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.
POST-COVID SPRING BEAUTY
The More You Look The More You See
A solo exhibition of new work by Judith Seligson on view at Galerie Mourlot through June 26, 2022.
16 East 79th Street, Suite 21
Between 5th and Madison Avenue
New York City
When I entered Galerie Mourlot on E. 79th Street two days ahead of Judith Seligson’s new solo exhibition, the more I looked around, the more I saw boxes everywhere, each containing either a painting, a pigment print, or a sculpture Seligson, a geometric abstract artist, created during the pandemic. On one wall, John—the installer—was carefully calculating the distance between two frames: on top, a series of photographs of flowers painted over—snapshots of nature blooming and blossoming despite the pandemic, aptly titled “Covid Spring”—and below a selection of bold striped paintings, or intervals paintings, as Seligson described them to me.
In the center of the room, the artist was busy unpacking and deciding how she wanted the body of work to come together at her second solo exhibition of Galerie Mourlot, a name more associated with the print making for the likes of Picasso and Miro, but which also has a strong contemporary art program. Her daughter—journalist and author Hannah Seligson—was dispensing advice. She became her mother’s unofficial “art agent,” or manager, five years ago.
Hannah marveled at the exhibition slowly taking shape, the new series of what she describes as “hard-edged, geometric abstract paintings,” in which her mother, Judith, explores “her interest in the interactions of colors, patterns, and space that all push the boundaries of the pictorial plane and create a sense of spatial tension.” “The Washington Post once decided it was ‘reminiscent of Stella and Albers,’” Hannah explained.
As I found my way to gallery owner Eric Mourlot’s desk by the tall windows overlooking 79th street, to sit down and take my recorder out of my bag, I marveled at the artistic poetry of the pieces. “It is a musical composition, almost a rhythmic movement,” the 72-year-old artist and author who studied with Flora Natapoff, Philip Guston, Leo Manso, and Victor Candell explained to me. Some of the paintings are small, discreet, miniature even, “a feminist statement,” Hanna said, quoting her mother.
I have always been told people are born artists, so I asked Judith Seligson when she first realized she was an artist and no one else. Before she could utter a word, Hannah interjected: “Mom, tell the story of when you were drawing…”
Entretien avec Bernard-Henri Lévy, à l’occasion de la première américaine à New York de son film
Une Autre Idée du Monde—The Will to See à New York le 16 janvier 2022.
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À la fin de l’année 2019, Bernard-Henri Lévy rentre du Nigeria avec un reportage d’une force rare. Il décrit les actes meurtriers, odieux et terroristes d’un groupe « plus ou moins liés à Boko Haram », « des islamistes d’un genre nouveau » : les Fulanis. De village en village, ils attaquent, brulent et assassinent les Chrétiens du Nigeria. Bernard-Henri Lévy nous présente une de leurs récentes victimes, Jumai Victor. Cette femme, « une évangéliste », se recueille sur une tombe, celle de son mari et de ses quatre enfants assassinés. Elle survit à cette attaque. Enceinte, les Fulanis ont épargné sa vie, mais certains d’entre eux lui ont tranché, l’un après l’autre, les doigts, puis la main et l’avant-bras.
As the sun rises over the Verrazano bridge, Mirjam Lavabre, a woman entrepreneur and single mother of one, is warming her muscles up at Fort Wadsworth on Staten Island. Grey sport pants and a blue tee on, she is wearing runner’s bib 25341.
Mirjam leads a group of French friends, all about to pass the starting line of New York Marathon and engage on the 26.2-mile iconic race.
They are not just running to challenge their physical capacities; they are also raising money for First Candle foundation in memory of Mirjam’s daughter, who 15 years ago passed away of the sudden infant death syndrome. Her name was Lola, and it is written on capital letters on Mirjam’s arms, visible to the thousands of runners and supporters as she races through the five boroughs of Manhattan.
The Masked-Life of a Maestro in Times of Covid-19
Part Two of a digital conversation with Keri-Lynn Wilson presented by The American Friends of the Paris Opera and Ballet
Access to the full video of the webinar at the bottom of the post.
For a year now, governments—and often doctors—have redesigned how people can live to combat and survive the Covid-19 pandemic. In some regions, entire sectors have sometimes been shut down: travels, restaurants, hotels, and sport arenas, but also bookstores, museums, theaters, concert halls, and opera houses. Culture and art often don’t fall into the lines of the iconic contemporary word: ‘essential.’
Remarkably though, the Paris Opera was opened for a few weeks in the Fall of 2020. Hopes were then high in France that Covid-19 was being contained, yet it came back with a revenge. While rehearsing Carmen for her debut at the Bastille Opera, Maestro Keri-Lynn Wilson experienced it first-hand. Within a minute, rehearsals were halted, and the opera shut down by the French Government. The same happened for movie theaters, museums, bars, and restaurants.
Wilson’s dream of conducting in Paris was postponed. So, she went back to New York and resumed what she had been doing since March 2020: sharing music online and studying new scores. She created a ‘Becoming the Conductor Series,’ on Instagram, launched a YouTube Channel, built her own playlist on Spotify, and shared many videos and recordings on her website.