatness and the inconvenience of his proximity to Castro, only the future will be able to judge the right dimension of the artist and the person who formed such a contradictory unity in the person of Alicia Alonso, as in so many great names in the history of world art.

#PARIS The greatest Italian masters of the Renaissance are currently gathered in Paris. The Jacquemart André Museum offers a selection from the Alana collection (kept in the USA). It is visible until next January. How could we not fall in admiration for all these masterpieces, paintings, sculptures, works of art that are unpublished and representative of a resurgent Italy? It is the “Rinascita”, the end of the Middle Ages, European societies are changing and Italy is ahead of other countries by its artistic effervescence. Italian artists experiment with new representations of space, bringing to light the heritage of Greek and Roman antiquity, which will notably allow Florentine painting of the 15th century to free itself from the medieval vision.
This collection, reputed to be very precious and mysterious, will take you from the 14th to the 16th century, from Florence to Veneto, from the Gothic to Mannerism. The scenography is as bright as the works, Hubert le Gall has refrained from overloading the Museum’s small rooms, the whole has a link with the time, a something that enhances details and colours, a something baroque.
The Jacquemart André Museum offers you this journey into the history of a collection, the history of art and, of course, spirituality for believers. For unbelievers, Faith may be before “Christ the Redeemer” “Christ as a man of pain” by Cosimo Rosselli.

The Alana collection
Jacquemart André Museum
From September 13 to January 20
158 Bd Haussmann 75008 Paris

Haikyu!!! – The Aces of Volleyball

#Comics It is the sports manga of the moment, 6th in the TOP Oricon in Japan in 2017, it went 5th in 2018, ranking just behind the reboot of Slam Dunk in cumulative sales over the year. A rather funny phenomenon because you will see that there is still a certain similarity with Slam Dunk.


As often in the shōnen, we follow the story of a hero who is not good at the sport he plays but who has huge latent abilities and through training will become, you guessed it but I say it anyway, a monster in this sport. Here, we follow Hinata, a small volleyball player (170cm) who dreams of becoming the best wholesale smasher. Although small, it compensates for this major gap (we love sport but also word games) with agility, relaxation and extraordinary reflexes twirling on the field. He and Kageyama, a genius passer with a terrible character, rivals at first will become the best allies because only Hinata can smash the supersonic passes of our ugly duckling and only he can get the full potential from the talents of our hero. A golden pair in a team that of course as is commonplace will only have one goal, to participate in the national championships.

By Matthieu Morisset

Haikyu!!! – Les As du Volley, 34 volumes – Kazé (current series)

“Bubble click and collent”



News Facts: Paris Art Week’s “must see” is a must
Lili Tisseyre

#PARIS Founded in 1946 by Sonia Delaunay and Auguste Herbin, among others, the “Réalités Nouvelles” exhibition has been working every year for more than seventy years to provide an essential sounding board for Abstract Art, as the great barnum of Contemporary Art installed in the Grand Palais for the FIAC fails to eclipse.

The Salon “Réalités Nouvelles” should, it seems, be named after the poet Guillaume Apollinaire who, in 1912, imbued with the importance of this new artistic order that flourished around him, tried, by this mysterious name, to give him a chance to be accepted by the general public.

Always stimulating, more than seven decades later, these “New Realities“, crossed by many challenges, have remained under the sign of abstraction and encounter. They are welcoming 400 artists this weekend at the Parc Floral. Drawing, painting, engraving, sculpture, photography, video, a very beautiful selection to give an idea of the vivacity of this “movement” and the intellectual agility of the artists who claim it.

In the aftermath of the war, their sociological situation was difficult. Nowadays it may be even more so. What the salon offers is not a network, but the very idea of the collective that is at the very basis of abstract art. “New Realities” is the possibility for each guest artist to build something together, in a dynamic that is neither that of the market nor that of museums. It is a question here of meeting each other, of confronting works, generations too. This year, the Fair invites artists from Montenegro and China in particular, and in the same spirit, young people with recent diplomas or in art schools will exhibit the fruit of their work. But the association organizing the annual show is nevertheless sounding the alarm in response to the statements made by the Minister of Culture on the remuneration of exhibitors, because if “New Realities” allows each artist to sell his pieces by mutual agreement and takes no commission on sales, the voluntary system on which the association is based touches the limits of the personal investment of member artists and members of the office. The association thus calls for a common and concerted reflection which will probably be at the heart of the discussions in the aisles of the Salon.

In this 2019 edition, the young generation is on the move, in total connection with the socio-political concerns of its eco-system. We then look at the sculptures of Alexandra Renne, a recent graduate of the Beaux-Arts de Paris with a different perspective. The repetition of gestures inherent in the process of creating her pieces such as “organize-assemble-build-cut-form” are an introspective reflection on the emotion created by the materials and the rhythm they induce in the volumes when the sculpture emerges. Also a graduate, this year, of the prestigious Parisian institution and presented at the Salon, the paintings of Gaëtan Di Pizio. A vast mapping of your mental space with large flat areas of bright colors whose multiple dashes, dots and other digital signs encode or decode our interpretation of the reality that surrounds us and plunges us into a jazzy or funky universe depending on the mood of our encounter with the work.


Salon des Réalités Nouvelles

from 19 to 21 October

Floral Park of Paris



FIAC 2019 Instructions for use and survival
Lili Tisseyre

#PARIS The more years go by, the more the artistic offer at the time of a fair diversifies, soon becoming an almost uncontrolled or even uncontrollable hydra. Barely out of a more or less successful London digestion, here we are crossing the Channel to set the table again, often with the same galleries, the same hands to shake in cocktails and the same smiles on their faces to discover the more or less hazardous programming of galleries, museums and other institutions. This year, FIAC is extending its influence a little further and is definitely taking over the Petit Palais and Eisenhower Avenue to offer events and performances throughout the four days. We will come back a little later on the selections displayed in the stands, to focus on satellite events.

The festivities did not wait until the opening of the Fair to start, like what we are experiencing in Miami, London or Basel to allow everyone to associate themselves directly or indirectly and co-brand or label their event with the word “FIAC”. Thus, from last Friday, we could run around the capital to discover as far as Le Grand Paris (Understand Le Bourget, Pantin and Montreuil with some incursions into the 18th and 19th century) the pretty edition of Avant Première, a rich and exciting program in the Parisian and peripheral galleries: Coté Marais, and in a non-exhaustive way, Xippas offers a double exhibition in both spaces of the gallery: paintings and drawings by James Siena and large formats by American photographer Joel Sternfeld (which we will discuss again very soon), Suzanne Tarasiève also proposes a double exhibition in two distinct places on rue Pastourelle, the first is a collective exhibition, “Woods”, bringing together different artists of the gallery who work with wood or are strongly inspired by it, from Eva Jospin to R. Penck. The second exhibition is devoted to the latest creations of the visual artist Jorge Immendorff, who has abandoned Pollock and Picasso, and invites us to come to the rescue for a dark tribute to Goya or Durer Max Ernst or Broodthaers, a way of freeing ourselves from the aesthetic codes of a painting that he considers pleasing. Further on, Rue Beaubourg, it is the large, violently coloured canvases of Paul Mignard, winner of the 2018 Emerige Foundation award, that bring us back to a burning issue, that of the environmental and societal crisis Backslash Gallery, further north, proposes a solo show by the American Fahamu Pecou until October 26 and highlights, in parallel, in the ultra trendy and alternative fair “Private Choice” France Bizot & Michael Zelehoski. In Pantin, then, in the monumental “cathedral” of Thaddeus Ropacwe lose our heads and our sense of time with Georges Baselitz’s “upside down” from his series “Time”.

Finally, let us definitively leave Paris to go to the regions, where there too, we capitalize on the eyes turned towards France to show its finery. All the Fracs, whose programming is indicated on the FIAC website, are engaged in a debauchery of proposals, each more convincing than the next. On the fringe of this plethora of offers, Poitiers, which is part of the landscape with “Traversée/Kimsooja”an artistic journey through the city designed in close collaboration with the artist by the newly appointed director of the Palais de Tokyo Emma Lavigne, is worth noting. Finally, further south, towards The slaughterhouses in Toulouse for the major retrospective, which we invite you to visit here, dedicated to the mischievous Pop artist Peter Saul!


The list seems endless, there is something for all tastes (and for all budgets)… Fall will not be gloomy!


FIAC and Co

October 17-20, 2019

Grand Palais


Documentary by Amélie Ravalec. Released in France on October 16, 2019. A journey into art, madness and the unconscious. An exploration of visionary artists and creative impulse, from Flemish masters to Romantics to Surrealism and Art Brut.

A drawing… A line! “Surrender to yourself”
Marlène Pegliasco

“He invents singular situations in the spatial setting of his drawing. His strange characters, half black, half white, half human, half god, offer us a story to build, an open narrative that solicits our own fantasies, to exorcise, undoubtedly our evil – to be current. These few words from the artist Patrick Sirot accurately describes William Bruet’s works. His enigmatic, linear universe questions current issues. Native masks, phantasmagorical landscapes, sometimes with a double reading: his posca drawings are rich in contemporary iconography captured in two colours. Exhibition curator for the contemporary art association PLAC, the Toulon artist works in several local projects. His drawing “La Veilleuse”, has just entered the contemporary art collections of the Var Department.

Marlène Pegliasco: Can you describe your career path?

William Bruet: My name is William Bruet and I was born on March 17, 1985 in Toulon. I was lucky to have a mother who opened me to the world and culture from a very young age. I grew up with many artistic backgrounds such as theatre, circus and pottery. As far back as I can remember, I have always drawn and I knew very early on that I would be a builder. During my school years, I met the artist Bruno Vigoroso. He became a mentor to me, welcomed me into his workshop and initiated me into many artistic practices. I then went to the School of Fine Arts in Toulon where I obtained my DNSEP in 2010. Since that day, I have been constantly evolving my universe and sharing it through my works and exhibitions. I have worked with many partners such as the Var department, the University of Toulon or the association Le Bazar du lézard with whom I have created collective works as well as numerous frescos throughout the country. For the last few years I have been working with choreographer and dancer Simonne Rizzo and I have had the opportunity to see my universe transposed to the world of performing arts.

M.P.: Tell us about your drawing in general

W.B.: Drawing is a journey, a journey around the world…through time…at the centre of me…initiatory. When I draw, I always start by emptying my mind and cutting short any notion of time… The use of black and white is something sacred to me, the contrast allows me to create spectacular shifts. Through my drawings and photographic diversions, my personal mythology distils a dark, enigmatic universe, full of signs and symbols. In direct contact with reality, contemporary current events coexist with popular legends or the many representations of civilization that have disappeared and exist, and the true link of all its influences is in the body and on it… The pomp, masks and bodily modifications come to be created and break the contemporary diktat of the normed, linear, identifiable body. For me, it is a question of rethinking the body and appropriating it by cutting short any identification, here the faces are hidden, the enigmatic bodies. Doubt is very important. I am not talking about man’s eyes but about the imagination he is able to produce. My intention is to invite the reader to a real deciphering of my work. My drawings are tinged with metaphysical intentions, mystery, even mysticism. I consciously return to what Antonin Artaud was at the origin of a whole part of what is now called performance: the desire to inscribe art in a sacred function, coming from the classical concept of representation.

M.P.: Why do you use the posca in your creation?

W.B.: The first advantage in using the posca is that it allows me to work on different supports and to obtain a matte black, which created an interesting gap with the brightness of my photographs. The existing posca range allows me to work from very thin (1mm) to very thick (15mm). When I need to fill very large masses, all I have to do is disembowel my markers and come and take their contents from them.

M.P.: How do you teach drawing in the educational workshops you lead?

W.B.: I don’t see myself as a teacher but as a blower of ideas. Children have an overflowing imagination and it only takes a little to trigger the creative act in them. I like to share my knowledge while discovering art history. The most important thing for me is to open them up to the world and introduce them to different artistic media. Thus we realize collages, sculptures, photographs, paintings or videos. I also want to create collective works with them. It is very important for me to desecrate the work of art and to become aware of the power of “doing together”.


Portrait of a draftsman:

If you were a drawing? “Fist in the mouth” by Roland Topor

What’s your favorite technique? The misuse of image.

The most unusual support? The earth. I would like to make a large-scale geoglyph.

“Drawing is like…”? To surrender to yourself.




Miguel Coyula: Independent cinema must deal with uncomfortable subjects!
Ernesto Santana

#TAMPA (FloridaWhile the second edition of the Tampa Bay Latin Film Festival is taking place from October 18 to 20, smArty met one of the guests, Cuban director Miguel Coyula, who is presenting his latest film, Nadie, a documentary about Cuban writer Rafael Alcides.

Miguel Coyula, a graduate of the San Antonio de Los Baños School of Cinema and Television, began his career as a director with the highly acclaimed Cucarachas rojas, a sharp critique of society through a history of incest, followed by Memorias del desarrollo, based on Edmundo Desnoes’ novel of the same name, whose Memorias del Subdesarrollo inspired the famous film version by Tomás Gutiérrez Alea.

Translated with www.DeepL.com/Translator

“Independent cinema must deal with the uncomfortable subjects that are avoided in a more complacent cinema.” Miguel Coyula



The director kindly answered a brief questionnaire about Nadie (Nobody) and his artworks in general on the occasion of his attendance at the young film festival in Tampa bay.

smArty: How has the international reception for this new production of yours turned out so far?

Miguel Coyula: Nobody got off to a very promising start with the award for best documentary at the Dominican Global Film Festival. After the raid by the police and State Security, when we tried to screen it at the Casa Galería El Círculo in Cuba, luck changed. I think Fidel (Castro)’s death was very recent. The film was rejected at the Mar del Plata Festival after it was accepted, and later the Ministry of Foreign Affairs in Buenos Aires cancelled a screening. The Miami International Film Festival was not interested and when it was finally put on the Coral Gables Art Cinema there were some angry reactions that Alcides called himself a socialist or respected Che. Criticism outside Cuba has been good. But above all there have been strong debates and discussions which is really what interests me. The most impressive projection was at MoMA. But I think it’s now that the film is moving, it’s circulating around universities a lot.

smArty: How has it been received in Cuba?

Miguel Coyula: For the film critics who live on the island, the film does not exist, either for better or for worse. I believe that Cuba suffers from moral autism in that sense. A lot of people tell me I’ve seen it, because there are slow spreading digital copies. It’s sad, because of all my films I think it’s the most accessible for a more general Cuban audience because of Alcides’ honesty and communicative capacity.

smArty: In your criteria as a director, which characteristics of your previous cinema continue in Nobody and which ones do you think are new?

Miguel Coyula: It’s a film, like Memoirs of Development, about a disappointed writer of the Cuban Revolution, with the difference that he stayed in the country living in exile. The personalities of both are also very different: Alcides overflows passion and romanticism, while Sergio is more skeptical and observant. Memorias del desarrollo was a film with great emphasis on the image to contrast the passivity of its protagonist. That’s why I wanted Nobody to be built and turned to the force of the word. Ninety percent of the film is Alcides’ voice in a very frowned upon documentary genre: “the talking heads”. In this case, I decided to use elements of fiction and animation behind and in front of Alcides to complete ideas and create a flow of consciousness that would reinforce subjectivity. As to whether it’s novel or not, the critics may say so.

smArty: The visual aesthetics of your cinema are considered very advanced, as it is independent and comes from a technologically very backward country. How would you explain that to the general public?

Miguel Coyula: I was very much influenced by anime. The Japanese didn’t have big budgets to animate 24 frames per second like Disney, but they concentrated on a composition design and visual montage much more interesting than Disney despite the limited animation. The camera and computer I use are obsolete under any current industry criteria. But for me the cinematographic language is not decided by the amount of pixels in the image, but the exact picture for the cut, how to move the actors in the scene, where to frame or how to illuminate. And above all time, you need to invest in time what you lack in budget to achieve what you want.

smArty: Why is it that in your films politics often carry so much weight?

Miguel Coyula: I’ve always been interested in maladjusted characters and that invariably creates a political position. Even in Cucarachas Rojas, a story of incest, is the scrutiny of society. I do not like politicians, which of course does not mean that I do not have an opinion on them and on politics. Independent cinema must deal with the uncomfortable subjects that are avoided in a more complacent cinema.

smArty: Can you say anything about your next project?

Miguel Coyula: Blue Heart is a science fiction film in which Fidel Castro performs genetic experiments to create the “New Man” ideal for his system. These individuals are highly dangerous and unstable. Rejected by society, they join forces to destroy the system that created them. The film is finished, but recently one of its actors has required 2 thousand dollars to sign his right of image in three scenes. The figure is huge for a film that has been filmed for eight years precisely because of its lack of funding. That’s why I had no choice but to do a crowdfunding to release the film.

Tampa bay latin Film Festival
18 -20 October 2019
433 Central Avenue, St Petersburg, Florida 33701

Anecdotes on Origin, between performative gesture and collective creation
Marianna de Marzi

From Venice, Anecdotes on Origin

#VENICE The hot Venetian summer is now over, but not its countless artistic events. The city of the doge in fact rewards the arts during the 58th edition of the Venice Biennalewhich is divided into contemporary art, theater, music and dance, but also hosts the annual Film Festival at the end of August. This open and dynamic climate attracts curious and art-lovers from all over the world and seems to want to contrast nationalistic political ideas spread in Italy.

This stimulating context includes Anecdotes on OriginThe project was conceived and realized by the international curators of the School for Curatorial Studies Venice. An exchange, theirs, lasted four months, from which the concept of origin emerged almost spontaneously, treated in all its facets, to explore the unexpressed potential.

In an attempt to create a linear link between past and present, the notion of origin has been anchored in myths, supported by stories stratified over time. They exist everywhere and are considered to be the load-bearing structure on which to build our entire existence. The more we dwell on these myths, however, the more it becomes necessary to question the power structures imposed by traditional concepts of origin, as we realize that they are based on anecdotes, or stories with a recreational purpose more than historiographic. The exhibition calls for a reconsideration of the means and ways in which narratives about the origins are transmitted to identify the inconsistencies between anecdotes about an unknowable past and the experiences lived by each of us.

The works presented in Anecdotes on Origin decode the notion of origin in its geographical, historical, identity and social contexts, revealing unanimously accepted power structures, exalting essential rituals and ties and suggesting alternative narratives.

To open the exhibition, Beth Collar with the opera Seriously One series of ceramic heads that appear or disappear from the floor as an army of zombies invading the first room of the gallery. The artist, whose practice examines the external forces that fuse the personality and alter behavior, has studied in this work the expressions of pain and stress on the knurls of the forehead. To inspire it, a scientific research on post-traumatic stress disorder from the skulls of deceased soldiers. An encounter/clash between History, that of the tales of the powerful and the vicissitudes of the men who have been enslaved.

A more geographical reading is that given by Ella Littwitz. The Israeli-born artist uses plants to investigate the metaphor of rooting in a place and how it can be exploited for political ends. With For the Glory of the Nationan extremely strong installation in its simplicity, she reveals the will of the Zionist movement to establish national identity by exploiting the cause of the repopulation of local fauna, but creating artificial forests of non-native trees, planted on the soil of the State of Israel at the birth of each child, on the edge of a territory in full expansion.

Traces of the opening event of Anecdotes on Origin, held on 29 August last, are preserved on Empty_glass 05. In this work, performative gesture, installation and collective creation meet in a union of interactions and energies that emerge and are fixed on sheets of glass, the foundation and support of the work itself. Empty_glass, is a project born from the collaboration between Jeschkelanger, a duo of artists active in Berlin, and Hayk Seirig, chef of the restaurant Katerschmaus in Berlin. For this edition, realized in partnership with the prestigious Ca’ Sagredo Hotel, which provided a large ballroom richly frescoed, the collective wanted to invite international curators and journalists for a symposium served on fine hand-cut glass. The remains of the banquet fixed on the transparent surfaces were then transformed into a pictorial work of natural pigments, integrating the exhibition space. A ritual, that of the table, that viscerally unites us to the elements of the land of origin, but that also shortens the distances and creates new gustatory encounters and not only.

Arash Nassiri with the stereoscopic film Darwin Darwah, presented for the first time in Italy, plunges us into an underground reality, that of the catacombs of Paris. In this almost science fiction scenario, produced with computer-generated images, we find ourselves following with our eyes a white light that, like a guide, shows us the path to follow in the tunnels, while a distorted and gloomy voice reveals us an alternative vision to evolutionary theory. The title, “Darwin Darwah”, which in Arabic jargon means “confusion”, alludes to the new myths broadcast on the Internet, according to which the history of Paris is linked to the Egyptian pyramids, conceived by extraterrestrials that have caused the extinction of prehistoric species and given rise to mankind on planet Earth.

Another video, Artist Interview by Lea Cetera allows us to reflect on the projection induced by the social role in the construction of personal identity, starting from the figure of reference closest to her, that of the artist. Call to interview, the meme Expanding Brain, at the end of the exhibition, reminds us of the immense possibility of options, if we break free from the role in which the stories about the origins border us.

A small curatorial note: from the balcony of the room where this last work is presented, a new point of view on the army of living dead by Beth Collar, this time seen from above. A warning for the viewer to look at the story with sufficient distance, constantly questioning it and its stories, to consciously choose the version that suits him best.


Exhibition Anecdotes on Origin

in progress until 16 November 2019

Gallery A plus A

Calle Malipiero, 3073, 30124 Venezia VE

School for Curatorial Studies Venice


Lea Cetera

Beth Collar

Ella Littwitz

Arash Nassiri


Restaurant by Hayk Seirig

“Hajime No Ippo” by George Morikawa

#Manga Probably the work I most appreciated of this kind is being tackled. I’m not going to lie to you, after it was read, I had a furious desire to box! In this boxing manga, we find the archetype of shōnen, a hero who knows nothing about the sport but discovers a passion for it. Blessed with essential skills for boxing, without being a genius, this manga highlights work and perseverance to achieve personal goals, a certain life lesson in itself. Ippo, a schoolboy who was abused at school, meets Takamura Mamoru, a boxer at the Kamogawa club, who comes to save him from his massacre by thugs on the banks of a river. Ippo passed out during his intervention and Takamura took him to the club, where he discovered boxing, while teaching him to hit in a punching bag.

This is where our hero will begin his ascent to the highest levels of the boxing world with a question in mind that will push him to push his limits and always get up, “What does it mean to be strong? ».

Ippo is based as much on the fights in the ring as on the crazy adventures of the members of the boxing club. Unlike an Ashita no Joe by Asao Takamori and Tetsuya Chiba or a Riku-Do by Toshimitsu Matsubara, much darker in their intrigues and universes with characters with unenviable backgrounds, we have here a manga with an explosive mix of humour and bloody fights where we learn with our hero the basics of boxing, from live to uppercut via jab and hook.

An atypical but seductive graphic style.
A series still in progress, available from Kurokawa Publishing, which now has 109 translated volumes (compared to 123 in Japan). George Morikawa is the mangaka behind this work first published in 1990 in Shōnen Jump. Throughout these 29 years of publications, the graphic progression is very marked. It is difficult to recognize the pencil stroke of the first chapters in the current drawings. Originally, rather sketchy and almost caricatural in the faces and their expressions, one could have thought of a work of humour.

Over time, the whole work has become more fluid, the fights, the rhythm, the suspense and the design of the characters have evolved, giving way to a more precise and mature drawing, more serious, which better suits the direction taken by the work. The somewhat zany and approximate side of the first chapters was abandoned during the fighting scenes and is only used outside the ring, except for some caricatured fights that serve as a transition between major fights. You could almost feel the author’s need to take some crazy breaks to relieve the pressure! The serious/comedy mix convinced me personally, and George Morikawa is responsible for the unique and highly recognizable facial expressions. From an anime point of view, 3 seasons and several films are available to date. 3 seasons that I strongly recommend, because we find the heavy atmosphere of the fights with uncertain results of this manga with an exceptional graphic quality, there is clearly a match with Kuroko’s Basket for my part.

“Not everyone who works hard is rewarded. However! All those who succeeded worked hard!”

A little grain of sand in the gear.
Despite all these qualities, it is a manga that pays for its length and age. Little by little, we lose the original essence of the work. Of course, the battle/humour mix still works and Morikawa still has some good ideas, but for about fifty chapters now, we don’t really know where the author is going with this, what he wants to show, does he know it? What is certain is that many fans were disappointed with the turn taken by the show and after a long crossing of the desert, the ray of hope that will restart the show as at its peak seems to be on the horizon! In the meantime, you already have 109 volumes of pure happiness!

By Matthieu Morisset

Hajime No Ippo by George Morikawa

109 volumes (from 12 years old)

“Bubble click and collent”





Banksy: Shame I didn’t still own it!
Lili Tisseyre

#LONDON Neither an abstract expressionist work nor a monumental sculpture in the shape of a solid gold toilet, the one that marked London Art Week and catalyzed the attention of the whole world this week is in fact a figurative canvas… That of the House of Commons, how much at the heart of the news recently, painted about ten years ago now, but recently reworked to make it a standard of artistic protest against the approaching Brexit… The work represents the English parliamentarians who have been transformed into chimpanzees for the time being. Banksy’s painting, because it is his own, was exhibited in 2009 at a solo exhibition at the Bristol Art Museum before being sold to a private collector who therefore decided to sell it at the most appropriate time to create the sensation in the middle of an international fair and the crisis that has now been shaking the United Kingdom for 36 months following the Brexit vote.

The behaviour of elected officials in recent weeks is particularly echoed by their animal counterparts represented in the canvas. A visionary artistic gesture? In “Exit through the Gift Shop”, the documentary he made in 2010, Banksy first imposes the theme of money in art ” What is the value of a work of art: its financial value or its aesthetic value?

Banksy’s work “Devolved Parliament” looks like a joke just like the sale, and in any case has managed to divert attention from the spotlight and inflate the price of the painting that left under Sotheby’s hammer’ for the modest sum of 9.9 million pounds! To date, it is the most expensive work of this British artist who was immediately moved by it on social networks with a laconic “Shame I didn’t still own it;”. Used to the twists and turns of the Street Artist sales, whose communication strategy must make the greatest publicists pale (Get out of this body,Saatchi!), we all remained hungry, it didn’t happen, if not the soaring price (this one more than predictable)! Further proof that Banksy has not finished holding us at the end of his hook!

Lyon Biennale: Pannaphan Yodmanee, the initiatory experience
Michel Gathier

#LYON In a Biennale that is willingly pessimistic about the future of the planet and humanity, Pannaphan Yodmanee’s poetic work, imbued both with anxiety and a possible escape through spirituality, opens a brightening in the grey of the former FAGOR factories where the main part of the Lyon Biennale takes place. Inspired by the traditions of her native country, Thailand, and a Buddhist monk who introduced her to painting as a child, her work builds a bridge but also spreads a question between this Asia and the Western space where she proposes an in situ work in this former industrial wasteland of modern times. Because time remains the backbone of an artist steeped in the past and the karmic cycles – birth, death and rebirth.

Imposing installations also oppose the macrocosm to the microcosm when, in deep cement pipes, one circulates like in a tunnel for an initiatory journey unless it is a question of taking refuge there. Yet to the immensity, it contrasts the richness of the microcosm and the interiority. In this landscape suffering from ruins, figures appear as a reminder of parietal art. But they are extremely delicate, sometimes barely visible, at the limits of erasure, adorned with bright colours and gold pigments. The mineral paints blend into the concrete mass. Here a tree escapes into a gap to the sky, there a cloud of cement hovers over it like a threat or, again, a possible elevation.

Pannaphan Yodmanee’s art is complex, but in opposition. It involves the heavy mass of the concrete, the grace and lightness of the figures she traces in it, the dark interiority where they sparkle with colours. These conduits are also caves, underground places, reminders of a belly and its mysteries. To penetrate it remains a form of initiatory experience when one is confronted with destruction and suffering but when one sees that on earth or towards the sky, escapes remain. Art would be here this link between ourselves and this anxious world that it designates. It would be a form of salvation.


Until January 5, 2020

Pannaphan Yodmanee

Former Fagor Plant

Documentary by Waad Al-Kateab and Edward Watts. Released on October 9, 2019. Waad al-Kateab is a young Syrian woman who lives in Aleppo when war breaks out in 2011. Under the bombardments, life goes on. She films the losses, hopes and solidarity of the people of Aleppo on a daily basis. Waad and her doctor husband are torn between leaving and protecting their daughter Sama or resisting for the freedom of their country.

Pieter De Hooch in Delft. In the light of Vermeer
Dominique Vautrin

#DELFT This is a major retrospective that the Prinsenhof Museum in Delft dedicates to the famous 17th century painter Pieter de Hooch (1629 – 1684). Some 30 paintings by Pieter De Hooch are collected and presented for the first time. Coming from major European and American museums, it is a unique opportunity for visitors to discover his famous works, which have sometimes never been presented in the Netherlands before, but also the opportunity to study in detail the style and visual language of this Dutch master.
Born in Rotterdam in 1629, he was a student of Berchem and found “his maturity” in his “Delf period”. Influenced by Vermeer and Rembrant, Pieter De Hooch mainly represented interiors and the family life of the wealthy bourgeoisie. Known for his light effects, his meticulous realism and his colours, he has become, in a way, the master of the enclosed space of an interior.
Thanks to the various loans, never before have so many paintings, masterpieces by Pieter De Hooch been brought together in his city of Delft, you have until 16 February 2020 to visit the Prinsenhof Museum to admire its most beautiful views of courtyards and interiors, where they were painted almost 400 years ago.

“Pieter from Hooch to Delft. In the light of Vermeer ”
Prinsenhof Museum Delft

from 11 October 2019 to 16 February 2020


“The Dreamer of the Forest” at the Zadkine Museum
Dominique Vautrin

#PARIS  Under the title “The Dreamer of the Forest”, forty artists have settled in the Zadkine Museum. Dedicated to the sculptor Ossip Zadkine, the museum, (a real green setting nestled in the heart of the sixth arrondissement of Paris) offers a dialogue of his works with modern and contemporary artists. Great masters rub shoulders with more intimate artists around this link that is “the forest”. Once a nourishing space for man, it produces the material “wood” for the sculptor and an inexhaustible source of inspiration for the artist in general. The ecological emergency that is hitting our over-consumption societies reminds us of how urgent it is to stop sawing the branch on which we are sitting. So let us be ambitious, let us recreate a link between nature and man. How can we resist here the call of the one who purges the atmosphere of carbon dioxide, come on, let’s dream a little, let’s go to the Zadkine Museum, for a moment, it will purge our mind by combining “art and the forest”, stimulate our emotions, sometimes intimate and deep.


From September 27, 2019 to February 23, 2020

The dreamer of the forest

Zadkine Museum, 100 bis rue d’Assam, 75006 Paris

“Kuroko’s Basketball” by Tadatoshi Fujimaki

#Manga Kuroko’s Basketball, originally named Kuroko no basuke, is one of the most popular sports mangas in Japan. Long among the TOP 10 of Japanese sales exhibited in the top Oricon, a top named after the Japanese company Oricon providing sales statistics from the entertainment industry including manga sales. Kuroko’s Basketball found the right recipe that convinced readers.

We find our hero, Kuroko, a player of appearance without talent for basketball, he is neither tall, nor fast, nor enduring, nor skillful. A relatively classic introduction, we present a hero who seems very weak and, finally, turns out to be extremely good. Yes, but here’s the trick that made part of his success is the fact that Kuroko is a very strong player but he can’t do anything alone! And this is a very interesting concept developed by Tadatoshi Fujimaki, which has made it possible to highlight several main characters, rather than have one or two very strong players and plots around. We manage to get attached to many characters and even prefer some antagonists! We don’t say any more, we let you discover for yourself!

The author is a fan of Takehiko Inoue’s Slam Dunk and you can feel many influences. It adopts a very refined, smooth style with an aesthetic of the characters worked to the fine line. All the essence of the drawing is found in the movements of the characters, from the most extravagant to the simplest basketball movements, with glances, a visual communication between the protagonists for a fluid, harmonious and attractive rendering.

“If you admire a person, you can’t surpass them. »

We’re playing overtime

Tadatoshi Fujimaki is best known for having created this 30-volume work published starting in 2009 in the Weekly Shōnen Jump. He continued to surf on the popularity of his work by publishing a spin-off, Kuroko’s Basket – Extra game in two volumes. This is the continuation of the original series where the best players in the Japanese league gather in the same team to face an American team that is giving them a hard time. The adventures of our blue-haired hero do not stop there because a second spin-off has also been created, Kuroko’s Basket Replace PLUS, a manga adaptation of the light novel, Kuroko no Basuke Replace by Hirabayashi Sawako, written by Tadatoshi Fujimaki but this time designed by Ichiro Takahashi, one of his assistants on the original series. The series is still in the process of being published, the 10th volume having been released on June 26, 2019 by Kazé, the French publisher of the 3 series.

When we talk about manga, we necessarily come to talk about animes!

But what is the anime series Kuroko’s Basketball worth?
In the same way as the manga, and perhaps even more so, the work stands out for its high visual quality, the fast dribbling scenes are breathtaking! We’ll talk about it again when you watch the Kagami vs. Aomine duel! If manga is certainly one of the best sports manga of recent years, anime is perhaps the best sports anime ever made technically and visually. Speed, fluidity, aesthetics, dubbing, soundtrack, everything is there. An animation that convinced the SVOD giant Netflix since the 3 seasons are available on the platform and I strongly recommend them as a complement to the original work to get your own idea.

By Matthieu Morisset

Kuroko’s Basketball by Tadatoshi Fujimaki

30 volumes (from 12 years old)

“Bubble click and collent”


Lost or Desirable Future Paradise at the Bullukian Foundation
Michel Gathier

#LYON Parodying the sentence of the precursor of the cinematographer, Louis Lumière, “Cinema is an invention without a future”, the Italian artist Andrea Mastrovito offers us a re-reading of the world through an assumed shift that forces us to observe it according to mediums and norms that are contrary to their original function. Thus, on a 110 m2 floor, the artist has a set made of marquetry for a patchwork of representations of mythical shots of the cinema. But these reflect what our world is like – images, ruins, disarticulated space and insurrectional time. But the artist, at ease in all registers, has fun balancing this dark work with a debauchery of colours and shapes for a seemingly naive look at the explosion of plant and animal life But this nature seized to the extreme to the point of transforming into myth is a way for Mastrovito to alert us to the threats facing her. This fantasized, ideal nature that he shows us is only the result of an accumulation of book cut-outs and therefore of a transformation of nature or plastic documents. Would the post-humanist horizon be post-natural, would it remain only the idealized illustration of a fallen universe? And would the splendour of a landscape be nothing more than the a priori composition of a programmed extinction? In this work there is the sad echo of a lost paradise but also the saving breath of another journey, of a world to be redone. And that’s probably what’s at stake in this Lyon Biennale. In the Bullukian Foundation, Mastrovito’s work is presented in parallel with that of Jérémy Godéin the garden, so different in form, but which resonates with her like a coda because she is so involved in the same commitment but through science and industry. Fany Robin’s curatorial work results in a coherent exhibition that opens up for reflection.

For the rest of the Biennale, we can then wonder about this collective curatorial work from the same Palais Tokyo seraglio which, despite sometimes striking works, has chosen works based on a soft consensus. Often they seem to parasitize each other, to play the gigantic to overcome an uncertain meaning so that the best is next to the worst of the recyclable and the déjà vu. This Biennale, if it remains exciting, gives above all the desire to follow certain artists who, in a more modest setting, would spread a sensitive and personal reflection on the challenges of today’s world.



Until January 5, 2020

Jeremy Gobé “Anthopocene”

Andrea Mastrovito “The world is an invention without a future”

Bullukian Foundation, LYON