From our special envoy Ray

#TOURDEFRANCE Until July 28, smArty will give you an image of one of the most popular sporting events in the world after the Olympic Games, the Tour de France. With Ray, who has been with us for 3 years now, experience the Tour, this cultural monument, every day with his offbeat, sometimes facetious, always sharp look. He shares with you this passion that unites millions of people, on the roadsides or behind their screens.

Welcome to the Great Loop.

Esther T4 notebooks by Riad Sattouf

#BD After the incredible Arab of the Future, Riad Sattouf reinvents Le Petit Nicolas with a direct connection to current events. Through Esther’s daily adventures (her family, friends, school, vision of the world, passions…) it is a real mapping of our society, commented by the young heroine, that is proposed. A true documentary fiction-born in the form of humorous strips, each album represents a year of the young girl and we can see her grow, observe her hopes and disappointments, her vision of the news, her future, significant events, her tics of language, celebrities or ephemeral fashions… It is exciting, surprising & captivating.

Fourth volume, around the 13th birthday of the girl, who has already changed since the first volume around her 10th birthday, when reading this new volume we begin to feel the passage of time and the relevance of this project in the long run. If the designer reaches his goal in five years, this series will be a very valuable document about our time, in addition to being a very funny & lively comic strip.

A successful series from its launch (more than 500,000 copies sold in the first 3 volumes), still pre-published in L’Obs, but also adapted on Canal+ as an animated series since last year, translated into several languages, Les Cahiers d’Esther reaches all audiences and asserts itself as a comic strip a little apart and universal.

This new aspect of Esther’s life opens with early adolescence, first loves, holidays, responsibilities and the transition from childhood to adulthood. We imagine that the rest will be more and more complicated for the cartoonist to collect, because the anonymous heroine behind Esther discovers her own secret life.

Since the Secret Life of the Young, the illustrator has been working to simplify his line without ever losing sight of realism in a style close to caricature, but which never overdoes it. The drawing immediately takes us into its universe, always on the borderline of grotesque and exaggeration. Like the exploration of language & codes that Riad Sattouf appropriates to make his characters speak with great truth and humour, his drawing completes this search for style by proposing his reinterpretation of postures and attitudes that anchors the series in the real world despite the unrealistic approach. In L’Arabe du futur, he developed his own graphic language and Esther’s Cahiers mirror the first, the autofiction in addition to the docu-fiction gathered by a clear and effective line playing on the winks and the paratexte (doascalies, arrows, comments, apart from the reader…)

Riad Sattouf confirms with this series that he is one of the most innovative and creative authors of our time. Essential and unavoidable, it is becoming increasingly difficult not to meet one of his books, especially since his publication rate is quite high.

Thomas Mourier

Bubble Click and collect

Cahiers d’Esther T4 by Riad Sattouf, Editions Allary

“Liquid, liquid”, water story by Celeste Boursier-Mougenot
Michel Gathier

After representing France at the Venice Biennale in 2015, Celeste Boursier-Mougenot wrote a beautiful story of water that grew from the basement to the roof of the François Schneider Foundation in Wattwiller. The visitor is caught up in a series of detours that take him from dark depths to the top of the building where, little by little, the light converges. Because water is this living element, a vector of transparency or opacity, which absorbs both the shards of sky or glass and the black blood of the bowels of the earth

The visitor’s journey is thus confused with a form of Odyssey where he faces in turn a tenebrous staging and a flight of light. The artist manages to build a confusing, wonderful space, where our sensitive landmarks flicker and enjoin us to reconstitute the thread of a story where we would be alone with primitive myths, imprecise forms, a sometimes blinding beauty

First there is this flooded corridor that we walk down in total darkness. The sound of an electric wave soon accompanies circular objects such as light spots on walls as we feel on a moving floor. Then here we are in another room where a piano alone moves in a slow choreography punctuated by the echo of bowls hitting each other in a nearby pool. Outside, a 300m2 area for 20 tons of white cullet glass like a salt beach and all along this journey, the water rushing like a torrent down steps, falling from the roof and writing this fascinating story

The spectator is caught in a series of strange devices where all the senses are summoned. A tactile universe responds to imprecise sounds and visual experiences. Celeste Boursier-Mougenot reminds us that he is also a musician and that for him sounds are associated with the rustling of nature and life. But here he is above all the magician who plays the illusion and knows how to divert the normal course of things to encourage us to perceive them differently.


Until September 22, 2019

Celeste Boursier-Mougenot, “Liquid, liquid, liquid”

François Schneider Foundation, Wattwiller


Nude Madonna by Lee Friedlander
28 Vignon Street

#PHOTOCOLLECTION Lee Friedlander photographs Madonna in 1979, when the 20-year-old pop icon worked as a model for artists. Friedlander is an undeniable figure in photography and, by refusing to respect pre-established standards, he played a major role in renewing this art in the 1970s. Since the beginning, he has applied his very personal style to a wide variety of subjects, including American society, which he immortalizes with great accuracy. The striking truth of these photographs, which he refers to as the “social landscape”, is also evident in his nudes.
The Nudes series, in which these photographs of Madonna are part of, took root in 1977. Lee Friedlander had learned about nude through his photographer friend George Krause in Houston. Back in New York, he continued this project and used new models. Madonna responds to an ad he places in a newspaper. He will say about her that she was very professional and confident. She was then just a young dancer looking to make a name for herself in New York, still far from the fame she would later become famous. According to legend, she was only paid $25 for this pose session, but the result is about ten black and white prints that are truly emblematic of Lee Friedlander’s work.
The series ended in 1991 with an exhibition at MoMA and the publication of a book. Madonna’s nudes were nevertheless published a few years earlier. Playboy magazine, in view of the singer’s growing fame, paid $500,000 to obtain the rights to these photographs and published them in its September 1985 issue as an illustration of an article entitled “Madonna, a look at our material world’s most ethereal girl – before she was a superstar”.
These photographs are a rare testimony to this period in Madonna’s life, but they are also representative of Friedlander’s work, whose innovative dimension lies in his new approach to classical subjects. Indeed, he photographs the latter by turning away from commonly accepted visual conventions and his work on the nude is particularly revealing of this approach. Many photographers have turned to painting to imitate the postures and shapes of the naked body as it was represented by the painters. Lee Friedlander, alongside photographers such as Bill Brandt and Edward Weston, is an exception and reinvents this genre with brio.
The models of the Nudes series are often photographed in their homes. This intimate and ordinary environment contrasts with the often surprising poses in which the photographer immortalizes these naked bodies. It is in these bold positions of the models that the specificity of Lee Friedlander’s photographs lies. Our eye, used to seeing passive and static women in the artistic nude, can only be disconcerted by these models with extravagant poses whose presence becomes truly tangible. Its interest lies in the real and the concrete. He seeks to produce an image of the naked body as real and palpable as possible using all the means offered by the model and the photographic medium.
This naturalistic aspect also involves a form of acceptance. Lee Friedlander is not offended by the hairiness of his models, a blue or an unsightly mole. On the contrary, it uses these elements as a tool for individualization. The visibility given to these details, usually hidden in a search for aesthetic ideals, attracted criticism. Bob Guccione, for example, the publisher of Penthouse magazine, said that he would never have published these photographs of Madonna, referring to the singer’s hairiness, which he found disturbing.
Despite this down-to-earth, even pragmatic dimension of Lee Friedlander’s nudes, they are not without lyricism. In this photograph, Madonna’s naked body is reflected on the television screen as a distorted silhouette that is reminiscent of André Kertész’s Distortion. This echo between the figure and its reflection could also bring back to our good memory Henri Cartier-Bresson’s photograph entitled Derrière la gare Saint-Lazare. On the latter, the poster of a dancer placed in the background responds with a certain poetry to the position of the man in the foreground.
Many museums around the world preserve and exhibit Lee Friedlander’s work, including the MET and MoMA in New York, as well as the National Gallery of Art in Washington. This institutional recognition also extends to the art market, as demonstrated by the Parisian sale of Sotheby’s on 10 November 2017, during which a batch of five prints of Madonna’s nudes was acquired for €33,750.
Condition Report


Press print, Gelatin silver print, printed no later than 1985.
Image size: 16 x 25 cm
Paper size: 20 x 26 cm
Publishing annotations in pencil on verso, inscribed ‘Madonna US 9.85′ in red felt tip pen and’USED’ red stamp. Printed to be published in the Italian Playboy issue of September 1985.
Playboy Archive, Italy.
Consistent with a press print having been manipulated in the publishing process, this glossy surface print shows some handling marks under raking light only.


From our special envoy Ray

#TOURDEFRANCE Until July 28, smArty will give you an image of one of the most popular sporting events in the world after the Olympic Games, the Tour de France. With Ray, who has been with us for 3 years now, experience the Tour, this cultural monument, every day with his offbeat, sometimes facetious, always sharp look. He shares with you this passion that unites millions of people, on the roadsides or behind their screens.

Welcome to the Great Loop.

“Folle Nuit Russe” by Anya Krays
Dominique Vautrin

Released July 17, 2019. It’s the end of the Yeltsin years. Life is not funny in Ivanovo: the boys go to war in Chechnya, all feel the effects of the economic and moral crisis. And they all seek meaning in their lives. In a sect, alcohol, a party, going abroad… But on that day, nothing goes as planned.

A drawing… a line! Portrait of Sarah Navasse-Miller
Marlène Pegliasco

#DRAWING She was born in 1985 into a family of master glassmakers who would pass on to her a taste for art history and figurative compositions. After a Master’s degree in Art History from Paris I, Sarah Navasse-Miller flew to the United States to study Visual Arts at the American University in Washington. Represented by the Vitoux Gallery, she also exhibited last year at the Palais de l’Institut de France as part of the David Weill Prize and at the DDessin contemporary art exhibition. These drawings with intertwined bodies are visible this summer at the Vachet-Delmas Gallery.

Marlène Pegliasco: Sarah, could you present your career path?

Sarah Navasse-Miller: I grew up in a stained glass workshop where both my parents were involved in the restoration and creation of stained glass. Since the age of 5 they invited me to propose models on which they themselves were working. At 13 years old they presented one of my proposals for the first time in a call for projects, and it was this one that was selected for a municipal dance hall. I also saw many old church stained glass panels scrolling on the bright tables of the workshop, mainly from the 16th and 19th centuries. These images fascinated me by the contrast between the monumentality of their compositions and the meticulousness of each piece of glass, painted in 3 or 4 layers of grey, and in which are sometimes hidden fingerprints of the painters, or details full of humour or delicacy invisible to the viewer 12 meters below.
So I started working in the stained glass workshop, learning drawing on restoration sites, where fragments of hands, feet or faces were eroded. For the compositions, it is the design of the lead networks that taught me a lot: these refined lines circulate through the stained glass. Beyond their structural role (holding all the pieces together), they also allow the eye to circulate in the composition, a little like Fra Angelico’s hidden geometries… In addition to this workshop work, I started studying art history that nourished me and opened me to other worlds.
Little by little, I moved away from stained glass to develop a more solitary practice of painting. I found a greater freedom than the lead work of painting on glass, and a space where my research could be more spontaneous and immediate. So I went to the United States to study at a university where I was awarded a scholarship for the Master of Fine Arts. I have worked on painting, direct observation most often, in relation to the body in its most common and strange aspects at the same time.
It was only when I returned to France three years later that drawing took centre stage in my practice. Arriving in a small studio without a workshop in Paris, I decided to unwind rolls of paper on the wall and work on the drawing as I would on painting. By limiting my means to paper, pencils and erasers, I opened a denser exploration where each drawing asked new questions, and it was with a series of works in this small space that I entered Casa de Velasquez in Madrid, an exceptional place that allowed me to gain confidence and fully develop the threads that I was beginning to follow, at which time I thought of returning to painting, but I have been drawing ever since. I realized that the painting on glass of the stained glass windows was the source of my drawings, often monumental, with a work of light and erasure.

Marlène Pegliasco: Why this predilection for the human body, very ethereal and almost ghostly forms?

Sarah Navasse-Miller: I have often asked myself this question about why the body fascinated me so much, and there are certainly several leads that I will try to explain here.
The oldest part of a vague but literally anchored memory in my body: I had a lobectomy of the lung when I was eight years old. I was drawing during my stay in the hospital, and I have a memory of something visceral between what I felt from the wound on my own body and what was going on on the page. Beyond the external form of the body, it is therefore a state of feeling, of the organic mechanism and of the awareness of what the body envelope hides that interests me.
In my painting work, it was all the strangeness and beauty of imperfections that fascinated me, the omnipresence of smoothed and stereotyped images of bodies disturbed me, and I lacked representations that sublimated the traces of time and the hidden parts or points of view of the body.
Finally, what I am working on today is the way the body speaks, even before the appearance of words, thus expressing our relationship to the world, our fears, desires, fears and joys. A detail in the shape of the shoulders, the placement of the neck or feet can affect us for almost unconscious reasons. All these aspects accumulate over the years: the visceral aspect, the ordinary and strange envelope, and the unconscious language of the body. The challenge is to renew this research and to constantly nourish it given the antecedents it has had in art history since the dawn of time!

The ethereal treatment of the bodies in my work is the direct result of the tools I use: graphite. In all cases, it is silvered and captures the light. The deepest black of an 8B will always be bright. The almost ghostly aspect makes me think of the magic of old stained glass windows that have been eroded: the greyness can be almost invisible, and only perceptible under certain lights. Time makes elements disappear and forces the viewer to pay particular attention, as he must scan the surface to look for traces that cannot be detected immediately. Erasure therefore invites a slowing down of the gaze. It also often allows to play on several readings, hiding elements in this space between appearance and disappearance.

Marlène Pegliasco: What role does drawing play in your creation?

Sarah Navasse-Miller: Currently, drawing is at the heart of my creation. By limiting my means, to graphite and paper, I pushed more doors than I imagined. At first, I worked on values, allowing to show or hide things in the glare of light or darkness. Then I played on what the drop shadows could say about things that weren’t there. I also think of the richness of the trace, of the layers superimposed as in painting, or of the erasure. Today, my attention is more and more focused on the paper’s support, shape and texture. I currently work with a wide variety of papers (in their shade, flexibility, thickness, fibre…) that I cut or tear and glue, and which work like filters or skins, or which draw silhouettes. The richness of graphite writing and textures also seems to me to be becoming more and more infinite.
I would say that I consider drawing as painting: My palette is that of the leaves I use, my materials are their natural texture or the one I give them through the layers of pencil and eraser work. I quickly noticed that I was more comfortable with large formats, and I feel like I’m just starting to learn to tame the small ones. For this reason, I think a lot about Goya’s paintings like that of the Flight of the Witches (30x40cm in the Prado) which carry within them an amazing monumentality, space and movement for such a small surface. Graphite and paper are therefore my main tools, but they feed on various sources and lead me on a path that continues to open up possible avenues of exploration.

Marlène Pegliasco: Tell us about the two exhibitions you are presenting at Galerie Vachet-Delmas in the Gard and Galerie Vitoux?

Sarah Navasse-Miller: The exhibition at the Vachet-Delmas Gallery “Homo Ludens, the man who plays” focuses on an element that was already partially present in my work: the idea of the game as a space of duality between seriousness and fiction, between fear and desire, between pleasure and danger.

Homo ludens is originally the title of a work from the early 20th century by a Dutch historian, Johan Huizinga, finding a third qualifier after Homo sapiens (man who knows) and Homo faber (man who makes). The game is described as “an accompaniment, a complement, or even a part of life in general. It adorns life, it compensates for its shortcomings, and in this respect is indispensable”. In my drawings prepared for this exhibition, it is not only the variation of a series of games that I wanted to show, but it is above all game situations that allow us to explore our relationship to the world.

1,2,3 Sun for example shows a person bent over himself hiding the eyes of both his hands. She seems to be walking on an island of organic waste. The position of the body can evoke that of Adam and Eve leaving Masaccio’s earthly paradise in Florence. The position also evokes a flight or blindness in the face of what is happening in his environment where fragments of fallen wings litter the ground. The child’s play that gives the piece its title is therefore only an entry point for a plurality of readings.

I am also interested in the sensations created by game situations. The disorientation you may feel with your eyes blindfolded during a game of Colin-maillard, the world that changes when you are hidden under a sheet, the tension or excitement when you hide and fear being betrayed by your own breath… All these experiences show how mental space transforms our environment, our body, and our relationship to the world. This is done in the game, but also in everyday life where we constantly project our fears and desires onto our immediate environment. The drawing space is then the ideal place to explore these situations: the surface of the sheet can accommodate the illusion of several realities that confront and speak to us, just as in the logic of dreams. Huizinga also points out that the word “illusion” derives its etymology from “inlusio”, meaning “entry into the game”. Drawing therefore holds an ideal place for the exploration of this theme!

Finally, another part of the game that interests me is what it reveals about the nature of the human being: Softness, curiosity, accuracy, or predation and pride closer to the Greek hybris. Huizinga speaks of an “aspiration of triumph” in man, which means that competitiveness has always been the driving force behind the evolution of history. In my series “Le chat et la souris”, portraits of men or women are juxtaposed with birds in various and more or less realistic ways. The attraction between human beings and animals plays in this series on tensions of admiration and predation, thus underlining the animality of the man playing like a cat with his mouse.

The exhibition in Paris in November at Marie Vitoux’s will pursue some of the directions opened here. The game will always be present there with the title “On a thread”. On the other hand, it will be more about unstable fragilities and balance, directions and interruptions. I would like to add to this, in addition to the work of papers acting as thin skins, an installation integrating fragments of paint on suspended glass.
I am currently taking a few days in this wonderful village of Sauve where the Galerie Vachet-Delmas is held before returning to the workshop where I still have a lot to do to give shape to this. Maybe the via ferrata and climbing cliffs of the region will feed some of the upcoming pieces..

Portrait of a draftswoman

If you were a drawing? A drawing by António Lopez Garcia, that of a young woman lying on a shore of strange proportions.

Your favorite technique? The gum on a graphite film.

The most unusual support? In my last experiments I might mention a 4cmx6cm sheet, unusual for me who likes 2 or 3 meter formats!

“Drawing is like…”? Play. Playing to walk around without a map or GPS in an unknown place that attracts us.

From the Earth to the Moon
Lili Tisseyre

#AUCTION 50 years after the very first steps of Man on the Moon by the crew members of the Apollo 11, the year 2019 continues to celebrate this unparalleled event. Exhibitions, conferences, books and of course auctions follow one another at a steady pace to pay tribute to this moment, which is still unique in the history of the conquest of space. In Cannes, in mid-July, there will be an event sale which will present for the first time Hergé’s historic 1964 album “On a marche sur la lune”, signed by the crew Neil Armstrong, Buzz Aldrin and Michael Collins with on the cover page, in front of the illustrious signatures, another equally exceptional dedication, a drawing in blue ink by Tintin et Milou of the comic book master. the perfectly preserved album is estimated at between 8000 and 12000 euros and could fly much higher because the sale will take place on the anniversary of the first of L’ Homme, July 21. A little more than 130 lots will be scattered during this sale, unique of its kind in France and entitled like Jules Verne’s famous novel “From the Earth to the Moon”. Among other things, we will find an original copy of the novel accompanied by an autograph card of the author, a 45T “Blue Moon” stamped by Crooner Frank Sinatra and Neil Armstrong or the album ‘Walking on the Moon’ signed by the Police group, photographs of the inaugural Concorde flight, small pieces of coating of the Apollo 11 capsule put under glass. A whole series of objects and memories more or less heterogeneous but which retrace and reveal the craze and fantasy still very present for everything that touches directly or indirectly on this page of history.


If you are jaded by your travels and the banality of traditional tourist offers in the heart of summer, for a few euros, offer yourself a trip “from earth to moon” without any complexes!


The hallucinated T1&2 mountains of Gou Tanabe

#BD. Howard Phillips Lovecraft’s works, which are reputed to be unsuitable, fascinate creators who regularly rub shoulders with his texts. From Alberto Breccia and his ghostly creatures to Richard Corben and his rehearsals; from thoughtful adaptations by Mathieu Sapin & Patrick Pion to the unhealthy reappropriations by Alan Moore & Jacen Burrows, not to mention the dozens of others he inspired: the writer from Providence left a profound mark in comic strips. The mangaka Gou Tanabe embarked on the adventure in 2014 and has made his place among the best adapters of the work. And this, by taking a lot of freedom on the text, a daring bet that works.

Ki-oon, its French publisher, has chosen to start with Les Montagnes hallucinées, the most famous and inspiring text (think of Carpenter’s The Thing or Ridley Scott’s Alien) and will soon offer Dans l’abîme du temps (for September) in the same collection. An imitation leather dashboard cover, medium and dense format, this “Lovecraft masterpieces” collection is positioned from these first two volumes as heritage works benefiting from the writer’s notoriety and the virtuoso graphic style of mangaka. The Moloss, The Colour Fallen from the Sky (the scariest news I think, and you can trust me, I received them all recently) or The One Who Haunted the Darkness have already been published in Japan and we imagine their coming to us soon in front of the success of the first volume of the hallucinated Mountains.

If The Call of Cthulhu, Lovecraft’s other great narrative, is being adapted in Japan, Gou Tanabe has enough to experiment with the Pope’s complete work of unspeakable horror. A good starting point for the Mountains, whether you know Lovecraft or not, because it is one of his most dense texts, which offers a great adventure, a very gloomy mystery, a cosmogony by line and a vicious ending. Perfect then, embark for the South Pole, between white desert and black mountains, on board a scientific mission that will fall on an unknown civilization, with a busy past that could return to the present..

With a surgical style, a very technical and detailed feature and a sober staging, he managed to put in image the anguishing atmospheres, the heavy atmosphere and the unease that emerges from these texts. Its rather classical layout, coupled with a staging where it alternates details and grandiose double pages, allows it to give a literary tone without stylistic effects that would blur the narrative. Accustomed to horrific manga, he plays on silences, waiting and transitions to keep us on our toes and concentrates his energy on restoring creatures and landscapes, between realism and the necessary blurring: the great challenge of adaptation. With great precision, he managed to reproduce Lovecraft’s grandiloquent climbing in the decorum and presentation of the premises and found interesting ideas in the characters’ designs without showing too much.

A good choice if you like horror or fantasy stories, if you want to introduce someone close to you to the world of Lovecraft or if you want to rediscover some of the pleasure of this long story. We are waiting for the next volumes to see how the mangaka manages with the rest of the writer’s mythology.

Thomas Mourier

Les montagnes hallucinées T1&2 de Gou Tanabe, Editions Ki-oon

Bubble Click and collect

“Lifelines – an exhibition of legends” at Mac Val
Patrice Huchet

#GRANDPARIS Eighty artists of different generations and practices gathered in an exhibition to express their identity and whose artistic gestures shape the fabric of “Lifelines – an exhibition of legends” at Mac Val.

The exhibition is part of a Mac Val programming line that aims to question the modalities and instances of identity construction, or more precisely, identities: social, gender, cultural. For “Lignes de vies – une exposition de légendes”, it is to more intimate and personal territories that we turn. While questioning the different constitutive elements of civil, social, sexual, political, artistic, digital, virtual identity, the collected works make autobiography and biography a raw, plastic material, generating a reflection around identities, staging and self-building.

All the works in this exhibition deconstruct, analyze, criticize or question the phenomena and processes that shape and legitimize identity/identities. Far from a narcissistic or self-centered gesture, artists rebuild and propose, more than new identities, chosen identities. Identity is a fiction, a web of intertwined narratives and intertwined narratives. A construction made of many aggregates. It is social and the multitude of “you” defines the multitude of “I”. There may be a reappropriation of these “I’s” and making them a game, a plastic, modular, fluid material, outside the assignments.

“Lifelines – an exhibition of legends”is organized like a rhizome, there is no head. Whatever the meaning of the visit, we are witnessing the deconstruction of the different identity processes. Each module dissects the constituent elements of identity and groups together works that address the same themes or questions. Here identity is not only defined by self-portraits, it is also the invention of an alter ego, the question of the body, the mask, the face, the proper name, the infiltration of systems, the body and the world..

Is proof of existence an identity card? Proof of sexual and civil identity. Is she an artist’s bio? Synonymous with social recognition and legitimacy. Is it the trace or the vestige of memory? Photographic or film memories? A pile of agendas from eleven years of a busy life? A TV appearance? Can existence be the object of contractualization, of bartering? Can identity be the object of usurpation? Are identities subject to representation games? All these questions and many others are addressed in this exhibition. Beyond the physical, chemical and societal criteria that define existence and identity, more complex phenomena interact and identity can become an object of narrative and transformation, a fictional matter. All identities are then possible

With the works of Soufiane Ababri, Art Orienté Objet, Paul Auster, Joël Bartoloméo, Pauline Bastard, Taysir Batniji, Sadie Benning, Karina Bisch, Christian Boltanski, Daniel Bosser, Édouard Boyer, Candice Breitz, Genesis Breyer P-Orridge, David Brognon & Stéphanie Rollin, Jean Brolly, Elina Brotherus, Émilie Brout & Maxime Marion, Sophie Calle, Philippe Cazal, Ludovic Chemarin ©, Leo Chiachio & Daniel Giannone, Claude Closky, Steven Cohen, Beatrice Cussol, Sépànd Danesh, Edi Dubien, Elsa & Johanna, Raphaël Fabre, Simon Faithfull, Esther Ferrer, Jakob Gautel, GRAND MAGASIN, Joseph Grigely, Joël Hubaut, Ilanit Illouz, Princia Itoua, Janez Janša, Lydie Jean-Dit-Pannel, Michel Journiac, Paul Kindersley, Arnaud Labelle-Rojoux, Matthieu Laurette, Leigh Ledare, Édouard Levé, Claude Lévêque, Ariane Loze, Kristin Lucas, MADEleINe ERIC, Roberta Marrero, Annette Messager, Aleksandra Mir, Pierre Moignard, Jacques Monory, Tania Mouraud, Valérie Mréjen, Zanele Muholi, Antoinette Ohannessian, ORLAN, Cécile Paris, Philippe Perrin, Grayson Perry, Françoise Pétrovitch, Abraham Poincheval, Laurent Prexl, Prinz Gholam, Hubert Renard, Santiago Reyes, Colin Roche, Damien Rouxel, Sandro, Jim Shaw, SMITH + URS Cell, Tsuneko Taniuchi, Philippe Thomas, Unglee, Hélèna Villovitch…

“Lifelines – an exhibition of legends”
Group exhibition from March 30 to August 25, 2019
Police station: Frank Lamy, assisted by Julien Blanpied and Ninon Duhamel

MacVal – Musée d’art contemporain du Val-de-Marne
Liberation Square
94400 Vitry-sur-Seine

Alain Fleischer: “The image that returns”
Michel Gathier

#NICE Through its involvement in reality and the interpretation it gives of it, the image is a form of the imagination through which our consciences and the world are built. Alain Fleischer is the poet. He explores all his potentialities from a reflection on his materiality and his relationship to the sensitive. This game then allows all the fantasies as long as the image is captured as close as possible to its chemical source, in the bath of the film where the figure appears or in the negative that precedes the projection. Photography, video or cinema, all these devices work to trap the image, to make it speak differently through the rebound of irony or poetry. Everything is done to highlight its illusionist character, not through an intellectual or theoretical approach but through the pleasure of experimentation and for the effects of wonder it arouses

Also Alain Fleischer he declines in the rooms of the Musée de la Photographie series of very diverse works that illustrate this “returning image”. Back to the original components of the image which, by mirror effect, offer another look at its construction and lures. A whole range of clever devices confuse the viewer. The blades of a fan set the image in motion or, from a monstrous algorithm, cacti or sofas metamorphose into hybrid creations and take over space. Elsewhere, the artist sensually takes up the naked female bodies of classical painting to place them in another context and for another reading that, always, track down the traps of the image and, by sliding, reveal its negative, a new meaning, a mysterious beauty

Alain Fleischer takes hold of all the corners of our imagination and mythologies to reinvent life. He loves risk, adventure and for him, even failure can turn into a miracle. He exacerbates a dark light with shards of light or dark skies, he refuses to accept flat superimpositions of images but does not hesitate to project them onto a body so that they embrace the living in a fascinating story Photographer, filmmaker and writer at the same time the artist clears our dreams by inventing new mechanisms, by not forbidding anything. The poet remains the one who explores unknown lands.

June 14 -29 September

Alain Fleischer: “The image that returns”

Nice Photography Museum

“Inna de Yard” by Peter Webber
Dominique Vautrin

Documentary. Released July 10, 2019. On the green heights of Kingston, Reggae legends gather to record a record. More than thirty years after their golden years, they are about to go back on tour around the world. INNA DE YARD tells the story of the human adventure of these singers who, in addition to embodying a mythical and universal musical genre, thrill the soul of Jamaica.

Who’s the boss?

From our special envoy Ray

#TOURDEFRANCE @letourdefrance 2019 never stops surprising us and revealing new talents! So who’s the boss then?

Until July 28, smArty will give you an image of one of the most popular sporting events in the world after the Olympic Games, the Tour de France. With Ray, who has been with us for 3 years now, experience the Tour, this cultural monument, every day with his offbeat, sometimes facetious, always sharp look. He shares with you this passion that unites millions of people, on the roadsides or behind their screens.

Welcome to the Great Loop.

A drawing…a line! Portrait of Jennifer Caroline Campbell
Marlène Pegliasco

#DRAWING “My dynamic practice relies on a playful and inventive approach to materials”. The daring art of Jennifer Caroline Campbell, British artist living and working in London, is transformed into a contemporary landscape inspired by material elements. Halfway between isolated work and object design, the artist reveals funny and colourful practices. She is focused on temporary identity, with paint lending a flashy surface to the everyday material that she uses as a canvas. Jennifer has presented her work “Bivouac” at Versailles in 2011.

Marlène Pegliasco: Could you speak about your background?
Jennifer Caroline Campbell: I was always making and drawing. Painting fell out of my life when I was about 12 and came back in when I was about 24, at first only as a surface layer for my sculptures, a coloured liquid to slather onto things and then later, while I was studying painting at the Slade School of Art, painting became more developed. At present painting, drawing and sculpture are all entangled in my practice, with drawing often providing a starting point and then painted line re-occurring in a transformed state, in the final works. Most recently I’ve also been writing fiction. Sometimes the fiction expands and develops a theme that I am exploring through my making and painting. For example, in a recent group exhibition titled ‘Beauty Salon’ (at the Alison Richards Building, Cambridge University) I released a short story in a zine, along side a group of installed sculptural and painted works.

Marlène Pegliasco: What place does the drawings have in your creation?
Jennifer Caroline Campbell: The immediate and throw-away nature of drawing allows me to be catch small things that might not seem important at first. A blank piece of paper can lead to an infinite number of un-predicted outcomes and this phenomenon, which proves itself to me over and over, is energising. I take a small rough notebook with me everywhere to make drawings in, therefore each drawing, whether it is from observation or invented or both, reflects the moment of its creation: my state of mind and surroundings. Identity is a very fluid thing to me and I feel that I am perpetually becoming a different self at each moment. In this way a drawing
becomes a marker within this changing self. But of course the drawing goes on to transform on its own path, often beyond recognition.

Marlène Pegliasco: Why this predilection for figurative?
Jennifer Caroline Campbell: My work is about the human experience, in particular the sensation of being an individual entity and being tied to a disintegrate-able flesh. I am aware that I am separate from the exterior world: landscape, time, other. But equally I am enmeshed and formed by these exterior structures. I use my work to re-imagine the expectations of identity and so my use of the figure embodies this exploration.

Portrait of a draftswoman:

If you were a drawing? I would not remain in one singular drawing but move restlessly between many drawings and other objects too, transforming perpetually.

The most unusual support for creating? Although I paint onto odd materials, it is not their oddness that I choose them for, it is there appropriateness for what I am doing. I use
polystyrene, old cardboard and other discarded items and often I come across them by chance. The materials I select symbolise a kind of shoddy matter, the chance-formed body
upon which we build our selves.

Drawings are like…Un-thought thoughts that expand greedily.


When Fellini dreamed of Picasso

#PARIS “When Fellini dreamed of Picasso” is the new exhibition proposed by the Cinémathèque Française. A unique opportunity to show the public the deep admiration Fellini had for the painter. Throughout the scenography, the pieces interact and resonate, revealing, not without a wink, the affinities that unite the two masters beyond their respective medium. We are witnessing crossovers of subjects that Fellini shared with Picasso such as women, sexuality, circus, dance, bullfighting. By penetrating their mental space in this way, the exhibition provides a better understanding of the creative processes common to these two sacred monsters of art.

From April 3 to July 28, 2019

When Fellini dreamed of Picasso

The French Cinematheque


Yellow Power

From our special envoy Ray

#TOURDEFRANCE Hold me close and hold me fast…The magic spell you cast…This is la vie en yellow! Behind each great champion often hides a companion with nerves of steel who comes out of the shadows and shines on the evening of victory!

Until July 28th, smArty makes you experience in images one of the most popular sporting events in the world after the Olympic Games, the Tour de France. Ray, who has been with us for 3 years now, will make you experience this cultural monument with an offbeat, sometimes facetious, always sharp look to make you love and share with you this passion that unites millions of people, on the roadsides or behind their screens.

Welcome to the Great Loop.


Sculptures “Supernature” by Pablo Reinoso at the Polygone-Riviera
Michel Gathier

#NICE These are those moments when everyday objects escape from space, underline it or upset it, take on a function other than that assigned to them or transform it for another destiny. Moments when the object and nature merge or stretch for the unusual appearance of a work of art.From nature to the supernatural, is there only the gesture of the artist? It is he who, here, sets up this thwarted time between the agitation of a place and the rest, the contemplation to which the walker aspires. The bench is this functional object that has become for Pablo Reinoso an emblematic form. It is intended to welcome the body’s rest, its daydreams. But it continues with growths wrapped around them as if they were coming out of the ground or flying away with aerial vines. The dream is thus made of an anxious interiority and an aspiration to a happy solar elevation.

Painted steel sculptures, if they often develop from the frame of the bench, can take on other forms always in relation to nature as in “The Thing”, an arachnid work, emerging from the ground in the trouble of blossoming full and empty. The sculpture becomes vegetal, enigmatic. She breathes and finds her autonomy in the imagination of the passer-by and through the choreography she deploys in her scarves of light and the place where she rests. Elsewhere, on a body of water, “Talk” is this conversation between steel, water and the sky. She engages in the exchange, the unknown of words and things.

Essentially minimalist, the work of the Franco-Argentine artist encourages us to contemplate. But above all, it imposes its intimate life made of volutes and curls that widen the object to other possible ones, project it towards the infinity of space. Where are the traces of nature, the multitude of consumer objects? Where are we in all this? The work of art is always an answer to our wandering thoughts. Pablo Reinoso confides in us in the living matter of his sculptures.

From June 19 to October 17

Pablo Reinos, Supernature

Riviera Polygon


Tom Tirabosco’s wild woman

#BD A strange fable that resonates with current events, Femme sauvage looks at several phenomena that are very present in the media, the relationship of the individual to the state & deprivations of freedom, the possible end of the world & survival or even modernity & the desire to reconnect with nature. Through the rebellion of this young woman who decided to rally the mountains from the Yukon to Canada because the civil war is raging in the United States. A difficult journey that she will follow with her copy of Henry David Thoreau’s Walden, the great thinker of nature and civil disobedience of the 20th century.

A story of anticipation that starts like an escape, and that will lead the heroine to discover herself, to rethink her relationship to the world in the middle of the woods. She manages to survive, takes her habits (we think of Jon Krakauer’s contemporary novels Into the wild or Celine Minard’s Grand Jeu) but the forest is not a safe place and very quickly she sinks further to escape her fellow human beings. Human danger, drones, bears, nightmares, loneliness will be his daily life until he meets a figure that seems to have lived in the forest for a very long time. We won’t say any more so that you can meet yourself…

The drawing with greasy pencils and charcoals offers a particular atmosphere to the story. This absence of a ring allows the designer to create superimposition effects or dreamlike plates only by varying his line. The black & white and this choice of a thick line leave room for imagination and the whole album, interspersed with visions, is an invitation to reverie. The book is dense but not very talkative, nature and its inhabitants occupy a large place and some passages are contemplative and the plates invite you to take a stroll by their choice of frames.

This new book can be compared to a precedent made with the scriptwriter Pierre Wazem, la fin du monde, who was also interested in the fate of a young woman struggling for her survival. In a world that she discovers as she goes along and that hides far more than we think. A fantastic intimist in both cases, with for Wild Woman a reflection on the present from this committed author and a glimmer of hope in this dystopic universe.

Thomas Mourier

Wild Woman by Tom Tirabosco, Futuropolis Publishing

Bubble Click and Collect

Arles Photo Festival: Back to the future
Lili Tisseyre

#ARLES Hat, water bottle, sunscreen: the essential allies to face these new “Meetings of Photography” in Arles. Under the overwhelming sunshine of this early July, you will need to arm yourself with freshness to explore the 50 exhibitions specially concocted in tribute to these 50 years of discovery, creation and revelation. Celebrating half a century is as much about taking stock of the actions undertaken as it is about looking forward to the next half century. Combining great masters and promising young people, these 50e edition will have surprised us again with selections and themes as much historical as current

How to find your way among these rich proposals? With the smArtyGuide of course, which also gives you some addresses of beautiful shaded terraces to (re)settle down, and to our selection of 5 exhibitions not to be missed without any pretext!


Have a nice festival!

Eglise des Freres Precheurs: Datazone by Philippe Chancel 
The French photographer explores the environmental question and the survival of the humananity in this world that it is rushing towards self-destruction, in the four corners of the blue planet. The hanging and the different formats place the viewer at the centre of a sad and inevitable reality. On the ground are marked the geo-localization points of the countries covered (Nigeria, Haiti, Sudan, Kazakhstan…)

Croisiere: Destroyed House by Marjan Teeuwen  
The fragments of these sad ruins make up new structures within their original buildings. These piles of stones are similar to piles of books. An ephemeral installation which, once again destroyed, will only exist on photographic paper. Beyond the human drama, the Dutch photographer Marjan Teeuwen raises the question of a social and identity-based reconstruction of a history torn away by destructive and inhuman power.

Eglise de la trinitaine: A whole story! Arles 50 years old , group show
A historical exhibition that traces 50 years of Encounters. What a pleasure to see pictures with the founding fathers, archives that show the evolution of the programming. A fascinating dive that retraces a singular history of photography. The exhibition offers some nuggets as a photograph of showing the porch of the Roman church of St. Tropez without a human soul. Unreal!

Chapelle de la Charité:  Aedicula by Claudia Passeri 
On large displays, facing the monumental marble altarpiece of the chapel, the images of Claudia Passeri form a cabinet of curiosity. Born in Luxembourg, the photographer raises the question of the status of the image, its aspects, its lies and truths. So much information kept and forgotten at the same time.

Mécanique Générale: Painted Ladies, Valerie Belin 
Her approach to the female face, between icon and diktat, is troubled by a strange irrationality. The French artist explores the clichés of female beauty through a series of works photographed and then digitally painted. Questioning the aesthetics, these faces, of which we do not know if they are real women or plastic models, are striking of a pure beauty, posing on the surrounding world their strange gaze so that from silent dialogue without blush emerges the opening to the other

Bonus: “Cathedral”, art intsallation of Yann Pocreau at Croisiere, immerses the spectator in a mystical aura. It is a strange wandering to cross this devastated architecture where a twilight light floats and where the dust in suspension brings an unreal character, suspending for a moment the effervescence of the Encounters to offer a few seconds of serenity.

“For the fallen soldiers” by Peter Jackson
Dominique Vautrin

Documentary. Released July 3, 2019. Between 1914 and 1918, a world conflict forever changed the course of history. The men and women who participated did not live in a silent, black and white world. So take a trip back in time to relive, as if you were there, this major moment in history.