Astypalea – that sounds like the name of an exotic plant. It could also be a sore throat remedy. But it’s neither one nor the other, but a small Greek island in the southeastern Aegean Sea, off the Turkish coastline. 96 square kilometers, inhabited by 1,334 Greeks. Almost 1,500 motorized vehicles roll over 70 kilometers of paved and 120 kilometers of unpaved roads. But if everything goes as the Greek government and its German partner imagine, a “laboratory for electromobility” could be created here in cooperation with Volkswagen. What nonsense.
It is not the great return of painting that the 20e edition of the Marcel-Duchamp Prize, awarded to the Pompidou Center, but rather armfuls of colorful flowers, fragile symbols of fragile decolonization. With Flowers for Africa, the Canadian Kapwani Kiwanga is the 2020 winner of the private collectors’ prize, with a poetic and political work …
Started during a residency in Senegal in 2013, this project is inspired by the floral decorum present during the negotiations and independence ceremonies of African countries. The artist found archives with photos of speeches and parades to reproduce the wreaths and bouquets, natural plant material, full of colors and vitality, paradoxically promised to rot. The moving, vulnerable history, which quickly fades and is reborn, that is what interests the Franco-Canadian, trained in anthropology. “It is important for me to highlight in my work the personal dimension of my approach to history. I am above all a reader. An interpreter ”, Kapwani Kiwanga explained during an exhibition at Ferme du Buisson in 2016.
Presented at the Marcel-Duchamp Prize by the rapporteur Emanuele Coccia, philosopher, the career and the achievements of the 42-year-old artist impress: Kapwani Kiwanga wins many prizes and attracts the interest of the most prestigious institutions, such as MIT in Boston . Born in 1978 in Hamilton, Canada, to a Tanzanian father, Kapwani Kiwanga studied anthropology and comparative religion at McGill University in Montreal. Originally a documentary filmmaker, she gradually invested her subjective anthropology in the field of visual arts and nourished her art “Forgotten stories”, stories that underpin contemporary geopolitics.
Work from the series “Flowers for Africa”. Photo Centre Pompidou. ADAGP. Courtesy the artist and galerie Poggi
Arrived in France in 2005, she entered a post-diploma at the Ecole des Beaux-Arts in Paris, went through Le Fresnoy and followed residencies in the Netherlands and La Box, in Bourges. His interest in history and anthropology then takes the form of installations, sculptures, photographs, videos or performances. At the Dubuisson farm, in 2016, she was interested, for example, in the material traces of the insurrection of the Maji-Maji between 1905 and 1907 against the German occupiers in Tanganyika (now Tanzania), a revolt little known and repressed in a bloodbath. Noticed in Canada since she won the Sobey Art Award in 2018 (the equivalent of the Duchamp in Canada endowed with 100,000 dollars) Kapwani Kiwanga is also the winner of the Frieze Award Artist in New York. Despite the enthusiasm for his work, most of the artist’s exhibitions have been postponed due to the health crisis. We can nevertheless see his syncretic project Nations at the Poggi gallery, which presents his third solo exhibition, alongside the exhibition at the Center Pompidou for the Marcel-Duchamp Prize.
On CNews, the French philosopher has advanced an enormity about the coronavirus. This did not escape the journalist on the set, nor the Internet users who hijacked Michel Onfray’s assertion via the hashtag #JoueLaCommeOnfray.
On CNews, Michel Onfray showed that he did not really master the name Covid-19. On set against Laurence Ferrari for the morning show of October 14, the French philosopher made a mistake … which was not pinned on social networks until Monday, October 19. He believed that the management of the coronavirus should be made easier by the experience we have with previous viruses.
« There, we are in an emergency, so we tinker. We say good, Covid-19 is that there have been 18 previously. We will see how those worked “, He blurted out. There, Laurence Ferrari reminded him that if the Covid-19 is called that way, it is in relation to the year 2019, and not to a 19th version of the Covid. The philosopher recovered: “It was 2019, was it the year? But anyway, there were others. I believe SARS is part of the Covid, if I understand correctly. You tell yourself that it existed, it was taken care of ”.
Too late, as the Huffington Post pins. On Twitter, many Internet users reacted to the hashtag #JoueLaCommeOnfray and hijacked Michel Onfray’s assertion. And the least we can say is that they amused the gallery. Small top 10 of the best valves pinned on the web.
Dhe earth trembles. A dull rumble and a cloud of ash herald something ominous. A huge explosion follows, which rips apart the top of a volcano with a deafening bang. Lava rock the size of a truck flies towards the viewer, glowing red streams, murderously hot, roll over the land, into the bubbling sea.
What follows are tidal waves as high as a house, which sweep over the sea at breakneck speed. Instinctively you raise your arms to protect yourself from the elemental forces, that’s how realistically you experience the apocalypse today, which destroyed all life on Thera three and a half thousand years ago.
Thera – that’s what Santorini was once called. For a year now, an Atlantis museum has been welcoming visitors to the Greek Aegean island, which it claims to be the first in the world. It is equipped with the finest high-tech.
The Atlantis Museum explains Thera
In a cinema with 3D film material, visitors sit on hydraulically operated chairs and can enjoy even more: water splashes out of the armrests. When entering the “Lost Atlantis Experience”, as the museum calls all of its illusionary magic, you have to make your way over virtually glowing lava rocks.
At the end of the Feuerstraße you will find a touchscreen on which you can follow Plato’s life. The world-famous Greek philosopher reported on Atlantis for the first time around 360 BC in his late works “Kritias” and “Timaeus”.
A few meters further, Plato comes to life. As a projection, it answers questions from museum visitors. Shortly afterwards you stand in front of rotating holograms that trace the geological development of Santorini from prehistoric times to the present in three dimensions.
The viewer learns about research results from 1989. According to this, Thera looked surprisingly similar to Plato’s Atlantis image 3600 years ago: a hill surrounded by rings of seawater and earth. On the upper floor, a huge Atlantis diorama provides insights into the daily life of the residents.
At the end of the exhibition there is a reality check: Plato’s descriptions are compared with the reality of Santorini using examples.
After the beach to the archaeological site of Akrotiri
The similarities with Atlantis have not stopped Giorgos Koukoulas since he came to the island 13 years ago. In 2012 he wrote a novella with “Atlantis will never go down”. Seven years later his dream of a museum came true, which he and five friends had planned and financed himself; today he is its director.
“Plato wanted to embed his idea of an ideal state in a real environment,” he is sure. “With its highly developed culture, its geological features and its dramatic history, it is very obvious that Santorini and the surrounding islands are the origin of Atlantis.”
If one goes in search of evidence that supports this thesis, a holiday on Santorini can also be a journey of discovery outside the museum. The first stop is the archaeological site of Akrotiri.
Bathers who relax in intense sunshine in the 20 degree warm water on Red Beach until the end of October like to combine their beach stay with a walk through the nearby archaeological site, where a city reached the height of its culture in the Bronze Age three and a half thousand years ago. Plato saw Atlantis sink in his work through earthquakes and floods, Akrotiri was also destroyed by an earthquake around 1620 BC.
A society as described by Plato
In 1967 the excavations began in Akrotiri – which will drag on for many years. However, the work has been very insightful so far. The roughly two hectare part of the archaeological site that has been exposed so far provides information about a society as outlined by Plato as a “great and wonderful empire” in his works.
Wall paintings show a civilization shaped by trade and seafaring, which at that time was far ahead of its time. Currently they are hidden from visitors, but mostly still in the museum’s magazine. Particularly noticeable is the frieze found in the so-called West House with an armada of ships, which comes very close to Plato’s description of “The largest port teeming with ships and merchants”.
When walking through the alleys of the 3600-year-old city, one can hardly stop being amazed at the techniques that people already had at their disposal. Houses up to three floors high, cantilevered stairs, sewers, cobblestone streets, bathtubs and toilets in the buildings illustrate the prosperity in the city, which is so well preserved under volcanic ash, that is otherwise only found in Pompeii or Herculaneum. Plato had also reported on canals and bathhouses in his “Kritias” dialogue.
When hiking on Santorini you can see the stones
Unlike in Italy, no human remains have been found in Akrotiri so far. Archaeologists suspect that in the face of increasing earthquakes, people saved themselves on their ships from the great volcanic devastation. It is unlikely that they could escape the lava flows and sea waves up to 30 meters high.
Museum guide Eugenia Liodaki considers another explanation: “The residents of Thera were used to earthquakes. Perhaps they only evacuated the city temporarily. ”Bed frames in front of the uncovered houses indicate that clean-up work began after the earthquake. Obviously, the population was not ready to give up the prosperity achieved through trade and seafaring and the fertile soil of volcanic origin.
There was also plenty of building material on the island. Once again there are parallels to Plato’s Atlantis, whose inhabitants built “towers and gates” from it. “The stones for it,” he wrote, were “partly white, partly black, partly red” – typical stone colors for a volcanic island.
On a hike from Oia in the north of Santorini to the island’s capital Fira, the black and white layers of rock on the cliffs can easily be made out. The cliffs themselves are covered with a sea of whitewashed houses as if they were snow-covered.
The color contrasts are the black volcanic pebbles of many island beaches, the most beautiful Santorini can be found near Perivolos. Imposing red rocks can be found on Red Beach or on the way from Oia down to the port of Ammoudi.
So far, however, archaeologists have not come across traces of the Temple of Poseidon, whose location Plato established in the center of Atlantis. The islands of Nea Kameni and Palea Kameni are located in the middle of the crater, which is now filled with seawater, the remaining rim of which Santorini is semicircular. Some of the hot springs praised by Plato bubble there.
If you sit on a restaurant terrace in Oia or Imerovigli with a glass of local Assyrtiko wine on a mild autumn evening, the islands enchant you in the light of the setting sun. Myth and reality slowly merge in front of the orange, then deep red horizon, which inevitably stimulates the imagination.
Tips and information
Getting there: From Berlin, for example, with the Greek airline Aegean, stopover in Athens. Lufthansa flies non-stop from Frankfurt, and Condor from Düsseldorf. For entry by sea, air and land, there is an online registration requirement due to Covid-19. An online form (“Passenger Locator Form”) on the travel.gov.gr website must be completed at least 24 hours before departure for Greece.
Accommodation: From the “Mystique Hotel Santorini” in Oia you can enjoy a spectacular view of the crater, a night in a double room costs from around 320 euros, depending on the season and the offer (mystique.gr); It is cheaper to stay in the “Heliotopos Boutique Hotel” in Imerovigli, double rooms from 165 euros (hotel.heliotopos.net); The “Istoria” is located directly on the beach of Perivolos near the archaeological site of Akrotiri and the Atlantis Museum, double rooms from 260 euros (istoriahotel.gr).
Lost Atlantis Experience Museum: The museum is located in Megalochori in the south of the island; admission is normally 12 euros, children from 6 to 12 years pay 6 euros. Due to Corona, you have to register and inquire about opening times (lost-atlantis.com). Closing time in the low season from November to the end of April.
Akrotiri archaeological site: The archaeological site of Akrotiri is open daily, entrance fee 12 euros (santorin.gr/akrotiri.php).
Information desk: discovergreece.com/de
Participation in the trip was supported by Marketing Greece. You can find our standards of transparency and journalistic independence at axelspringer.de/unabhaengigkeit.
Here is a book which should be addressed urgently to the philosopher André Comte Sponville, who proclaims on all television sets his indignation at a society which strives to protect the old to the detriment of the young. With the night traveler, Laure Adler puts forward nicely, at the end of a four-year survey conducted among famous people (Mona Ozouf, Annie Ernaux …) as well as unknown (s) all the wealth represented by the “old” and , paradoxically, the little regard that is made of them, even their invisibility over the years. His book must strike a chord since it is a hit in bookstores.
1 – From when are we old?
This is the point. We all know 30-year-olds and 86-year-olds, but we have to admit that the reverse is also true. Anyway, as Laure Adler says “We’re always someone’s old man or woman. You might as well prepare for it ”. The writer / journalist / producer / editor, whose work bulimia undoubtedly hides, at the age of 70, an immense fear, not of aging but of disappearing in the eyes of others, of being discarded like a faded sweater whose we would forget the infinite sweetness (and we can understand it), keeps revolving around this question. Quoting Chateaubriand who, “At the age of twenty-seven saw his youth fade away for good”, Flaubert who, “On the day of his thirty-six years, he discovers himself as an old man”, or Hugo who said “Forty years is the old age of youth, but fifty years is the youth of old age”, she says: “Being old – because it is an objective reality that no one can dispute – is not to be confused with our perception of it. It is in this sense that there exists for me what I call the feeling of age. “ In other words, we can have several ages within the same day depending on what we are going through. We console ourselves as best we can.
2 – How do you get old?
The other day chatting with a young colleague, we let it slip that for nothing in the world we would not wish to go back to our 20s or even to our 30s, we were much better today. “It is indeed an old man’s remark”, he retorted. And that’s how you get old. “Gaining age as they say gain weight”, writes Laure Adler, recounting how, when she found herself unemployed at 53 years old and pointed every week at Pôle Emploi, her interlocutor had one day come to look for her in the queue where she was waiting, smiling on her lips, to tell her this “good news” : “Since you have worked uninterruptedly since you were 18, you can retire at full rate next week!” Laure Adler had started to cry. Suddenly she had felt old, good to be taken off the shelves.
3 – Who is this book for?
In fact, it is aimed more at the young than the old. Old people “know” all this, they can read this book of course because it is charming, but then on a sunny day or on a date. Young people cannot imagine the vitality and the taste for life of some old people, this book will teach them a lot. And then they will love the refrain of this song by Brigitte Fontaine that Laure Adler likes to listen to on repeat: “I am old and I fuck you / With my dragonfly look / I am old without faith or law / If I die it will be for joy.”
The Night Traveler Grasset, 224 pp, 18 € (ebook : 13,99 €).
Seghir Lazri works on the theme of the social vulnerability of athletes. In this column, he sifts a few clichés of sport through the social sciences. How the social explains sport, and vice versa.
Adapted from the concept show Survivor appeared at the end of the 90s on the Swedish channel SVT1, Koh-Lanta is one of the oldest and arguably the longest-lasting reality shows. If according to the audience results, confinement has helped to “boost” this show, its longevity is based on other factors, in particular on what makes the essence of this television show, namely sports performance.
A world of athletes
During confinement and therefore the cessation of sports competitions, the sports magazine SoFoot had fun rating the contestants at the end of each episode, as he usually would for a football game. Even if the approach corresponds to the quirky spirit of the newspaper, it is not trivial and illustrates an interesting aspect of the show, its sporting dimension. Since on closer inspection, Koh-Lanta, it is also a sports show. Hubert Auriol, the first presenter of the show was a former rally driver (winner of the Paris-Dakar), but also a sports journalist, just like of course, the “flagship” presenter, Denis Brogniart, who studied at the within the sports services of many media (Europe 1, Eurosport, and TF1) and does not hesitate to return, on certain competitions, to this role of journalist.
Alongside this television figure, many candidates lead or have led high-level careers, here we think of the winner of last season Naoil Tita, former boxer, or the professional handball player Hadja Cissé and Matthieu Blanchard, the ultramarathoner recently dropped from the show. We can also add to these official athletes, a long list of participants working in the sports sector, such as coaches. In addition, the sporting trajectory of the candidate for the special season (2020), Claude Dartois, record holder of events in the history of the show, and icon on social networks, also reflects the image of the complete and multisport athlete. whose remarkable performances (trails, climbs, etc.) fit into other frameworks than that of institutional sport. Its success and popularity can be explained by the fact that it highlights a social phenomenon at work in recent years, namely “The loss of the monopoly of sports federations on new methods of practice” of sport, as sociologist Patrick Mignon noted.
Read alsoAll of Seghir Lazri’s “Sociosports” chronicles
Other essential elements of the program illustrating its sporting dimension are the collective and individual events. They must call “To surpass oneself” (as the presenter likes to point out) and respond in every way, through their theatricalization, to what constitutes spectacle sport, since, as the researcher Pascal Duret noted, about this social notion: “What ingredients does the recipe for success consist of when you envision it sitting in the stadium stands?” It undoubtedly requires merit and knowing how to pull out of the game while remaining collective, but it also takes luck, and if necessary a little cunning. “
Heroes more than champions?
Koh-Lanta is in fact, like an adventure, more than a competition. Indeed, the show takes place on a desert island, automatically referring to the archetypal universe of the character of Robinson Crusoe and its variations. It is a question of survival and social connection with the other candidates. Nevertheless, all of this always remains linked to the trials (winning in order to be able to eat, winning so as not to have to be eliminated by others); the notion of effort and sport remains central in this adventure. Since, as evidenced by the thought of sociologist and philosopher Alain Ehrenberg, sport “Constitutes the main vector and the basin of attraction of a diffusion of the culture of heroism”. For the candidate to marry the figure of the hero, he must demonstrate athletic skills, both physical and psychological, in particular by being autonomous and entrepreneur. The adventurer must manage his health (his needs) as well as his involvement in a social group, while knowing how to take risks. In this regard, the moment of advice which closes each episode is there to recall these imperatives, the one who is too weak physically, who does not participate in the cohesion of the group or has not taken a strategic risk by making an alliance by example, can pay for it by elimination.
For all these reasons Koh-Lanta is also a sports show, mainly because the concept of adventure is based on values specific to sport. But through this sportivization of reality TV that this show represents, we can see a mirror of our society, where we ask individuals, despite a rapidly changing labor market and a crisis of the welfare state, to be more autonomous and more responsible for their existence. Has society therefore become a hostile universe?
“When we found out that he was at the end of his contract last year, we immediately thought of him”, explains with an almost surprising aplomb Cédric Vasseur, manager of Cofidis, one of the oldest teams present on the tour but orphan of victory for twelve years. What was going to bring to a big stable, playing every year its survival with its sponsor, this good Norman climber not very well known, born in the bocage adorned with parents teachers of theaters and aikido?
A dissertation on Nietzsche and sport
During the last four years spent with Wanty-Gobert, a modest but very popular formation in Wallonia, the boy, not so young in view of the new habits of a peloton seeking its winners in 20-year-old kids, had indeed brandished a few pretty bouquets in secondary races. But not enough to lift mountains. “It was his recent progress in the mountains that interested us”, continues Cédric Vasseur. A closer look at the honor roll of the Grande Boucle, we see that the modest Normand finished 23e in 2017, 21e in 2018 and a pretty 12e place in 2019. “We also needed a real human leader, a guy capable of leading others, of boosting their morale, and there, Guillaume, there is no better …”
→ DOSSIER. Tour de France 2020: all the information to follow this 107th edition
Guillaume Martin has a degree in philosophy. Others before him, not so many, knew how to reconcile sport and study, but the French platoon had never counted within it the author of a memoir entitled “Modern sport: an application of the Nietzschean philosophy? “. Proof that conformisms are not always where we expect them, no thesis director had offered to supervise it. For the master’s degree to be validated, the dean of the Nanterre faculty of philosophy, a specialist in ancient thinkers, had to take it up.
Although he is more interested in the philosophers of body and well-being that are Nietzsche or Spinoza, Guillaume Martin will return the elevator in his own way to his master of ancient thinkers, through two tasty little works that made him famous on the cycling planet: “Platon versus Platoche” (published by L’Harmattan)and more recently “Socrates by bike” (ed. Grasset), where he imagined a race between the great philosophers of history.
This second book released last year, and republished in June 2020, has earned him notoriety as a “bicyclist”, a neologism of his own which he intends to do without for the next three weeks. “This is my fourth Tour de France, it is the first time that people talk to me more about cycling than philosophy and it is not to displease me”, he said. His excellent season, including a third place at the last Critérium Dauphiné, has made the Normand a sporting attraction that is starting to worry runners of his level. That is to say all the climbers who do not appear in the pantheon of the five or six favorites for the coronation in Paris.
“If you think too much in the race, you miss the train”
And do not talk to him about the contribution of philosophy when it comes to giving a boost to unhinge an opponent or on the contrary take his wheel. “Running is the opposite of philosophy, you don’t have time to think, it’s instinct and experience that count, if you think too much you miss the train”. Anything but a pure mind. Moreover, the philosopher who speaks to him the least is René Descartes, “The one who has always put the mind above the body, sending athletes back centuries later to the rank of nags”.
→ COURSE. Tour de France 2020: the map of stages
His philosophical background in any case allows him to question the role of a brand’s coat rack, devolved on any professional athlete, as well as the identity of his own sponsor, a famous credit organization. “I thought about it a lot, going around all the big sponsors on the tour, I said to myself that they all had something to sell or to be forgiven. Watch the Ineos team [celle d’Egan Bernal], it is a chemistry group that manufactures plastic, as for the formations representing the States of Bahrain or the United Arab Emirates, they are not models of democracy. Cofidis exercises a legal and supervised activity. It’s not worse, is it? ” Answering a question with another question, an old philosopher’s trick.
Julian Alaphilippe in yellow to the Pyrenees?
The third stage was won on Monday August 31 in the sprint in Sisteron (Hautes-Alpes) by the Australian Caleb Ewan, winner for the fourth time on the Tour. At the end of a quiet course, Julian Alaphilippe retains the first place overall. The French will leave on Tuesday September 1 from Sisteron for a second day in yellow. Barring a major incident, the hero of the last edition could keep his tunic until the Pyrenees on Saturday September 5th.
→ READ. Tour de France 2020: Caleb Ewan wins stage 3
→ Stage classification of the day: The complete classification of the fourth stage of the Tour de France 2020
→ The general classification: Find the general classification of the Tour de France 2020
Little known in France (perhaps because of the difficulty of translating its style and its many neologisms?), Donna Haraway, philosopher and biologist, is the author of the famous Cyborg manifests (1985) in which she invited feminist thinkers to take the opposite view of the dominant culture of the Reagan era.
The central question of Living with the disorder (not to be confused with Gender disorder by Judith Butler) is for “Makers of mismatched kinship”. The originality of this work is not to stop at a simple criticism of the state of affairs of the current ecological disaster (whose thesis is that capitalism would be the only responsible), but to think from another space-time, echoing the chthonic forces (from the Greek chthonios which means “The world below”). Haraway shifts her work more directly to the relationships that bind living things to each other and to humans. She thus makes these links emerge through a multiplicity of survey sites, always accompanied by her dog Cayenne and a host of other critters, scientists, artists and amateurs of all kinds. In a previous book (When Species Meet, 2008) Haraway had told how the relationship with his dog had profoundly changed his relationship with “Other beings that matter”. This original analysis makes the book difficult to read because we do not know what is scientific analysis or science fiction, a label that the author claims moreover. Its partners in science studies, anthropology and the art of storytelling, she says in the introduction, are as diverse as Isabelle Stengers, Bruno Latour, Marilyn Strathern and Ursula Le Guin…
Donna Haraway and her dog Cayenne. Photo DR
In the fourth chapter, “Make parents,” Haraway tackles the “Decolonial and specific reproductive freedom in a dangerously troubled world”. From this perspective, the work ends with a speculative fable that unfolds the story of several Camilles (each newborn baby having at least three human parents for the author) called “Children of the compost” that cross several generations. Camille n ° 1 was born in 2035 and Camille n ° 5 in 2425 in a world where the number of human beings on earth is declining, from ten billion at its peak in 2110 to stabilize around three billion in 2400. The stories of these «clusters» of Camille and their friends had been presented, duly referenced by the author invited to a Symposium of Cerisy, in the workshop “Speculative narration” alongside the Belgian philosopher and ethologist Vinciane Despret, herself the author of an astonishing Living like a bird (Actes Sud, 2019). Haraway seems here to approach a European philosophical movement, called the “Little band of ecosophists”, whose heralds are nothing less than Bruno Latour and Philippe Descola. Donna Haraway is an author to discover.
Geneviève Delaisi from Parseval
Donna J. Haraway Living with the disorder Translated from English (United States) by Vivien García. Les Editions des mondes à faire, 400 pp., 28 €.
From gossip to gossip: here it is the time saved, Raphaël Enthoven’s latest book is the talk of the world. In this opus mixing fiction and reality, he looks back on his fascinating youth as a 44-year-old philosopher (isn’t it a bit young to write his memoirs?) By telling lots of thrilling anecdotes about his ex-father-in-law, Bernard -Henri Lévy or his ex-famous in many respects, Carla Bruni / Béatrice, “Immutable and sublime”. Remember that the son, then married to Justine Lévy, blew the model in 2000 to his father, Jean-Paul Enthoven, which personally is enough to make my day.
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Otherwise, it’s been a good week for Meghan and Harry who have just been screwed over a $ 14.65 million mansion in Santa Barbara, with a movie theater, pole dance bar and a house for Meghan’s mother who helps them so much. to take care of the little one, given their busy days and the few trusted staff these days. We are happy for them, for Eric Dupond-Moretti also who sends ice creams to Saint-Jean-Cap-Ferrat with his lover, Isabelle Boulay (get out of your cave, that’s not new, that), for Nathalie Baye who had somewhat disappeared from the magnetic fields and which we found with Jacques Dutronc and his many cats in Corsica. But, too bad for Nicolas Bedos, super disappointed by his summer loc, “ugly” and “Dear”, too bad for Pierre-Jean Chalençon and Caroline Margeridon who are waging a war through the media. What do you mean, who is it? Finally, sad for our Prime Minister, Jean Castex, who settled alone in Paris, his wife and mother of his four daughters having refused to follow him to Matignon, since she herself has a political career in the country. It’s ugly, the loneliness of politicians. Charlotte Casiraghi will have to let go of the philosophy for a moment, since she is expecting her second child (the father is Carole Bouquet’s son), and still in the royal department we learn that Queen Elizabeth is a fan of Flash Gordon. Ah yes, Cindy Crawford kept it simple, between two green and vitamin smoothies, she takes down her trash herself. The difference is, she does it in 12 heels. That’s it, the real people.
Dead in 2005, at the age of 73, Gilles Aillaud left a relatively rare work (350 paintings in fifty years of career). So we will not be choosy in front of the tiny number (seven in all and for all) of paintings exhibited at the Loevenbruck gallery, in Paris (VIe). Especially since these are not the best known, not those, therefore, who, under a pallid and artificial light, depicted sad animals, the gaze imploring an ounce of humanity in the spectator, reclusive in their zoo cages. These animals, so much in the image of the loneliness of their human brothers, constituted, by the band, a subtle and tender proof of the engagement of this artist, philosopher by training, in the fighting sixty-eight. He was even, in May, one of the main organizers of the Atelier des Beaux-Arts de Paris. In this vein, there is not much left in the paintings from the late 1970s to the end of the 1980s.
Aillaud takes off there, travels, near (in Brittany) or far (to the shores of the Dead Sea), and portrays what he has before his eyes: immense skies, marbled with clouds, low tides which discover rocks strewn with algae and surrounded by puddles, the red sands of the desert. Depopulated landscape motifs which, both in the artist’s journey and in painting, today as well as at the time, can be seen as a return to the sources, to the land, to geography, to natural light, to outside – and undoubtedly at the bottom, a return to all those elements that make the sap of painting. Aillaud returns there, to the landscape, only with infinite subtlety. His brush does not seek to occupy the entire surface of the canvases: he only poses there fleetingly, in airy and damp touches. It clearly seeks to reach an atmospheric dimension, to spread by marrying puffs of sea air and following the beating of wings of Mouettes, (August 9, 1992) fluttering with the wind.
For this work, moreover, Aillaud chooses a flexible and crumbly support, a paper roll, more than 5 meters long. A panoramic format that leaves a preponderant place for white, speckled with yellow, blue or black traces. No more. The Desert, painted in 1987 (in Egypt, but who cares, this one applies to all the others) sports a blond and hot sand, strewn with rocks, on two thirds of the canvas. The sky, immaculate blue, is reduced to the remaining third. However, this soil is not compact: it is powdery, dusty, and so is the paint. Volatile, it seems not to hang on the canvas, not to be fixed there for good. Do not take your hand completely. It remains behind. She does not want to fix a landscape, nor does it want an impression.
Chez Aillaud, it is much more than impressionism, and therefore a return to the modernist tradition. It is a way of merging into breathing, climatic or geological variations. Hence the impression that, even in his landscapes, the artist seems to have cultivated in fine a form of commitment, by depicting them with reserve and modesty, by means of a touch that disappears, a less significant imprint. of man on nature.
Gilles AillaudBeaches and Desert Galerie Loevenbruck, 75006. Until 1is August. www.loevenbruck.com