Artists on the front line to save the art market

OUR ADVICE – Faced with the pandemic, gallery owners from Europe and America are increasing digital initiatives to avert the closure of their spaces and the collapse of their world.

Urs Fischer, the New York-based artist from Zurich, is the claimed heir to the Dada spirit. Here, a portrait of Urs Fischer by Chad Moore (detail) Courtesy Gagosian.
Urs Fischer, the New York-based artist from Zurich, is the claimed heir to the Dada spirit. Here, a portrait of Urs Fischer by Chad Moore (detail) Courtesy Gagosian. Photo Chad Moore courtesy Gagosian

After Paris, the epidemic now overwhelms New York, a stronghold of the international art market, with its galleries in Chelsea, Tribeca, the Lower Eastside, the Upper Eastside, its artists who impose themselves on everyone and hold the top of the block. Each of these galleries, large or small, in New York as in Paris, tries, in its own way to face this disastrous situation by asserting its talents, its creativity, its network. In the past three weeks, we have seen digital initiatives flourish that try to bring art back to the heart of our confined lives. Here is our selection.

● Give the floor to the artists, every week

Larry Gagosian, tenor of this international market, had to cancel or postpone a number of exhibitions, those in progress in his 18 spaces, from New York to Rome, from London to Athens, from Geneva to Hong Kong. Thus, in Paris, was to open on March 18, and until May 30, the exhibition of Sarah Sze, the meticulous installation artist who represented the United States during

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Visit the Raphaël de Chantilly exhibition in pictures

In the fantastic collection of the Duke of Aumale, bequeathed in 1886 to the Institut de France with the Chantilly estate, Raphaël has always held first place. Like many amateurs in the XIXe century, Henri of Orleans placed the “Lovely Sanzio” at the top, going to salute his works on each of his trips to Italy or Munich.

He bought three of his paintings: The three Graces, in his eyes a “Exquisite jewel”, La Madone said from the house of Orleans who had belonged to his ancestor, Philippe Égalité and Madonna of Loreto then considered a copy. Coup de théâtre in 1979: a restoration of this suave Virgin stretching a veil, which foreshadows the shroud, above the Child Jesus, revealed a number linked to the collection of Cardinal Scipio Borghese. Our Lady was an authentic Raphael…

The Duke of Aumale also had a happy hand in acquiring the collection of 380 drawings by Frédéric Reiset, curator at the Louvre. Among them, seven or eight are from Raphaël and around thirty of his pupils, all shown at Chantilly for the 500e anniversary of the master’s death.

The blog of Crouching Scribe, offers on the internet a filmed tour of the exhibition, commented by its curator Mathieu Deldicque. It begins under the serene auspices of Perugino and Pinturicchio which influence the young Sanzio in Umbria. As proof, his Joust of children, recently dated thanks to its watermark. After 1505 in Florence, Raphaël was inspired by the nudes of Michelangelo, but also by Madonnas by Leonardo, as for La Belle Jardinière of which Chantilly has a drawing.

Great studies

This compulsive cartoonist first outlines his jumbled ideas. Like these two pink leaves, loaned by the Palais des Beaux-Arts in Lille, where the Christ of Madonna of Loreto, twirls in different postures. Then comes the harmony between the figures, the distribution of light, as in this superb study of twenty characters for The Dispute of the Holy Sacrament, first order in 1508 from Pope Julius II. Another gem: a Table porter à la sanguine, intended for the fresco of The Borgo Fire at the Vatican, partly painted by Raphael’s pupils.

The most famous – Giulio Romano, Polidoro da Caravaggio and Perino del Vaga – are in the spotlight at the end. Their grotesques take up the fashion launched by their master in the Vatican Lodges, itself inspired by the decorations of the Domus Aurea of ​​Nero. Yet among these disciples, the elongation and proliferation of figures already heralds the new page of mannerism, which will turn its back on the grace of Raphael.


From Giverny to “Water Lilies”: sublimated nature

Only the gardeners of the Monet Foundation will attend the spring blossoms in the garden of the impressionist painter in Giverny. The opening of the domain, the visits and the activities are postponed until the end of the confinement. .

With the Covid-19, the calendar of trade fairs and art fairs turns into a puzzle

Postponements or cancellations, the calendar of fairs is jeopardized with the coronavirus which affects all continents. Collectors, foundations, museums and institutions are preparing to live an untenable marathon at the start of the school year – or even from June – where all the events will shake up, even collapse, in a very short time. They will have to choose …

Originally postponed from May 28 to 31, the 29th edition of Drawing Fair at Palais Brongniart was finally canceled. But not yet Drawing Now, devoted to the contemporary period, at the Carreau du Temple, which was to take place at the same time, during the traditional drawing week in Paris offering a multitude of exhibitions and auctions, between Drouot, Christie’s and Sotheby’s. It is always maintained from May 29 to June 1.

An online edition of the drawing room does not correspond to the minds of drawing collectors, the decision is always made in front of the work itself. For this area, there is a physical presence of the sheet essential to judge its interest and its state that nothing can replace“, Commented its president Louis de Bayser. “Many exhibitors are relieved by this decision. Between the uncertainties of the evolution of the health crisis, the fear of visitors to find themselves in a confined space, and the fact that collectors, especially Americans will not want to come to Europe, it was unrealistic to want to maintain the show , he adds. Especially since we have no visibility on how the market will be reacted to the financial crisis and many other parameters … “

“Now, I am concentrating on the start of the school year with the preparation of the fair Fine Arts Paris, from 18 to 22 November, in the courtyard of the Dôme des Invalides. We will be 70 exhibitors but suddenly, we may have more requests ”, explains Louis de Bayser again. Created in 2017 by the organizers of the Salon du dessin, in partnership with Paris Tableau, this salon dedicated to Fine Arts from Antiquity to the present day, had already recovered the dissatisfied with the Biennale of Antiquaries at the Grand Palais, renamed Biennale Paris. Under the leadership of Georges de Jonckheere, a major figure in the art market specializing in Flemish painting (and a long-time member of the Syndicat national des antiquaires; the SNA), this event, which could rise from the ashes, will take place from 17 to September 21 under the glass roof.

It will take courage for the marathon because, afterwards, the fairs will be linked: London Frieze (October 8-11) at Regent’s Park, along with Pad London, in Berkeley square (from 5), then the Fiac (October 22-25) and, at the same time, Pad Paris at the Tuileries, whose postponement decision fell on Tuesday (October 22 to 25). It was initially planned for May 12 to 17, too early, given the confinement.

This new date could be favorable to him with the arrival of international collectors during the Fiac which creates an effervescence in Paris. But it will inevitably pose a problem for certain merchants who do both and even some, such as Jousse and Kreo, the Fiac. The schedule will not be tenable. We must not tire collectors and find merchandise … On the side ofArt Paris, the date is maintained from May 28 to 31. But it’s a safe bet that it will be postponed until June, due to the postponement ofArt Basel (initially scheduled from June 18 to 21) from September 17 to 20. Already shifted from April to the end of June (from 25 to 28), the fair Art brussels will it be maintained?

Faced with this avalanche of postponements that are not likely to give confidence, will the desire to buy art come back before summer? This is the question everyone is asking because nobody yet knows how it will emerge from this crisis. We must prepare ourselves psychologically and everyone will undoubtedly have other priorities. “We have sent some designs to customers but have received no response to date. That says it all. Everyone has their concerns of the moment ” confirms Louis de Bayser. Cancellation of the fair Masterpiece a few days ago was the consequence. The organizers preferred to prepare for the disaster, by reimbursing exhibitors 85% of the price of their stand and asking them to pay 15% to guarantee them a place in June 2021.

Not everyone has followed this path of wisdom. They didn’t see the wave happen or believe it. And they are drawing lightning today from the art market! “It is true that a fair is a lot of preparation and financial investment. When you’re nose in, you’re in a bubble, and you’re up to the endian. It has to be done at all costs. This is what happened with the Tefal Maastricht whose date is not right. I felt the danger but did not realize how serious it was, until the fair closed prematurely, on March 11, four days before the end, ” explains one of its exhibitors.

A hundred of them affected by Covid19 now realize how serious the situation is. Almost 29,000 visitors gathered in the exhibition hall in the end. And cases, including some in intensive care, have multiplied among exhibitors and visitors (from collectors to curators through some of our policies) upon their return, within two weeks of closing. Some furious merchants were indignant on social media, saying that the fair would not have wanted to reimburse them anyway and that they would not come back next year.

Was it necessary to cancel everything? An Italian art dealer – an asymptomatic case which we now know can transmit the virus – said that he had announced, as of Monday, four days after opening, that he had tested positive. And the fair took two days to react before it closed. But Tefal president Nanne Dekking (founder of New York-based Artory) who believes “to be someone very responsible “ said to have “was forced to investigate a simple rumor about who to contact because of a lack of a phone number. “

He adds: “99% of the exhibitors still wanted to do the Tefal. They were consulted one by one. The mayor of Maastricht, the province of southern Limburg, the authorities of the Netherlands, no one had issued a prohibition order in view of the sanitary conditions. There is a committee of 7 people, I am not alone in deciding. We had meetings with all the subject experts every morning to take stock of the situation. ” Tefal has no plans to compensate exhibitors for the cancellation of the past four days. She also had no plans to reimburse them if the fair was canceled. The heart of the game in all this upheaval remains money.


Swiss Art Basel fair postponed to September

The rumor had been going up for several weeks. Unsurprisingly, the news fell on Thursday, early afternoon: Art Basel, the largest Swiss fair of modern and contemporary art is postponed, due to the global impact of the Covid-19 pandemic. It was to open to the public (on June 16 for VIPs) from June 18 to 21. It will be held from September 17 to 20, next.

This decision was made in close consultation with a wide range of gallery owners, collectors, partners and external experts, with the aim of protecting the health and safety of the community, and ensuring that the fair is attended by the largest number of collectors, curators and professionals in the Art Basel worldwide network ” announced the press release.

“A very complex decision to make”

And its director Marc Spiegler added: “We thank our galleries for the support and understanding of our very complex decision to postpone the fair. We hope the situation improves quickly, and we will work closely with our exhibitors for its success in September. The health and safety of our exhibitors, partners, guests and teams remains our priority, and we will adapt all our planning to the current situation

Art Basel cannot live without its public and its American galleries. These weigh heavily in number but also financially in this large art supermarket. And it is they who bring some of the wealthiest customers. A windfall impossible to dismiss and which counted in this decision to postpone. Especially since it will be impossible for galleries to send their works to Switzerland in time with the transport freeze. The worst of the pandemic is coming across the Atlantic, a few weeks behind Europe.

Play the card of rebirth

Is betting on the start of the school year appropriate? There is a great risk of a telescoping due to a calendar from September to October which is far too busy, between the Biennale Paris at the Grand Palais, Frieze London, Tefaf New York and the Fiac at the Grand Palais. Faced with such an influx of offers in two months, not everyone will find their account. Collectors will have to choose between events and inevitably calculate their expenses.

ABB19, Galleries, Andrew Kreps Gallerry, PR

In this context, Paris, in the center of Europe, must play the card of the market renaissance from June, with the possibility that Art Paris, planned for the end of May, will be shifted by security to June, at the same time that the weekend gallery ” explains Parisian Nathalie Obadia. “For small and medium-sized galleries, it is essential to make cash before the holidays despite government assistance. We will surely stay open part of the summer“, She adds.

“All the fairs have been canceled or postponed like Art Brussels from 25 to 28 June. We are currently for Art Paris on the niche from May 28 to 31, at the same time as the drawing room and Drawing Now. There was no question of positioning yourself at the same time as Art Basel in June. But with its postponement to September, there is now an opportunity to seize during this period“Says Guillaume Piens, director of Art Paris.

“The gradual release of containment will inevitably involve travel restrictions preventing collectors from coming so early in May as well as limitation of gauges at the Grand Palais” add the latter. If the month of June seems like a card to play for the capital, it is to be hoped that the public will have this thirst for culture after being locked up for so many weeks.


“Stay in Your Shell,” a shell-shaped confinement journal

This is the most artistic of the confinement journals. French artist Justine emard, 33 years old this year, is often leaving for Japan or returning from the archipelago. She has created since March 15 on her Instagram account, followed by many of her Japanese subscribers, a journey by image and object, this fetish that is passionately related to her travels as a symbol of oneself.

His hashtag is clear #stayinyourshell, English-speaking like his international career. She illustrates it every day with a different photo, a sort of visual haiku. The counting of days creates a symbolic and delicate picture book, which refers as much to the cabinet of curiosities in art history as to the daily work of researchers on the trail of new species, new ways, new dreams.

First image of a journey by the symbolic object, the seashell. BALDASSIN Renaud

I write, confined in my shell, she tells us from her French refuge. More than the newspaper, it is the idea of ​​counting that drives me: the sum of the days, the fragmentation of the time when everything is suspended to finally create the whole, an introspection on the essentials and a new perspective of creation to the exit

The #dayone of this journal presents a large shell, like an offering. The #daytwo transpose this same shell onto a man’s arm stained with blue. The #daythree makes it a mask in front of his face. The #dayfour holds him like a sea monster. The #dayfive the back of his hand, like a graceful statue. And so on, like the verses of a poem.

The sound of the Buddhist conch

“The ghost in the shell (or Ghost in the shell) is a metaphor that I often use to evoke in my work the links between robotics and artificial intelligence, between body and mind. In recent months, the image of the shell itself has appeared repeatedly in my research and finally took on its full meaning a few days ago.“, Explains this singular artist.

She was spotted early on by the critic Pascal Beausse, responsible for the photographic collections of the National Center for the Plastic Arts (CNAP). Moscow celebrated it in the Biennale orchestrated by Jean-Hubert Martin (he was the general commissioner of the historic exhibition, “The Magicians of the Earth“, At the Center Pompidou in 1989). Paris discovered it in the exhibition “Fukami»Orchestrated by Yuko Hasegawa, the queen of contemporary art in Japan, at the Hotel Salomon de Rothschild during the summer of 2018.

#stayinyourshell, on the second day. Courtesy Justine Emard

“I created the images of #stayinyourshell from my last meetings, through confined photography to the computer-generated image. Several of them are from 3D scans that I captured last month in Kobe with the monk Eizen Fujiwara. The sound of the Buddhist conch, similar to that of the bugle, is blown to banish evil spirits. The 3D scan is a capture of a three-dimensional space-time that allows me to revisit a moment, re-imagine it and make it appear endlessly

Man and machine

This lively young woman explores the new relationships that are being established between our lives and technology, imagines dialogues and even dances between man and machine, thanks to artificial intelligence (she was part of Desire: A Revision from the 20th Century to the Digital Age , group exhibition scheduled at the Irish Modern Art Museum in Dublin, until March 22, 2020).

#stayinyourshell, on the fifth day. BALDASSIN Renaud

For the creation of his films and video installations reborn and Co (AI) xistence, she worked with Mirai Moriyama, magnificent actor and dancer, as well as Alter, a humanoid robot developed by professors Takashi Ikegami and Hiroshi Ishiguro. Justine Emard presented this video installation in the exhibition “AI more than humanFrom the Barbican Center in the summer of 2019 (now in Groningen in the Netherlands, before The World Museum in Liverpool this summer of 2020).

Where does the inspiration for this navigator between pure and imaginary reason come from today? “I read the chronological poems of Natsume Soseki (Poems, Le Bruit du Temps editions) after visiting his house last month, transported from Tokyo to the village of preserved Meiji architecture. With the maxim that accompanies them: “Follow nature and leave me”. I listen to the sea, in my shell, from confinement to the horizon. What we hear is not a residual memory of the object but an amplification of the sound of life. Old indoor trinkets on our grandparents’ shelves prove to us that as long as the sound of the waves resonates, we exist

#stayinyourshell, on the eighth day. Courtesy Justime Emard

His artistic journey is already of an impressive density, with a succession more and more close to personal exhibitions, since 2011, in France, South Korea, Japan, Colombia, Sweden and Italy. By associating the different mediums from image – from photography to video and virtual reality -, Justine Emard “places his work at the crossroads between robotics, objects, organic life and artificial intelligence” Its devices take as their starting point experiences of Deep-learning (deep learning) and dialogue between man and machine. Since 2016, it has been collaborating with scientific laboratories in Japan.

She has participated in a number of collective exhibitions: from the International Biennial of Contemporary Art in Moscow to the NRW Forum (Düsseldorf), from the National Museum of Singapore to the City of Arts (Reunion), from the Moscow Museum of Modern Art to ‘Itaú Cultural Institute (São Paulo), from the Cinémathèque Québécoise (Montreal) to the Barbican Center (London), from the Irish Museum of Modern Art (Dublin) to Frac Franche-Comté (France). On the program for this spring stopped by the coronavirus, Future and the Arts“, Group exhibition, at the Mori Art Museum Tokyo until March 29, 2020; and “Human Learning”, collective exhibition at the Canadian Cultural Center in Paris, until April 17, 2020.

Video exhibition in Japan Co (AI) xistence, for which she worked with Mirai Moriyama, actor and dancer, as well as Alter, a humanoid robot developed by professors Takashi Ikegami and Hiroshi Ishiguro. Courtesy Justime Emard


“In an Ehpad, nothing can ever replace the visit”

“The confinement continues. Here, it has already been over three weeks, because we are close to a cluster where the coronavirus circulated very early. This passing time begins to weigh on the morale of the residents of my Ehpad. Some are not necessarily aware of everything that is playing around this virus, especially its dangerousness, because they can have cognitive problems. But what is certain is that everyone feels the lack of human contact. The ban on visits is difficult to live with. Faced with this, we must continue to give life. It is not easy because usually we are accompanied by volunteers, whose absence is really visible.

We try to encourage them to make a phone call to their loved ones, or to send them messages. This morning, I got out of my role as a nursing assistant and I led a workshop during which we made pastries. Then we took photos to email them to the families. All of this helps to forget the heavy context a little.

“This human want is stronger than worry”

However, we cannot organize a video call with loved ones because we do not have wi-fi. We do what we can, but nothing can ever replace the visit of a loved one or physical contact with the hand of your child or sister. We can clearly feel it. In fact, among residents, this human shortage is greater than concern.

On the caregiver side, what has changed for us is that our management has decided that we should no longer wear a mask systematically. This is a big change because until then we had one permanently. It is very difficult for us to understand this decision: my colleagues and I are surprised, some are even a little angry. We are caregivers, but we are also parents, we have family.

→ MAP. Spread around the world

Now, we should wear a mask only when a patient is sick or suspected of having a coronavirus. There are currently no suspicious or proven cases in my establishment. But in reality, wearing a mask is a way of protecting residents, much more than we do. It hasn’t really been presented to us like this, but I think it’s a way to save material. I must admit that I do not understand very well, because in all the media, we see that masks are distributed and that the mobilization is general. If so, how come there is a shortage? “


At the Musée Marmottan, a fine example of adaptation to the constraints of confinement

After the reactivation of all their digital content, museums begin to recreate. Among a thousand examples, in Paris le Marmottan Monet Museum closed, its managers are activated remotely. Marianne Mathieu, scientific director of collections, exhibitions and communication works from her kitchen or bathroom to make room for the bedrooms and living room for other members of her family.

A week ago, morale was low, at 7 am she called her friend Kathleen Evin, producer at France Inter (“L’Humeur vagabonde”). Together, they decide to imagine short interviews that they will post on social networks. Since the crisis, more and more of her colleagues have offered new comments like her on the Internet.

The Louvre or the Musée du Quai Branly broadcast one a day, the Orsay museum does the same focusing on landscape paintings while Versailles has opted for portraits kept at the chateaux.

In short, the competition is already there, and even returned stronger than ever. Therefore, to attract, maintain or even improve the visibility of the institution, the section must be of high quality. This goes of course through the skill of knowledge but also through clarity. So this type of tablet, like the program “Art art”, must be as well as possible.

And preferably in tune with current events, which is – it is easy to agree – most changeable these days. This forces you to produce and synchronize very quickly.

The questions and the audio responses recorded, Marianne Matthieu addresses them to Claire Guimet, a member of her confined team, in the 18th arrondissement. Usually, the young woman specializes in watering press releases on social networks but does not know how to edit a clip.

Luckily her husband Christian is a geek. The couple draws on the museum’s USB keys which store all the high definition photographs of the museum’s background and frame, installing images on the soundtrack. The tablet, dynamic, pleasant and in tune with the state of mind of the day, is further refined after being reviewed by each of the parties concerned. The result: two minutes of broadcast (the maximum video format for tweeting). “These videos allow you to share the infinite word that the paintings carry”, sums up Marianne Mathieu.

Production lasted 36 hours, but the team is getting tougher and will soon be even more responsive. So at the Marmottan Museum, like everywhere, digital agility is advancing. Next episode: a portrait of Berthe Morizot by Manet… As Einstein said “Creativity is contagious, make it spin!”

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Chaos, inconsistency Marks the launch of the Drive-thru Virus – NBC Los Angeles test

Drive-thru sites have been opened in the United States to make testing the new coronavirus faster and safer. But just like the rest of the United States’ response to the pandemic, the system has been characterized by inconsistencies, delays and shortcomings. Many people who have symptoms and a doctor’s order have waited hours or days for a test.

More than a week after President Donald Trump promised that states and retail stores such as Walmart and CVS would open drive-through test centers, few sites are active and are not yet open to the public. Some states are leaving the test sector open to the private sector; others are coordinating efforts through state health departments.

Patients complained that they had to jump through bulky red tape and wait for days to get tested, then wait even longer for a result. The test centers were opened in some places to be closed shortly afterwards due to the shortage of supplies and staff. And while the drive-through test centers that have been opened are generally sorted, in some there have been long lines.

The slow increase in COVID-19 tests and the unpredictable nature of the system make it difficult for public health officials to track the spread of the disease and bring it under control.

“We need to do more extensive testing to fully understand the scale of the public health situation we are facing,” said Joseph Wendelken, a spokesman for the Rhode Island Department of Health.

Dr Brett Giroir, the federal health officer in charge of overseeing the tests, said on Saturday at a White House briefing that approximately 195,000 people have so far been tested in the United States. This figure does not include some people who have been tested in private laboratories.

For most people, the new coronavirus causes only mild or moderate symptoms, such as fever and cough. For some, especially older adults and people with existing health problems, it can cause more serious illnesses, including pneumonia. The vast majority of people recover from the new virus. According to the World Health Organization, people with mild illness recover in about two weeks, while those with more severe illness can take anywhere from three weeks to six weeks to recover.

Drive-through test sites have sprung up in places in over 30 states: in state parks and parking lots, near medical centers and universities, the Mississippi state fairgrounds, and near where the Jacksonville Jaguars play. The governor of Maryland last week ordered the stopping of vehicle emission inspection programs across the state, so that the offices could be used as drive-thru centers to test the virus.

But as of Friday, there were no open drive-through tests available in Maryland inspection centers.

The Utah health department said it is not responsible for the sites and is not monitoring them. The North Carolina health director said the state is leaving the tests to the private sector and declined to say how many sites there are. In contrast, in Rhode Island, health organizations manage the sites in collaboration with the state health department.

On Thursday, cars lined up for more than a mile outside a hospital in Houston when the first drive-through test site was opened. U.S. representative Sheila Jackson Lee said she administered fewer than 200 tests in the first six hours.

Elsewhere, at various sites visited by Associated Press reporters, the scenes were well controlled and sometimes quite silent.

Dozens of people waiting by car in a downtown Homestead, Florida on Wednesday waited for their turn to speak with a screener who was wearing a suit and mask and carrying notes. Some were apparently removed. Others were stirred, checked their temperatures, and swabbed for the samples.

But the shortage of supply has stopped the thrusters in several states, including Colorado, New Mexico, Virginia, Florida, Louisiana, Alabama, North Carolina and Utah. A Las Vegas site was shut down because it didn’t have enough workers.

New York state opened several centers with great fanfare on Tuesday. By Friday, however, the New York City health department issued a warning saying that only people requesting hospitalization should be tested, due to a shortage of protective equipment such as face masks. Drive-thru sites in New York State remain open, but only to people who meet certain criteria.

Nevada Governor Steve Sisolak said he had asked the federal government for additional test kits and supplies, but the state received a warning Thursday that all of its requests for drive-through test pods and test kits “are undefined arrears, without any estimate of a timeline for delivery. “

“This is our unfortunate Nevada reality. It depends on us, “he said.

The sites themselves are dotted with tents and traffic cones. The most important features are medical personnel who wear masks, gloves and protective vests or other clothing. They take nose and throat swabs from people sitting in their cars or help people get in for the test.

Some states have only one drive-thru site. Montana’s only site is in Billings, the largest city in the state. Others have a dozen.

Security guards have been reported on many sites, but an AP survey of states did not reveal any security concerns. In Rhode Island, the National Guard was on hand to set up the state’s three drive-thru sites and even to buffer patients.

The vast network of drive-thru sites in retail chains that Trump claimed was coming over a week ago has not materialized yet. CVS has opened a site in Massachusetts that defines a “test model”. Walmart launched two sites on Sunday and Walgreens said it will launch one, all three in Illinois. Only healthcare professionals and first responders are allowed, and Walmart said that a maximum of 150 tests per day could be performed on its federal sites.

The patchwork of approaches has caused confusion for patients. Caroline Mauldin was sentenced to get tested by her doctor in Charleston, South Carolina on Tuesday after suffering from pain and chills for several days.

To make an appointment at a center in a medical center, she had to fill out a long online questionnaire and spent two days calling a number that went to voicemail and did not answer messages. He resorted to tweets in the hospital several times just to get things going.

Finally, on Thursday, he had an appointment for Monday. And she was told that the results would not return until after 4-5 days. The visit will cost you $ 25, he said. Complicating things, he doesn’t have a car and has to borrow it from a friend.

“Here we have a lot of older, low-income people who don’t have Internet access and who don’t have access to transportation. And since they’re the highest risk population, how are we testing for them?” She asked.

In urban areas such as New York and Philadelphia, some sites offer “walk-up” dating for people without cars.

At the Penn Medicine test site in West Philadelphia, two security agents were late on Thursday to make sure that people arriving by car or on foot had an appointment. For about 40 minutes that evening, the line of cars never grew to more than six or seven. But Patricia Sullivan, Penn Medicine’s quality manager, said every morning last week, 25-35 cars were lined up and six or seven standing patients were 6 feet apart on a porch waiting to be seen.

The 20 sites in Greater Philadelphia are testing around 1,000 people a day, but that hasn’t eliminated pent-up demand.

Rosanne Tanner’s 79-year-old mother has been suffering from fever and chest pain since returning from a visit to Tanner’s brother and wife, who had recently been on a cruise ship.

His doctor ordered a test on Tuesday, but when he tried to make an appointment at a drive-through site in a hospital outside of Philadelphia, he was told that “they are overloaded, they are bogged down,” Tanner said.

Medical staff told her that they are scheduling 15 minutes apart, so there are no bottlenecks on the test site.

Finally on Thursday his mother made sure of an appointment for the following Tuesday. Then, he will have to wait another five days for a result.

“The delay in these tests is putting people at risk,” said Tanner.

In Rhode Island, state officials said they are testing 100 to 200 people per day at all test sites, including three drive thrusters.

Governor Gina Raimondo said they want to perform 500 to 600 a day, but they don’t have the supplies they need.

“It is our top priority to reach a place where everyone who needs it can be tested and you will get results very quickly,” said Raimondo during a press conference held on Facebook Live on Friday on Friday. “So if you’re positive, we can quarantine you.”


Associate press writers Michelle L. Price in Las Vegas, Lynne Sladky in Homestead, Florida, Claudia Lauer in Philadelphia, Chris Ehrmann in Hartford, Connecticut, Brady McCombs in Salt Lake City and Jonathan Drew in Raleigh, North Carolina and Anne D ‘Innocenzio and Mike Sisak in New York contributed to this report.


The Associated Press receives support for health and scientific coverage from the Howard Hughes Medical Institute’s Department of Education. The AP is solely responsible for all content.


Art Basel Hong Kong in virtual

Many collectors have clicked to view this virtual edition. If the process remains to be improved, galleries see the possibility of it existing outside fairs.

Virtual visit of the Parisian gallery Applicat-Prazan, exhibitor of Art Basel Hong Kong 2020.
Virtual visit of the Parisian gallery Applicat-Prazan, exhibitor of Art Basel Hong Kong 2020. Capture Figaro

Funny opening for these two VIP days, from March 18 to 20, of Art Basel Hong Kong! It’s a virtual walk, on computer or laptop, at home. While the watchword is to remain confined, collectors have welcomed the initiative, even if nothing will replace contact with the work to trigger desire. This is all the more true for artists who are not historical, therefore less codified (we know how much a Soulages is worth from such a period) or referenced in the rating scale.

Suspended due to demonstrations against the Chinese government and then canceled by the coronavirus, the Swiss organizers of the fair had no choice but to offer this solution to the 233 exhibitors who obtained a reimbursement of only 75% of their stand . Being visible is better than nothing. The curiosity effect was there: the site bugged in the early hours. But this first edition via a digital platform deserves to be refined. Access to “viewing

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