Exhibition “Creative Tandem: Romans Suta and Aleksandra Beļcova” in Daugavpils – Arts – Culture +

The large-scale exposition that LNMM and the Suta and Beļcova Museum show from their collection in Daugavpils is dedicated to two bright personalities of Latvian art history, representatives of classical modernism.

Sujunšalijeva explained that at the beginning of the 20th century, many family couples are known among modernist artists. Sonja and Robert Delone, Mikhail Larionov and Natalia Goncharova, Alexander Rodchenko and Varvara Stepanova, Alexander Vesnin and Lubov Popov, Alexei Kručenih and Olga Rozanova, Gustav Klucis and Valentina Kulagina, Alexander Drevins and Nadezhda Uzda Art historians highlight this fact as a special cultural phenomenon of the early 20th century. In Latvia, such a pair of artists was Suta and Beļcova.

“In each of these duos, the relationship was formed according to different scenarios, but mostly the leading role belonged to men,”

commented Sujunshalieva.

According to her, Suta has been active both as an artist, working in various fields – painting, graphics, scenography, applied art and design – and as a theorist, writing texts on the art of modernism. Belcova, on the contrary, did not seek publicity, so there may have been a misconception among art critics and spectators of the interwar period that the artist was in the shadow of her husband.

Suta and Beļcova were members of the Riga group of artists. After leaving the group in 1926, they joined the group of artists and poets “Green Crow”. The brightest time of both works is the 1920s. The two were linked by French modernism – cubism, purism, new realism – as evidenced by their paintings and graphics at the time.

Romans Suta. Self-portrait. 1929

PHOTO: book cover

The brightest episode of their collaboration is the legendary porcelain painting workshop “Baltars”, founded together with Sigismund Vidbergs. In this exhibition, sketches of Suta and Beļcova’s dish paintings are exhibited, allowing the audience to get to know a small but expressive part of this aspect of creativity as well.

The parents ‘heritage was preserved and bequeathed to the state by the artists’ daughter Tatjana Suta. Currently, the apartment where they lived has a museum named after Suta and Beļcova – a structural unit of LNMM.


PHOTO⟩ Culture lovers gather at the opening of the new exhibition space “Pilot” – Culture – Apollo.lv – Entertainment

The creation of the exhibition space has been initiated by the EU4ART Alliance and the Latvian Academy of Arts, in cooperation with the Erasmus + program and Riga Municipality.

The art space was opened with the group’s international exhibition “Vice Versa”, where curator Auguste Petre invited current and former students from four Alliance partner schools to participate, choosing the keywords “cooperation”, “openness (and experiment with it)” and “trust” as the conceptual stops of the exhibition. . Artists Ilze Aulmane (Latvian Academy of Arts), Maria Kitzing, Dresden Academy of Arts Luca Lovász, Hungarian Academy of Arts and Steven Marigo (Roman Academy of Arts) are participating in the exhibition.

Photo: Opening of the exhibition space “Pilot” and the exhibition “Vice Versa”.

The EU4ART Alliance is an international association of art universities whose long-term goal is to strengthen fine arts study programs in the European Union (EU) member states.

In the newly established exhibition hall, a wider audience will have the opportunity to regularly get acquainted with the work of young talented artists, as well as exhibitions of independent curators and projects of the alliance members will be created.


What to do in August 2020

In this particular summer, if on the one hand the city is half empty due to the departure of the Turinese for the summer holidays, on the other hand a good part of them have already returned or will not leave at all. So the day of August, which this year falls on a Saturday, is an excellent opportunity to spend a few hours in the city, discovering museums and exhibitions, or to take advantage of a trip out of town. And given the canicular temperatures, perhaps towards the mountains, where the events organized by the various administrations and the Pro Loco in the hottest months, for tourists and residents, never fail.

Music and activities … even at the castle

Theatrical performances and appointments with music at the Royal Palace of Venaria; Treasure hunt for families at Miradolo Castle. Mid-August concert instead, at the San Silvestro park in Chieri while at the Parco della Tesoriera in Turin it continues and ends l’Evergreen Fest. Music and events also at Valentino, in the large lawn, with Green Dot.

Art, museums and exhibitions

In the city the Ferragosto can be spent in the name of art: open i Civic Museums, the Museum of the Risorgimento, as well as the Cinema Museum where the exhibition continues Cinemaddosso. The day of Ferragosto alla Mole is also open the panoramic lift. Furthermore, entering Palazzo Madama on August 15th costs only 1 euro where you can visit “Precious silver” and mid-August is scheduled guided tour dedicated. And it also costs 1 euro to visit the Museum of Oriental Art where the 15 is there guided tour at the China and Japan galleries. In mid-August, for a panoramic tour with a special view of the city, the Sassi-Superga tram.

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Out door

Taking advantage of a trip out of town, there is Gran Fiera di Ferragosto in Pragelato while climbing higher, at Colle del Sestriere, you can browse the Col di Lillà market which will last the entire weekend and is also scheduled for White Night. In Sauze d’Oulx, on the eve of August 15th there is Opera, the 15th is staged Street Food of August and for the more sporty there is the Memorial Tintinelli of tennis; in Fenestrelle the Ferragosto is with the 26th edition of the book Fair; in Bardonecchia the Ferragosto is in music; in Prali there is the possibility to spend an original Mid-August in the mine and in Ala di Stura there is Night of the Lanterns.


Christophe Léribault, director daring the Musée des Beaux-arts, Paris

That’s three months that he waited for this moment. During the containment, Christophe Léribault came every day, by metro, to watch over his dear Little Palace, to inspect the reserves and negotiate of long hours on the phone the reports of its programming. The superb collection of drawings French of Louis-Antoine and Véronique Prat, hung on the rails since mid-march, but remained invisible, can finally be unveiled to the public Tuesday, June 16.

→ TO READ. Second wave of re-opening for national monuments

The couple of collectors has even offered up two leaves in the paris museum. Its director smiles with optimism :” In the months that open, we will have to juggle even more with our budgets, but we will walk, it is obvious. The City of Paris is supporting us, unlike american museums, for example, entirely dependent on the private… “.

At the age of 56, this conservative guard a from the juvenile. He recounts a childhood marked by visits of castles, churches and museums with parents scientific” very loving “. 3 and a half years, he discovers” impressed “the exhibition Tutankhamun, right here, at the Petit Palais. What to feed a solid vocation ? He was only 12 years old when his father dies, swept away by a long illness.

To reassure his mother, the teenager will enroll simultaneously in history and art history at the Sorbonne, before becoming the general curator of the Heritage. “ Make his passion his profession, brings a lot of comfort “, he says soberly.

Lively and full of humor

Appointed first to the Carnavalet, the museum of the history of the City of Paris, Christophe Léribault there goes the exhibits, fascinated by “ the collections are huge, with horse between the history of mentalities, architecture, urban planning and the arts “. A break of a year at the Villa Medici allows him to complete his thesis on Jean-François de Troy, who led the Academy of France in Rome in the Eighteenth century. And specify the corpus of the painter, sometimes confused with that of his father.

In 2006, Henri Loyrette, then head to the Louvre museum, invites this sharp mind to join the department of graphic arts and to lead the museum Delacroix. ” A place emotionally charged “that the grantee renovates, expands, energizes. “ I have a lot ran, of both sides of the Breaste “, he recalls, with its everlasting hint of humor.

Bright colors and live performance

On his arrival at the Petit Palais in 2012, he deploys the same energy. It modernized by bright colors the presentation of the collections, creates a room of the icons, sort, statuary, monumental reserves, expanded in the programming of concerts, films and courses in art history, invites contemporary artists during the international contemporary art Fair (Fiac) and advocate for or piétonnisée the esplanade between the Grand Palais and the Petit Palais.

He even offers to welcome in the gardens located behind the museum the bulky Bouquet of tulips Jeff Koons challenged everywhere else. A prestigious location but discreet, which allows you to renovate in the end these green spaces left behind. ” In the meetings, I’ve always seen to find the solution that makes everyone happy. He has a true talent as a diplomat, and the sense of human relations “salutes his friend, the art historian Adrien Goetz.

Behind the scenes, Christopher Léribault also defends the free access to the municipal art collection and the free reproduction of works. ” Our heritage is derived in large part from donations “pleads he, anxious to open wide the doors of the Petit Palais. Result : the attendance of the museum is three-fold, reaching 1.2 million visitors in 2018. A success alas mitigated since, by the succession of social movements that have paralyzed the centre of Paris.

Exhibitions bold

Its policy of exhibitions, carefully staged, has won yet a loyal audience. The clashes abundant and multidisciplinary” Paris 1900 “or the” Romantic Paris “there are interspersed with bold proposals. Christophe Léribault discover the ile-de-france the work of the Swede Carl Larsson and Anders Zorn, rehabilitating artists that are a bit forgotten as Georges Desvallières. He dares the first retrospective in france of Jacob Jordaens and Luca Giordano, enjoying the spacious rooms of this palace built for the universal exhibition of 1900.

→ (RE) READ. The Paris 1900 is displayed at the Petit Palais

It is endowed with an infinite curiosity, eclectic, very wide “, enjoy Amélie Simier, director of the Bourdelle museum, which has cooked up, with this” wonderful comrade “there is a season Danish in Paris. She currently presents the sculptor Jacobsen. Christophe Léribault had, him, see, because of the containment The golden Age of painting Danishas of 22 September. ” Denmark has closed its borders a priori until the end of August, but we will get there “, he promises, with his moral beating.


Between Haskell and Rosenberg

“When I was a resident at the Villa Medici, I was able to invite the great historian of art, English, Francis Haskell. I accompanied him in Rome for fifteen days, and we’re reviewed on a regular basis then. His writings on the role of collectors and patrons of art, on the differences in the taste depending on the times, and it opened my eyes.

In a museum, he should also be freed from the modes. My other model, this is Pierre Rosenberg, the former president of the Louvre. Immense curator, cataloger, collector, gifted with an eye striking, this maker of projects, full of energy, pushed me for my thesis, and plays a very positive role in the world of art He does not hesitate to say things, but always with tact and fights in favour of the artistic education “.


80 years ago, a poem of Kipling in the face of the nazis entering Paris

The Cross : What happened on June 14, 1940, at the Museum of Man ?

André Delpuech : This morning, the director of the Musée de l’homme, Paul Rivet, takes the initiative to post on the door a poem by the british writer Rudyard Kipling, published in 1885, entitled Thou shalt be a man, my son “, which ends by the famous verse : “If you can keep your courage and your head/When all others lose/Then the Kings, the Gods, the Chance and the Victory/ Will be forever your submissive slaves, / And, which is better than the Kings and Glory / and Thou shalt be a man, my son. “

This act of resistance, on the day of the entry of the Germans in Paris, marked the spirits. Paul Rivet is a physician, anthropologist and américaniste, a former member of the popular Front. He has been engaged in the renovation of the Museum of the Trocadero in 1938, which became the Museum of Man, where then work fifty researchers and technicians, specialists in anthropology and ethnology.

For this director’s iconic, the role of science is to raise awareness and alert on the dangers that threaten society. As early as 1934, while Hitler has been appointed chancellor the previous year in Germany, he founded, together with the physicist Paul Langevin and the philosopher Alain, the Committee of vigilance of the intellectual antifascists.

Paul Rivet located in the museum of German-jewish exiles, and Russian émigrés, including the ethnographer, Boris Vildé and the linguist Anatole Lewitsky. On July 14, 1940, he published an open letter to marshal Petain in which he is critical of the regime with a vengeance, which earned him to be relieved of his duties. Put in danger, he left Paris on 11 February 1941 and joined the British, escaping a police raid of the Gestapo to 24 hours.

That started Paul Rivet at the Museum of Man ?

A. D. : A resistance network is in place as of the summer of 1940 under the leadership of Boris Vildé, Anatole Lewitsky and the librarian Yvette Odo. It is one of the first groups clandestine struggle against the Nazis to appear in occupied France. Around this core revolve of individuals with strong character that the writer Jean Cassou, the journalist Pierre Brossolette, the art historian Agnès Humbert, or Sylvette Leleu, the owner of a garage in Béthune.

The group is working with small units spread throughout the territory by participating in the escape of prisoners and the collection of information. It plays an important role in the information of the Parisians misled by the propaganda of the Vichy regime by publishing in December 1940 the diary Resistance from information from the BBC and an informant working at the embassy of the United States.

In 1941, as reported, Boris Vildé, Yvette Oddon and Anatole Lewitsky are incarcerated. It was then that Germaine Tillon, anthropologist, specialist of the Berbers of Algeria, takes over a part of the museum’s activities. In January 1942, following the trial of these resistant that the press calls the” Case of the Museum of Man “ten of the defendants are sentenced to death, the leaders of the network Boris Vildé and Anatole Lewitsky. Yvonne Oddon finally being deported to Ravensbrück concentration camp. Seven men are executed by firing squad at Mont-Valérien in 1942. On 13 August, Germaine Tillon is stopped to turn and then deported in 1943 to Ravensbrück concentration camp. It is the end of the network at the Museum of Man.

How it resonates with the world today ?

A. D. : The men and women of the network of the Museum of Man have continued to fight to defend the freedom of thought, access to knowledge and the equality of peoples. Since its reopening and its complete redesign in 2015, the Museum of Man continues the missions laid down by its first director : to defend a message of humanist and universalist, and to fight obscurantism.

Through his exhibitions (such as “We and the other, from prejudice to racism “ in 2017-2018), and based on science, the Museum allows one to see the unity of the human species in its diversity so that the public can better understand it.


The collectif Argos brings images of climate change

“Our house is burning… “ If the formula of president Chirac at thethe fourth Earth summit, in September 2002, is now long past, the remedies were slow. The collectif Argos, composed the previous year, has guided its work for nearly twenty years around the environmental concerns.

→ FORUM. Climate : there is no time to lose

At the beginning, this small group of photographers (Hélène David, Cédric Faimali, Laurent Weyl, Guillaume Collanges) seeks above all to share ideas and thoughts. Very quickly, they decide to integrate people from feather in their project.

Account of global warming

At the beginning of the XXIe century, figures, graphs and pie charts of the Grouping of the intergovernmental panel on climate change (Ipcc) are beginning to alarm the media and many governments. “It seemed important to make palpable and sensitive data on global warming “, stresses Guillaume Collanges.

Arles and Perpignan, the fate upset festivals photo

The village of Shishmaref, Alaska, affected by the melting of the permafrost, to the archipelago of Tuvalu submerged by the rising waters, the photographers travel the world to report stories of men and women who bear the brunt of the effects of global warming. They are the first to document and embody the reports a bit boring scientists of the Ipcc.

The project, launched in 2004, extends over several years. A book is coming out in 2007, which will be re-released. The photo Festival La Gacilly, also involved in an ecological approach virtuous, promotes an exhibition of their work in the same year.

Identify and illustrate the positive initiatives

The exhibition then travels through France, accompanied by conferences and meetings. The exchanges are rich and also reveal the impact of the local climate, as well as the initiatives that are taken at this scale. In the wider world at its doorstep, the loop is closed.

The culmination of this work is reached when, in 2009, the embassy of France program, their exposure to the COP15 in Copenhagen, which will strengthen the urge of the collective to continue to dig the furrow environment. A commitment that requires time and money : everybody is going about his work, is dedicated to reports about the society, working on the news, responds to commands, but never stray too far from the path set.

The team is ready again to write a second chapter on the actors of the transition energy. The project “Footprint” identifies small and large initiatives, the Amap Île-de-France the development of wind power in Cape Verde.

A new exhibition, visible in early 2021

It finds its culmination in the dawn of the COP21 in Paris with an exhibition at the town hall. A touch of color and optimism after observing the very dark of the first component. “It seemed to us essential to also bear witness of the solutions “says Jérômine Derigny, who joined the collective in 2006.

→ TO READ. Of science fiction to the “climate-fiction” : novels for thinking about the climate change

Nearly twenty years have passed, some members left, new ones arrived, but the spirit remains. The collectif Argos lives his life, always on the alert on disordered ecological. A page is written today with a new documentary series titled ” Bitter “. They leave, this time, to the meeting of small fishermen deprived of their livelihood by private interests, tourism or industrial.

The exhibition, postponed because of the sars coronavirus, will be visible early next year, on the occasion of the world Congress of the international Union for the conservation of nature (IUCN) in Marseille.


Philippe Cognée, painting disintegration and rebirth

Philippe Cognée easily accommodated the long period of confinement. Her life will not have been so much disrupted by this moment of pause, shared by the whole population. In his studio in Vertou (Loire-Atlantique), on the peaceful outskirts of Nantes, surrounded by trees and flowers which he takes great care of, this affable but fundamentally lonely artist, who lived much of his childhood and of his adolescence in Benin – where his father was a teacher – took advantage of this suspended time to complete a bulky work, 8 meters high by 4 meters wide, a tower forming a kind of hourglass, commissioned by the Departmental Center from the Isère archives.

A titanic site to which he thought he should devote more time: “I’m a little obsessive. Beyond the stress that this virus brings and all the questions that go with it, this confinement helped me to think only about this subject without being entertained by anything else. I may be working less densely and yet surely more ”, explains this former winner of the Villa Medici (in 1990). This curious period will necessarily have an influence on his future work. There is always time “To absorb a subject before spitting it out in a pictorial form, to understand how one can translate emotions and impressions, because a painting is not just a simple illustration”.

A technique all his own

His distance from Paris and his installation in this house-workshop gave this artist, born in 1957, the opportunity to refine for years his unique technique, based on research of images captured on the Net, and on the use beeswax, heated with an iron and then crushed by a plastic film, which he uses as a binder, instead of oil or acrylic, to make his colors. The uneven texture and the relief of the painted surfaces, producing a blurred effect, stamp his trademark, whatever the themes he exploits: contemporary architecture like low-cost buildings, supermarket shelves, tagged houses or everyday objects, from an ordinary fridge to a simple chair.

Philippe Cognée regularly changed the theme according to his instincts. Over the years, his work, which legitimately adorns the collections of the Center Pompidou, the Fondation Cartier or the Museum Ludwig in Cologne, has never stopped evolving.

Moving landscapes in Chaumont-sur-Loire

The fields, wild or cultivated, and the forests which surround it represent an inexhaustible and continuous source of inspiration. He recently exhibited at the Templon gallery in Paris, to which he has been linked since 2003, an impressive series of flowers withered or in a state of advanced decay. These sunflowers, peonies, roses or amaryllis spring like metaphors from human flesh, evoking the fragility of passing time. Whether he paints an urban, bucolic environment or even a portrait, all his subjects carry with them this double dimension of disintegration and rebirth.

When public places can reopen, this painter “Of the world as it is” will reveal around thirty large canvases in the galleries of the Château de Chaumont-sur-Loire (Loir-et-Cher), a place which is dear to him (1). This regular visitor to the Art Season and the Garden Festival cherished the hope that Chantal Colleu-Dumond, the Director of the Estate, sooner or later invited him to exhibit. By presenting his landscapes in movement, Philippe Cognée follows in the footsteps of Edouard Manet, of whom he boasts the incredible modernity of painting. ” But, unlike the great Impressionist masters, he does not put his easel in front of an inspiring panorama, considering that the artist of today no longer lives “At the same time of contemplation”.

→ REPORTAGE. Gardens of paradise in Chaumont-sur-Loire

In this society of frantic speed and the omnipresence of screens which encourage, in a reflex that has become universal, to film to watch next », he treats landscapes in a different way, scrolling through snowy forests or bushy paths, through the window of a car or train, increasing the emotional and nostalgic power of his original pictorial proposals. The common feature, at bottom, of all of his work, as dense as it is profuse.


His inspiration: contemporary figurative painters

In the early 1990s, Philippe Cognée was unhappy in Rome, in residence at the Villa Medici where ” work (him) seemed a little artificial ”. He begins to be interested in contemporary figurative painters such as the German Gerhard Richter and the French Gérard Gasiorowski, “For their rebellious side but also because they integrated the world around them into their work”.

Later, the seaside landscapes of Malcolm Morley and the approach of Italian artist Francesco Clemente, proclaiming in an art magazine “No longer want to get tired of looking for a subject while everything was around it”, have opened a way for him to flourish: “I was looking for such a sentence. It justified the state in which I wanted to be. “


“Champs-Élysées, history and perspectives”, the fields of possibilities

In the photos, the Champs-Élysées gardens are deserted. No wonder in this period of confinement. Except that the photos of the Pavillon de l’Arsenal exhibition devoted to the famous avenue were taken well before this strange spring … With its 24 hectares, the green spaces of the Champs-Élysées are three times larger than the Parc Monceau but attracts thirteen times less audience!

→ DOSSIER. Culture at the show: our selection by confinement time

It must be said that “the most beautiful avenue in the world” has lost this status in the eyes of Parisians. Only 5% of the passers-by who come to stroll there live in the capital, the axis being mainly frequented by tourists and … cars! This was not always the case on this royal road imagined by Le Nôtre in 1664. Extension of the central alley of the Tuileries garden beyond the fortified enclosure, it symbolizes the domination of the monarchical power of Louis XIV over the whole kingdom.

Today it remains a high place for the legitimization of power with its military parades and presidential enthronement conveyed, but also for its protest, from sans-culottes to yellow vests …

Evils of Modernity

It also reflects a vision of progress which sees nature, fields and marshes in this case, being domesticated by man. A design that comes to confirm the successive arrangements of Jacques Ignace Hittorff and Adolphe Alphand in the XIXe century. Caught up in the evils of modernity, the Champs-Élysées must reinvent itself to find the favors of Parisians.

The architect Philippe Chiambaretta, author of the study carried out for the Champs-Élysées Committee, an association bringing together the economic players on the avenue, makes here a number of proposals to reduce the inconvenience caused in particular by atmospheric and noise pollution: reduction two-lane instead of four currently, creation of bicycle paths and playgrounds, silent floor covering, electrification of the car fleet, and pedestrianization of Place de la Concorde.

Moving a little quickly on the hyperinflation of land, the architect, who advocates partnerships with the private sector to finance his development ideas, may forget that a neighborhood also lives because it is inhabited. It is still necessary to have the means…


Mirror artist Michelangelo Pistoletto, a 86-year-old Covid survivor

PORTRAIT – This Arte povera figure even gave an interview from his hospital bed in Biella, his hometown in Piedmont. Utopia always nailed to the body.

Michelangelo Pistoletto, a figure of Arte povera, is the patriarch of the Cittadellarte he founded in Biella, his hometown of Piedmont.
Michelangelo Pistoletto, a figure of Arte povera, is the patriarch of the Cittadellarte he founded in Biella, his hometown of Piedmont. Courtesy Gallery Continue

Who met Michelangelo Pistoletto, 87 on June 25, remains struck by the commanding force emanating from this Italian patriarch, one of the last great figures in the current of “Arte povera” (Poor Art).

Until recently, this handsome man with a medal profile, blue eyes, gentle Italian elegance, assertive speech and no sharing, was skiing in his mountains in northern Italy. The “Maestro” is currently being cared for at the Hospital in his hometown of Biella where, at the age of 86, he survived the coronavirus. A miracle.

The Cittadellarte Journal interviewed him, exclusively, from his hospital bed where his verve as a committed speaker and utopian remained intact. “The role of art in this pandemic is sensitivityHe thus said to his countrymen and to all the peoples of art.

Social renaissance after coronavirus

The artist highlights his personal experience and wonders how a social renaissance can emerge after the Coronavirus. What, according to him, is the key

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Magic, circus, virtual exhibitions … All of La Villette at home

Protect artists and keep the relationship they can have with their audience. This is the axis along which Didier Fusilier, patron of the public establishment of La Villette, designed with his teams the containment program. So he first ordered capsules for them.

Thierry Collet, a magician permanently installed at the Magic Wip, reveals a magic trick every Tuesday. He sometimes passes the ball to his accomplice Frédéric Ferrer. No need to panic: the kitchen equipment is enough. On Wednesday, children’s day, we go to Little Villette: we learn to make a table football in a box of matches, to tinker with a kite. On Thursday, students of art schools who were to present their works in the 100% expo do so virtually. On Friday, the park’s gardeners and wardens, who have stayed behind, post visual and sound vignettes of the deserted place: spring bloom and the roar of birds who no longer have to contend with the rumor of the ring road.

At weekends, make way for the show! The programmed artists put on their show on the Facebook page of La Villette: in the circus, Les 7 Doigts de la Main give Sequence 8. Cth weekend, Cris Blanco performs Bad translation May 2nd, Mourad Merzouki dances his extraordinary Correria Agwa on May 9 and 16, Delavallet Bidiefono sign Monsters / We don’t dance for nothing.

Bringing the public back to public spaces

Lonely surfers can also dive into the digital content entrusted to them by major French museums and public establishments (paintings, sculptures, dance, music) and by the very closed club of royal residences in the Micro Folies collection. And tap into the other offers on the Villette site: humorous conferences, Bollywood dance lessons, etc.

We are a park, not a theater or a museum even if we also practice entertainment and exhibition activities. No doubt we will have special possibilities to play at the time of deconfinement“Says Didier Fusilier, who points out that in Germany and Austria, parks were the first deconfigured places. And to dream of the future, with new proposals, closer to the artists.

I would like to transform the Great Hall into a place where artists, such as Bartabas, will settle and create as they go, he adds. Their work will be relayed online, from morning to evening, and we can connect to see where they are, or even, if the deconfinement allows, go see on the spot. The idea is of course to bring the public back to public spaces, as close as possible to the artists. Certain visual artists could thus be invited to create in the park. And artists who would like to can do interventions in schools or high schools.

Fusilier also plans for the open air film festival which takes place every summer to install small fun spheres where one would settle down to watch films as in a drive-in.

Some links

-The Villette at home: https://bit.ly/CultureChezVillette
-Have fun with Little Villette: https://bit.ly/PlaywithLaVillette
-Learn how to dance like in Bollywood: https://youtu.be/8sqG7WTeEyg
– YouTube channel La Villette: https://bit.ly/LaVilletteYT
-100% The exhibition / School trips: http://bit.ly/100ExpoSortiesEcoles