Bernard Léchot's photo essay
Vinciane Vuilleumier explores the theme of our relationship with images and art spaces. What happens to us when we encounter an aesthetic object? How do we understand this relationship, which has all the makings of a secret idyll when it's sincere? Goodbye, pedantry and museum institutionalism. Welcome to a crazy series that gives new meaning to the title of your magazine, Le Regard Libre.
Photographs by Nicolas Locatelli
Exposition jusqu'au 31 octobre 2021
It's February 2020, and Benjamin Grivaux is in the midst of his bid for the mayoralty of Paris, when he finds himself at the heart of a controversy: intimate videos of him with a young woman invade the web. Once these went viral within hours, Grivaux was forced to resign in the face of the scandal. What was he accused of? Adultery. But mostly of hypocrisy. Nothing very nasty or new in the tabloid of French political figures. Piotr Pavlenski, the video's broadcaster, is a Russian performer, staying in France since 2017 as a political refugee. An artist who has just crossed the already well-established boundaries of artivism, taking contemporary art hostage to denounce not an authoritarian state but adultery, adopting a discou
ARTICLE LONG FORMAT, Vinciane Vuilleumier | It's the dawn of a new world and the earth is shaking. Humankind has become entangled in its own cataclysm, and those who have survived are struggling in the spider's web: what is tomorrow to be? We're in Germany, 1920. The king has fallen, factions flare up, one takes power and then the other. The individual is a patchwork quilt, we tear each other apart and pick each other up as best we can. What an experience it must be, really, to go through such a violent storm - the world will never be the same again, it's true. Man and his ecstasies, man and his hatreds, man and his chimeras - man in the in-between who can't help but lose his footing.
Photographs by Nicolas Locatelli
ARTICLE LONG FORMAT, Aude Robert-Tissot | At the genesis of a group show, there is often an encounter. While the encounter is usually between the curator and the artists, or at least with their work, sometimes the real encounter takes place between the invited artists. On seeing one of the works exhibited at the Musée d'art et d'histoire de Neuchâtel, an intuition emerges: the encounter between two artists stands out from the others; it seems individualizing.
Photographs by Nicolas Locatelli
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