Van Gogh's post impressionist outlook within the last few years of his life presented in this exhibiton provides a playground for both directors of this project, Annabelle Mauger and Julien Baron. These two film-makers are able to expose and emphasise Van Gogh's exacerbated configurations through videos projected onto the walls of La villette great hall. By modifying scales and creating new interpretations, they highlight even the smallest details.
From July 6 to September 2, 2017, the facades of the interior of Invalides light up to tell the story of Paris's vivid and colourful history. The fifth edition of this summer time festivity promises to be no less spectacular. Using the latest in modern technology, the show produced by Amaclio Productions and created by Bruno Seillier, is sure to deliver an incomparable multi-sensory experience. Utilising the full extent of Invalides's majesty, the 180-degree projection covers over 250 metres of the building's facade - for an even more immersive event. Invalides aux Nuit holds events in English on Monday and Thursday nights, meaning English-speakers can fully appreciate the story told behind the pictures. We advise that if you don't by a seated ticket, you should bring something to protect your derrière...those historic cobbles can get a bit uncomfortable! Check out a video of last year's event for a flavour of what you're in for.
2017 sees the centenary of Rodin's death, and the eponymous museum has given the painter Anselm Kiefer free reign to make hommage to the sculptor. During this exhibition, the contemporary German artist Anselm Kiefer renowned for his XXL paintings inspired by the nation’s darkest times. Having studied Rodin’s work, Kiefer presents his most recent pieces as a modern interpretation or even a continuation of the master’s remarkable universe. Shaping authenticity, redefining beauty It was notably the discovery of ‘Les Cathédrales de France’, published by Rodin himself that inspired the artist. The stone monuments which once fascinated the sculptor are painted by Kiefer in a way that highlights the grandeur and fragility of the materials used on the canvas. Looking as if they're crumbling, Kiefer's cathedrals are breathtaking. An unexpected meeting These towers remind us of the ones that were installed in his workshop in Barjac. The similarity between the two artists’ work is made wonderfully clear through the exhibition. Drawings as well as sculptures, weave links between modern and contemporary art. Kiefer recreates Rodin’s moulds with the same styles of beauty that is uneven, broken and even disturbing. By embracing the defects of the stone and marble figures the artist opens up another dimension of another century. This exhibition makes you want to give Kiefer the archives of another famous master to see what else he could create.
Jewellery: fantastical adornment, luxury accessory and occasional torture devise. These objects have always had an ambiguous status - just like the mythical monster who this exhibition is named after. The creation of jewellery constitues one of the oldest and most universal forms of artistic expression. However, it hasn't always been considered art. 'Medusa' reinvents this idea while conserving its artisanal fabrication. Whether decorative, fashionable, or a reflection of pop culture, the 400 treasures which make up this exhitbion highlight uses which are often overlooked. Created by renowned artists (Man Ray, Alexander Calder, Niki de Saint Phalle, René Lalique, etc.) but also anonymous works from all periods and all continents (prehistoric, Middle Ages, or punk), the jewellery from 'Medusa' are presented in four themes: identity, value, the body, and ritual. 'Medusa' is an exhibition full of surprises, and if you let yourself, be hypnotised.
The snowy domes of the Sacré-Cœur, spiraling cobblestones of Montmartre, the neon-hued Pigalle. Paris has been a muse to many a cinematographer who have used the city to host and inspire their creations. Musée de Montmartre, in conjunction with the Cinémathèque française, have come together to create an exhibition dedicated to the city's involvement on world cinema. Revolving around the following themes — Montmartre and its icons (Pigalle and rue Lepic, the Sacré-Cœur and the Moulin-Rouge), Pleasure and Crime, and where dream and reality collide in Montmartre — 'Montmartre, décor de cinéma' includes films from the beginning of the 1900s to 2010 which demonstrate the efficacity and inspirational power of Paris in cinema. Using video installations, vintage film posters, and scripts, you'll be navigated through time via film. From cult anglo films like An American in Paris (Vincente Minnelli, 1951) to Moulin Rouge (Baz Luhrmann, 2001) and Midnight in Paris (Woody Allen, 2010); to French masterpieces Baisers volés (Truffaut, 1968), Juliette ou la Clef des songes (Marcel Carné, 1950) and the world celebrated Le fabuleux destin d'Amélie Poulain (Jean-Pierre Jeunet, 2001).There's an entire section dedicated to Amelie, with cast photos, set props and scripts. In fact there's so much that you could envisage a separate exhibition to this film alone... Film buffs and francophiles will enjoy this iconic film trip through Paris. Which is rendered even more spectactular when you step o
Where? Musée Picasso, 5 rue Thorighny, Paris 3rd When? March 21, 2016-September 3, 2017 The Musée Picasso’s new exhibition looks at the relationship between the artist and his first wife, Russian dancer Olga Khokhlova (between 1917 and 1935), putting his masterpieces in perspective by highlighting their romantic context. Picasso's first wife and the mother of his first child, Olga met the painter in 1917 while on tour with the Russian Ballet, before marrying him a year later. During the early years of their relationship, Olga was the perfect model - her pensive, almost melancholy poses represented a return to clean, figurative portraiture for Picasso. The suffering portrayed in these paintings was reflective of Olga's personal life. Her family suffered great hardship during the economic and social decline of Russia during the Second World War. Her portrayal takes a change after the birth of the couple's son in 1921, with several scenes depicting a motherly softness. Another change to Picasso's style occurs when the painter meets the 17-year-old Marie-Thérèse Walter - the woman that would soon become his mistress. Notably in the painting, Le Grand nu au fauteuil rouge, is a startling sight. The violent disfiguration relflects critical condition of the marriage. The couple separate for good in 1935 but remain legally married until Olga’s death in 1955. Musée Picasso takes us through these happy and sad years, offering a selection of paintings, drawings, written and photo
Where? Grand Palais, 3 avenue du General Eisenhower, Paris 8th When? March 23-July 31 2017 For the 100th anniversary of the sculptor’s death, the Grand Palais presents a new view of this versatile artist, rounding up and uniting the collectors of his work (and that of his contemporaries) in this dedicated exhibition.
2017 is definitively the year of Dalida. After the biopic of the much loved French singer, comes an exhibition of her wardrobe. Made up of three chronological sections, the exhibition illustrates Dalida’s successive styles thanks to the many items bequeathed to her brother Orlando in Paris. 1955-1965. At this stage Dalida was a young singer and she performed at Bobino wearing a red velvet busty dress, designed by the dressmaker Jean Dessès. This dress that actually starts the exhibition remained as the star’s signature dress for 20 years. In the room entitled ‘The Silhouette of a Young Woman’ you can rediscover many of the dresses designed by Pierre Balmain, Jacques Esterel and Jean Dessès. It's pivotal to download the app (which is very well done) which allows you to watch clips, televised performances and concerts where Dalida wore some of these exhibited dresses. Such as her performance of Ne lit pas cette lettre in Bulgaria in 1959 wearing a very simple blue Pierre Balmain dress. The 1970s saw a change to a more radical look with long fluid dresses found in the second room. This was a period famous for the dressmakers like Loris Azzaro and outfits from Yves Saint Laurent had a more bohemian chic. Such as trench coats and ‘anonymous’ garments with psychedelic motifs or bowler hats and leather boots. There's also a room stock full of accessories, sunglasses, Christian Dior gold and silver sandals and high heels to make Dalida’s petite silhouette taller. Not to menti
Eight years after landing on earth – on Parisian earth to be more precise – artist Space Invader’s works have a home to call their own. Whatever their colour, these little critters are instantly recognisable; mosaic creatures which look like they’ve jumped straight out of a vintage video game, landing on walls and in the streets in the late nineties. Just a few steps from the Louvre, the Musée en Herbe is celebrating this artist’s ability to instil a love of art in children and adults alike. These simple, colourful works will appeal to visitors from ages three to 103. The first room is nostalgia-themed, visitors play the role of video gamers, rediscovering the joys of Tetris, Pong or Pac-Man in the mini-arcade. The tables are made of screenshots of these timeless games and shoz the artist's sources of inspiration. Think Super-Mario, Asteroids and of course, Space Invader. The playful dimension of the Musée en Herbe is perfect for kids – expect them to remain fully occupied, while you take a big old trip down memory lane. There’s a giant map showing where all 3500 Space Invaders are hidden – look out for the crab in space and the Ninja Turtle on the side of a New York pizzeria. The last room is focused on the artist himself, including his studio and the masks he wears to maintain his anonymity. As usual the Musée en Herbe is far from game over.
Where? Musée National du Luxembourg, 19 rue de Vaugirard, 6th When? March 21-July 23 2017 In 1884, impressionist painter Camille Pissarro settled into the French village of Eragny with his family. The exhibition retraces these final years – bucolic yet seizing – which are so instrumental in his being considered one of the ‘fathers’ of impressionism.