Listen to the Women and Girls of Iran
It was gigantic and staring at me. Everyone around seemed as mesmerized by it as I was: an eye, wide open. It was staring at the sky, too, and it covered most of the steps of Franklin D. Roosevelt Four Freedoms Park at the far end of the oblong Roosevelt Island on the East River, an unlikely urban cable car stop away from Manhattan. In the background, lurking in the shadows, stood the 39-story United Nations building, proud and self-confident.
In that park, at the bottom of the steps that morning of November 28, 2022, every spoken word and every single stare were targeted at the United Nations, at the United Nations and Iran.
When art meets wine, champagne loves it
(Post based on a conversation held at the Payne Whitney Mansion in New York City on October 26th, 2022 during a fund-raiser dinner presented by the American Friends of La Cité du Vin).
In 1973, Château Mouton Rothschild paid tribute to Pablo Picasso, who passed away on April 8th of that year, by decorating the Premier Cru Classé with an Atelier Mourlot printed label reproduction of the 1959 master’s painting, Bacchanale. A century before, in 1874, Louise Pommery created the first brut champagne and became famous for patronizing art and artists.
To celebrate the symbiotic relationship between art and wine, which was highlighted in the 2022 Cité du Vin exhibition ‘Picasso, the Effervescence of Shapes,’ the American Friends of the Cité du Vin invited Maïlys Vranken, President of Vranken Pommery America, and Éric Mourlot for an exclusive conversation. “There are serious dinners in New York,” said the co-host of the evening, France’s Cultural counselor in the United States and director of Villa Albertine Gaëtan Bruel, “and there are joyous ones; this one is a mix of both.”
So, while tasting a vertical of Pommery Champagne, including a Blanc de Blancs Apanage and a Cuvée Louise 2005 paired with a dinner prepared by Tastings NYC-SoFlo and Alain Ducasse veteran chef Laetitia Rouabah, Maïlys Vranken and Eric Mourlot told the tales of their artisanal companies’ own relationships with art and artists.
Revelations (in French: here)
New York Exhibition of paintings and sculptures by Jean-Pierre Formica
The face’s wrinkles of painter and sculptor Jean-Pierre Formica, his eyes too, the iconic choice of words and his unexpected way of linking them together let a colorful and poetic universe surface. A desire to make the invisible visible. If his artworks were argentic photographs, Jean-Pierre Formica would be the developer, the essential chemical agent that converts the latent image into one that the eye can see.
Also inscribed on Formica’s face is the force of Camargue’s salty sun, the insatiable curiosity of a man driven by uncertainty, an almost detached look, perhaps surprised by the interest his work arouses, and a polite recognition.
A selection of Jean-Pierre Formica’s artworks will, at last, be on view in New York from September 6 to 30, 2022. Titled ‘Revelations,’ this exhibition juxtaposes recent paintings and sculptures whose teared papers for the former and accumulations for the latter give “form to the formless.”
They “reveal” to paraphrase the artist.
Révélations, Entretien avec l’artiste Jean-Pierre Formica
Les plissures du visage du peintre et sculpteur Jean-Pierre Formica, ses yeux aussi, le choix méticuleux des mots et sa façon inattendue de les lier ensemble laissent apparaître à la surface un univers coloré et poétique, une volonté de rendre visible l’invisible. Si cette œuvre était une photographie argentique, Jean-Pierre Formica en serait le révélateur, l’agent essentiel qui permet à l’image d’apparaître et se figer sur le papier.
Il y a aussi inscrit sur le visage de Formica la force du soleil salé de la Camargue, la curiosité insatiable d’un homme mû par l’incertitude, un regard presque détaché, surpris peut-être de l’intérêt que son œuvre suscite, sa reconnaissance polie.
Une sélection des œuvres de Jean-Pierre Formica sera visible à New York du 6 au 30 septembre 2022. Cette exposition, « Révélations », juxtapose des peintures et sculptures récentes dont les déchirures pour les premières et les accumulations pour les secondes donnent « forme à l’informe ». Elles « révèlent » pour reprendre l’expression de l’artiste.
Art Could be Sustainable Luxury, but it Has a Long Way to Go.
Artist Betsabeé Romero honored at LuxuryLab 2022
Exhibition at Museo de la Ciudad de Mexico on view until end of August
(text edited by Delphine Schrank)
As I walked through Cuando el tiempo se rompió (When Time Broke), the latest exhibition by Mexican artist Betsabeé Romero at the Museo de la Ciudad de Mexico, I was struck by the juxtaposition of her most recent works. It suddenly made sense. It was all coming together. The artistic interpretation of movement, migrants, and mirrors. The artist was there, it was a Monday in June, and the museum was closed to the public.
I have marveled at Betsabeé’s work so often in the past. The first time was eight years ago, wandering the streets of the Condesa district. Betsabeé had transformed a car into a playful permanent installation, a human-size toy, really, and planted it on the doorsteps of the hotel Condesa DF. To the left of the white and burgundy car, passersby will find a large silver key. Turn it, and the car will suddenly play a rendering of Agustin Lara‘s Veracruz song.