13/01/2017

More about 'I Am Not Your Negro', a film by Raoul Peck


 In life, there are moments when you know you're blessed. And one of the signs is when you get to work with your total heroes. What can I say, I feel so lucky and grateful... Because it happened to me a couple of times!

One of them - I only worked with him as a little help, 10 years ago in 2005/06, and a few other months on 2009, as a researcher - but his films have changed me, my life, and my view on the world. As they have for thousands of people.

Raoul Peck is releasing soon one of his best films and it's not a little thing to say: I Am Not Your Negro, his deep and stylish personal documentary about James Baldwin will be out in the U.S. on Feb. 3rd. It will soon be on television on ARTE in France and in cinemas in the UK in May.

I had the honour to see the film at a premiere in Paris' School of Cinema in November, (La FEMIS, of which Raoul is currently President). It so moving and grabbing that my words won't mean much...

Here's an recent article on the film:


James Baldwin Shines 30 Years After His Death In Trailer For ‘I Am Not Your Negro’


Vibe
January 12, 2017 - 4:06 pm


Three decades after his death, James Baldwin’s thoughts about race in America unfortunately still ring true, and while Baldwin took his last breath on Dec. 1, 1987 in France, his words are coming to the silver screen in a new documentary that he wrote titled I Am Not Your Negro.


Directed by Raoul Peck, the doc is the unfinished work of Baldwin’s last piece Remember This House. The manuscript, which was intended to examine the deaths of Malcolm X, Medgar Evers and Martin Luther King Jr., never saw the light of day. Yet Peck dove through Baldwin’s notes to create the stirring new film.

With Samuel L. Jackson acting as narrator, the film examines race relations today while using Baldwin’s words from decades past to accent the current climate. Archival footage of a young Baldwin on the Dick Cavett Show open the trailer, along with images of police brutality all throughout history all the way to the uprisings that shook up the nation in Ferguson.
“If any white man in the world says ‘give me liberty or give me death,’ the entire world applauds. When a black man says exactly the same thing, he is judged a criminal and treated like one everything possible is done to make an example of this bad n****r so there won’t be anymore like him.”
I Am Not Your Negro premiered at last year’s Toronto Film Festival to rave reviews and will hit select theaters Feb. 3 Watch the trailer below.
Link: http://www.vibe.com/2017/01/james-baldwin-iam-not-your-negro-trailer/?utm_source=twitter&utm_medium=social&utm_campaign=jamesbaldwin


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Trailer :




07/01/2017

Writing about Massive Attack...



'Out of the Comfort Zone' - From Paris to England...


Hello everyone.

I'm currently working on the English version of my book on Massive Attack and Bristol...
The aim is to get the book to be out in the UK / US next year. 

And I'll be back in England mid-January 2017 to talk about the book a bit more, first on the BBC.

This fascinating story takes us from the jazz and reggae scenes born in the 60s in the West Country to the incredible show Massive Attack gave in their hometown last September, for the first time in a decade.

Massive Attack on stage for the very own festival in Bristol, on The Downs, in September 2016


From The Pop Group and Black roots to The Wild Bunch, the years 1977-87 have been incredibly formative for those who would come to define the sound of the nineties and beyond.

Named in the French version 'En dehors de la zone de confort' ('Out of the Comfort Zone'), my book tells the story behind the rare group of politically aware bands in the UK, bands who produced a revolutionary sound and always tried to also bring a form of consciousness in their discourse.

The book cover has been created from an astonishing and mesmerizing artwork by Robert Del Naja himself, originally designed in 2009 for the E.P. named 'Atlas Air'. Deep recognition for his generous agreement to use it for this book.

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 The book starts with Massive Attack's first album, the remarkable and inimitable Blue Lines, and goes back to their first influences. This includes their very own hometown, Bristol, a port city that has been enriched by the colonies in America, the sugar and the slave trade in the eighteenth century. That very history also provoked a counter reaction and a sense of rebellion in its inhabitants, who fought against slavery a few decades later and rioted against unfair political decisions, inequalities, big corporations, etc.

This sense of rebellion materialized in the city's culture from the 1960s and mainly the 1970s, when the Caribbean population imported their very onw reggae music in the city's homes and clubs just before Bristol gave birth to its own punk and post-punk movement.

Then started Bristol's homegrown sound with the unforgettable band The Pop Group - and friends like Nick Sheppard and his band, The Cortinas, Maximum Joy, the Glaxo Babies, etc.

From then started a new movement.

A few years later, hip hop and electronic music started to pour into Bristol's records shops and nightclubs and a new generation of DJs started to bloom. From that trend came to life the now legendary Wild Bunch, a collective that changed the game and gave to Bristol its gateway into the history of music. The Wild Bunch was originally an informal posse composed of the joined efforts of two young Black DJs, Miles Johnson, known as DJ Milo, and Grantley Marshall, nicknamed Daddy G. They were quickly joined by Nellee Hooper, a massive fan of punk music, who acted as a sort of producer / manager.

The Wild Bunch was enriched in 1983 by a couple of MCs and by the first blooming and generally admired graffiti artist in the city, nicknamed 3D, aka in real life Robert Del Naja, an 18 year-old music junkie.

After years of adventures that this book retells, Grant and 3D formed Massive Attack in 1988 with their young friend DJ Mushroom and their talent soon outburst everywhere else in the UK when they released their first album in 1991.

In their path came to form a large number of other bands, producers and DJs, including the well-known Tricky and Portishead. A few years later, the graffiti movement 3D invigorated and revolutioned also took off in a wider scale.

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I wanted to write about Massive Attack's relationship with their city, Bristol, to show the roots of their greatness & mention their predecessors. To demonstrate how the city's history had a major influence on these self-taught and conscious, rebellious artists.

I then realized it would also be fascinating to retell the band's links with the artists and musicians who followed them, with their many brilliant collaborators and with those they inspired, from UNKLE to Gorillaz.

The book follows Massive Attack's journey in the UK and further away around the world, via their tours and collaborations, in America and in the Middle East notably.

Therefore, this book becomes a form of parallel history of British culture, from an underground and unorthodox point of view. Bristol epitomizes another side of England, less known and much more humorous and rebellious!

It's now been almost two years that I'm coming regularly to Bristol, interviewing musicians, artists and other local actors - and first and foremost the brilliant, intelligent, overtalented Robert Del Naja, a real artist, an incredibly open, curious and cultivated mind, too discrete and so humble it was hard to believe so much modesty could match his bubbling and unstoppable creativity. He is also deeply aware of world affairs and engaged into holding a discourse though his music and his art; and for that rare boldness we should all be thankful.

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I also travelled to Dublin, Sicily, London and Belfast - to see them on stage, witness their creations or meet some of their collaborators or musicians and artists they inspired, also following the evolution of the UK, from the last general election to the referendum on the so-called "Brexit"... Meanwhile, they came twice to Paris for three wonderful shows.



Massive Attack in Paris' Le Zénith, in Feb. 2016 (pictures by myself)

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I hope to get this book out in the UK and the US next year. 
Feel free to get in touch for more details...

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Book's Facebook page:
https://www.facebook.com/frombristoltomassiveattack/ 



06/01/2017

NYT column on humans' humanity in the time of technology


Hello everyone.

This morning fascinating's read: world-renowned columnist Thomas Friedman discusses what still makes us human in the age of super technologies and machines more skilled than ourselves...
Very moving.

"Love in the time of technology"... I'd say.


OP-ED COLUMNIST

From Hands to Heads to Hearts

The New York Times

Opinion

By Thomas L. Friedman

JANUARY 4, 2017



Extracts:

- In short: If machines can compete with people in thinking, what makes us humans unique? And what will enable us to continue to create social and economic value? The answer, said Seidman, is the one thing machines will never have: “a heart.”

- (...) our highest self-conception needs to be redefined from “I think, therefore I am” to “I care, therefore I am; I hope, therefore I am; I imagine, therefore I am. I am ethical, therefore I am. I have a purpose, therefore I am. I pause and reflect, therefore I am.”

- Seidman (Friedman's my teacher and friend Dov Seidman, C.E.O. of LRN, which advises companies on leadership and how to build ethical cultures, for his take) is simply arguing that the tech revolution will force humans to create more value with hearts and between hearts. I agree.

- When machines and software control more and more of our lives, people will seek out more human-to-human connections — all the things you can’t download but have to upload the old-fashioned way, one human to another.

 “Machines can be programmed to do the next thing right. But only humans can do the next right thing,” insisted Seidman.



Whole article: 


A room set up to experience the IBM Watson computer.
MICHAEL NAGLE / BLOOMBERG


Software has started writing poetry, sports stories and business news. IBM’s Watson is co-writing pop hits. Uber has begun deploying self-driving taxis on real city streets and, last month, Amazon delivered its first package by drone to a customer in rural England.
Add it all up and you quickly realize that Donald Trump’s election isn’t the only thing disrupting society today. The far more profound disruption is happening in the workplace and in the economy at large, as the relentless march of technology has brought us to a point where machines and software are not just outworking us but starting to outthink us in more and more realms.

To reflect on this rapid change, I sat down with my teacher and friend Dov Seidman, C.E.O. of LRN, which advises companies on leadership and how to build ethical cultures, for his take. “What we are experiencing today bears striking similarities in size and implications to the scientific revolution that began in the 16th century,” said Seidman. “The discoveries of Copernicus and Galileo, which spurred that scientific revolution, challenged our whole understanding of the world around and beyond us — and forced us as humans to rethink our place within it.”

Once scientific methods became enshrined, we used science and reason to navigate our way forward, he added, so much so that “the French philosopher René Descartes crystallized this age of reason in one phrase: ‘I think, therefore I am.’” Descartes’s point, said Seidman, “was that it was our ability to ‘think’ that most distinguished humans from all other animals on earth.”

The technological revolution of the 21st century is as consequential as the scientific revolution, argued Seidman, and it is “forcing us to answer a most profound question — one we’ve never had to ask before: ‘What does it mean to be human in the age of intelligent machines?’”
In short: If machines can compete with people in thinking, what makes us humans unique? And what will enable us to continue to create social and economic value? The answer, said Seidman, is the one thing machines will never have: “a heart.”

“It will be all the things that the heart can do,” he explained. “Humans can love, they can have compassion, they can dream. While humans can act from fear and anger, and be harmful, at their most elevated, they can inspire and be virtuous. And while machines can reliably interoperate, humans, uniquely, can build deep relationships of trust.”

Therefore, Seidman added, our highest self-conception needs to be redefined from “I think, therefore I am” to “I care, therefore I am; I hope, therefore I am; I imagine, therefore I am. I am ethical, therefore I am. I have a purpose, therefore I am. I pause and reflect, therefore I am.”

We will still need manual labor, and people will continue working with machines to do extraordinary things. Seidman is simply arguing that the tech revolution will force humans to create more value with hearts and between hearts. I agree. When machines and software control more and more of our lives, people will seek out more human-to-human connections — all the things you can’t download but have to upload the old-fashioned way, one human to another.

Seidman reminded me of a Talmudic adage: “What comes from the heart, enters the heart.” Which is why even jobs that still have a large technical component will benefit from more heart. I call these STEMpathy jobs — jobs that combine STEM (science, technology, engineering, math) skills with human empathy, like the doctor who can extract the best diagnosis from IBM’s Watson on cancer and then best relate it to a patient.

No wonder one of the fastest-growing U.S. franchises today is Paint Nite, which runs paint-while-drinking classes for adults. Bloomberg Businessweek explained in a 2015 story that Paint Nite “throws after-work parties for patrons who are largely lawyers, teachers and tech workers eager for a creative hobby.” The artist-teachers who work five nights a week can make $50,000 a year connecting people to their hearts.

Economies get labeled according to the predominant way people create value, pointed out Seidman, also author of the book “How: Why How We Do Anything Means Everything.” So, the industrial economy, he noted, “was about hired hands. The knowledge economy was about hired heads. The technology revolution is thrusting us into ‘the human economy,’ which will be more about creating value with hired hearts — all the attributes that can’t be programmed into software, like passion, character and collaborative spirit.”

It’s no surprise that the French government began requiring French companies on Jan. 1 to guarantee their employees a “right to disconnect” from technology — when they are not at work — trying to combat the “always on” work culture.

Leaders, businesses and communities will still leverage technology to gain advantage, but those that put human connection at the center of everything they do — and how they do it — will be the enduring winners, insisted Seidman: “Machines can be programmed to do the next thing right. But only humans can do the next right thing.”

05/01/2017

James Baldwin in Raoul Peck's vision


So proud to have worked with this unique filmmaker...

Raoul Peck has taken ten years to foresee and write his documentary film on James Baldwin, but also on Martin Luther King, on Malcom X and on America in the twentieth century. 

Based on an unfinished text by the incomparable writer, the film is a real journey into his mind and fights.

Masterpiece. And a must see 

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I Am Not Your Negro - Official Trailer






Summary presentation:

In his new film, director Raoul Peck envisions the book James Baldwin never finished - a radical narration about race in America, using the writer's original words. 

He draws upon James Baldwin's notes on the lives and assassinations of Medgar Evers, Malcolm X, and Martin Luther King Jr. to explore and bring a fresh and radical perspective to the current racial narrative in America.


"One of the best movies you are likely to see this year."
- Manohla Dargis, The New York Times


In theatres in the U.S. on February 3rd
http://www.IAmNotYourNegroFilm.com

Published on 5 Jan 2017

Bristol - entre l'image et le son


 Parlons cinéma, art vidéo et vidéoclips! 

Le magazine Clap! Mag consacre une page entière aux liens entre la scène musicale de Bristol et l'audiovisuel... 

Des premières vidéos de Massive Attack et Portishead aux clips de Michel Gondry et Jonathan Glazer en passant par les bandes originales de film.
Petit voyage visuel et sonore...
Merci!





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Pour trouver le livre :


England in January: art, writing, discovering


Looking forward to this exhibition in Bristol in a couple of weeks:


Lubaina HimidNavigation Charts
Spike Island


Lubaina Himid, Naming the Money (detail) (2004) Courtesy the artist and Hollybush Gardens. Photograph by Andy Keate



Date
20 January to 26 March 2017Tuesday to Sunday
11am to 5pm
Free entry
Exhibition Preview: Thursday 19 January 2016, 6–9pm


Lubaina Himid (b. 1954, Zanzibar, lives and works in Preston) works in painting, drawing, installation and printmaking. A member of the Black Arts Movement of the 1980s, her work is politically critical, tackling questions of race, gender and class. 
This exhibition draws together paintings and installations from the late 1990s to the present day to consider issues of labour, migration and creativity. It takes place alongside two other major UK presentations of Himid’s work: Invisible Strategies, a simultaneous solo exhibition at Modern Art Oxford and The Place is Here, a group show at Nottingham Contemporary which traces conversations between black artists, writers and thinkers in 1980s Britain.
Himid is primarily known as a painter. Naming the Money (2004) is the largest installation to make use of her signature ‘cut-outs’ — paintings made on freestanding, shaped board allowing viewers to walk amongst them. Here, 100 cut-outs represent African slaves in the royal courts of eighteenth century Europe, put to work as ceramicists, herbalists, toy makers, dog trainers, viola da gamba players, drummers, dancers, shoemakers, map makers and painters. A soundtrack gives voice to the figures, speaking of their fluid identities, shifting between their original African names and trades and the new names and professions imposed upon them in Europe. Moving among them suggests the possibility of a conversation across time. 
The experience projected by Naming the Money is as much that of the migrant or émigré as the slave — people whose personal identities are undone and remade according to pressures exerted by global political and economic forces.
The contribution of diaspora to Western culture and economy is insisted upon throughout Himid’s work. Cotton.com (2002) derives from the defence of African slaves made by the workers of Lancashire’s cotton mills in the nineteenth century — a historic moment of solidarity between the British working class and their peers across the Atlantic. It was rarely acknowledged that the enforced labour of cotton pickers on the American plantations underpinned the economic successes of the Industrial Revolution in Britain, a fact that became evident as the American Civil War led to cotton shortages here. 

Lubaina Himid Zanzibar (1997) Courtesy the artist and Hollybush Gardens. Photograph by Andy Keate

A series of 85 small-scale paintings and an accompanying text reenacts this conversation between workers on two continents. Himid has said, ‘The point I am often exploring vis-à-vis the black experience is that of being so very visible and different in the White Western everyday yet so invisible and disregarded in the cultural, historical, political or economic record or history.’
Lubaina Himid's exhibition is supported by Arts Council England Strategic Touring fund. Alongside the exhibition at Spike Island, Himid’s work is also presented at Modern Art Oxford and Nottingham Contemporary. Works from the exhibitions will later tour to firstsite, Colchester and Harris Museum and Art Gallery, Preston.

Modern Art Oxford, Invisible Strategies (21 January to 30 April 2017)
Nottingham Contemporary, The Place is Here (4 February 2017 to 30 April 2017)

Lubaina Himid

Lubaina Himid (b. 1954, Zanzibar, Tanzania) lives and works in Preston, Lancashire.


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Link: http://www.spikeisland.org.uk/events/exhibitions/lubaina-himid-2017/

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Lubaina Himid (b. 1954, Zanzibar, lives and works in Preston) works in painting, drawing, installation and printmaking. A member of the Black Arts Movement of the 1980s, her work is politically critical, tackling questions of race, gender and class. This exhibition draws together paintings and installations from the late 1990s to the present day to consider issues of labour, migration and creativity.

This exhibition takes place alongside two other major UK presentations of Himid’s work: Invisible Strategies, a simultaneous solo exhibition at Modern Art Oxford and The Place is Here, a group show at Nottingham Contemporary which traces conversations between black artists, writers and thinkers in 1980s Britain.

04/01/2017

Gorillaz return... with many collaborations



12 Artists We're 

Excited To See in 2017


Amplify Magazine



  • This list includes the great Arcade Fire, Beck, The Shins and...

    ...Gorillaz

    The guest list of dark cartoon characters coming together for the dystopian group’s newest album is getting fans….errr….animated? So far the lineup includes the article cartoon-friendly Snoop Dogg and the De La Soul crew, along with the moody trip-hop of Massive Attack’s Robert Del Naja and Vic Mensa. An album is expected this spring with a large festival run to follow.
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    And to know more about how Massive Attack totally influenced Damon Albarn into creating Gorillaz... read my book about the band, its history and its link to its city, Bristol:
    En dehors de la zone de confort

    De Massive Attack à Banksy - l’histoire d’un groupe d’artistes, de leur ville, Bristol, et de leurs révolutions


    Editions Anne Carrière


    En retraçant l’histoire du groupe Massive Attack, ce livre dessine le portrait de leur ville, Bristol, dans une enquête qui mêle musique, art et politique.

    Des mouvements post-punk et reggae nés dans les années 1970 au trip-hop et au révolutionnaire Banksy, en passant par les débuts du hip-hop britannique et la naissance d'un mouvement de street art unique, l’auteur interroge les destins croisés de Mark Stewart et son Pop Group, Smith & Mighty, Portishead, Tricky, The Insects, Inkie et, bien sûr, Massive Attack - ayant passé des mois à les interviewer.

    En 1983, lorsque le jeune graffeur anglo-italien Robert Del Naja signe de son pseudonyme – 3D – sa première œuvre sur un mur de la ville, les DJs d’origine antillaise Grant Marshall et Miles Johnson, font exploser leur collectif, The Wild Bunch. Ils appellent rapidement 3D à les rejoindre. 3D et Grant forment Massive Attack en 1988 avec le jeune Andrew Vowles et connaissent un succès éblouissant avec leur album Blue Lines. Le groupe devient l’incarnation du métissage à la britannique. Et, à partir de 1998, Banksy s’empare des murs de Bristol, inspiré par 3D, alors que Massive Attack change de ton avec son album Mezzanine. Et la ville elle-même semble s’accorder à leur tonalité de plus en plus engagée, militante et révolutionnaire. 

    Bristol, comme Détroit ou Liverpool, se met à rayonner dans le monde comme le berceau d’un grand mouvement créatif. 

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    Lien vers le site de l'éditeur :
    -
    English version soon out in the UK, later in 2017. Watch this space.

    'I Want You'


    Tune of the day...

    Homage to one of the greatest American musician of the 20th century, Marvin Gaye's 'I Want You' by Madonna and Massive Attack:




    Original:


    Marvin Gaye - 'I Want You' 
    Live 1981




    03/01/2017

    Exposition : The Color Line, ou les lignes de la ségrégation




    En ce début d’année 2017, il est temps de revenir sur les grandes expositions qui auront marqué cet hiver 2016/17, ou de les voir avant les derniers jours. Parmi les rendez-vous immanquables, la brillante exposition The Color Line consacrée aux artistes afro-américains au Quai Branly, alors qu’un week-end de débats aura notamment lieu les 13 et 14 janvier.



    Mêler art, histoire et changement social… Un rêve pour tout commissaire d’exposition travaillant sur le XXème siècle. Avec The Color Line (sous-titrée « Les artistes africains-américains et la ségrégation »), le Musée du Quai Branly a offert au public parisien un concentré d’histoire plus que jamais d’actualité. « The Color Line » étant le titre d’un article écrit en 1881 par Frederick Douglass, un ancien esclave né en 1817 ou 1818, devenu orateur, écrivain, et militant abolitionniste.
    Le but de cette exposition hors norme – réunissant près six cents œuvres et documents prêtés par des collections privées et publiques américains – est de souligner le rôle joué par l’art « dans la quête d’égalité et d’affirmation de l’identité noire dans l’Amérique de la Ségrégation », selon Daniel Soutif, commissaire indépendant responsable de cet événement. L’exposition présentent ainsi les artistes et penseurs africains américains, pour la plupart rarement exposés en France, et qui ont contribué à lutter contre cette « ligne de couleur » discriminatoire, pendant un siècle et demi de luttes.
    De James Baldwin à Martin Luther King, les penseurs noirs américains l’ont répété : le problème américain du 20e siècle est le problème de « la ligne de partage des couleurs »… Bien que la fin de la Guerre de Sécession en 1865 ait permis d’entériner l’abolition de l’esclavage, la ligne de démarcation raciale n’a jamais cessé de diviser la société américaine. L’exposition débute ainsi sur plusieurs citations du militant W.E.B. Du Bois, extraite de son texte The Soul of Black Folks.
    La première salle présente les thématiques racistes enracinées dans le vaudeville américain et les spectacles de ‘Minstrels’ du 19e siècle, joués par des acteurs « blancs » grimés en « noirs » et caricaturant les chiclés sur les « nègres », répandus par des siècles d’esclavage. Ce vocabulaire révélant par ailleurs toute la violence de l’extrémisme et de la ségrégation sociale américaine. Toute une moitié de l’exposition retrace donc les affres subis ainsi par les anciens esclaves alors que la société américaine se refuse à entériner les changements imposés par la constitution, à travers des documents historiques, des affiches, des textes et extraits de journaux, et de premiers tableaux.
    La seconde partie retrace l’effervescence culturelle et littéraire de la culture afro-américaine : du Harlem Renaissance du début du 20e siècle aux peintres, musiciens et cinéastes contemporains qui ont défié les normes de la ségrégation. On évolue ainsi entre les pionniers de l’activisme noir (Frederick Douglass, Booker T. Washington), les photographies et pochettes d’album évoquant de nombreux chanteurs dont Billie Holiday (Strange Fruit), Public Enemy et Michael Jackson.
    La part belle est faite à des peintres de génies dont le prolifique Aaron Douglas (1899-1979), figure de proue de la Harlem Renaissance, et Michael Ray Charles, né en 1967 en Louisiane, qui a détourné les codes des ‘blackfaced minstrels’ pour en dénoncer le racisme et pointer du doigts les tensions sociales encore présentes actuellement dans son pays. Sans oublier Henry Ossawa Tanner, Horace Pippin et Archibald Motley… Une sélection couvrant ainsi près de 150 ans de production artistique – peinture, sculpture, photographie, cinéma, musique, littérature… – témoignent de la richesse créative de cette contestation, encore tellement pertinente en 2017.



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    Visuels : MC
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    Colloque :
    LES ARTISTES AFRICAINS-AMÉRICAINS ET LA COLOR LINE
    Histoires, généalogies, formes et gestes
    Vendredi 13 et samedi 14 janvier 2017 au Théâtre Claude Lévi-Strauss
    Colloque en accès libre et gratuit, dans la limite des places disponibles.

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    Bristol in top 10 world cities to visit in 2017



    Totally agreeing with this list :)


    Bristol in Rough Trade top 10 

    world cities to visit in 2017 



    Clifton, West Bristol, photo by myself, April 2015


    Rough Guides has named Bristol as one of the top ten cities in the world to visit in 2017 - alongside the likes of Paris, Antwerp and Nairobi - with our creative and tech industries, nightlife, music scene, street art, and independent magazines all praised.
    Bristol is fourth on the list compiled by the leading travel guide, ahead of Atlanta in the USA, Osaka in Japan and Palma in Mallorca.
    The recognition comes two months after Bristol was named the fourth most inspiring city in the world.
    "Bristol stands as a shining example of one of the UK’s most forward-thinking, innovative and dynamic small cities," the Rough Guides says of the city.
    "An economy once built upon the traffic of rum, tobacco and slaves has ebbed, though the old mansions remain perched high in the hills above the city.
    "Today, it's the creative and tech industries that propel this city towards the future. Retired factories house design-minded craftsmen, independent publishing houses and new wave magazines; nightlife is fuelled by a diverse but first-rate music scene; and the city is adorned with incredible street art (Bristol is the home of famous graffiti artist Banksy after all).
    "Yet amid all the hubbub, the appeal of classic landmarks like the tree-lined River Avon and the Clifton Suspension Bridge never wanes, and there are still enough charming old pubs to keep everybody happy."
    Paris topped the list, with Isfahan in Iran second and Nairobi in Kenya third.

    Rough Guides top 10 cities 2017

    1. Paris, France
    2. Isfahan, Iran
    3. Nairobi, Kenya
    4. Bristol, England
    5. Antwerp, Belgium
    6. Medellín, Colombia
    7. Atlanta, USA
    8. Osaka, Japan
    9. Guadalajara, Mexico
    10. Palma, Mallorca


    Stokes Croft and St Michael Hill, photos by myself, February 2015


    ROUGH TRADE - TOP 10 CITIES

    4. BRISTOL, ENGLAND

    The most beautiful, interesting and distinguished city in England. – John Betjeman, former British Poet Laureate

    Bristol stands as a shining example of one of the UK’s most forward-thinking, innovative and dynamic small cities.

    An economy once built upon the traffic of rum, tobacco and slaves has ebbed, though the old mansions remain perched high in the hills above the city. Today, it’s the creative and tech industries that propel this city towards the future. Retired factories house design-minded craftsmen, independent publishing houses and new wave magazines; nightlife is fuelled by a diverse but first-rate music scene; and the city is adorned with incredible street art (Bristol is the home of famous graffiti artist Banksy after all).

    Yet amid all the hubbub, the appeal of classic landmarks like the tree-lined River Avon and the Clifton Suspension Bridge never wanes, and there are still enough charming old pubs to keep everybody happy.

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    Link: https://www.roughguides.com/best-places/2017/top-10-cities/ 

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    About my book on Bristol and their artistic heroes:

    En dehors de la zone de confort - 
    De Massive Attack à Banksy
    L’histoire d’un groupe d’artistes, de leur ville, Bristol, et de leurs révolutions



    Link to my French publisher:
    http://www.anne-carriere.fr/ouvrage_en-dehors-de-la-zone-de-confort-melissa-chemam-302.html

    Soon to be out in the UK.