Podcasts about fondation louis vuitton

T'es plutôt gouache ou crayon ? Soul ou reggaeton ? Est-ce que tu as trouvé le style dans lequel tu te sens à l'aise pour créer ?Cette question du style revient assez souvent et j'ai l'impression que c'est parce qu'elle aide à prendre confiance en soi et à se démarquer, encore plus à l'ère de la capitalisation artistique. Un peu comme un look vestimentaire : tu es reconnaissable et tu affirmes une certaine identité. Pourtant, les réseaux sociaux t'encouragent à lisser et homogénéiser ton contenu pour qu'il rentre dans une case. Dans ces conditions, comment trouver ton style ? Comment éviter la copier ? Et au fond, qu'est-ce qui fait la patte d'un·e créateur·ice ? Je te partage ma réflexion dans cet épisode où je mentionne :> David Hockney et l'expo que lui consacre la Fondation Louis Vuitton> L'épisode sur la comparaison et l'inspiration> L'épisode sur la création sous pseudonyme> Salomé Alfonsi, photographe qui est passée ici> L'épisode avec Sixtine Dano, autrice et dessinatrice > Le musée Camille ClaudelPOUR SOUTENIR LE PODCAST

Tomokazu Matsuyama. Born in 1976 in Gifu, Japan, Matsuyama is currently based in Brooklyn, New York. His work spans painting, sculpture, and installation, organically blending and reimagining diverse elements–such as ancient and modern, figurative and abstract, Eastern and Western. His art reflects both his cross-cultural experiences and the evolving nature of contemporary society in our information-driven world. Major public art projects include the Bowery Mural (New York, USA, 2019), Hanao (JR Shinjuku Station East Square, Tokyo, 2020), and Wheels of Fortune (Meiji Shrine, Tokyo, 2020, part of the Jingu Gaien Art Festival). Recent notable exhibitions include Mythologiques (Venice Biennale, 2024), MATSUYAMA Tomokazu: Fictional Landscape (Hirosaki Museum of Contemporary Art, 2023), and MATSUYAMA Tomokazu: Fictional Landscape (Shanghai Powerlong Museum, 2023). His work was also featured in Pop Forever. Tom Wesselmann &… at Fondation Louis Vuitton in Paris (2024–2025). Please visit cerebralwomen.com for his expanded bio. Photo credit: Fumihiko Sugino Artist https://matzu.net/ Pen Magazine Taiwan https://www.matzu.net/media/press/pen-4/ GQ https://www.matzu.net/media/press/gq/ FT https://www.matzu.net/media/press/financial-times/ Bazaar https://www.matzu.net/media/press/harpers-bazaar/ Legend https://www.matzu.net/media/press/legend/ Hypebeast https://www.matzu.net/media/press/hypebeast-4/ Hypeart https://www.matzu.net/media/press/hypeart/ Juxtapoz https://www.matzu.net/media/press/juxtapoz/ Galerie https://www.matzu.net/media/press/galerie-magazine/ Artforum https://www.matzu.net/media/press/artforum/ Kinari https://www.matzu.net/media/press/kinari/ Takashimaya-salon https://www.matzu.net/media/press/takashimaya-salon/ Mythologiques https://www.matzu.net/media/tomokazu-matsuyama-mythologiques/ Almine Rech https://www.alminerech.com/artists/7720-tomokazu-matsuyama Kavi Gupta https://kavigupta.com/artists/95-tomokazu-matsuyama/ First Last https://www.tomokazu-matsuyama-firstlast.jp/english/ Wynwood Walls https://thewynwoodwalls.com/artists/tomokazu-matsuyama/ Kotaro Nukaga https://kotaronukaga.com/en/artist/tomokazu_matsuyama/ Avante Arte https://avantarte.com/artists/tomokazu-matsuyama Hidden Champion https://www.matzu.net/media/press/hidden-champion/ BKMag https://www.bkmag.com/2024/08/06/the-art-of-tomokazu-matsuyama-from-the-streets-of-nyc-to-big-shows-in-paris-and-venice/

Les œuvres du peintre David Hockney sont exposées à la Fondation Louis Vuitton jusqu'au 1er septembre 2025. Ecoutez Laissez-vous tenter - Première avec Le Service Culture du 22 avril 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Papst Franziskus spendet Ostersegen, Ostern feiern dieses Jahr alle gleichzeitig, Waffenruhe in der Ukraine hält nicht, Fondation Louis Vuitton zeigt Retrospektive «David Hockney 25»

durée : 00:16:57 - Les Midis de Culture - par : Marie Labory - Nos critiques discutent de l'exposition "David Hockney, 25 'Do remember they can't cancel the spring'" à la Fondation Louis Vuitton, centrée sur les 25 dernières années du travail de l'artiste britannique et sur la place de la nature dans son œuvre. - réalisation : Laurence Malonda - invités : Philippe Azoury Journaliste, critique et auteur; Sally Bonn Maître de conférence en esthétique à l'Université Picardie Jules Verne, auteure, critique d'art et commissaire d'exposition.

durée : 00:27:09 - Les Midis de Culture - par : Marie Labory - Au menu du débat critique, deux expositions : "David Hockney, 25 'Do remember they can't cancel the spring'" à la Fondation Louis Vuitton et "L'art est dans la rue" au Musée d'Orsay. - réalisation : Laurence Malonda - invités : Philippe Azoury Journaliste, critique et auteur; Sally Bonn Maître de conférence en esthétique à l'Université Picardie Jules Verne, auteure, critique d'art et commissaire d'exposition.

durée : 00:03:23 - Un monde connecté - par : Thomas Baumgartner - Alors qu'une grande exposition lui est consacrée à Paris à la Fondation Louis-Vuitton, évoquons la dernière période du peintre britannique David Hockney. Depuis 20 ans, il utilise les outils numériques pour peindre paysages et portraits.

Our film critic Ben Croll takes Dheepthika Laurent through the films in competition for the Palme d'Or at the Cannes Film Festival next month. He also talks about Tom Cruise's latest "Mission Impossible" film, which will premiere at the festival; Wes Anderson's latest feature and Robert de Niro, who will receive an honorary award. In other news: we take you through the storied history of the Grand Rex cinema, which was recently voted the most beautiful in the world. Plus: Paris's Fondation Louis Vuitton hosts the biggest retrospective ever dedicated to British icon David Hockney.

PRESS REVIEW – Thursday, April 3: There's disbelief, anger and scepticism in the international press after US President Donald Trump announces tariffs hikes on the US's international trade partners. Also: fury continues after the deaths of 15 aid workers in Gaza last month, which the UN now blames on Israeli forces. Plus: Paris's Fondation Louis Vuitton will honour British artist David Hockney in a new exhibition – but a cigarette on his exhibition poster has put him at odds with Paris metro authorities! Trump's tariffs are dominating the headlines in the world's press. After much anticipation by the US president himself, the tariff hikes will affect all of the US's international trading partners. The British tabloid Daily Mirror headlines with: "Trading Blows". It notes that nations are poised to retaliate after Trump announced the sweeping new tariffs. Britain will get a 10 percent hike. The EU, meanwhile, will see a 20 percent increase on its products entering the US, much to the alarm of Belgian daily Le Soir. The daily simply goes with "Trade Wars" on its front page. Here in France, Le Figaro evokes the world's shock at the tariffs, with the editor suggesting a battery of sanctions against US tech groups as a first measure of retaliation. The left-wing paper Libération notes that with these new tariffs, Trump has massacred the world trade system that's been in place since the end of World War II. The paper warns that the move will reinforce the possibility of a recession in the US.The Wall Street Journal says these new tariffs send a strong message: that globalisation is over. However, the business daily warns that bringing manufacturing back to America is no easy feat. After all, the US is geared towards advanced technology and it doesn't have the domestic supplies of basic materials that are produced overseas much more cheaply.Countries like China will be the among the hardest hit. The pro-government China Daily calls it the US tariffs' tantrum. It adds that the tariffs are "an undersea earthquake that will create a tsunami of turbulence and trouble for the world. All this in the vain hope of regaining lost pre-eminence." There's anger, too, in Australia. An opinion writer for the Sydney Morning Herald calls it "Trump's dumb war that just got dumber". Australian cartoonist Glen Le Lievre sees it as "Looney Tariffs". Trump is illustrated signing off as Porky Pig, warning "That's not all Folks!"In other news, outrage continues over the deaths of 15 aid workers from the Red Crescent who the UN says were executed by Israeli forces. The Palestinian Red Crescent Society, of whom eight members were killed, say the 15 bodies recovered earlier this week showed gunshot wounds. One paramedic was found with their hands and feet bound. The New York Times notes that the UN, which is typically cautious about assigning blame, has openly blamed Israel for the deaths. Israeli authorities say a majority of those killed were Palestinian militants. The British left-wing socialist website Morning Star deplores the lack of international outrage around the deaths and around Palestine. It says the world is in a state of lawlessness. The paper reminds us that it's been one year since the killing of seven World Central Kitchen staff, who were all foreign citizens. Israel was not sanctioned by the UN or world powers and so it keeps on killing aid workers.Finally: a new David Hockney exhibition is set to be one of the highlights of the Paris art scene this spring, but he's at odds with the city's metro authorities! The biggest exhibition dedicated to Hockney will be held at the Fondation Louis Vuitton next week, with 400 works in 11 rooms. But in the Paris metro, you wouldn't know it. A poster containing a photograph of Hockney holding a self-portrait cannot be used to promote his exhibition. The reason? He is holding a cigarette in the photograph. In ludicrous reasoning that can only be French, authorities say they have no issue with him holding a cigarette in the painting, only in the photograph. Hockney has famously championed cigarettes. Les Gauloises have truly fallen out of favour in the French capital, it appears!You can catch our press review every morning on France 24 at 7:20am and 9:20am (Paris time), from Monday to Friday.

En avant-première de la grande exposition « David Hockney 25 » à la Fondation Louis Vuitton, libre évocation de l'univers esthétique d'un artiste touche-à-tout. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

L'exposition David Hockney à la Fondation Louis Vuitton commence le 9 avrilMention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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durée : 00:27:52 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, des expositions : "Pop Forever. Tom Wesselmann &..." à la Fondation Louis Vuitton et "Du Cœur à la Main : Dolce&Gabbana" au Grand Palais. - réalisation : Laurence Malonda - invités : Philippe Azoury Journaliste, critique et auteur; Céline du Chéné Productrice à France Culture

La chronique expo de Fabienne Cohen-Salmon.

STILL PUSHING THE BOUNDARIES. Sir Norman Rosenthal celebrated his 80th birthday on November 8th 2024. ​A curator and art historian, he was Exhibitions Officer at Brighton Museum and Art Gallery, a curator at the Institute of Contemporary Arts and for many years Exhibitions Secretary at the Royal Academy in London. Recently he curated Georg Baselitz: The Last Decade at the Sabancı Museum in Istanbul. His Roberto Matta 1911-2002 opened at Ca' Pesaro, Venice on October 25th 2024, and he is curating David Hockney's April 2025 exhibition at Fondation Louis Vuitton, Paris. "Art is a complex story, and one has to pick out the great artists who have their own vision of the world." "I always liked to do things with other people." "I'm very proud to be having a dialogue with David Hockney"

Il s'est destiné au dessin humoristique et est devenu l'une des figures majeures du pop art : son nom est Tom Wesselmann (1931-2004). Moins connu que ses compatriotes Andy Warhol et Roy Lichtenstein, l'Américain s'installe sur quatre étages à la Fondation Louis Vuitton à Paris avec 150 œuvres. Trente-cinq artistes d'hier et d'aujourd'hui complètent le panorama de ce courant artistique indémodable, d'où le titre l'exposition : Pop Forever, Tom Wesselmann & ... Pour plus d'informations :  L'exposition Pop Forever, Tom Wesselmann & … 

Il s'est destiné au dessin humoristique et est devenu l'une des figures majeures du pop art : son nom est Tom Wesselmann (1931-2004). Moins connu que ses compatriotes Andy Warhol et Roy Lichtenstein, l'Américain s'installe sur quatre étages à la Fondation Louis Vuitton à Paris avec 150 œuvres. Trente-cinq artistes d'hier et d'aujourd'hui complètent le panorama de ce courant artistique indémodable, d'où le titre l'exposition : Pop Forever, Tom Wesselmann & ... Pour plus d'informations :  L'exposition Pop Forever, Tom Wesselmann & … 

When the cult French film "La Haine" came out 30 years ago, it sent shockwaves through the world of French cinema. The movie has now been adapted for a musical; our reporters went to La Seine Musicale theatre to check it out. Meanwhile, Lyon is currently hosting its contemporary art biennale, with hundreds of pieces popping up in the streets and in venues around the city. This year's theme is "Crossing the Water" and includes artwork from all over the world. Plus, we take a look at a celebration of pop art at the Fondation Louis Vuitton in Paris entitled "Pop Forever, Tom Wesselman &…". The show shines a light on artists from the 20th and 21st centuries and the far-reaching influence of pop.

It's an EmMajority Report Thursday! Today she speaks with Dr. Eviane Leidig, postdoctoral fellow at the Tilburg University, to discuss her recent book The Women of the Far Right: Social Media Influencers and Online Radicalization. Then, she speaks with Kate Wagner, architecture critic at The Nation, to discuss her recent piece entitled "Luxury Brands Are Buying Our Cities."  First, Emma runs through updates on Israel's seizure and closing of the Egypt-Gaza border, continuing backlash to Biden's support for Israel, Trump's legal woes and cabinet promises, NATO-Russia tensions, Alito's corruption, Boeing safety problems, Hong Kong's crackdown on pro-Democracy activists, elections in South Africa and Mexico, and India's major heatwave, before diving deeper into the recent resignations from the Biden Administration, and touching on Trump rallying the cronies as his Hush Money trial reaches the jury deliberation phase. Dr. Eviane Leidig then joins, parsing through what makes the Alt-Right distinct from the generically xenophobic and white supremacist Republican Party, how they used the rise of Internet forums and social media to recruit the chronically online alienated youth, and the major roles played by Gamergate and January 6th in their rise and fall, respectively. Next, Dr. Leidig looks to the ecosystem of the women of the Alt-Right, and how their strategic presentation allows their fascist propaganda to largely float under the radar, tackling the common career trajectory that found many women commentators on the Alt-Right shifting to lifestyle-influencing in the wake of the January 6th collapse of the Alt-Right and the rise of COVID, presenting trad-wife-eque content for their largely-male audience and working alongside the Christian and Manosphere influencers under the banner of anti-feminism. After expanding on the central role anti-feminism plays in the Alt-Right's current trajectory, Dr. Leidig wraps up by touching on the particulars of the Alt-Right's recruitment of young women and the major role interpersonal intervention plays in escaping the pipeline. Kate Wagner then walks Emma through this ongoing problem of the corporate “Disney-fication” of our cities, with an increasing trend of corporations buying up entire neighborhoods for glorified (and extremely exclusive) publicity stunts. Tackling the examples of Bilbao's Guggenheim and the Fondation Louis Vuitton, Wager explores how these monstrosities exploit loopholes to essentially get the public to pay for the enclosure of their commons, before she and Emma wrap up with the central role that Private Equity and commercial real estate have played in promoting this process. And in the Fun Half: Emma is joined by Brandon Sutton and Matt Binder as they talk with Keister from Florida about the value of progressive infighting, watch Dave Rubin promote Hungary's wildly homophobic regime, and listen to Rep. Moskowitz explain why justice for war crimes is a fantasy. They also cover the continuing arrests by Israeli police over social media engagement, Fiora from Minnesota on the importance of independent coverage of Palestine, and discuss electoral strategy come November, plus, your calls and IMs! Check out Eviane's book here: https://cup.columbia.edu/book/the-women-of-the-far-right/9780231558303 Check out Kate's piece here: https://www.thenation.com/article/culture/lvmh-real-estate-branding-urban/ Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Find our Rumble stream here!: https://rumble.com/user/majorityreport Join Sam on the Nation Magazine Cruise! 7 days in December 2024!!: https://nationcruise.com/mr/ Check out the "Repair Gaza" campaign courtesy of the Glia Project here: https://www.launchgood.com/campaign/rebuild_gaza_help_repair_and_rebuild_the_lives_and_work_of_our_glia_team#!/ Check out StrikeAid here!; https://strikeaid.com/ Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

A l'occasion de l'exposition : « Dialogue Claude Monet – Joan Mitchell », à la Fondation Louis Vuitton, Franck Ferrand revient sur les obsessions picturales de Claude Monet dans sa maturité. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In the latest episode of our podcast, join Annie Sargent and photographer Gregg Rutter as they embark on a picturesque journey through Paris. Titled "Flâneur and Photographer," this episode delves into Gregg's experiences and discoveries in the city, offering a unique perspective on Parisian life and culture. Gregg's adventure starts at the Citadines Saint-Germain-des-Près, a hotel with an ideal location near Pont Neuf and Notre Dame. He also attends a Photography Workshop with Serge Ramelli, enhancing his photographic skills. The episode features visits to cultural landmarks like the Picasso Museum, Carnavalet Museum, Musée d'Orsay, Fondation Louis Vuitton, Rodin Museum, and Orangerie Museum. Additionally, Gregg shares insights into photographing around the Musée du Louvre, especially on Tuesdays when it's closed to the public. Listeners will also enjoy Gregg's culinary recommendations, from enjoying cream puffs at Odette to dining at various Parisian restaurants like Ostra Paris and Le Zimmer. For those seeking literary inspiration, Gregg suggests several book titles that offer deeper insights into Paris's historical and artistic landscape. This episode is a must-listen for anyone interested in photography, Parisian art, culture, and cuisine. Whether you're planning a trip to Paris or simply dreaming of the city, Gregg's experiences will surely inspire and inform. Table of Contents for this Episode Today on the podcast Podcast supporters Bootcamp 2024 The Magazine Segment: the First “Restaurant” in France Annie and Gregg Rutter Planning the Trip to France Photography Workshop in Paris Learning French and Preparing for the Trip Itinerary Planning and Exploring Paris with VoiceMap tours Photography Workshop Photography Equipment for the Trip Visiting Museums and Exploring Art Not the First Visit to Paris Favorite Museums Fondation Louis Vuitton Musée Rodin Self-guided Cheese Tour of Paris Photograhy at the Musée du Louvre Musée de l'Orangerie The Charm of Sidewalk Cafes The Joy of Spontaneous Dining in Paris Sharing Favorite Dining Spots Experiencing Local Creperies The Beauty of Parisian Architecture Le Consulat, in Montmartre. Le Mabillon, Boulevard Saint Germain Opinion on Paris Prices The Importance of Pre-Trip Research Paris: A Safe Place to Be–Be Prepared for Pickpockets However! The Pleasure of Early Morning Photography DSLR or Phone Photography? The Convenience of Digital Payments and Don't Get Cash at the Airport! Greggg's Book Recommendations The Value of Guided Tours, Annie's Tours The Importance of Pre-Booking Museum Tickets The Joy of Exploring Parisian Landmarks Wrapping Up the Parisian Adventure Thank You Patrons French History Brief about Victor Noir Annie's Tours and Services The First Restaurant in France Next week on the podcast Copyright More episodes about photography in Paris

durée : 00:20:16 - L'invité d'un jour dans le monde - Une exposition de Mark Rothko (1903-1970) est toujours un événement. On n'avait pas vu les œuvres du peintre américain à Paris depuis 25 ans. Visite guidée avec la commissaire Suzanne Pagé.

ART INTERVIEW lundi et jeudi à 14h. Le podcast qui dessine la scène picturale française. Julie Gabrielle Chaizemartin, Stéphane Dubreuil ou Christophe Billard rencontre un artiste ou un acteur du monde culturel. Cette semaine, Christophe rencontre Stéphane Lambert. Cette semaine, Christophe Billard s'entretient avec le romancier et essayiste Stéphane Lambert, fin connaisseur des deux peintres Nicolas de Staël et Mark Rothko, leur ayant consacré deux romans aux éditions Arléa en 2014 - Nicolas de Staël, Le Vertige et la foi et Mark Rothko, Rêver de ne pas être - ainsi qu'une récente monographie chez Gallimard et un documentaire sur Arte sur Nicolas de Staël. Cette mise en perspective de l'œuvre et du processus créatif des deux artistes est analysée en écho aux deux grandes expositions rétrospectives organisées en ce moment au musée d'art moderne de la ville de Paris sur Nicolas de Staël (jusqu'au 11 janvier 2024) et à la Fondation Louis Vuitton sur Mark Rothko (jusqu'au 2 avril 2024).  (c) Marie Lévi

Pour ce second épisode des KEEPERS OF THE KEYS, nous sommes heureux de vous présenter (un extrait de) notre conversation avec Anne-Bénédicte Schwebel, directrice générale et artistique mais également éditrice de Maison Georges.Dans cette interview, Anne-Bénédicte nous raconte :- son enfance et sa relation aux images- sa rencontre déterminante à Paris avec Madeleine Deny et sa boutique de jouets Si Tu Veux- son parcours professionnel qui l'a conduite de Bayard Presse puis à Lyon où elle a fondé la revue gratuite Grain de Sel- la naissance du mystérieux Georges et du turbulent Graou- l'écosystème Maison Georges et ses différentes briques (magazines, édition et studio de création)- le travail de l'ombre avec les libraires- la collaboration avec des partenaires prestigieux comme la Fondation Louis Vuitton- les contraintes de la production et la difficulté d'avoir le nez dans le guidon- le lineup français mais aussi international de Maison GeorgesNOTES ET RESSOURCESMaison Georgeshttps://www.maison-georges.comhttps://www.instagram.com/magazinegeorges

avec Mélina de Courcy, Stéphane Coviaux et Guillaume Sébastien.

durée : 00:34:47 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner - Mark Rothko et Nicolas de Staël sont actuellement à l'honneur à la Fondation Louis Vuitton et au Musée d'Art Moderne de Paris. Quels liens peut-on tisser entre les œuvres de ces deux peintres au cœur desquelles les formes et les couleurs s'articulent de manière singulière ? - invités : Annie Cohen-Solal Professeure émérite, commissaire d'exposition.; Stéphane Lambert Écrivain; Marie du Bouchet Coordinatrice du Comité Nicolas de Staël

Tous les matins, à 7h10 et 9h10, retrouvez l'actu vue par les humoristes dans le Morning du Rire avec Bruno Roblès : Le Rire Comedy Club

Tous les matins, à 7h10 et 9h10, retrouvez l'actu vue par les humoristes dans le Morning du Rire avec Bruno Roblès : Le Rire Comedy Club

115 tableaux sont réunis. C'est la plus grande rétrospective de l'artiste américain jamais réalisée au monde. Visite guidée en compagnie de Monique Younès. Invités prestigieux, coups de cœur, critiques, reportages, interviews : "Laissez-Vous Tenter" dresse un panorama de l'actualité cinéma, musique, littérature, médias, people... Ecoutez Laissez-vous tenter - Midi du 23 octobre 2023 avec Le Service Culture.

Cette semaine dans l'émission « Au bonheur des livres », deux romanciers nous emmènent à la découverte de lieux emblématiques et de leurs habitants. Le 13e arrondissement de Paris sous la plume de la romancière Agnès Desarthe dans « Le Château des Rentiers » (Ed. de l'Olivier), où elle décrit l'espèce de phalanstère amical créé par ses grands-parents, et le quartier du Bowery, au sud-est de Manhattan dans lequel nous entraîne Clément Ghys, qui signe « Le Passant du Bowery » (Ed. du Seuil) sur un immeuble fréquenté par un nombre incroyable d'artistes, dont Mark Rothko. En exclusivité, Guillaume Durand accueille également Christopher Rothko, fils de l'artiste et auteur de « Mark Rothko. L'intériorité à l'oeuvre » (Editions Hazan), à l'occasion de la première rétrospective en France consacrée au peintre américain, à voir à la Fondation Louis Vuitton à partir du 18 octobre. Un essai intime sur le travail d'un des artistes majeurs de l'abstraction.INVITÉS :Agnès DesartheClément GhysChristopher Rothko Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ep. 168 features Chase Hall's (b. 1993, St. Paul, Minnesota). His paintings and sculptures respond to generational celebrations and traumas encoded throughout American history. Responding to a variety of social and visual systems, each of which intersects with complex trajectories of race, hybridity, economics, and personal agency, Hall generates images whose materiality is as crucial to their compositional makeup as their indelible approach to representation. A central body of paintings, made with drip-brew techniques derived from coffee beans and acrylic pigments on cotton supports, is notable for both its conceptual scope and its intimacy. The use of brewed coffee carries powerful symbolic weight since it evokes centuries-old geopolitical systems associated with the commodification of a plant native to Africa, but in Hall's hands, it also becomes a means of achieving subtle visual textures, a range of brown skin tones, and a mark-making vocabulary precipitated on the closeness of touch. Above all, however, it is his improvisational willingness to immerse himself in the indefinable personal hieroglyphics of each picture that gives his work its resonance and impact. Chase Hall was the subject of a solo exhibition at the SCAD Museum of Art, Savannah, Georgia in 2023. In 2022, Hall was commissioned by the Metropolitan Opera to produce a large-scale artwork, the monumental diptych Medea Act I & II, for its opera house in New York, on view through June 2023. Hall has been included in group exhibitions including Together in Time: Selections from the Hammer Contemporary Collection, Hammer Museum (2023), Los Angeles; Black American Portraits, Los Angeles County Museum of Art (2021); Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, University of Illinois Chicago (2021); and This Is America | Art USA Today, Kunsthal KAdE, Amersfoort, the Netherlands. Hall has been an artist-in-residence at The Mountain School of Arts, Los Angeles; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts; and Skowhegan School for Painting and Sculpture, Maine. Hall's work is in the permanent collections of institutions including the Los Angeles County Museum of Art; Dallas Museum of Art; Institute of Contemporary Art, Miami; Fondation Louis Vuitton, Paris; Baltimore Museum of Art; Brooklyn Museum, New York; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Montreal Museum of Fine Arts; Walker Art Center, Minneapolis; The Studio Museum in Harlem, New York; and Whitney Museum of American Art, New York. Hall lives and works in New York. Artist https://chasehallstudio.com/ David Kordansky Gallery https://www.davidkordanskygallery.com/exhibitions/chase-hall2 Pace Prints https://paceprints.com/2023/chase-hall-melanoidin Galerie Eva Presenhuber https://www.presenhuber.com/selected-public-exhibitions/chase-hall#tab:slideshow Aspen Art Museum https://www.aspenartmuseum.org/artcrush/live-auction/chase-hall Met Opera https://www.metopera.org/visit/exhibitions/current-exhibition/ Whitney Museum of Art https://whitney.org/artists/20278 Document Journal https://www.documentjournal.com/2023/03/chase-hall-the-close-of-the-day-scad-moa-art-exhibition-painting-black-culture-savannah-american-south/ New York Times https://www.nytimes.com/2022/06/02/arts/television/the-wire-20th-anniversary.html New York Times Opinion https://www.nytimes.com/2021/04/16/opinion/sunday/george-floyd-daunte-wright-minnesota.html New York Magazine https://nymag.com/author/chase-hall/ Cultured Mag https://www.culturedmag.com/article/2023/06/20/painter-chase-hall-met-opera The Art Newspaper https://www.theartnewspaper.com/2023/07/13/curator-playing-matchmaker-emerging-artists-aspen-collectors Hollywood Reporter https://www.hollywoodreporter.com/lifestyle/arts/frieze-week-2023-artists-shows-los-angeles-1235325588/

Pour cet épisode hors-série, je souhaitais vous convier à découvrir l'univers artistique de deux grands artistes à travers l'exposition « Basquiat X Warhol : À Quatre Mains », actuellement présentée à la Fondation Louis Vuitton jusqu'au 28 août. Nous nous transportons dans les années 1980, au cœur du monde artistique new-yorkais où la créativité est à son apogée. Mon invité, Antolin Prette, conférencier et médiateur culturel, se joint à moi pour revenir sur la rencontre et l'amitié entre Basquiat et Warhol. Nous explorons les symboles distincts qui caractérisent chacun de ces artistes ainsi que leur langage artistique propre, dans le but de décoder les messages issus de ces deux figures majeures de l'art et de la société, qui s'expriment à travers leurs œuvres picturales. Ce que nous avons le privilège d'observer, c'est une véritable conversation artistique qui se déploie sous nos yeux.

De 1984 à 1985, Jean-Michel Basquiat (1960-1988) et Andy Warhol (1928-1987) réalisent environ 160 toiles ensemble, « à quatre mains », dont certaines parmi les plus grandes de leurs carrières respectives. Témoin de leur amitié et de cette production commune, Keith Haring (1958-1990) parlera d'une « conversation advenant par la peinture, à la place des mots », et de deux esprits fusionnant pour en créer un « troisième, séparé et unique ». « Basquiat × Warhol, à quatre mains », l'exposition la plus importante jamais consacrée à cette œuvre singulière, regroupe plus de trois cents œuvres et documents, dont quatre-vingts toiles signées conjointement ; sont aussi présentées des œuvres individuelles de chaque artiste, ainsi qu'un ensemble de travaux de Futura 2000, Michael Halsband, Keith Haring, Jenny Holzer, Kenny Scharf... afin de restituer la scène artistique du downtown new-yorkais des années 1980. Du 05.04.2023 au 28.08.2023 à la Fondation Louis Vuitton, 8 Av. du Mahatma Gandhi, 75116 Paris

Tous les samedis et dimanches à 19h17, Pierre de Vilno reçoit un invité décalé pour apporter un éclairage inédit sur l'actualité. Ce soir Olivier Michelon, commissaire d'exposition associé pour la Fondation Louis Vuitton de l'exposition « Basquiat x Warhol ».

À l'occasion de l'exposition « Basquiat Soundtracks » à la Philharmonie de Paris, Vladimir Cagnolari nous propose une balade dans les oreilles du peintre et musicien américain Jean-Michel Basquiat. Nos invités : Vincent Bessières, co-commissaire de l'expo ; Maripol, styliste et Chassol, musicien.  ⇒ Basquiat Soundtracks à La Philharmonie de Paris.La Philharmonie de Paris organise la première exposition consacrée à la relation puissante de Jean-Michel Basquiat à la musique. Donnant à entendre autant qu'à voir, Basquiat Soundtracks s'offre comme la bande-son héroïque, multiple et foisonnante d'une œuvre fulgurante, pour laquelle la musique se révèle une clé d'interprétation essentielle, de Beethoven à Madonna, du zydeco à John Cage, de Louis Armstrong à la Zulu Nation.Les improvisations visionnaires de Charlie Parker ou le feu enlevé des airs de la Callas, les chants des bluesmen ou ceux des griots, les symphonies de Beethoven, le Boléro de Ravel et tant d'autres musiques encore forment la toile de fond sonore de la pratique picturale de Jean-Michel Basquiat. Ceux qui, d'ailleurs, sont venus dans son atelier se souviennent que le peintre travaillait toujours en écoutant de la musique. Basquiat a en effet vécu, peint, dansé, inventé et transgressé à une époque où New York connaissait l'une des périodes les plus créatives de son histoire musicale, avec la naissance de nouveaux sons urbains comme la no wave, la new wave et le hip-hop. L'artiste a fait même une brève carrière de musicien au sein du groupe très expérimental Gray, fondé en 1979 avec Michael Holman. Comment lire ou comprendre la prégnance de cet art dans son imaginaire ? Qu'est-ce que la musique dans l'œil du peintre Basquiat ? Et peut-on « entendre » ses œuvres ? Le projet Basquiat Soundtracks marque un moment important de notre programmation et de la vie de notre institution. D'une part, en considération de la nature inédite du sujet. Pour la première fois, l'œuvre de Basquiat est donnée à entendre autant qu'à voir. Et pour cause : ses peintures trouvent bien souvent dans la musique de son temps ses principes structurants, comme le dévoilent les commissaires de l'exposition, Mary-Dailey Desmarais, Vincent Bessières et Dieter Buchhart, au terme de trois années de recherches. D'autre part, l'ambition de ce projet est d'expérimenter par et avec la musique une nouvelle manière d'exposer Basquiat et de traduire visuellement l'imaginaire sonore de ses œuvres. La réflexion inspirante engagée avec l'ingénieur du son Nicolas Becker fut à ce titre décisive. Ce projet nous importe également parce qu'il scelle la troisième collaboration de la Philharmonie de Paris avec un partenaire de choix, le Musée des Beaux-Arts de Montréal. Après We Want Miles (2009) et Marc Chagall, le triomphe de la musique (2016), cette nouvelle exposition, pensée ensemble, pousse toujours plus loin l'expérimentation des potentiels visuels de la musique et, réciproquement, de la musicalité du geste pictural. Enfin, la Philharmonie de Paris, East side, et la Fondation Louis Vuitton, West side, se réjouissent de développer une collaboration inédite construite sur la complémentarité de leur programmation dédiée à l'œuvre de Jean-Michel Basquiat. Tandis que, West side, sera présenté le travail à quatre mains de Basquiat et Andy Warhol, l'œuvre du peintre sera exposée et dévoilée, East Side, dans sa dimension proprement musicale. Now's the Time…Basquiat Soundtracks est la première exposition consacrée au rôle de la musique dans l'art de Jean-Michel Basquiat (1960-1988), artiste parmi les plus fascinants du XXe siècle. Né à Brooklyn, de père haïtien et de mère portoricaine, Basquiat a baigné dans l'effervescence musicale de New York à la charnière des années 1980, marquée par l'émergence de nouvelles formes urbaines telles que la no wave et le hip-hop. Puissante et audacieuse, son expressivité s'est développée en prise avec ce paysage sonore, donnant naissance à une œuvre qui doit aussi bien à l'art de la rue qu'à la tradition occidentale, questionnant les conventions esthétiques et révélant une sensibilité tout à la fois critique et poétique. Grand amateur de musique, Basquiat possédait, dit-on, une collection de plus de 3 000 disques allant du classique au rock en passant par le zydeco, la soul, le reggae, le hip-hop, l'opéra, le blues et le jazz. Dans son atelier, plusieurs sources sonores pouvaient coexister simultanément. Cependant, la musique est loin d'avoir seulement formé une trame sonore à sa vie et à sa pratique. Commençant par une évocation, riche d'archives, des scènes musicales fréquentées par l'artiste à New York dans les années 1970 et 1980, l'exposition met en lumière ses expériences en tant que musicien et producteur de disque. Explorant en détail son imaginaire sonore, elle examine les nombreuses références qui parsèment son travail, révélant combien la musique a informé ses représentations et influencé ses processus de composition. La façon dont Basquiat l'a inscrite dans ses œuvres témoigne, en outre, de son intérêt profond pour l'héritage de la diaspora africaine et de sa conscience aiguë des enjeux politiques liés aux questions raciales aux États-Unis. La musique apparaît ainsi comme une célébration de la créativité artistique noire tout en pointant les complexités et les cruautés de l'histoire. Elle offre une clé d'interprétation à une œuvre qui, dans son auto-invention, est parvenue à intégrer le beat d'une époque, le blues d'un peuple, le geste du sampling et les symphonies épiques d'une modernité mouvementée. (Rediffusion) Playlist- US3 Cantaloop voir le clip - West Side Story America voir le clip - Gray Drum Mode lien audio - Brian Eno & David Byrne America is Waiting voir le clip - Madonna Everybody voir le clip - Blondie Rapture- K-Rob, Rammellzee & Basquiat Beat Bop lien audio- Louis Armstrong King of the Zulus- Chassol joue Basquiat, voir le clip.Pour aller plus loinLien du podcast « Basquiat, un ticket pour l'Afrique » par Vladimir Cagnolari.

Is technology the answer to delivering major programmes on time? Is the infrastructure industry moving towards equality? In this episode of Navigating Major Programmes, Riccardo and Corail Bourrelier Fabiani discuss all this and more. Corail is an accomplished programme manager with expertise in delivering ambitious urban and cultural programmes with budgets ranging from £2 million to £5 million for clients such as the City of London Corporation, City of Paris, Sellar, and Fondation Louis Vuitton. Her experience includes managing the Paddington Square Public Art Programme and the Shard Quarter Public Art Programme in London, as well as leading the Sculpture in the City programme for four editions. Riccardo and Corail catch up after both recently graduating from Oxford's Saïd Business School before diving into Corail's fascinating career and her invaluable insights to improving inclusivity in infrastructure. Key Takeaways: The surprising factors of navigating internal and external stakeholdersRecognizing the importance of mentors, sponsors and allyship in male-dominated industriesHow diversity in the leadership teams could even out the respect playing fieldWhy rebranding the industry will inspire more women choose a career in infrastructure If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox.The conversation doesn't stop here—connect and converse with our community via LinkedIn: Riccardo CosentinoCorail Bourrelier Fabiani Transcription:Riccardo Cosentino  00:05You're listening to navigate major problems, the podcast that aims to elevate the conversations happening in the infrastructure industry and inspire you to have a more efficient approach within it. I'm your host Riccardo Cosentino I bring over 20 years of major product management experience. Most recently, I graduated from Oxford University's a business school, which shook my belief when it comes to navigating major problems. Now it's time to shake yours. Join me in each episode as a press the industry experts about the complexity of major program management, emerging digital trends and the critical leadership required to approach these multibillion dollar projects. Let's see what the conversation takes us. Corail Bourrellier Fabiani is an accomplished Program Manager with expertise in delivering ambitious, urban and cultural programs for high profile public and private organizations. With a collaborative and problem solving approach she pushes the boundaries of what is achievable within complex environments. Corail has delivered projects with budget ranging from 2 to 5 million pounds for clients such as the City of London cooperation city of Paris, Cellar and fundacion Louis Vitton her experience includes managing the Paddington score public health program and the Shard quarter public health program in London as well as leading the Sculpture in the City problem for for additions in summary corroborate the bill Fabiani is a highly skilled and experienced Program Manager with an exceptional track record of delivering successful outcomes for her clients with a collaborative and problem solving approach. She's a valuable asset to any team working on ambition and cultural problems.  Hello, welcome to navigating major projects. I'm here today with Correll I met Correll in my university degree at Oxford. And how are you doing today, Corail? Corail  02:05Hi, Riccardo. I'm doing great. Thank you for having me. Riccardo Cosentino  02:08It's my pleasure. It's my pleasure. As we discussed before, this podcast is about women representation in infrastructure. And I wanted to do to corral because I've learned through my years at Oxford, as she has a strong opinion about women in infrastructure. So I felt it was perfect guest for this podcast. So why don't we get right into the questions, Coraill? Let's start with a simple one. What what is your current role in infrastructure or contraction? Corail  02:42So I manage the delivery of large scale public art programs for both public and private organizations. And I work on fitout projects for museums. Riccardo Cosentino  02:55All sounds really interesting. How do you get into that and to begin with, Corail  03:00so basically, I I've always had abilities in the scientific subjects as a kid, like, I remember, I was like, maybe seven and they weren't like a mathematic competition in my region in France, etc. So being good in maths or in science as a child and coming from like a family of engineers, basically, I, I didn't really have a choice in my career. At 17, I told my mom, I wanted to become a makeup artist. And she said, No, she was like, there is no way first you you get a master's in engineering, you get degrees, and then you see what you want to do. And you can do whatever. And that was kind of like the idea that this this field would open doors to anything else. And so later, I found the university that was offering a type of engineering that was called urban systems engineering, which is like kind of a mix of civil engineering, structural engineering, urban design, all this kind of different elements, which felt kind of a bit more creative, you know, then just like something like more traditional. So I went for that. And out of this, I started working with people that were doing art with engineers and with architects and so it was fascinating. I worked with a really interesting man who was both an architect and an engineer, and with whom we basically developed really complex pieces of art by helping the artist design them, helping them build a fire in the fabricators to build them but also communicate with you know, the cities or the planners etc. To put them in the public space and re landscaped the areas etc, to increase integrate new pieces of art. So So that's how kind of I got into that very specifics field of the industry was your chance, Riccardo Cosentino  05:08So you are the crossroad of engineering and art. Is that a fair description? Corail  05:14Yes, absolutely. I think that's, that's really it. And that's just out of being interested in both and never being able to choose. And going with Well, I was still like, if you go into this, this engineering, infrastructure construction field, then you can also do what you're passionate about, which was art. And that's also why I moved to London, because I thought London was the place to be if you were interested in art. And that's how I started working for the city of London, but also private developers in London. Riccardo Cosentino  05:50Very good. So I, by the sounds of it, the next question might be a little redundant, but was it a surprise for you to build a career in infrastructure? Corail  05:59So it wasn't so much a surprise, I feel, I feel like it just kind of happens, you know, it's a was not also what's interesting isn't in our careers, or in our work, planning, or organizing is very important. I feel like in my personal career choices, it has been more like, you know, just following my passion, following my heart at the time or following advice I was receiving from families and friends. And so it was, it wasn't a planned, but it wasn't really a surprise, either. Riccardo Cosentino  06:34Okay, and so, what has been, okay, so you, you kind of plan this, you kind of follow your heart, as the industry surprised you in any way positive or negative up to now? Corail  06:47Yeah, I think it really, I didn't expect that we would, you know, have so much interaction with different types of people. I think when you study, when you go into scientific fields, you get this idea, because you do a lot of maths and a lot of physics, etc, that your work is going to be very technical. And my work has been a lot more about trying to convince people that, you know, this project is amazing, and it needs to happen, or, you know, trying to listen to what people want going going to meet land owners going to meet people who don't shop in the public, like, you know, next to the place where you're trying to build a network, or maybe talking to I don't know, like every type like access teams, highways, you know, a lot of internal and external stakeholders that you don't necessarily think of, and that is the real complexity, really, in your program much more than if you think like much more than the technical side, much more than managing your budget is trying to make sure that, you know, everyone is aware of what's happening. Everyone is in sync, and you don't get blocked along the way. And yeah, it has been a lot more about about that, I think. Riccardo Cosentino  08:10Interesting. So the next the next questions are gonna I don't know, probe you a little bit. And I know it's a difficult question, but so far, what has it been the highlight of your career? What is the most interesting project you worked on? The one that you're very, very proud of? Corail  08:28Well, I think like the the probably the one project I'm the most proud of would be the shard fabric, our program, because the shard is the highest skyscraper in London. It's a really beautiful building by Renzo Piano was an architect I really admire. And it's in a location where the artworks are seen by 50 million people per year. You know, it's right next to London Bridge station. It's really a prime location. It's an artist, Jeremy Lanza, who's internationally famous you find these sculptures everywhere. And it's it was really, you know, a labor of love, like trying to get all the approvals in place trying to get all the construction I worked with with the builders of the Shard on this, I worked with the engineers of the Shard but also with all the different parties that own different pieces of land around this area. And it was complex, but it felt very much like the jewel on the crown if you will like this kind of project that everybody when they arrive in in London Bridge station when they come out of the tube. That's the first thing they see right next to the shard and it's been really really interesting to get there. It's a project that in total took seven years to build. So it's a long, long project. I only arrived towards the last three years of the of the program but You know, being able to deliver it and seeing the artists being really pleased, and the clients being ecstatic as well was really something that I was proud of. And I still, I'm still very connected to that piece because I'm, I'm still really, you know, having nightmares at night of like, oh, well, if this artwork that is suspended above and the elevator falls, and then someone calls me in 10 years time and all that, like, you know, it, you you get to that level of involvement, I guess, when you're when you're working on such important projects for yourself. And yeah, I guess that's, that's the one that in 50 years time, if I have kids, it will still be there. And they can still come and have a look at it. Riccardo Cosentino  10:47Yeah, so I've seen our London Bridge station, and just right next to the shard, so anybody who's listening was in London, highly recommend to see these two pieces, right. One One is hanging one is on the on the ground. Corail  11:03Yes, it's standing. And I really recommend that people go and look at them at night, because that's when they're lit up. And they really feel like a welcoming piece for when you come out of the station, it's there for you to feel like you're welcomed, you're part of that space. And it humanizes the space so much, it really brought a different dimension to that to that square. So yeah, definitely was a was a look. Riccardo Cosentino  11:30Okay, thank you for that. That was fascinating. I'm always fascinated by the work that you do. So let's get into something that is even more, more close to your heart, and you feel even more passionate, which is working in a male dominated industry. So so far, your career, what would have been the challenges that you faced in a male dominated industry? Corail  11:55Yeah, I think you're absolutely right. That's one of the topic I'm really passionate about. And it's out of there been, like working all my life in male dominated industries. And it's it started even during my engineering studies, where we were massively outnumbered in in class, you know, it was yeah, not not far from like, 75% men and 25% women, probably something along those lines. And I think one of the challenges is, for me personally, being managing worksites, for example, is being able to communicate on an equal footing with, with men with worksite. Managers, with technicians as well being able to, you know, have a communication that is kind of free of backgrounds. So, that is liberated. And I've always had really great connection with with people, you know, I work with, but there is always this kind of thinking in my head of what is the right distance, you know, what should I should I make an effort to be nice, so that I'm accepted, and I'm listened to, or should I be really distant and really cold with the people around, so I'm respected. And there is always this kind of trade off, where if you're too nice or too kind, you're not necessarily respected. If you're too cold, like you, you are vilified, if that's the right word, but you're definitely not not appreciated in your team and not given the support that you necessarily need. So I think it's, it's difficult because it's something that is really linked to your sex. And that doesn't exist. Obviously, when you work with a woman like they those questions don't happen, and you don't worry about those things as much. So I've had to navigate this. Other challenges I faced, for example, was during COVID de COVID. Period, I was working in an in a company that was very, very heavily masculine, and the few women that were there basically started to disappear during COVID. And they were, they were thanked for their work, and they had to find themselves in really difficult positions. And that's not because they they were not good at their job. Far from it. I think all my colleagues, female colleagues and friends as well. I think were really working hard delivering, staying late when they're needed, et cetera, extremely motivated. But when it came to having to make the difficult decision of firing some people to put it bluntly, it felt like the management sorry, was easier to say goodbye to these women than to other men who maybe would have questioned it more maybe would have. I don't know what what was the reasoning behind. But that was like a really tough time where suddenly I realized, like we are fighting for equality, we're trying to get more diverse. But as soon as there is a crisis that is this big, we go back to our whole the habit. And yeah, that's something that has been difficult. I'd say one last thing is, when you're a woman, you are not necessarily given the same value as your male pair to start with, which means that if you're in a meeting, you have constantly to, or you feel like you have to prove yourself, you have to prove that you have a brain, you have to prove that you understand what's going on, you'll have to kind of fight a little bit harder to be taken seriously, when your male peer comes with, with a sort of aura that or just a simple respect from the start, if you will, so I never had issues with, you know, working with people I know really well. And, you know, they know me, they know my worst, they know what I can bring to trust me and it goes great. But when I go into a room, when I don't know the people, it's it's a lot harder to prove that I can do the job. And that can be linked with the idea we have about leadership and how it looks and it can be completely subconscious. And I come here, I look like a woman, I have a soft voice, I'm a bit shy, etc. Which means that for someone on the other side of the table, it's an extra effort to remind themselves that I can lead this project, I can manage this project as anyone else can. Riccardo Cosentino  16:56So maybe a follow up question, then. So you're obviously successful, you were to face all these challenges in a male dominated industry, how did you succeed? Why were you able to do to succeed? Probably knowing you, you think you haven't succeeded, but Corail  17:13thank you. Now I have to say, mentors have been amazing and, and sponsors and I have a to say thank you to Martin to Michel and Dan, if they if they ever listened to this podcast, because I met wonderful leaders who basically trust in me and push me and have been helping me develop by showing me how to lead and I would just, you know, follow that path. And I think that's so important to have someone who has more experience than you who knows what's happening, and who can help you develop and, and, and go somewhere you didn't even think you could yourself go into you know, and believe in you. And you will notice I didn't give any female name in there because that's, that's, that's the reality, I never had a female mentor, just because in my industry that I did, I never really had a female bus. But what I had, though, was a lot of sorority with other women and friendship with other women, whether in my teams or my clients, teams, at the City of London, the manager was in charge of sculpture in the city, which is one of my program. She, she was wonderful, and we became friends and that, you know, the sorority that we created was really helpful for me to succeed and develop and learn about about these programs and these projects. Yeah, and I guess like, obviously, you can't, you have to be honest, you're fit like you're fact, the support of your family makes a huge difference as well, obviously, because if you think about people, like when you think about women trying to envision themselves in a career in this industry, if they don't have an environment, a family environment that is there to push them and tell them like this is feasible, you like you know, did your you can you can study, you can go into science, etc. You don't necessarily think about it, it just doesn't come to your mind, I think. Riccardo Cosentino  19:33Yeah, yeah, support is fundamental to success. I'm glad you touched upon mentors and female mentors that that's one topic I wanted to explore. And so thank you for bringing it up. Even before I could ask you the question. So is it important to have female mentors rather than male mentors for a female or you think in your mind, it's it's As a mentor as a mentor, Corail  20:01so I would say I think what's important is to have female role models. And that's something that I found when we were in Oxford. In this master's, I met a lot of incredible women who do really interesting work in transport in the nuclear industry in all different fields, which are traditionally seen as masculine fields, and having them as role models, or as people that, you know, I can I can really relate to, I can connect with them. I, I see, I see how the struggles that they had to go through. And I know, I share the struggle in my career, although my career is nowhere near theirs, but I can identify myself to those role models, and I can, it opens a little light in my brain that says it's possible, you know, I can do this as well. And I think that is very important. In terms of mentorship and sponsorship, I think at the moment, what's important is having a sponsor, no matter the sex, because obviously men are men or in male in, in a male dominated industry, sorry, men are in power. So you need a man to help you or to sponsor you to to also, you know, accelerate your career, I think we're not in a situation where you can really pick and choose. And to be fair, my male sponsors and mentors have been amazing at helping me develop. So it's more about the person and the power that they have or the knowledge that they have that you don't have. Riccardo Cosentino  21:40Thank you for that. That's really insightful. Hopefully, people will find that helpful, because I certainly did. Okay, well, I think we come in towards the end. One very broad, sweeping question, what what are your hopes for the industry as a whole? Corail  21:55So we talked about diversity, obviously, I think we can't deliver good programs without having diversity in the leadership teams. Because what we prioritize what we put at the at the forefront is what matters most to us. And my experience as a woman is different as your as your experience as a man or someone else's experience. So I think diversity in the leadership teams really, when we work on very large, very impactful projects is extremely important to make sure that the priority are not our priorities, but our people that represent the society we were serving. So obviously, I hope that in the future, we'll have more and more diverse teams, and especially in the leadership position, I hope that our industry will be a lot more conscious as well, I think in the construction industry, we are talking so much at the moment about net positive, Net Zero, etc. So I think this is like obviously a major topic. And I'm really interested in that aspect of our programs and the progress we can make in that as well. And earlier offline, we were talking a little bit about technology and how technology can help us in different ways. And my hope for technology is that it will help us deliver on time. That would be wonderful. Yeah, Riccardo Cosentino  23:29there'll be the day on time and on budget. mega projects. Yes. Yeah. That's something to aspire it. Okay. So the final question is actually a break it down into two parts. But like, would you encourage more women to pursue a career in infrastructure? And for those women who are considering that career? What would you tell them? Corail  23:50Yes, I would definitely encourage more women to join this career. I think it's so interesting, because you work with so many different people, you know, I work with artists and engineers and Londoners, etc. And it's just just like, a chance to discover the world in a way. I think it's extremely interesting, although it can be intimidating yet. And I think a way to get more women into this industry is just rebrand the industry and just make it more attractive to women. And I know that the Engineering University I studied in which is called UTC in France, that recently reached 50% Women in at the entry. And I think that's, that's wonderful. And the way they've done it is really rebranding the field, just to attract more women because women have the potential to join this really, you know, this universities that are really challenging, intellectually challenging, but also fascinating, and I would I would really encourage women to to not be scared about the environment and seek out groups of women that can support them. I'm very passionate about the idea of creating women's networks. And I think we can see more and more women's networks in male dominated industries. And sometimes they're used a little bit as a how to say it as as a front, or used as a marketing tool for companies to include more women. But I think it's also the responsibility of women to decide what they want to do is to scan of network be clear and transparent about what are the opportunities that this network can bring to them, and also become more strategic about this networks and, and develop networks that can have some strategic power, let's say, to change the culture of our industry. So don't hesitate to join and try and build a strong strategic network that will support your career progression. Riccardo Cosentino  26:06That's excellent advice. Thank you for that career. Okay, I think I think this comes comes to the end of the podcast, I want to thank you again for agreeing to do this. You were terrific. I've really enjoyed our conversation today. And hopefully, we'll we'll have you back again for some other topics. Corail  26:24Thank you so much, Riccardo. It was wonderful. Thank you. Riccardo Cosentino  26:28Okay, bye now. Bye. That's it for this episode, don't navigate the major problems. I hope you found today's conversation as informative and thought provoking as I did. If you enjoyed this conversation, please consider subscribing and leaving a review. I would also like to personally invite you to continue the conversation by joining me on my personal LinkedIn at Riccardo Cosentino. Listening to the next episode, we will continue to explore the latest trends and challenges in major program management. Our next in depth conversation promises to continue to dive into topics such as leadership risk management, and the impact of emerging technology in infrastructure. It's a conversation you're not going to want to miss. Thanks for listening to navigate the major problems and I look forward to keeping the conversation going Music: "A New Tomorrow" by Chordial Music. Licensed through PremiumBeat.DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees.

De straten van New York waren in de jaren '80 een broeinest voor heel wat getalenteerde jonge kunstenaars. Een van hen was Jean-Michel Basquiat. Eerst kon hij zich geen doeken veroorloven dus schilderde hij op muren en deuren. Maar al snel werd hij de rockster van de New Yorkse kunstscene. In Parijs lopen momenteel twee tentoonstellingen over Basquiat. De belangrijkste is die over zijn samenwerking en vriendschap met Andy Warhol in de Fondation Louis Vuitton. Maar wil je Basquiat écht begrijpen, dan moet je zijn muzikale invloeden gaan beluisteren in de Philharmonie. See omnystudio.com/listener for privacy information.

De straten van New York waren in de jaren '80 een broeinest voor heel wat getalenteerde jonge kunstenaars. Een van hen was Jean-Michel Basquiat. Eerst kon hij zich geen doeken veroorloven dus schilderde hij op muren en deuren. Maar al snel werd hij de rockster van de New Yorkse kunstscene. In Parijs lopen momenteel twee tentoonstellingen over Basquiat. De belangrijkste is die over zijn samenwerking en vriendschap met Andy Warhol in de Fondation Louis Vuitton. Maar wil je Basquiat écht begrijpen, dan moet je zijn muzikale invloeden gaan beluisteren in de Philharmonie. See omnystudio.com/listener for privacy information.

La réforme des retraites promulguée, malgré les protestations Aux États-Unis, des zones d'ombre autour d'une filtration inquiétante Nouvel effondrement d'immeubles à Marseille Prévisions économiques du FMI : entre pessimisme et prudence Basquiat et Warhol, deux complices à la Fondation Louis Vuitton

Pour ce second épisode des KEEPERS OF THE KEYS, nous sommes heureux de vous présenter (un extrait de) notre conversation avec Anne-Bénédicte Schwebel, directrice générale et artistique mais également éditrice de Maison Georges.Dans cette interview, Anne-Bénédicte nous raconte :- son enfance et sa relation aux images- sa rencontre déterminante à Paris avec Madeleine Deny et sa boutique de jouets Si Tu Veux- son parcours professionnel qui l'a conduite de Bayard Presse puis à Lyon où elle a fondé la revue gratuite Grain de Sel- la naissance du mystérieux Georges et du turbulent Graou- l'écosystème Maison Georges et ses différentes briques (magazines, édition et studio de création)- le travail de l'ombre avec les libraires- la collaboration avec des partenaires prestigieux comme la Fondation Louis Vuitton- les contraintes de la production et la difficulté d'avoir le nez dans le guidon- le lineup français mais aussi international de Maison GeorgesNOTES ET RESSOURCESMaison Georgeshttps://www.maison-georges.comhttps://www.instagram.com/magazinegeorges

This episode is also available as a blog post: https://thecitylife.org/2023/04/12/works-co-signed-by-jean-michel-basquiat-and-andy-warhol-are-currently-showing-at-the-fondation-louis-vuitton-in-paris-artprice-takes-a-look-at-their-market/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Transcript ABRAM JACKSON: The scale of this painting is almost overwhelming. Billboard-like. And purposely so. Enormous paintings traditionally featured rulers, battles – images that articulate power. And enormous billboards are where you often find the commercialization of Black culture. Here's Wiley: KEHINDE WILEY: At the leading edge of American cultural output is Hip Hop, is Black culture. Hip Hop is the idiom through which so many young people throughout the world define themselves,s or discover themselves, or try on different ways of being. Black American culture has a kind of flavor, kind of sass, a kind of groove that we know to be Hip Hop, and it's something that's found its way into my painting. Hip Hop also has left a trace that's defined by a kind of perversion of the truth. It's a rubric through which people have sort of deposited their ideas about what it means to be Black, what it means to be male, what it means to be powerful. ABRAM JACKSON: Wiley based this figure's pose on a 19th century French sculpture of a woman bitten by a snake. CLAUDIA SCHMUCKLI: He changes the gender of the figure to be the portrait of this beautiful Black man. And it goes back to his concern with the image of Black masculinity in Western culture, where he really challenges a notion of masculinity that doesn't allow any room for vulnerability. When the models are rendered on the scale of billboards, and we look at them hovering above us, really towering over us, then the idea of their suffering or their pain, or their grief, or their death is automatically catapulted into a much broader context. ABRAM JACKSON: By the way, you may notice that many of the artworks' titles start with the title of the piece – here, it's “Woman bitten by a serpent”, in French – then there is another name in parentheses afterwards. That's the name of Wiley's model for that particular painting or sculpture. Here, it is Mamadou Gueye, who posed for this artwork, and several others. Wiley spends a lot of time in West Africa, and many of his models for the works in this show, like Gueye, are Senegalese. When you're done in this space, go through the doorway to your left. Our next stop will be at the largest painting in the gallery – showing a young woman lying on green grass and leaves. Image: Kehinde Wiley (American, born 1977), “Femme Piquée par un Serpent (Mamadou Gueye),” 2022. Oil on canvas, 131 7/8 x 300 in. (335 x 762 cm), Framed: 143 5/16 x 311 x 3 15/16 in. (364 x 790 x 10 cm). Fondation Louis Vuitton, Paris. © Kehinde Wiley. Courtesy of Galerie Templon, Paris. Photo: Ugo Carmeni.

A l'occasion de l'exposition : « Dialogue Claude Monet – Joan Mitchell », à la Fondation Louis Vuitton, Franck Ferrand revient sur les obsessions picturales de Claude Monet dans sa maturité. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Les Amis des Beaux-Arts organisent la masterclass de Bertrand Lavier, en dialogue avec Bernard Blistène. Né en 1949 à Châtillon sur Seine, Bertrand Lavier vit et travaille à Paris et Aignay-le-Duc, près de Dijon (France). Bertrand Lavier est aujourd'hui l'une des figures majeures de la scène artistique contemporaine. Virtuose et inventif, il ne cesse de détourner les objets de la réalité, leurs codes et leurs représentations pour les "transfigurer" en œuvres d'art. Le monde des images lui appartient. Il s'en amuse et construit avec précision une œuvre où l'humour tient d'une mécanique de précision incisive. Son travail a fait l'objet d'un nombre considérable d'expositions personnelles et collectives dans le monde entier parmi lesquelles : au Centre Pompidou, au Musée d'Art Moderne de la Ville de Paris, au Grand Palais, au Musée du Louvre, au Musée d'Orsay, au musée du quai Branly–Jacques Chirac, au Palais de Tokyo, à la Monnaie de Paris, à la Bourse de Commerce–Pinault Collection à Paris et à la Punta della Dogana–Pinault Collection à Venise, à la Fondation Louis Vuitton à Paris et à l'Espace Louis Vuitton à Tokyo, au Château de Versailles, à la Fondation Vincent van Gogh à Arles, au Consortium de Dijon, à la Tate Gallery et à la Serpentine Gallery de Londres, à la Villa Sauber à Monaco, au Palais des Beaux Arts à Bruxelles, au Musée Middelheim à Anvers, au Martin Gropius Bau à Berlin, à la Haus der Kunst à Munich, à la Kunsthalle Fridericianum à Cassel, à la Frankfurter Kunstverein à Francfort sur le Main, au MAMCO Musée d'art moderne et contemporain à Genève, à la Kunsthalle de Berne, au Macro Museo d'Arte Contemporanea di Roma et à la Villa Médicis à Rome, au mumok museum moderner Kunst stiftung Ludwig Wien à Vienne, au musée de l'Ermitage à Saint Pétersbourg, au Solomon R. Guggenheim Museum, au MoMA PS1 et au Swiss Institute à New York, au Musée d'Art Contemporain de San Diego, à la Maison Hermès Dosan Park à Séoul, au Hong Kong Museum of Art, à l'Hôtel Le Bristol, Paris, ainsi que dans le cadre de la Biennale de Venise. Son travail est actuellement l'objet d'une exposition personnelle à la Fosun Foundation à Chendgu (Chine). Sa sculpture Quelque chose de… , conçue pour rendre hommage à Johnny Hallyday, est installée sur l'esplanade Johnny Hallyday (8 boulevard de Bercy) à Paris depuis septembre 2021. Bernard Blistène, né en 1955 à Paris, est un historien de l'art, conservateur et directeur de musées français. Il a été conservateur puis directeur du Musée national d'art moderne, entre 2013 et 2021. Il avait été précédemment directeur des Musées de Marseille, Inspecteur général de la création du Ministère de la Culture et directeur du Département du développement culturel du Centre Pompidou. On lui doit plus d'une centaine d'expositions à travers le monde ainsi que la création du Nouveau festival du Centre Pompidou en 2009. En 2021, Bernard Blistène est nommé Président du programme « Mondes Nouveaux », voulu par le Président de la République et destiné aux artistes de toutes disciplines. Lundi 12 décembre 2022 Amphithéâtre des Loges Crédit photo : © Archives kamel mennour, 2022

Avec Mélina de Courcy

This week: Georgina Adam joins Ben Luke to discuss the intriguing story of the bankrupt entrepreneur and art collector, the museum scholar and a host of Old Master paintings given new attributions. We talk to Suzanne Pagé, the curator of Monet-Mitchell, an exhibition bringing together the Impressionist Claude Monet and the post-war American abstract painter Joan Mitchell, at the Fondation Louis Vuitton in Paris. And this episode's Work of the Week is a 1583 painting of Elizabeth I of England, known as the Sieve Portrait, which is one of the highlights of the Metropolitan Museum of Art in New York's exhibition The Tudors: Art and Majesty in Renaissance England. The show's curators, Elizabeth Cleland and Adam Eaker, tell us about this richly layered picture.Monet-Mitchell, Joan Mitchell retrospective, Fondation Louis Vuitton, Paris, until 27 February 2023. Joan Mitchell: Paintings, 1979-85, David Zwirner, New York, 3 November-17 December.The Tudors: Art and Majesty in Renaissance England, Metropolitan Museum of Art, New York, 10 October-8 January 2023 Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Megan Rooney about her influences—including other artists, writers and musicians—and the cultural experiences that have shaped her life and work. Rooney was born in 1985 in South Africa, but grew up in Brazil and then in Canada, before studying in London. She works in performance, sculpture and painting and has gained particular attention recently for the vast murals she has made in several international museums. Among much else, she discusses the transformative experience of seeing Henry Moore at the National Gallery of Ontario; a life-changing moment seeing works made on the walls by women prisoners in the Carceri dell'Inquisizione, Palermo, Sicily; and about the writing of Maxine Kumin and Haruki Murakami. Plus, Rooney answers our regular questions, including those about the pictures on her studio wall, her daily working rituals and the artwork she would choose to live with, as well as the ultimate one: what is art for?Megan Rooney's With Sun is in Fugues in Colour, Fondation Louis Vuitton, Paris, until 29 August. She is also in the group exhibition Saturation, Thaddaeus Ropac, Pantin, Paris, until 24 September. She will have a solo exhibition at Thaddaeus Ropac, Paris, in early 2023. See acast.com/privacy for privacy and opt-out information.

durée : 01:58:02 - Relax ! du mardi 21 juin 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, portrait du pianiste Arcadi Volodos à l'occasion de son concert à la Fondation Louis Vuitton demain soir. Et en disque de légende, nous écouterons le Poème de l'amour et de la mer d'Ernest Chausson. - réalisé par : Antoine Courtin

This episode is also available as a blog post: https://thecitylife.org/2021/09/23/fondation-louis-vuitton-unveils-breathtaking-morozov-collection/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support