09/04/2018

A few words from John Akomfrah




Barbican Meets : John Akomfrah




We meet British artist John Akomfrah to talk art, climate change and how he drew inspiration from his own life for his new commission in The Curve. 'John Akomfrah: Purple' takes place in The Curve until 7 January 2018 http://bit.ly/2hM7zNg Pushing the boundaries of theatre, dance, film, music and visual art, the Barbican is a world-class arts and learning centre.


08/04/2018

Exposition « Les racines poussent aussi dans le béton »


Rendez-Vous dès samedi prochain à Créteil, près de Paris :

« Les racines poussent aussi dans le béton »






Exposition monographique de Kader Attia
Du 14 avril au 16 septembre 2018



Pour cette exposition au MAC VAL, « Les racines poussent aussi dans le béton », Kader Attia imagine une réflexion en forme de parcours initiatique, autour de l’architecture et de sa relation aux corps. 

Une exposition qu’il imagine comme une « conversation intime avec le public du MAC VAL » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». 
Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en communs etc…), et a la sensation, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».




« Les racines poussent aussi dans le béton »
Pour investir l’immense espace d’exposition temporaire que le MAC VAL met à sa disposition dès le printemps 2018, Kader Attia créé un parcours initiatique construit autour de deux notions étroitement mêlées : l’architecture et sa relation aux corps. L’exposition-événement
« Les racines poussent aussi dans le béton » s’attache à livrer des pistes de réflexion sur des questionnements qui s’ancrent dans le travail que mène l’artiste depuis de nombreuses années et dans une Histoire partagée : quels regards porter sur les grands projets urbains de l’après-guerre, grands ensembles caractéristiques de ce qu’on appelle les cités dortoirs, qui incarnent des versions fortement digérées et abâtardies des théories et recherches modernistes et utopiques de la première moitié du 20e siècle, et dont les racines sont pourtant à chercher du côté des architectures de terres du Mzab aux portes du Sahara ? Que reste-t-il de l’utopie ? Du vivre ensemble ? Quelles relations ambivalentes entretient-on avec son espace de vie, privée ou publique ? Avec son histoire ? Avec ses racines ?
Dans une optique de désaliénation, de déconstruction du regard colonial et moderne, de réappropriation des récits collectifs et individuels, l’exposition « Les racines poussent aussi dans le béton » explore les relations entre corps physique et corps social, à travers une interrogation des effets de l’architecture sur la psyché, des affects aux corps, sans esquiver la dimension paradoxale et fantasmatique (le retour au pays par exemple) de ces questions.
Poursuivant ses recherches sur les membres fantômes, l’artiste envisage ici l’architecture dans sa dimension de prolongation des esprits et des corps, explorant la tension espace privé/espace public (notamment au travers des figures du transsexuel, du chibani, et de tous les corps réprimés et objectivés au détriment de leur subjectivité...). Le corps est appréhendé tout autant comme contrôlé, mais également dans ses possibilités infinies de révolution et d’action.
Un grand nombre d’oeuvres est produit spécifiquement pour ce nouveau projet qui s’ancre dans une réflexion autobiographique.
Ce parcours labyrinthique s’ouvre sur l’errance du personnage de Jean Gabin, de Pépé le Moko (Julien Duvivier, 1937) à Mélodie en sous-sol(Henri Verneuil, 1963). Les corps des visiteurs sont conditionnés dans une déambulation qui sollicite tous les sens et met en exergue l’itinéraire d’un enfant de banlieue.
L’artiste souhaite également construire une sorte de « conversation intime avec le public » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en commun, etc.), et la sensation qu’il a, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».
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Né en 1970 à Dugny (93), Kader Attia vit et travaille entre Paris et Berlin. Lauréat du prix Marcel Duchamp en 2016, il est devenu une figure incontournable de la scène artistique internationale depuis le début des années 2000.
Il parcourt le territoire de l’art comme un espace de réflexion et d’action. Psychanalyse, anthropologie, ethnologie, philosophie… Il décline différentes formes analytiques pour faire émerger, dans le champ de l’art, les refoulés et blessures de l’Histoire, les traumatismes et les peurs inhérentes à nos sociétés. Soulignant les dominations, les replis identitaires, militant pour une décolonisation des savoirs et des récits, il met en œuvre depuis plusieurs années le concept de réparation.
Sa pratique de l’art étant en prise avec le réel, il a initié La Colonie, espace de savoir-vivre et de partage des savoirs, dans le 10e arrondissement de Paris, près de la Gare du Nord.
Pour cette exposition au MAC VAL, « Les racines poussent aussi dans le béton », Kader Attia imagine une réflexion, en forme de parcours initiatique, autour de l’architecture et de sa relation aux corps. Une exposition qu’il imagine comme une « conversation intime avec le public du MAC VAL » pour ensemble « sonder les maux et les joies qui articulent la vie dans les cités ». Ayant grandi à Garges-lès-Gonesse, il souligne la familiarité des paysages (architectures, population, transports en communs etc…), et a la sensation, à chaque fois qu’il vient au MAC VAL, de « rentrer à la maison ».
Quels regards porter sur les grands projets urbains de l’après-guerre, grands ensembles caractéristiques de ce qu’on appelle les cités dortoirs, qui incarnent des versions fortement digérées et abâtardies des théories et recherches modernistes et utopiques de la première moitié du 20e siècle, et dont les racines sont pourtant à chercher du côté des architectures de terres du Mzab aux portes du Sahara ? Que reste-t-il de l’utopie ? Du vivre ensemble ? Quelles relations ambivalentes entretient-on avec son espace de vie, privée ou publique ? Avec son histoire ? Avec ses racines ?
Dans une optique de désaliénation, de déconstruction du regard colonial et moderne, de réappropriation des récits collectifs et individuels, l’exposition explore les relations entre corps et corps social, à travers une interrogation des effets de l’architecture sur la psyché, des affects aux corps, sans esquiver la dimension paradoxale et fantasmatique (le fameux retour au pays par exemple) de ces questions. Poursuivant ses recherches sur les membres fantômes, l’artiste envisage ici l’architecture dans sa dimension de prolongation des esprits et des corps, explorant la tension espace privé/espace public (notamment au travers des figures du transsexuel, du chibani et de tous les corps réprimés et objectivés au détriment de leur subjectivité...). Le corps est appréhendé tout autant comme contrôlé, mais également dans ses possibilités infinies de révolution et d’action.
Frank Lamy
Commissaire de l’exposition
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Pour un aperçu visuel : http://www.macval.fr/francais/expositions-temporaires/les-racines-poussent-aussi-dans-le-beton/oeuvres/article/the-end-and-the-beginning

07/04/2018

'She's Out of My Life'



A moment with Spike Lee, meditating on music and documentary films...

Wish I had met you, man, and though I never met you, you surely did change my life.


Michael Jackson - 'She's Out of My Life' 

(Official Video)








06/04/2018

From Bristol to 'Blue Lines'...



27 years ago... On April 8, 1991, was released this unique album called Blue Lines
So much as been written about the sound of this record! 
It took me five chapters to dig into the making of this sound before devoting the 6th chapter of my book entirely to how Blue Lines was actually made. 
Because you cannot read that this month, here is a little bit of the live sound from back then, with Massive Attack live on Top of the Pops:


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For the English release of my book about Bristol, Massive, the city's sound and street art scene, please wait until September.

05/04/2018

“Why should you take by force that from us which you can have by love?"


Reading the fascinating book by American historian Roxanne Dunbar-Ortiz, The Indigenous People's History of the United States, I want to quote this paragraph:


When John Smith and his group of English settlers arrived in what is now known as Virginia, they ordered the local populations, of the Indigenous tribes of the Powhatans, their leader, Wahunsonacock, replied: 


“Why should you take by force that from us which you can have by love? 
Why should you destroy us, who provided you with food? What can you get by war?... 
What is the cause of your jealousy? 
You see us unarmed, and willing to supply your wants, if you will come in a friendly manner, and not with swords and guns, as to invade an enemy.”


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Good question, if any, don't you think?

Dystopian hyper-technological reality



New obsession of the art wold: virtual reality.... 

Sure, let life diminish on Earth, among nature and humans, and save your glory for a future computer! 
Complete dystopia.

I really don't get it. 
Narcissism? 


"Marina Abramović and Anish Kapoor take to virtual reality" 



Behind the scenes of Marina Abramović's new virtual reality artwork, 'Rising', 
presented for the first time by HTC VIVE during Art Basel in Hong Kong (29 – 31 March 2018)

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HTC VIVE, Art Basel’s Official Virtual Reality Partner, presents the first public presentation of two virtual reality artworks by Marina Abramović and Anish Kapoor during Art Basel in Hong Kong (29 – 31 March 2018).

The works, Rising by Marina Abramović and Into Yourself, Fall by Anish Kapoor, have been produced in collaboration with Acute Art and are being shown on VR’s most immersive products, Vive Pro and Vive Focus, in the HTC Vive Lounge, Level 3 Concourse at the Hong Kong Exhibition and Convention Centre. These works mark the first time either artist has realised an artwork using virtual reality technology.

Vive’s partnership with Art Basel in Hong Kong brings a one-of-a-kind integrated VR experience to the fair’s visitors in Hong Kong. A first for Vive, visitors are able to explore both artists’ works at the fair as well as experience it at home through VIVEPORT, the leading VR app store. HTC has a long-standing commitment to the arts and created a global program, Vive Arts, to advance the world’s appreciation and creation of the arts through the latest technology.




"Best Of British"



 The reason why I chose to write about Bristol's music scene:
It tells a different story of the 20th Century. 


Our story. A common story. In which women do sing and people from African and Caribbean descents tells their own story, in their own words.

Massive Attack in 1991


Meanwhile, today in Britain's music scene: 


Oasis song tops Best Of British all-white straight male radio poll


A listeners’ poll of the Top 100 British songs  of all time conducted by the UK’s Radio X was topped by Oasis’ ‘Live Forever’ – and proved an embarrassment with no women, people of colour or LGBTQ+ artists in featured roles.

To be eligible, the songs had to be written, recorded or released by a British artist, and picked up for airplay by the station.
Radio X, which broadcasts in London and Manchester, markets itself as an alt-rock station.
Live Forever’ toppled last year’s winner Queen’s ‘Bohemian Rhapsody’, which has long won most polls as the greatest song or record to come out of Britain.
But the Oasis song took on a special resonance of late after Liam Gallagher performed it as a duet with Coldplay’s Chris Martin at the One Love Manchester benefit concert in the wake of the Manchester Arena bombings, and again at the Brit Awards in honour of its victims.
Matt Deverson, managing editor of Radio X, said. “The release of ‘Live Forever’ in 1994 heralded the arrival of an era-defining debut album from one of the country’s greatest bands. 
“It’s a special song and within the past year we have seen it resonate with even more poignancy as a much-loved Manchester anthem.”
Noel Gallagher, responding to topping the poll (and having 16 Oasis songs in the Top 100) said, “I have always tried to aim higher than I think is possible. 
“Some people try to be bigger or better than their contemporaries or their predecessors… 
“Me? I’m just trying to be better than myself, which as we now know is virtually impossible.”
The upper end of the list was:
  1. Oasis – ‘Live Forever’
  2. Queen – ‘Bohemian Rhapsody’
  3. Oasis – ‘Don’t Look Back in Anger’
  4. The Stone Roses – ‘I Am the Resurrection’
  5. The Verve – ‘Bitter Sweet Symphony’
  6. Oasis – ‘Wonderwall’
  7. Oasis – ‘Slide Away’
  8. The Smiths – ‘There is a Light That Never Goes Out’
  9. Oasis – ‘Champagne Supernova’
  10. Arctic Monkeys – ‘I Bet You Look Good on the Dancefloor’
  11. The Stone Roses – ‘I Wanna Be Adored’
  12. David Bowie – ‘Heroes’
  13. Arctic Monkeys – ‘A Certain Romance’
  14. David Bowie – ‘Life On Mars?’
  15. Led Zeppelin – ‘Stairway To Heaven’
  16. Pulp – ‘Common People’
  17. Pink Floyd – ‘Wish You Were Here’
  18. The Rolling Stones – ‘Gimme Shelter’
  19. The Stone Roses – ‘She Bangs The Drums’
  20. The Courteeners – ‘Not Nineteen Forever’
However, the poll has been slammed for its lack of diversity.

Only two bands featured a woman:  Pulp in which Candida Doyle played keyboards and wrote their 1995 track ‘Common People’, and Gillian Gilbert in New Order who reached #34 with ‘Blue Monday’.
Three "black" artists were represented : Queen singer Freddie Mercury was born Farrokh Bulsara in Tanzania, Libertines drummer Gary Powell and Elbow bassist Pete Turner.

This is the third year for the poll.
Last year it included Florence Welch of Florence and the Machine, and two from Adele in 2016.
Past polls also included a song by Massive Attack (which features Grant Marshall, a black musician) and one by Faithless (which includes a black man and a woman).

The Times tapped two pop culture experts to explain the lack of diversity.
Dr. Richard Mills, a senior lecturer in popular music and co-editor of Mad Dogs and Englishness, thought the station’s listeners might be middle aged.

“There does seem to be some inherent conservatism and sexism in the music industry,” he opined to the Times. 
“A lot of that playlist [goes] back to the classic acts of the Sixties and Seventies, and that’s a very male culture. 
“That counterculture was really quite sexist . . . and the rock culture we have today is predicated on that. It hasn’t moved that much forward.”
Wendy Fonarow, professor of anthropology at Glendale Community College, California, suggested: “Obviously the majority of those who responded are Oasis fans who long for one of the golden eras of British indie.”

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Massive Attack with Shara Nelson and Horace Andy in 1991


A Black Man In A White World.



And I'm a coloured person in a world than cannot see the beauty of colours...



Michael Kiwanuka - 'Black Man In A White World'






Michael Samuel Kiwanuka (born 3 May 1987) is an English soul musician and songwriter who is signed to Polydor Records. He has been compared to Marvin Gaye, Curtis Mayfield, Bill Withers, Randy Newman, Terry Callier, and Otis Redding, as well as Van Morrison and the Temptations. In January 2012, he won the BBC's Sound of 2012 poll.

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“I guess it became a statement,” Kiwanuka says of the political-yet-personal lyrics. “All of this stuff has been going around my head since I was a teenager. The differences in culture — everything. Where I fit in European white society. Does colour really matter? It’s pretty obvious that certain kinds of records are bought by certain kinds of people without any crossover. I’m sort of in the middle of that. If you are around it your entire life it weighs on you.”

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Lyrics

I've been low, I've been high
I've been told all my life
I've got nothing left to pray
I've got nothing left to say
All the black men in a white world
All the black men in a white world
All the black men in a white world
All the black men in a white
I'm in love but I'm still sad
I've found peace but I'm not glad
All my nights and all my days
I've been trying the wrong way
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I feel like I've been here before
I feel that knocking on my door
I feel like I've been here before
I feel that knocking on my door
And I've lost everything I had
And I'm not angry and I'm not mad
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I've been low and I've been high
I've been told all my life
I've got nothing here to pray
And I've got nothing left to say
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm a black man in a white world
I'm in love but I'm still sad
I've found peace but I'm not glad
All my nights and all my days
I've been trying the wrong way
I don't mind who I am (I'm a black man in a white world, I'm a black man in a white world))
I don't mind who you are (I'm a black man in a white world, I'm a black man in a white world))
I'm not wrong, I'm not wrong (I'm a black man in a white world, I'm a black man in a white world))
Oh it's alright, it's alright (I'm a black man in a white world, I'm a black man in a white world)
Oh it's alright (I'm a black man in a white world)
Oh it's alright (I'm a black man in a white world, I'm a black man in a white world)
It's alright (I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world, I'm a black man in a white world)
(I'm a black man in a white world)

Songwriters: Dean Cover / Michael Samuel Kiwanuka
Black Man in a White World lyrics © Warner/Chappell Music, Inc


Another African American man killed by the police for no reason


Quoting the Guardian because the NYT won't let you read breaking news for free...

I'm appalled, I'm infuriated. America has failed its people and has failed the world.

This man was killed on the 50th anniversary of Martin Luther King Jr's assassination.
What more do you need?

This has to stop!
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New York police shoot dead black man holding metal pipe

The man was shot 10 times by four officers in Crown Heights, Brooklyn

Crowds gathered on the streets of Brooklyn to protest about the shooting on Wednesday. Photograph: Kevin Hagen/AP


A black man has been shot dead by police in New York after he pointed a metal pipe at them.

Police had responded to emergency callers who said the man was aiming a firearm at pedestrians in Crown Heights, Brooklyn, an official said. 
The man took a two-handed shooting stance and pointed an object at police and three plainclothes officers and one uniformed officer shot 10 times, the chief of department, Terence Monahan, told a news conference.

“This was a call of a man pointing what 911 callers and people felt was a gun at people on the street,” Monahan said. “When we encounter him, he turns with what appears to be a gun at officers.”
: NYPD officials give update on Police involved shooting in Crown Heights Brooklyn https://www.pscp.tv/w/bZVY1jFETEVCRE9XeXFCS0p8MXlwS2RtWFpZeWpHV285nRTH4s12QSgtEiZe9kEzFwHU6sYIfkpyaCdyJDEx 
— NYPDBrooklynNorth (@NYPDBklynNorth) 
Crowds gathered on the street to protest about the shooting. Some shouted “oppressors” as they faced off against police officers who had cordoned off the scene of the shooting with police tape.

Andre Wilson, 38, told the Daily News that he had known the victim for 20 years, describing him as a quirky neighborhood character. 
“All he did was just walk around the neighborhood,” he said. “He speaks to himself, usually he has an orange Bible or a rosary in his hand. He never had a problem with anyone.”

The shooting follows a number of killings of unarmed black men by police that triggered street protests and led to the rise of the Black Lives Matter movement.

Police were investigating, Monahan said, adding that surveillance video obtained from stores nearby showed the man brandishing an object that looked like a firearm. 
The man, whose name and age were not immediately released, was taken to a hospital where he was declared dead. 


In that incident, officers responding to a report of someone breaking windows shot to death 22-year-old Stephon Clark in his grandmother’s backyard on 18 March. The officers feared he had a gun, but he was found to have been holding a cellphone, Sacramento police have said. 

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04/04/2018

The Ghost Writer


Souvenirs from an important story I saw eight years ago. Appealing to me again now.

Do you know how we call a "ghostwriter" in French...?
A "Nègre". A Negro... A.k.a. a Slave.
Shocking?
Or maybe revealing...



The Ghost Writer (2010) - Official Trailer 

With Ewan McGregor, Pierce Brosnan 






The Ghost Writer (2010) 
Official Trailer A ghostwriter hired to complete the memoirs of a former British prime minister uncovers secrets that put his own life in jeopardy.
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The Ghost Writer (released as The Ghost in the United Kingdom and Ireland) is a 2010 Franco-German-British political thriller film directed by Roman Polanski. 

The film is an adaptation of a Robert Harris novel, The Ghost, with the screenplay written by Polanski and Harris. 

It stars Ewan McGregor, Pierce Brosnan, Kim Cattrall and Olivia Williams.

The film was a critical and commercial success and won numerous cinematic awards including Best Director for Polanski at the 60th Berlin International Film Festival and also at the 23rd European Film Awards in 2010.

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Review

by 

 - for The Guardian


The Ghost Writer

4/5stars
Roman Polanski's deft take on Robert Harris's political thriller is the director's most purely enjoyable film for years

Roman Polanski's latest movie happens to be about a public figure, once hugely admired, now disgraced, fearing extradition and prosecution and confined to virtual house arrest in a vacation spot for rich people.
Did the director, when he shot this film, get a chill presentiment of how personal it was all going to look? Maybe. But it didn't stop him making a gripping conspiracy thriller and scabrous political satire, a Manchurian Candidate for the 2010s, as addictive and outrageous as the Robert Harris bestseller on which it's based. Polanski keeps the narrative engine ticking over with a downbeat but compelling throb. This is his most purely enjoyable picture for years, a Hitchcockian nightmare with a persistent, stomach-turning sense of disquiet, brought off with confidence and dash.


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