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The title of this show, Soleil Cou Coupé (Let the Sun Beheaded Be), is borrowed from Martinican writer Aimé Césaire (1913-2008), whose poetry inspired Gregory Halpern during his time in Guadeloupe. As the fourth laureate of the programme Immersion, a French-American Photography Commission by the Fondation d’entreprise Hermès, the American photographer will exhibit at the Fondation HCB his work from the 2019 residency. Fascinated by the history, place, people, and vernacular of the French overseas department, Halpern created a collection of photographs that is both enigmatic and alert to reality. […]
[…] Returning on the island over three successive trips, sensitive to what the place might have to offer, Halpern’s approach reveals surrealist inspiration, in particular the “Caribbean surrealism” embodied by Aimé Césaire.
Through portraits and the representation of everyday objects—the vernacular—Halpern detects, in different forms, the scars of Guadeloupe’s past.
“The Fondation’s very first “carte blanche” granted to the contemporary art project “Real DMZ Project”.
The exhibition is an opportunity to delve into the Korean artistic scene through the “Demilitarized Korean zone” (DMZ), one of its most significant symbols. The “Real DMZ Project” takes place in France for the first time and comes to life within the exhibition “Negotiating Borders”. This exhibition will occur in two places: the Fondation Fiminco in Romainville on the one hand, and at the Centre Culturel Coréen (Korean Cultural Center) in Paris. “Negotiating Borders” reflects the reality of the DMZ , that is represented from the viewpoint of the artists. It also conveys a fantasy about North Korea in times of peace. It will also host a videoconference “Réinventer la DMZ à l’ère du post-Cov 19: immunité, communauté et mobilité” (Reinvent the DMZ in times of post-Covid 19: immunizing, community and mobility).”
Nourished by the tradition of modern black American dance, and drawing on the music, aesthetics and narratives of African-Americans, Asha Thomas has taken her inspiration for the solo Sojourn from the concept of “Sankofa” which, in the Twi language (Ghana), means “returning to the past to go forwards.”
This is an important project for this choreographer who came to prominence in the Alvin Ailey American Dance Theater, before multiplying encounters on the contemporary French scene which punctuated her researches and accompanied a career that has been marked by a large variety of aesthetics. To relocate the right distance and the texture of the dance memories inscribed within the body, the choreographer has taken her inspiration from the technique of Mabeye Deme, the Franco-Senegalese photographer who places his lens behind an old piece of tent canvas, as a sensitive membrane capable of catching and revealing intimate moments in the flow of life. Sojourn is Asha Thomas’ view of her own story as an artist and the woman she has become, through the filter of the present.
Exploring Man Ray’s work from a fashion perspective for the first time, the exhibition highlights his work for the greatest designers – Poiret, Schiaparelli, Chanel – and the biggest magazines – Vogue, Vanity Fair and Harper’s Bazaar. While fashion photography was still in its infancy, Man Ray developed a new and modern aesthetic in 1921, based on technical inventiveness, freedom and humor. His experiments and surrealist winks blurred the boundaries between art and fashion and made him one of the inventors of contemporary fashion photography.
Sculpture spills from its edge into the world in this very complex way that isn’t bound by the frame. In painting, the world spills into the frame, and sometimes we confuse that frame with the world.
—Sarah Sze
A peerless bricoleur, Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. In recent years she has returned to painting—the medium in which she first trained—producing works that translate her processes of sculptural accumulation into the making of collaged paintings that are detailed, dynamic, and highly textural.
To celebrate the reopening of its fashion galleries, entirely renovated thanks to the patronage of Stephen and Christine Schwarzman, the Musée des Arts Décoratifs will present a major exhibition dedicated to Harper’s Bazaar. Harper’s Bazaar. First in Fashion (Harper’s Bazaar. Premier magazine de mode), on view February 28 through July 14, 2020, chronicles the milestones of the magazine and its evolution. One hundred and fifty two years of fashion history will be summed up through the vision of the great artists and photographers who contributed to the Bazaar’s unique style, from Man Ray, Salvador Dali and Andy Warhol to Richard Avedon, and Peter Lindbergh. Sixty couture and ready-to-wear pieces, most of them drawn from the museum’s collection, along with loans of iconic dresses, will be displayed next to images of them as they were originally featured in the magazine.
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