Podcasts about giacometti

It's been a minute, but we're back with our Round-Up episode, where we parse and discuss some of the biggest stories going on around the art world, and it's really good to be back into this format again after a little commercial break.  A lot has been happening lately in the so-called art world—good, bad, and there's been plenty of in-between that—but it remains as colorful, contradictory, and chaotic as ever.  We'll be diving into crypto collector Justin Sun's escalating legal battle with Blue Chip Titan David Geffen over a long-nosed Giacometti sculpture; a trio of massive Hulk sculptures by Jeff Koons that descended on Frieze New York a couple of weeks ago—these big green bellwethers for the state of the market are in play; and finally, we'll look at some of the major developments at Art Basel, including the launch of its very first art award. Senior Editor Kate Brown is joined by co-host, art critic Ben Davis, and Artnet News Pro Editor Andrew Russeth. 

It's been a minute, but we're back with our Round-Up episode, where we parse and discuss some of the biggest stories going on around the art world, and it's really good to be back into this format again after a little commercial break.  A lot has been happening lately in the so-called art world—good, bad, and there's been plenty of in-between that—but it remains as colorful, contradictory, and chaotic as ever.  We'll be diving into crypto collector Justin Sun's escalating legal battle with Blue Chip Titan David Geffen over a long-nosed Giacometti sculpture; a trio of massive Hulk sculptures by Jeff Koons that descended on Frieze New York a couple of weeks ago—these big green bellwethers for the state of the market are in play; and finally, we'll look at some of the major developments at Art Basel, including the launch of its very first art award. Senior Editor Kate Brown is joined by co-host, art critic Ben Davis, and Artnet News Pro Editor Andrew Russeth. 

En 2009, alors que la côte du sculpteur Alberto Giacometti bat des records sur le marché de l'art, une affaire de faux éclate en Allemagne, révélant l'existence de plus de mille contrefaçons de l'artiste. Pendant dix ans, deux marchands allemands associés à Robert Driessen, un faussaire hollandais, ont réussi à écouler des centaines de fausses sculptures. Certaines ont même été exposées dans les musées...Cet épisode de Faussaires est co-produit par Initial Studio et French Connection, adapté du documentaire audiovisuel “Un faux air de Giacometti”, produit par French Connection, réalisé par Clara Ott, co-écrit par Clara Ott et Anne Moutot.Bonne écoute ! Pour découvrir nos autres podcasts, suivez Initial Studio sur Instagram et Facebook. Crédits du podcastProduction exécutive du podcast : Initial Studio Production éditoriale : Sarah Koskievic Montage : Camille Legras et Victor Benhamou Illustration : Initial Studio Avec la voix d'Elsa Hamnane Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

En 2009, alors que la côte du sculpteur Alberto Giacometti bat des records sur le marché de l'art, une affaire de faux éclate en Allemagne, révélant l'existence de plus de mille contrefaçons de l'artiste. Pendant dix ans, deux marchands allemands associés à Robert Driessen, un faussaire hollandais, ont réussi à écouler des centaines de fausses sculptures. Certaines ont même été exposées dans les musées...Cet épisode de Faussaires est co-produit par Initial Studio et French Connection, adapté du documentaire audiovisuel “Un faux air de Giacometti”, produit par French Connection, réalisé par Clara Ott, co-écrit par Clara Ott et Anne Moutot.Bonne écoute ! Pour découvrir nos autres podcasts, suivez Initial Studio sur Instagram et Facebook. Crédits du podcastProduction exécutive du podcast : Initial Studio Production éditoriale : Sarah Koskievic Montage : Camille Legras et Victor Benhamou Illustration : Initial Studio Avec la voix d'Elsa Hamnane Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

En 2009, alors que la côte du sculpteur Alberto Giacometti bat des records sur le marché de l'art, une affaire de faux éclate en Allemagne, révélant l'existence de plus de mille contrefaçons de l'artiste. Pendant dix ans, deux marchands allemands associés à Robert Driessen, un faussaire hollandais, ont réussi à écouler des centaines de fausses sculptures. Certaines ont même été exposées dans les musées...Cet épisode de Faussaires est co-produit par Initial Studio et French Connection, adapté du documentaire audiovisuel “Un faux air de Giacometti”, produit par French Connection, réalisé par Clara Ott, co-écrit par Clara Ott et Anne Moutot.Bonne écoute ! Pour découvrir nos autres podcasts, suivez Initial Studio sur Instagram et Facebook. Crédits du podcastProduction exécutive du podcast : Initial Studio Production éditoriale : Sarah Koskievic Montage : Camille Legras et Victor Benhamou Illustration : Initial Studio Avec la voix d'Elsa Hamnane Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Des sculptures de Giacometti déposées au MCBA de Lausanne Le buste de Jim Morrison en bonne compagnie Boualem Sansal, emprisonné et primé

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​Éric Giacometti et Jacques Ravenne, célèbres pour leurs romans coécrits mêlant ésotérisme et histoire, ont choisi de publier séparément en 2025 pour célébrer les 20 ans de leur collaboration. Chacun a ainsi exploré son univers de prédilection : Giacometti avec Les Éveillées, un thriller contemporain, et Ravenne avec Les Ressuscités, un polar historique – publiés aux éditions JC Lattès. Tous deux sont nos invité pour un podcast exceptionnel !

Ein Bericht im Auftrag der Bündner Regierung zeigt: Ab nächstem Jahr soll mehr gebaut werden. Die Wohnungsnot könnte sich dadurch entschärfen. Doch der Mieterinnen- und Mieterverband warnt: Für Einheimische werde sich kaum etwas ändern – vor allem in Tourismusregionen wie Davos. Weitere Themen: · Ein grosser Felssturz oberhalb von Brienz könnte im schlimmsten Fall nicht nur das Dorf treffen, sondern auch die Talstrasse und die RhB-Linie gefährden. Mehrere Grossrätinnen und Grossräte fordern deshalb, dass der Kanton eine alternative Verbindung ins Albulatal prüft. · Die Unterengadiner Filmemacherin Susanna Fanzun erhält den Ostschweizer Radio- und Fernsehpreis der SRG Ostschweiz. Mit ihren Filmen - unter anderem über die Künstlerfamilie Giacometti - bringe sie Themen aus den Alpen einem breiten Publikum näher.

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“Alberto Giacometti / Petrit Halilaj”Nous construisions un fantastique palais la nuit…à l'Institut Giacometti, Parisdu 14 mars au 8 juin 2025Entretien avec Hugo Daniel, responsable de l'École des Modernités, chargé de mission curatoriale, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 18 mars 2025, durée 26'14,© FranceFineArt.https://francefineart.com/2025/03/25/3604_giacometti-halilaj_institut-giacometti/Communiqué de presseCommissaire :Hugo Daniel, responsable de l'École des Modernités, chargé de mission curatorialeL'exposition « Nous construisions un fantastique palais la nuit… », présentée à l'Institut Giacometti au printemps prochain, met en dialogue les oeuvres et installations originales du plasticien contemporain Petrit Halilaj et un choix d'oeuvres d'Alberto Giacometti. Marqué par son enfance dans un Kosovo en guerre, Petrit Halilaj développe une pratique où les histoires individuelles et collectives se nouent dans des espaces de liberté, non dénués de jeu et de légèreté. Le dessin d'enfant nourrit son travail dans lequel il ouvre un horizon onirique, voire magique, à la sculpture ; un espace onirique qui fait écho à la part de l'enfance souvent discernable dans l'oeuvre de Giacometti.L'expositionPrenant appui sur une pensée de Giacometti à partir de son oeuvre Le Palais à 4h du matin, (1932), le titre et les oeuvres de l'exposition explorent la force des constructions fantasmatiques et fragiles que sont les oeuvres des artistes. Dans une installation originale pensée par Halilaj, l'exposition tisse un réseau subtil de lignes entre les oeuvres de Giacometti. Rêves, espoirs, mais aussi craintes et peurs s'y lient dans des structures fragiles qui emportent et témoignent d'une capacité à communiquer de puissants imaginaires. Face au sentiment d'un monde précaire, les œuvres d'Halilaj et de Giacometti mobilisent une capacité salvatrice d'invention.À partir d'un dessin d'enfants copié par Giacometti, Copie d'après des dessins d'enfants faits à la craie sur le trottoir du Boulevard Villemain (1932), qui est présenté dans l'exposition, Halilaj a noué un dialogue subtil et onirique, jouant des passages entre dessin et sculpture avec l'oeuvre de Giacometti, dont il montre des aspects inédits. Les grands dessins dans l'espace d'Halilaj qui s'appuient sur un palais tant réel qu'imaginaire, permettent ainsi de déployer l'importance du thème de l'enfance dans l'oeuvre de Giacometti. Le parcours de l'exposition explore les collaborations entre les artistes et les enfants dans la création de dessins, les rapports familiaux, la transposition du vocabulaire graphique à la sculpture dans des oeuvres majeures de Giacometti comme La Cage ou Apollon, mais aussi la question de l'échelle dans l'appréhension du réel. Depuis la plus petite sculpture de Giacometti, jusqu'aux oeuvres comme Le Couple (1927), les oeuvres de Giacometti se fondent dans un environnement graphique pensé par Halilaj.En près d'une trentaine d'oeuvres produites spécifiquement pour l'exposition, Halilaj explore dans le vocabulaire enfantin de ses « Abetare » une forme de dessin dans l'espace qui est devenu un moyen d'expression propre. L'exposition, nourrie du rapport intense d'Halilaj au dessin d'enfant comme témoignage du monde contemporain, révèle de manière inédite un intérêt et un usage proche chez Giacometti, déployant les thèmes riches de l'enfance, du rêve, des associations d'idées, du rapport à l'émerveillement. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On croit souvent que les objets sont inertes, qu'ils ne sont que des outils, des extensions de nos désirs, de nos gestes. Mais certains d'entre eux portent en eux une mémoire, une intensité presque mystique.Les appareils photo font partie de ceux-là

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Casimiro Di Crescenzo"Il tempo passa troppo in fretta"Lettere alla famigliaAlberto GiacomettiEdizioni Casagrandewww.edizionicasagrande.comTesto / FirenzeSabato 1 marzo - ore 16.00 / Sala OrteseStazione Leopolda, Firenze"Il tempo passa troppo in fretta"Il curatore Casimiro Di Crescenzo dialoga con Tiziano Scarpa, narratore, poeta e drammaturgoUna pubblicazione della Alberto Giacometti Stiftung. A cura di Casimiro Di Crescenzo.Per tutta la vita, Alberto Giacometti non ha mai smesso di scrivere settimanalmente alla famiglia, in val Bregaglia, lettere in cui raccontava le sue giornate, le sue frequentazioni, le difficoltà e i progressi della sua ricerca artistica. Una scelta rappresentativa di quella ricca corrispondenza, redatta quasi interamente in italiano, è qui presentata ai lettori per la prima volta. Dai tempi del collegio all'arrivo a Parigi, dagli incontri con le avanguardie alle grandi mostre internazionali degli ultimi anni, le lettere di Giacometti raccontano “in presa diretta” una delle più interessanti e affascinanti avventure artistiche del Novecento.Il libro raccoglie – per la prima volta nella versione originale italiana – un'ampia scelta di lettere di Alberto Giacometti alla famiglia, dove con lingua vivace l'artista si racconta "in presa diretta", dall'adolescenza alla piena maturità. «Una rapsodica autobiografia, intervallata da piccoli schizzi, che conduce tra geografie e sfioramenti, tra fascinazioni e ansie, tra entusiasmi e fallimenti». (Vincenzo Trione)Casimiro Di CrescenzoÈ storico dell'arte, vive e lavora a Venezia. Si è laureato all'Università di Venezia con una tesi sui primi lavori a Parigi di Alberto Giacometti. Da allora si è sempre interessato all'opera dell'artista, realizzando mostre in Italia e all'estero, l'ultima intitolata: “Ottilia Giacometti. Ein Porträt. Werke von Giovanni und Alberto Giacometti” (Kunsthaus Zürich, 2020). È autore di Im Hotel Régina. Alberto Giacometti vor Henri Matisse – Letze Bildnisse (Bern-Wien, Piet Meyer Verlag /Paris, Fondation Giacometti, 2015) e sta lavorando alla pubblicazione della corrispondenza di Alberto e Diego Giacometti con la famiglia. Dal 2018 è membro del Comité Giacometti per l'autenticazione delle opere.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Jonty is joined on the show by Will Giacometti.Episode 99 with Andrew Ranucci: https://podcasts.apple.com/au/podcast/filthy-hope/id1620102857?i=1000653214251LIVE SHOW: https://www.unitingheartandsoul.org/filthy-hopeJoin our Facebook group: https://www.facebook.com/groups/373445507761084Become a Patreon member: https://www.patreon.com/FilthyHopeEmail us: filthyhopepod@gmail.comFollow us on Socials:Instagram: https://www.instagram.com/filthyhopestudios/Facebook: https://www.facebook.com/filthyhopepodTikTok: https://www.tiktok.com/@filthyhopestudios?_t=8lLmIm1duvC&_r=1 Hosted on Acast. See acast.com/privacy for more information.

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Paolo Roversi"Nebbia Gialla Suzzara Noir Festival"Dal 7 al 9 febbraio torna l'atteso appuntamento con il NebbiaGialla Suzzara Noir Festival. Nato dall'idea dello scrittore e giornalista Paolo Roversi e portato avanti negli anni con il fondamentale contributo del Comune di Suzzara e di Piazzalunga Cultura, si riconferma anche quest'anno come un insostituibile crocevia tra letteratura e tradizione che chiama a raccolta i numerosissimi appassionati della letteratura di genere. Le giornate saranno ricche di incontri e sul palco della manifestazione si alterneranno grandi nomi del panorama italiano e internazionale: Marco Azzalini,  Paola Barbato, Alice Bassoli, William Bavone, Marco Bocci, Elisabetta Cametti, Luca Crovi, Maurizio De Giovanni, Jacopo De Michelis, Flumeri & Giacometti, Alessia Gazzola, Gaspare Grammatico, Jordan Harper, Davide Longo, Carlo Lucarelli, Bruno Morchio, César Pérez Gellida, Paolo Roversi, Flavio Santi, Marcello Simoni, Rosa Teruzzi, Valerio Varesi. Tutti gli eventi del NebbiaGialla si svolgeranno presso il Cinema Dante e saranno trasmessi anche in streaming su http://www.nebbiagialla.eu e sulle pagine Facebook NebbiaGialla e MilanoNera. Il festival promuove inoltre l'assegnazione di tre Premi: il Premio NebbiaGialla per la letteratura noir e poliziesca per romanzi editi che nel corso degli anni ha premiato autori come Maurizio de Giovanni, Claudio Paglieri, Giovanni Negri, Massimo Polidoro, Giuliano Pasini, Gianni Farinetti, Barbara Baraldi, Fabrizio Roncone, Barbara Perna e Leonardo Gori, il Premio NebbiaGialla per racconti inediti realizzato in collaborazione con il Giallo Mondadori e il Premio NebbiaGialla per romanzi inediti in collaborazione con la casa editrice Laurana – Calibro 9. I nuovi bandi saranno disponibili sul sito entro fine gennaio e le premiazioni avranno luogo a settembre 2025.Venerdì 7 febbraio21:00 – Inaugurazione del festival21:15 – Davide Longo Requiem di provincia (Einaudi)22:00 –  Paola Barbato La torre d'avorio (Neri Pozza), Bruno Morchio La badante e il professore (Mondadori), Valerio Varesi Vuoti di memoria (Mondadori)Sabato 8 febbraio10:00 – Marco Azzalini La notte ha il suo profumo (Laurana) William Bavone Il morso del varano (Newton Compton) Flumeri & Giacometti Nessun perdono (Guanda)11:00 – Alice Basso Le streghe non dormono (Corbaccio) Elisabetta Cametti I dettagli del male (Piemme) Gaspare Grammatico Le spine del ficodindia (Mondadori)12:00 – Luca Crovi La velocità della tartaruga (Rizzoli) Flavio Santi L'autunno del sultano (Solferino)16:00 – Marco Bocci Vengo a prenderti (Salani)16:45 – Marcello Simoni L'angelo di pietra (Einaudi)17:30 – César Pérez Gellida Terra bruciata (Ponte alle Grazie)18:15 – Alessia Gazzola Miss Bee e il cadavere in biblioteca (Longanesi) 21:00 – Maurizio De Giovanni Volver (Einaudi) Domenica 9 febbraio10:00 – Jacopo De Michelis La montagna nel lago (Giunti)10:45 – Paolo Roversi L'innocenza dell'iguana (Marsilio) e Rosa Teruzzi La ballata dei padri infedeli (Sonzogno)11:30 – Jordan Harper Tutti sanno (Neri Pozza)12:15 – Carlo Lucarelli Nero come l'abisso. Storia dell'omicidio nell'antichità (Solferino)IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

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durée : 00:27:11 - Les Midis de Culture - par : Marie Sorbier - Au programme du débat critique, des expositions : "Heinz Berggruen, un marchand et sa collection - Picasso, Klee, Matisse, Giacometti" au musée de l'Orangerie et "Jacques Prévert. Rêveur d'images" au musée de Montmartre. - réalisation : Laurence Malonda, Anna Holveck - invités : Sally Bonn Maître de conférence en esthétique à l'Université Picardie Jules Verne, auteure, critique d'art et commissaire d'exposition.; Stéphane Corréard Editorialiste au Journal des Arts

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In his lecture "The Decline of Art in Western Civilization," Yaron Brook explores how the prevailing philosophical outlook in a culture is reflected in its art. Using examples spanning centuries, he traces the evolution of the view of humanity through major works of sculpture.Brook contrasts the static, idealized figures of ancient Egypt, the downtrodden and despairing forms of the Middle Ages, the heroic and life-affirming works of the Renaissance (highlighting Michelangelo), and the fragmented, distorted human depictions of the modern era (examining works by Giacometti). Through these comparisons, he illustrates the decline of art's portrayal of humanity as philosophical ideas moved away from reason and individualism toward nihilism and subjectivism.Delivered in Oslo, Norway, on December 1, 2024.Become a supporter of this podcast: https://www.spreaker.com/podcast/yaron-brook-show--3276901/support.

durée : 00:40:38 - Les Nuits de France Culture - par : Marc Floriot - - réalisation : Virginie Mourthé

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Transiciones #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #domingos #Biblia

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Transiciones #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #domingos #Aniversario

Can I work on your Artist Statement? Email me with the subject "Artists Statement" and include your statement and a picture of your art or a link to your social media page/website. Limit 5 artists, will close when goal reached or November 1st. stephanie@stephaniescott.art Host and artist Stephanie Scott breaks down the practicality of the art career with topics including: sustainable creative practices, social media skills, and mindsets to keep us in the studio. New episodes every Tuesday!Find A Giacometti Portrait: https://www.goodreads.com/book/show/176943.A_Giacometti_Portrait Read Novembers book: Working Girl: On Selling Art And Selling Sex https://www.goodreads.com/book/show/86273429-working-girlThe next live recording will be on Twitch on November 10th, 3pm Pacific. https://www.twitch.tv/cheerssteph Want to support Brushwork? Join the Brush Club: https://patreon.com/BrushWorkPodcastJoin the Discord, The Arts and Crafts Table: https://discord.gg/FrszPMnBBr Submit to Brush Work: https://www.stephaniescott.art/brush-work-submission Visual Nomad: https://www.instagram.com/visualnomad__/ Instagram: https://www.instagram.com/stephaniescott.art/ Website: http://www.stephaniescott.art/brushwork Music by @winepot https://www.instagram.com/thewinepot/ Podcast Cover photo by Maryna Blumqvist https://instagram.com/picturemaryna

Is this my most stylish episode yet? I went to Nicole's house last Sunday, surrounded by her wonderful sculptures and discussed her first art memories, how Giacometti inspired her, how art played a role in her illustrious 40 year fashion career, working with Jean Gibson, how Eduardo Paolozzi taught her to look at everything as art and much, much more. I absolutely loved this episode.. download, it's a masterpiece.This episode is kindly supported by @waawworldCover photo by Harry BordenMusic by Robin KatzProduced by Martin Lumsden Hosted on Acast. See acast.com/privacy for more information.

El Mundo De Cabeza - Tania Acosta Y Poli Giacometti, Duelo Gestacional, Perinatal Y Neonatal by FM Mundo 98.1

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Transiciones #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #domingos #Fidelidad

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Familias #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #domingos

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Familias #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #domingos

Luerweg, Susanne www.deutschlandfunkkultur.de, Fazit

Marco Dotti"Quattro ore a Chatila"Jean GenetMarietti1820www.mariettieditore.itA cura di:  Marco DottiPrefazione di:  Christian RaimoFra il 16 e il 18 settembre 1982, alla periferia di Beirut, duemila palestinesi e libanesi abitanti dei campi di Sabra e Chatila vengono massacrati da miliziani falangisti con la connivenza dell'esercito di Tel Aviv. Invitato dall'amica Leila Shahid, Jean Genet arriva a Beirut il 12 settembre e il 19, all'indomani della strage, riesce a entrare nel campo di Chatila. Quello che vede è contenuto nelle poche pagine di una testimonianza che è difficile classificare: «è un reportage? Una poesia in prosa? Un testo militante? Un'oscena visione morbosa? È la denuncia di una strage invisibile? È un canto funebre?». Tra i cadaveri neri divorati dal sole e dalle mosche, abbandonati all'ebbrezza empia di un furore omicida, Genet ritrova la scrittura, che da anni disertava. A Chatila, dove vede il dolore, la tortura, il sangue e la morte, torna scrittore, ma la lingua che emerge per raccontare la Palestina e i palestinesi, la loro rivoluzione e la loro tragedia non è più quella di una volta: è scarna, povera e scombinata. In una delle rare interviste concesse, rilasciata al giornalista radiofonico Rüdiger Wischenbart, e qui integralmente riportata, Genet tenta di descrivere il senso delle sue parole: «Nei libri, quando mi trovavo in prigione, ero signore della mia immaginazione. Signore dell'elemento su cui lavoravo. Perché si trattava unicamente della mia fantasticheria. Ma ora, non sono più signore di quello che ho visto, sono obbligato a dire: ho visto gente imbavagliata, legata, ho visto una signora con le dita mozzate! Sono costretto a sottomettermi al mondo reale». Il reale, per Genet, è in uno spazio ben preciso, uno spazio chiamato Palestina, uno spazio senza luogo, una terra senza più terra in cui ritrovare «la traccia principale della vita che gli stava più a cuore».Jean Genet (1910-1986) è una delle penne più controverse e affascinanti del Novecento francese. Orfano di padre, abbandonato dalla madre, bambino senza fissa dimora, ladro, attratto dai mondi più marginali, si avvicina alla scrittura durante gli anni del carcere a Fresnes. Scoperto e lodato da Sartre e Cocteau, amato da Giacometti e Matisse, raggiunge un successo internazionale con i romanzi, le pièces teatrali, i saggi e le poesie. Negli anni della maturità abbandona la narrativa a favore dell'impegno in prima persona in difesa degli ultimi e degli oppressi. Partecipa in particolare alla contestazione sessantottina francese, al movimento combattente delle Pantere nere e alla resistenza palestinese dell'OLP. La lotta e la rivolta sarebbero diventate per Genet un principio di vita oltre che di scrittura.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Apocalipsis #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #Las7Iglesias #domingos

Un museo che non è un museo, ma piuttosto un luogo di libertà, scambio e sperimentazione. Il 28 luglio 1964, in Costa azzurra, a Saint-Paul-De-Vence, a sud di Nizza, si inaugura la Fondazione Maeght con una serata memorabile a cui partecipa il ministro della cultura André Malraux e si esibiscono Ella Fritzgerald e Yves Montand: si tratta della prima fondazione d'arte contemporanea privata in Francia: un luogo unico per l'epoca, voluto da Marguerite e Aimé Maeght, una coppia di collezionisti editori e galleristi che erano amici di alcuni grandi maestri del Novecento: Chagall, Mirò, Giacometti, Braque, Léger. Artisti che sono gli ispiratori del progetto, firmato dall'architetto catalano Sert che realizza un edificio in stretto dialogo con l'arte e la natura. Un luogo che attira ancora oggi centinaia di migliaia di visitatori da tutto il mondo. Siamo andati a visitarla per capire la sua storia. Un Reportage di Emanuela Burgazzoli.

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Apocalipsis #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #Las7Iglesias #domingos

Meet Eric Mourlot. For onwards of 152 years, Fernand Mourlot (Eric's grandfather) has been synonymous with the resurgence of lithography – a process which under his influence, attracted the greatest artistic masters of our time. The medium provided a new avenue of expression, a new realm of possibilities for the likes of Picasso, Matisse, Chagall, Miró, Braque, Dubuffet, Léger, and Giacometti to enrich their own work as well as fine art in general. As a child, Eric Mourlot participated in the printing process, soon becoming enthralled with his surroundings in the printshop. It became a source of inspiration for him, quickly igniting a passion for the relationships and collaborations that took place between artists, printers, gallerists, and publishers. Today, 164 years later, Mourlot continues to promote the art of publishing and printing that his family pioneered. Stay up to date on everything Eric has going on at https://www.mourloteditions.com/, Today, Eric is talking art everything with Craig, enJOY!See omnystudio.com/listener for privacy information.

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Nehemías #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #Legado #domingos

Décryptage autour de la mobilisation et de la question du jour sur le site du Figaro avec Pierre Giacometti, politologue et cofondateur de NoComHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc)  Somos Familias Firmes En Cristo #Nehemías #EncuentroCumbayá #prédica #Ecuador #FamiliasFirmesFnCristo #Visión #domingos

Veronica Giacometti"Santi e santuari d'Italia"Feste e devozioni popolariEdizioni Città Nuovawww.edizionicittanuova.itIl giro d'Italia delle più belle feste religiose e devozioni popolari. Il volume si propone di trovare un filo conduttore della religiosità popolare in Italia, a partire da una (o più) feste religiose per ciascuna regione; venti regioni, tante storie diverse, ma con un unico e grande elemento in comune: la devozione popolare. Nel libro si parla di storie di santi e santuari partendo da chi realizza la festa patronale, da chi prepara le celebrazioni, fino ad arrivare a chi semplicemente le vive. Non ci sono solo processioni o messe, ma anche spettacoli, concerti, mostre. C'è anche il gusto: il piatto cucinato in quel particolare giorno dedicato al santo patrono ci fa tornare in mente sapori e profumi di famiglia.Veronica Giacometti è vaticanista presso Aci Stampa. Nata a Roma nel 1988, è laureata in “Lettere e comunicazione dei mass media” e specializzata in “Informazione, editoria e giornalismo” all'Università Roma Tre. Dal 2013 è accreditata presso la Sala Stampa della Santa Sede.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Culto Dominical en Vivo | Iglesia Encuentro Cumbayá | Programas con el mensaje de la Palabra de Dios… Horarios de Servicios: - Culto General presencial: Domingos 09h00  |  11h00   - Culto General en línea: Domingos 11h00 por Youtube y Facebook. Visita nuestra página Web: https://encuentrocumbaya.org/  Síguenos en nuestras redes sociales: Facebook: Encuentro Cumbayá    Instagram: @encuentrocumbaya  Instagram: @distritocumbaya  Youtube : Iglesia Encuentro Cumbayá ( @EncuentroCumbayaEc) 

Nous sommes en 1936, à Paris, au café du Dôme dans le quartier de Montparnasse. On peut dire simplement « Le Dôme ». C'est-là que Jean-Paul Sartre et Simone de Beauvoir croisent, pour la première fois, Alberto Giacometti. Bien des années plus tard, dans son ouvrage « La Force des choses » Beauvoir se souviendra : « Nous étions particulièrement intrigués par un homme au beau visage raboteux, à la chevelure hirsute, aux yeux avides, qui vagabondait toutes les nuits sur le trottoir, en solitaire ou accompagné d'une très jolie femme ; il avait l'air à la fois solide comme un rocher et plus libre qu'un elfe : c'était trop ». La vraie rencontre entre Sartre et Giacometti ne se fera qu'en 1941, dans une France occupée, toujours dans un haut lieu de la vie intellectuelle, la Brasserie Lipp, cette fois, à Saint-Germain-des-Prés. Héritier du Surréalisme, Giacometti est un artiste en plein doute alors que Sartre est en passe de s'imposer comme l'une des grandes figures de la pensée. Leur notoriété ne va faire que s'accentuer et leur amitié naissante s'approfondir tout au long des quinze années qui vont suivre. Des années nourries d'échanges intellectuels, d'observations sur l'art et l'existence, sur le corps, l'individu et le groupe. La liberté, bien entendu. Mais en 1964, deux ans avant la disparition du sculpteur et peintre, une brouille, un malentendu les sépare. Comment comprendre l'un par rapport à l'autre ? Invité: Thomas Franck, chargé de recherche à la Cité Miroir, collaborateur scientifique à l'Université de Liège, auteur de « Le philosophe dans l'atelier – Sartre et Giacometti en miroir » ; Presses universitaires de Liège. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! Joséphine de Beauharnais fut le grand amour de Napoléon. Ce fut aussi une grande figure de la franc-maçonnerie ! À l'occasion de la sortie du roman d'Éric Giacometti et Jacques Ravenne La Clé et la Croix (éditions J.-C. Lattès), qui explore l'influence maçonnique sous l'Empire, Virginie Girod vous plonge dans le secret de la franc-maçonnerie ! La franc-maçonnerie serait née au début du XVIIIe siècle en Angleterre, avant d'arriver en France quelques années plus tard. Plus que secrets, les francs-maçons sont surtout discrets. Tournés vers la connaissance, les loges sont d'abord des groupes de sociabilité et de réflexion, essentiellement masculins. En 1773, une nouvelle obédience apparaît : le Grand Orient, sans doute la plus célèbre aujourd'hui en France. Mais le Grand Orient ne se veut pas mixte. Les femmes initiées sont cantonnées à des loges d'adoption, elles-mêmes rattachées à une loge mère masculine qui supervise leur réunions. À la même époque, Marie-Josèphe-Rose Tascher de la Pagerie, la future Joséphine, débarque en France depuis sa Martinique natale et épouse Alexandre de Beauharnais. Plusieurs membres de cette famille ambitieuse sont initiés à la franc-maçonnerie. Comme les loges sont majoritairement fréquentées par des aristocrates, elles sont suspectes aux yeux des révolutionnaires. La franc-maçonnerie connaît cependant un regain d'activité sous Napoléon. Son propre frère Joseph Bonaparte, le Prince Joachim Murat étaient initiés, ainsi que Joséphine dès 1805. Des loges sont même fondées en l'honneur du couple impérial ! Mais les loges d'adoption finissent par péricliter, jusqu'à leur interdiction en 1808. Il n'y a alors plus, ou presque plus, de femmes en maçonnerie. Il faut attendre 2010 pour que le Grand Orient s'ouvre officiellement aux femmes ! Thèmes abordés : Révolution française, franc-maçonnerie, Napoléon, Joséphine de Beauharnais "Au cœur de l'histoire" est un podcast Europe 1 Studio- Auteure et Présentatrice : Virginie Girod - Production : Caroline Garnier- Réalisation : Nicolas Gaspard- Composition de la musique originale : Julien Tharaud - Edition et Diffusion : Nathan Laporte- Coordination des partenariats : Marie Corpet- Visuel : Sidonie Mangin Bibliographie : Pierre Branda, Joséphine de Beauharnais, coll. Tempus, Perrin, 2020. Ressources en ligne : https://www.cairn.info/les-franc-maconneries-xviiie-xxie-siecle--9782707140876-page-7.htm https://www.gldf.org/obedience-maconnique/historique-de-la-gldf.html https://godf.org/qui-sommes-nous/notre-histoire/ https://journals.openedition.org/cedref/1611?lang=en https://www.napoleon-empire.net/franc-macon.php https://www.persee.fr/doc/hes_0752-5702_1983_num_2_4_1342

durée : 00:40:38 - Les Nuits de France Culture - par : Albane Penaranda - Par Alain Veinstein - Avec Sam Szafran (artiste peintre) - Réalisation Mehdi El Hadj

durée : 00:32:07 - Les Nuits de France Culture - par : Albane Penaranda - En 1990, le psychiatre Jean Oury, l'un des fondateurs de la psychiatrie institutionnelle" donne cinq entretiens "A Voix nue". Dans le dernier volet il parle de l'art des "fous", qu'on appelle parfois l'Art brut. Il évoque aussi l'œuvre d'Alberto Giacometti, un artiste qu'il admire. - invités : Jean Oury Médecin, psychiatre et psychanalyste, fondateur de la clinique La Borde

C'est dans les années qui suivent la Seconde Guerre mondiale que nous vous emmenons aujourd'hui. Saint-Germain-des-Prés devient le phare de la vie intellectuelle et culturelle parisienne et au-delà. Les agitateurs d'idées, les explorateurs de la musique, les inventeurs de nouvelles images se croisent dans les bars et dans les boîtes à danser. Marguerite Duras, Sartre et Beauvoir, Juliette Gréco, Léo Ferré, Boris Vian, Prévert, Giacometti et tant d'autres vont rendre iconiques des endroits comme « Les Deux Magots », le « Café de Flore », la « Brasserie Lipp ». C'est à Saint-Germain encore que se concentrent les grandes maisons d'édition comme Gallimard, Le Seuil ou Grasset. Les Existentialistes refont le monde sur des airs de jazz, dans les caves de la rue de Rennes. Revenons, en archives, sur quelques témoignages de cette époque passionnante dans une séquence signée Laurence Ayrianoff avec le concours essentiel de la Sonuma. Sujets traités : Saint-Germain-des-Prés, Paris, Marguerite Duras, Sartre et Beauvoir, Juliette Gréco, Léo Ferré, Boris Vian, Prévert, Henri Salvador, Michel Legrand Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

"Kunst ist eine Droge" sagte Heinz Berggruen, der bedeutendste deutsche Kunstmäzen und Kunsthändler des 20. Jahrhunderts. Am 6.1.1914 wurde er geboren. Von Kay Bandermann.

Happy Holidays from Muffy Drake! In this bonus episode we explore Giacometti's Walking Man sculpture through the corpulent lens of the Fat Fingers Jewelry shop. Written by Xavier Combe Size 11 Ring character-Xavier Combe Size 13 Ring character-Jim Hall

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. I don't know, unless you are looking for it, if you would find it easily. It was an intentional destination for me both times I've been there. It is very hard to find. I was determined that I was going to find it, and after a little bit of time I did find it. It is a very cozy and comfortable gallery, and Esther herself is easy to talk to. The gallery specializes in jewelry designed by artists. Some are French, some are Italian, and I'm sure there are others. The prices are very reasonable compared with other shops with jewelry by artists where you find a pretentious atmosphere. Esther speaks English flawlessly, having attended Brown College, and she has been on the podcast before, many moons ago. I'll let her tell you the rest of the story. Esther, welcome to the program. Esther: Hello, Sharon. Thank you for having me today. Sharon: I'm so glad to have you. So, why did you choose to sell jewelry by artists? Esther: I wanted to work with artists, contemporary artists, because before MiniMasterpiece, I had a first gallery also in Paris, working with young artists on paintings and sculptures and drawings. That gallery had to end, and my obsession was continuing working with artists because I really enjoyed that, that work, but I had to find another way. There are many art galleries in Paris, and I wanted to find a more special way to work with them. I knew of artist jewelry, and there aren't many places in the world and in Paris, either, for artist jewelry. So, this is how I started. Sorry, I think I said enough. Sharon: No, please, go ahead. Esther: So, at first, it was more for the pleasure of working with artists than that of making jewelry. After 12 years, I became very fond of jewelry, of course. I wouldn't say exactly the same thing, but back in time, 12 years ago, it was really my love for artists. Sharon: It was your love for artists. How was it changing from the drawings and the paintings and all of that to jewelry? Was it natural? Was it different? Esther: Yeah, it's a challenge for them, of course, when I invite them to think of their work at a different scale. They have to think of the body, which most of the time they never do because when you make a sculpture or a painting or a photograph, obviously it's not to be worn. But this time it was a big challenge for them and also for me, because 12 years ago I knew little about jewelry making itself. We both had to learn. It was a challenge for them, and it was also a challenge for me. But I knew that it was possible because it's a story that goes back in time for about a century now, with Picasso and Calder and Giacometti, all those great visual artists who made a few wearable art pieces on the side of their main activity. Sharon: Was it scary for you to start asking artists if they would do their jewelry, if they would make jewelry? Esther: I started asking those artists I knew personally because they were family friends, or I had worked with them in the past with that former gallery I had. So, I didn't take many risks the first year. Then I got more brave and I started to ask other artists. I only ask those artists where I like the work. I am a big fan of their monumental work. They are mostly sculptors. It's because I like their sculpture, but I think of inviting them to make a sculpture to wear. Sharon: Do they look at you funny, like, “What are you talking about?” Or, “I don't understand what you mean”? Esther: Most of them understand the idea. I've had several artists say no, but not that many. Sometimes they even thought about making a jewelry piece but never had the occasion to do so because they need to be surrounded by the good people. Very often they need to be accompanied by a goldsmith because they haven't mastered the work of gold or silver, so they need help on that matter. But once you invite them and tell them about that great story and how many artists have worked on that subject in the past, and that you can take them to the right goldsmiths that can help them understand their project, then it's much easier for them to accept. Sharon: And have they ever rejected you and just said, “Forget it. That's weird”? Esther: Yeah, of course they have. Sometimes it's because they don't get a good idea. Finding the right idea is not that easy. Sometimes they don't have time. Sometimes it's not a good time for them to spend some energy on that project. And of course, I understand that perfectly. In very, very, very few cases, sometimes they don't take jewelry very seriously. They have that image of jewelry being something not serious. But there are many artists I can invite, and those who don't want to play with me, it's no big deal. Sharon: Do you leave it to them to decide if it's a bracelet or a ring or a necklace or what they're going to make? Esther: Yes, of course. I open possibilities for them as wide as they want at the beginning. Then once they have ideas, we talk. Once it gets more precise, if they are going to make only one piece of jewelry, sometimes I advise them to think of a ring or a necklace because they are the most iconic type of jewels. If they have several ideas, then why not add a bracelet or earrings? But if they have to make only one, I usually recommend them to make a necklace. Also, because a necklace leaves more volume and space for them to express themselves. Sometimes it's very difficult for them to condense their work into a very tiny piece. A necklace is bigger. Sharon: What do you say to them if they say, “Esther, I'm a sculptor. I don't know how to make this small”? What do you say? Esther: I say that what I'm interested in is the DNA of their work. An idea has no size. Basically, it would be the same as making a very large sculpture. But when they are invited by a museum or a gallery, they are given a space to make. Sometimes they make a sculpture especially for that space, a museum or a gallery. I just tell them, “Well, this time you have to make a piece of a sculpture for the body.” It is just another way of thinking, and artists like to be challenged. It's a very big challenge for them, but they are very often excited by that challenge. Sharon: Are they doing other things? Are they making the jewelry for your gallery, and they're working on a sculpture or painting at the same time? It might be a different subject, but I'm wondering. Esther: Yes. I think they're on different topics at the same time. Also, when they have to think of making a wearable sculpture, sometimes it helps them to think of a new idea for a monumental work. This is something they have said to me on various occasions, that going from big to small and then back to big is also interesting for them. Sometimes it has an impact on how they think big afterwards. Sharon: You're located in the antique district in Paris, right? Esther: Yes. Not only antiques. It's called the Carré Rive Gauche. It's a very special geography because it's like a square with about six streets. It's very unique in the world because in that square you have about 120 galleries and antique shops of different specialties. You have contemporary art, you have antiques, you have Chinese art, African art, glass works, silver works. It's very unique to have such a strong—how would you say that—density of art shops. It's not like—you know the Marais? The Marais is another district that is very focused on contemporary design and contemporary art. Carré Rive Gauche and Saint-Germain-des-Prés reunites a wider range of art galleries, and I really like that mix. I feel very comfortable in that. It's a very enriching environment. Sharon: From the beginning did you know that was where you wanted to be? Esther: Yes, because it's the neighborhood where I grew up, and I'd never had a professional project in that area. And it's a lovely neighborhood. I love it. A lot of tourists as well still go to Saint-Germain-des-Prés. There aren't many places for rent, and sometimes they are very expensive. This is also why I'm in a courtyard, where you have to find your way through. But once you've been here for the first time, then it's easy to come back. There are many courtyards like this in Paris, and it's also the Parisian charm of finding the remote places. I like that idea. Sharon: It is very charming, and the Parisian charm is both in your gallery and the courtyard around it. Do you get people stumbling in? Tourists or French people who are just wandering around who find the gallery? Esther: Yes, of course. I have a sign on the street also. There are actually three different galleries in the courtyard, so we have a sign on the street with the name of the galleries. The large doors are open all day long, and there are many plants. I have random people coming very often, for sure. Sharon: When did you become attracted to jewelry? Esther: As a kid, because my mother is a great collector of artist jewelry, and I learned a lot from her. Since I was a kid, I've seen her wearing those weird pieces of jewelry that were artist jewelry only, no stones, no diamonds, only artist jewelry. That was very different from my friends' mothers, obviously. So, it was very natural to me, but I never imagined myself being a professional in that area because it was hers. But I found a way of making it mine because she's a collector and I'm an editor. I make new projects. Sometimes when she likes them, she gets them for her collection, but not always. So, I found a way of having my own role in artist jewelry different from hers. But I was really fed by her passion as a kid. Sharon: Did you think you were going to draw or paint professionally? What did you imagine yourself doing? Esther: No, I have no artistic talent myself. I really love working with artists and I'm the person next to them, but I have no desire to create myself. Even after 12 years of MiniMasterpiece, I have no desire to make jewelry myself. Artists come up with such great ideas all the time that I really don't have to think about this myself. But they need me for other things, so I'm happy to take care of all the rest. Sharon: When you say they need you for other things, I was thinking you are creative. You couldn't guide them, right? Esther: Yes, but I don't have the idea. I know how to make their ideas grow and make it possible, but it's really their work. The starting point is their work and their idea. I make it possible after that. Sharon: Who decides if it is going to be a limited edition and there are only a few? Who decides how many there are going to be? Esther: It's a tricky question. I discuss it with the artist, and we take into consideration the costs of their making, obviously. Sometimes it's a series of unique pieces. I've done that on several occasions. So, it's not really an edition; it's a series of 10 unique pieces, for example. Most of the time we make 10 or 12 different numbers of the same piece to stick to what is commonly made in sculptures. So, most of the jewels from the gallery run in an edition of 10 or 12 pieces. Sharon: You started to say that 30, though, is the limit to call it a limited edition, right? Esther: Yes, 30 is the maximum for us to call it an original piece of work. Most of the time after 30, it's not an original piece of work. I don't know how you would call it, but it would be just a regular edition. It's very rare that I go above 30. It has happened in the past, because sometimes museum shops call me for a special edition if they have a show of that artist running and they want to have a piece of jewelry in their shops. This is a very special project for me, and in that case, we make a larger edition. But this is very site specific. Sharon: How do you find the artists? Do you go to parties to look for them? Do you go to galleries? How do you find them? Esther: I go to art shows and exhibitions for the most time. When I find an artist whose work I like very much, then I try to find a way to contact him or her. But the first thing for me is to grasp and understand and like their work. After that, I try to find a possible way to get in contact with them. Sharon: Do they ever approach you first? Esther: Yes, it has happened, of course. There's a great Chinese sculptor in France called Wang Keping, with whom I've had the chance to work for the past four years. I met him at an art fair, and it was a great encounter because he's a fabulous man and a fantastic artist. It was a great, almost random encounter. Sharon: But he came to you. You looked at his work and liked his work, and he came to you? Esther: Yes. I was about to go to him, and then we met and he also wanted to discuss with me. So it was a random encounter, and it ended very well. Sharon: What is the overall state of artist jewelry—well, there are two questions—and art jewelry in France? Esther: What's the difference for you between artist jewelry and art jewelry? Sharon: That's an interesting question. I guess artist jewelry is by somebody who, it isn't their primary medium. They do painting and sculpture, and once in a while they do a pin or a ring or whatever. And the other is jewelers who do different jewelry. Esther: Yeah. It's their specialty. Making jewelry is their specialty. Sharon: Yes. Esther: So, you would call that art jewelry? Sharon: Yes. Esther: Okay. Sharon: I would call both art jewelry. But the artist jewelry— Esther: Yes. Well, I know of art jewelry, but not as well as artist jewelry, obviously, because only artist jewelry is my specialty. So, I wouldn't be able to speak of art jewelry as well. For artist jewelry, I think it's getting better because there are more editors working on the subject and inviting new artists, so it's more dynamic. It seems that in the 60s and in the 70s, the market for artist jewelry in France and in the world was more dynamic than in the 80s, in the 90s, in the early 2000s. For the past 15 years, maybe, it's getting more dynamic because new editors have started working on the subject. Museum shows have also taken place thanks to great collectors that are organizing shows on their collections. Books also have come out. So, slowly, I think it's getting more dynamic. But still, it's a story that needs to be explained more, and a lot of people don't know about it yet. So, it's also our mission to explain that story and to tell and to show. I think it's also the case for art jewelry. There aren't that many galleries and places in Paris that sell art jewels. I'm looking forward to the years to come because I believe it's going to get more and more dynamic. Sharon: Are the people who come, who assemble on your gallery, are they coming because they think, “Oh, it's jewelry. I want to look at diamonds and pearls,” and you have to explain what it is? Esther: Yes, all the time. All the time. Sometimes I talk for five, 10 minutes explaining the concept of the gallery, and they look at me and say, “Oh, so you are making the jewelry.” And I'm like, no, no, no, no, no, no. I'm not making the jewelry. I invite those who never make jewelry, and I ask them for a special project for the gallery. So, it takes a lot of energy explaining. Of course, some people know of that story, so it makes it easier for me. But I also like the challenge of getting that story more well-known and convincing women and men that this is also part of the jewelry world. It's not because the piece of jewelry doesn't have stones or diamonds that it's not worth it. Then we talk about value and what makes a jewel precious or not precious. So, it leads to interesting conversation. But it takes a lot of my time explaining that. Sharon: You said something I have to think about because I'm not sure I've thought about it, and that is that artist jewelry is part of the jewelry world. Esther: Of course. Sharon: Yeah. If you had asked me 10 minutes ago, I would have said yes, but I really would have had to think about it. Esther: It's contemporary jewelry, and contemporary jewelry has different compartments. I don't know how you would say that, but a small part of contemporary jewelry is that of artist jewelry, because it's being made today. So, for me, it's definitely part of it. Sharon: Do you ever have shows, meaning you take your gallery, the artist jewelry, and you cart it somewhere and show it?  Do you put it out for people to look at? Esther: You mean outside the gallery? Sharon: Yeah. Esther: Yes. Several times a year I try to be in fairs. I've never shown in a jewelry fair because I've always want to place the jewelry in a design or contemporary art background. So, I always try to show in design or art fairs, which is not always easy because there aren't that many art fairs, for example, that leave space for art jewelry. So, it's a tricky thing for me, to find a good place outside of the gallery to show that kind of jewelry. Although artist jewelry is part of art jewelry and contemporary jewelry at large, it's a bit different. I'm trying to connect it. I want the connection with the art and design world to be very strong, more than that of jewelry at large. I want to place it into an art environment as much as possible, so also for fairs. Sharon: What if you don't like the first drawing or the first couple of drawings of something that an artist shows you for a ring, let's say, or a bracelet? What do you do? Esther: If I don't like it, it's very often because it doesn't look like them. It's not connected well enough to their work, to what they are. Sometimes the first idea they have is an idea of a jewel, but it's more than just making a jewel. It's making their work into a jewel, you know? So, sometimes the first idea is not the right one, but it's not because it wouldn't make a nice jewel. It would. But you wouldn't recognize their work in that small piece. And it's very important for me that the link is very strong. But for me, a good artist jewel is not a reduction of a bigger project. This is not very interesting, to make very small exactly what you make in large. It has to be a new project, yet you have to recognize the artist's work. This is the biggest challenge in the making of an artist jewel. Sharon: I'm thinking, and I can't remember his name, that the Spanish sculptor who makes puzzles. He makes them large and he makes small, little pendants and things like that. He's Spanish. Esther: Maybe he's Franco-Argentinian, Pablo Reinoso? Sharon: No, that's not his name. But has Reinoso been part of your sculptures, your gallery? Esther: Yes, among many other ones. But, you know, I walked the path of artist jewelry for 12 years, and I've also evolved on that path. What I think today might be different than what I thought in the past, and it's the same for artists. I know their first idea is going to be nice, but maybe it's not going to be as interesting as the second idea or as the third idea. But I also have to respect their rhythm, that it's going to take a bit of time and that they have to grasp the idea of jewelry. Because this is so new to them, you also have to be patient. Sharon: Do you make the first or second drawing they have, even if you don't like it, and then you wait for them? Esther: No, I ask them to work hard for the first project as well, but I notice sometimes that the first project is very nice and interesting, yet the second one or the third one or the fourth one is even more interesting because it—how would I say that—it is more demanding. It is maybe less commercial. I have the feeling that the artist and myself have walked that path a bit more as it gets more interesting. It's also more demanding for the collector. It's really from the artist to the collector. I'm sure you're not the same collector today as you were 30 years ago. And maybe what you choose to wear today or what you assume to wear today is different from many moons ago. I think we all go through that path, and it's very interesting. It doesn't mean that what you make at first is not interesting, but you have to go through all these steps. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Leon Black and his business dealings with Jeffrey Epstein have been under scrutiny for some time and that includes by the United States Senate. During that probe, they have been very interested in learning more about Leon Black and his dealings with Jeffrey Epstein. According to reports, Epstein acted as a middle man for Leon Black when purchasing and selling art and there are questions about if those funds had the proper amount of taxes paid on them. Leon Black maintains that everything was on the up and up and that the 158 million he paid to Epstein was for nothing more than advice. (commercial at 10:00)to contact me:bobbycapucci@protonmail.comsource:A Giacometti for a Cezanne: Jeffrey Epstein's Role in a Pricey Art Deal - The New York Times (nytimes.com)This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5080327/advertisement