#Michel Zlotowski

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Other People's Children (Les enfants des autres), Rebecca Zlotowski (2022)

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Ella Bergmann-Michel, Untitled, 1925 [Galerie Zlotowski, Paris] Fuente: galeriezlotowski.fr

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Al via il Festival di Film di Villa Medici: ecco i dettagli

Festival Di Film Di Villa Medici (II edizione), dal 14 al 18 settembre 2022 presso l’Accademia di Francia a Roma.

Dal 14 al 18 settembre presso l’Accademia di Francia a Roma – Villa Medici avrà luogo la seconda edizione del Festival di Film di Villa Medici, con quattordici film in concorso, proiezioni all’aperto, una programmazione di pellicole fuori concorso, incontri, carte bianche, masterclass e installazioni.

Fiction e documentari, racconti intimi ed epopee collettive, ricerche plastiche e nuove forme narrative: le opere in programma seguono una pluralità di percorsi che esplorano la diversità dell’uso dell’immagine.

Tra i vari appuntamenti cinematografici che si svolgeranno ogni giorno tra la Sala Michel Piccoli, le Grand Salon e il Piazzale, alcune rilevanti prime mondiali (LE CHAMP DES MOTS di Rania Stephan e INTO THE VIOLET BELLY di di Thùy-Hân Nguyến-Chí), e numerose prime nazionali (DE HUMANI CORPORIS FABRICA di Véréna Paravel e Lucien Castaing-Taylor, GIGI LA LEGGE di Alessandro Comodin, HAPPER’S COMET di Tyler Taormina, KICKING THE CLOUDS di Sky Hopinka, LE BARRAGE di Ali Cherri MANGROVE SCHOOL di Filipa César e Sónia Vaz Borges; MOUNE Ô di Maxime Jean-Baptiste, THE DEMANDS OF ORDINARY DEVOTION di Eva Giolo WHEN THERE IS NO MORE MUSIC TO WRITE, AND OTHER ROMAN STORIES di Éric Baudelaire XAR – SUEÑO DE OBSIDIANA di Edgar Calel e Fernando Pereira dos Santos).

Presente in concorso anche il film recente vincitore del “Leone del futuro” a Venezia79, SAINT OMER di Alice Diop.

La giuria, composta da Marie Losier, Pietro Marcello e Sylvain Prudhomme, svelerà il suo palmarès sabato 17 settembre e assegnerà due premi: il Premio Villa Medici per il miglior film e il Premio della Giuria per un film originale particolarmente apprezzato dai giurati. Entrambi i premi prevedono compensi in denaro e offriranno l’opportunità ai due autori o alle autrici di essere ospiti in residenza presso Villa Medici.

Oltre ai film in concorso, Villa Medici offre una programmazione parallela denominata Focus che invita a scoprire film di artisti fuori concorso e propone proiezioni, incontri di approfondimento ed occasioni privilegiate di interazione con i membri della giuria e degli artisti cineasti. In questo ambito saranno dedicate alcune “carte blanche” rispettivamente a Marie Losier (THE BALLAD OF GENESIS AND LADY JAYE  e THE ONTOLOGIC COWBOY), Pietro Marcello (LA BOCCA DEL LUPO), Sylvaine Prudhomme (TOUT-PUISSANT MAMA DJOMBO) e alla Fondazione In Beetween Art Film che presenterà il film WELCOME PALERMO del duo MASBEDO (Nicolò Massazza & Iacopo Bedogni).

La sezione “Contrechamps” rivolgerà invece il proprio sguardo a Hans Richter (INFLATION), Liv Schulman (THE NEW INFLATION), Yasmina Benabderrahmane (LA VILLA JUMELLE), Uriel Orlow (REMNANTS OF THE FUTURE) e Théodora Barat (OFF POWER).

Le proiezioni serali del Piazzale offriranno al pubblico romano il meglio del cinema, da scoprire sotto le stelle nei giardini di Villa Medici. Il festival si aprirà con LA MONTAGNE di Thomas Salvador, ex borsista di Villa Medici, che narra la fantastica ascesa di un uomo verso la libertà del corpo e della mente. Con LES ENFANTS DES AUTRES , presentato quest’anno in concorso alla Mostra del Cinema di Venezia, Rebecca Zlotowski racconta il singolare e raramente esplorato legame tra una donna e il figlio di un’altra; la serata sarà aperta e rappresentata dalla Maison CHANEL, partner della seconda edizione del festival.

Con PADRE PIO, Abel Ferrara continua la sua esplorazione cinematografica delle grandi figure controverse del suo paese d’adozione. La serata di sabato sarà dedicata al mondo della notte e della danza con STELLA EST AMOUREUSE di Sylvie Verheyde, una magnifica storia di emancipazione di una giovane disertrice di classe. Infine, la seconda edizione del festival si chiuderà con la presentazione, per la prima volta a Roma, della versione restaurata di SCIUSCIÀ di Vittorio De Sica, opera fondante del neorealismo e primo Oscar per il miglior film straniero nella storia dell’Academy Award (1947).

Con l’apertura della rassegna, il 14 settembre, verrà inaugurato anche il nuovo Art Club, a cura di Pier Paolo Pancotto che vedrà esporre fino al 10 ottobre a Villa Medici le opere di Rosa Barba, artista che lavora tra cinema e arte contemporanea. Si tratta di lavori che offrono una panoramica di oltre 10 anni di pratica artistica: il film Disseminate and Hold (2016), presentato nell’atelier Balthus e l’installazione Weavers (2021) nella piccola galleria Balthus. L’artista  sarà presente a Roma dal 22 al 24 settembre (per richieste di interviste contattare l’ufficio stampa).

Tutte le info su VILLAMEDICI.IT

[hadarlaskey]

An Easy Girl

An Easy Girl feels familiar. We open on a sparkling cove in Cannes, that mythical hub of French cinematic history, as a woman bathes in the crystal waters. A quote appears, Pascal, which draws our thoughts to Éric Rohmer’s 1969 discussion piece Ma nuit chez Maud in which two men use the philosopher to debate sex and women. Then another Rohmer film comes to mind, 1967’s La Collectionneuse, which begins with bikini-clad actress Haydée Politoff wading through the sea.

These are conscious choices by director Rebecca Zlotowski, who uses quotation as a means of crafting a wholly modern artwork. When we see Sofia, played by model Zahia Dehar who came to fame in 2009 when she performed underage sex work for a French footballer, she bears an uncanny resemblance to Brigitte Bardot with her sandy hair and thick winged eyeliner. Jean-Luc Godard likewise cast Bardot in his 1963 film Le Mépris as a symbol for the 1960s sexual revolution in stark contrast to the silent era of European cinema embodied by Fritz Lang, who plays a version of himself.

Godard’s attention, however, is on Bardot’s body, especially in a scene in which she invites her husband (Michel Piccoli) to verbally dissect her anatomy and identify the parts he likes most. Sofia replicates this in An Easy Girl: her hand caresses her breasts and thighs in extreme close-up as she teases two men on the beach. Like Bardot, she knows she can use her body to get what she wants.

Where Godard’s focus remains on the surface, the screenplay for An Easy Girl, by Zlotowski and Teddy Lussi-Modeste, delves into psychology. When Sofia and her cousin Naïma (Mina Farid) go to the cinema to see Pascal Laugier’s 2008 horror Martyrs, the scene shown is of a woman’s head being sliced open. An Easy Girl effectively does the same, studying the mental processes behind female sexuality and experience, conveyed through the cousins’ conversations and by Naïma’s voiceover narration.

Simultaneously, it’s a film about gazing – Laura Mulvey, author of the classic film studies text Visual and Other Pleasures, would have a field day – whereby making us party to the male gaze shows us how empowering it can be for women. While Sofia presents as the titular ‘fille facile’, we are also shown the effort needed to maintain that impression of ease. She has a micro-managed beauty routine; she eats in private rather than in front of potential suitors; she even claims to wax her labia to keep them soft. Sofia is a self-curated fetish object, stubbing out her slim white cigarettes in a clam-shaped ashtray, the cocks she collects like pearls.

Zlotowski casts an enchanting spell – just as Georges Delerue’s sweeping score catches us in the trance of Bardot in Le Mépris, Debussy nocturnes flow through the cinematic space, giving it an otherworldly charm. It’s where Zlotowski departs from Rohmer’s proto-mumblecore naturalism to create the illusion of stylisation Sofia similarly teaches Naïma.

But just like Rohmer, this is a moral tale which mocks masculine ignorance whilst applauding Sofia’s superiority, reading as retribution for the way Dehar has been slandered in the tabloid press. An Easy Girl reads not as the male sexual frustration of the Nouvelle Vague, but as a celebration of women’s sexual agency.

The post An Easy Girl appeared first on Little White Lies.

source https://lwlies.com/reviews/an-easy-girl/

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French Academy Launches #NowWeAct White Ribbon Campaign for Cesar Awards

https://styleveryday.com/2018/03/01/french-academy-launches-nowweact-white-ribbon-campaign-for-cesar-awards/

French Academy Launches #NowWeAct White Ribbon Campaign for Cesar Awards

7:20 AM PST 2/28/2018 by Rhonda Richford

Diane Kruger, Clemence Poesy and Soko are among the industry players who signed on to support.

Following the black dresses at the Golden Globes and BAFTAs, the French Academy has launched a white ribbon campaign, #NowWeAct, for this Friday’s Cesar Awards to combat violence against women.

In response to the #MeToo movement in the U.S., the French Academy is partnering with the Foundation for Women, which will hand out the ribbons to every one of the 1,700 guests entering the ceremony, and will use donations to fund its anti-violence activities.

One hundred industry players signed a letter of support for the campaign in the newspaper Liberation, including actresses Diane Kruger, Julie Gayet, Adele Haenel, Tonie Marshall, Chiara Mastroianni, Vanessa Paradis, Clemence Poesy, Celine Salette and Soko.

Directors Julia Ducournau, Houda Benyamina, Celine Sciamma, Rebecca Zlotowski and Michel Hazanavicius, the latter of whom launched his own #WeToo for men, also signed on.

Actress Rose McGowan posed with the French hashtag  #MaintenantOnAgit (in French) for the foundation’s website.

This follows a far more controversial 100-signatory letter when, last month, film star Catherine Deneuve signed an op-ed in Le Monde saying the #MeToo movement had become puritanical, a witch hunt and was making hitting on women a crime. Deneuve later apologized for some of the remarks.

The Academy cites the flood of allegations against Harvey Weinstein as the catalyst for this movement, which it calls the “denunciation of machismo and violence against women, actresses today are demanding action.”

“Many actors and actresses, producers and directors want to start a constructive, positive and concrete initiative in France to support women victims of violence,” the Academy said in announcing its partnership, and will offer the ribbons as a “simple and silent way to express solidarity” in the fight for equality.

The Liberation letter also credits actresses for “piercing the wall of silence” after the allegations against Weinstein surfaced. “They paved the way. Millions of women around the world have echoed them,” it reads, adding: “We are convinced that tomorrow should not look like yesterday.”

“Now we act,” it concludes. “Together, let’s support those who work concretely so that no one ever has to say #MeToo again.”

Liberation said it will publish a series of essays before Friday’s awards ceremony from some of the signatories about their experiences.

The Cesar Awards will be held March 2 at Paris’ Salle Pleyel. 

As previously announced, Paradis will open the ceremony and Penelope Cruz will be the night’s honoree. 

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The Women of Dada, from Hannah Höch to Beatrice Wood

“Dada doubts everything,” wrote the poet-performer and Dada founding member Tristan Tzara in 1920. Born in a Zürich nightclub in 1916 as an all-out mutiny against World War I and the social and political climate that fueled it, Dada remains one of the most anarchistic cultural movements of all time.

But while Dada had no problem questioning authority, meaning, reality, and everything else related to what they saw as a bourgeois Western world, its practitioners rarely, if ever, cast doubt on conventional gender roles and behaviors. Even if the social conservatism that yielded such inequality was disdained, women were the second sex.

For a long time, women who identified with Dada as visual artists, poets, or performers (or often all three) drew more attention as caretakers, muses, or lovers than collaborators or independent artists. One of the rare mentions Dada legend Hannah Höch received in her male peers’ accounts of the era was reportedly a nod to her talent at providing sandwiches, beer, and coffee during tough times.

But more recently, as art historians and curators have shined a brighter light on this electrifying period of creative rebellion, it has become clear that women were active artmaking participants in Dada’s spaces, from cafes and salons to specialty magazines and exhibitions. Here are eight female artists who made vital contributions to the movement.

Hannah Höch

B. 1889, Gotha, Germany

D. 1978, Berlin

Da-Dandy, 1919. Hannah Höch Private Collection, Berlin

Für ein Fest gemacht (Made for a Party) , 1936. Hannah Höch Whitechapel Gallery

An early pioneer of photomontage and mass-media appropriation, Höch was a cornerstone of the most political branch of the Dada movement, the one that developed in Berlin. Formed after World War I, Berlin’s Dada group had a direct target—the Weimar Republic and its leaders—and Höch, like her Berlin colleagues John Heartfield, George Grosz, and Raoul Hausmann (her lover, for a period), mined newspaper and magazine imagery for political satire.

But the fiercely feminist Höch also used art to draw attention to women’s issues, like birth control and suffrage. Hoch had studied graphic arts and design before going to work in publishing, where she made sewing patterns for women’s magazines. The ads she encountered in print fueled her rebellion against the commercial construction of femininity. (It’s easy to detect Höch’s use of appropriation in the work of Cindy Sherman, Barbara Kruger, and other artists of the Pictures Generation.)

Hoch exhibited at the subversive International Dada Art Fair in Berlin in 1920. That year, she also penned a short story, “The Painter,” in which she takes aim at male chauvinism: The tale portrays a husband who descends into a personal crisis when his wife requests that he does the dishes four times in four years.

Suzanne Duchamp

B. 1889, Blainville-Crevon, France

D. 1963, Paris

Untitled (Beach Scene), ca. 1930. Suzanne Duchamp Francis M. Naumann Fine Art

Duchamp had to not only carve out her own identity as a female Dada artist working in Paris during the war, but also shake the “sister of Marcel Duchamp” label that still pursues her to this day. The small trove of delicate paintings and drawings she left behind shows her serious and early devotion to Dada experimentation.

After studying art at the École des Beaux-Arts, Duchamp worked as a nurse during the war while her brother ditched Europe for New York. In 1916, the artist Jean Crotti, who had collaborated with Marcel in America (and who Suzanne would marry) returned to Paris with tales of the wild, avant-garde art coming out of the New York branch of Dada. Energized by the news, Suzanne began making drawings that juxtaposed text with machine imagery, a popular Dada trope.

While her work doesn’t possess the clear feminist impulses of some of her Dada sisters, she did address gender inequality in a 1916 collage, Un et une menacés (A Menaced Male and Female), whose opposing mechanical parts read as a couple destined never to connect. She didn’t gain the same notoriety as other members of the Dada cohort in Paris, but she was taken seriously enough to exhibit with them at the Salon des Indípendants in 1920, the first Dada exhibition in the French city, which was organized after the arrival there of André Breton, Tristan Zara, and Francis Picabia.

Sophie Taeuber-Arp

B. 1889, Davos, Switzerland

D. 1943, Zürich

Komposition mit Kreisen, 1934-1938. Sophie Taeuber-Arp Keitelman Gallery

Construction dynamique, 1942. Sophie Taeuber-Arp Galerie Zlotowski

Taeuber-Arp studied textile design and taught in a design school in Zürich, and she’s best remembered for the abstract oil paintings, watercolors, embroideries, and sculpture she made during the war. But as an exceptionally multi-talented dancer and innovator of performance art, she was integral to the development of Dada in the Swiss city.

In Zurich, Dada was particularly collaborative and performance-oriented, centering around the infamous Cabaret Voltaire and the Galerie Dada, where the resistance, including artists and writers drawn to Switzerland for its neutrality, came to witness and participate in highly creative live action. The native Swiss Taeuber-Arp was a core performer, having studied dance with one of Zürich’s most prestigious choreographers, and her “abstract dances,” as they were called, were like nothing the public had seen before. She also collaborated with her artist-poet husband Jean Arp to make bizarre costumes and elaborate marionettes for the shows.

Beatrice Wood

B. 1893, San Francisco

D. 1998, Ojai, CA

Beatrice Wood, Is My Hat on Straight?, 1969. Courtesy of Francis M. Naumann Fine Art.

Beatrice Wood,Un peut d’eau dans du savon, ca. 1980. Courtesy of Francis M. Naumann Fine Art.

Soon after the San Francisco-born Wood met Marcel Duchamp through composer Edgard Varèse, she flippantly suggested to the artist that anyone could “do modern art.” He told her to go home and do it, and that’s exactly what she did.

Wood’s socialite parents had sent her to Paris years earlier to study painting and drawing, in a fruitless attempt to satisfy her rebellious streak, and she had developed a keen set of artistic skills. So she returned to Duchamp with a drawing—a vaguely representational image suggesting the suffocation of marriage. Duchamp was impressed, and the two became friends. He encouraged her to present two paintings at the first exhibition of the Society of Independent Artists, in 1917. There, she shocked visitors by showing Un peut (peu) d’eau dans du savon, a painting of a female nude with a heart-shaped bar of soap placed strategically between the legs.

Around the same time, Duchamp and Wood, along with writer Henri-Pierre Roché, founded The Blind Man, a short-lived Dada magazine that published art and text by anyone who was anyone in New York’s cutting-edge art scene. Wood sculpted as well, and later made her mark as an important California studio potter. She is still sometimes remembered for her love triangle with Duchamp and Roché, which inspired the 1962 film Jules et Jim.

Clara Tice

B. 1888, Elmira, NY

D. 1973, Queens, NY

Clara Tice, Nude Woman Feeding Horse. Courtesy of the artist.

A young Tice catapulted to Greenwich Village stardom when the morality police—the New York Society for the Suppression of Vice— raided a café in 1915 in search of her erotic drawings. The well-publicized event secured her status as a downtown curiosity and drew the attention of some of the city’s edgier editors. But there’s no doubt that Tice would have made a name for herself even without that publicity boost.

Her drawings and etchings of women—stylish soft porn rendered with an economy of detail—became quickly sought-after (and enraged some critics), and she set off on a successful career as an artist and illustrator, drawing for magazines like Vanity Fair, illustrating books, and showing her work on the walls of downtown’s most fashionable garrets. She also had a fashion-forward style all her own and became known as the “Queen of Greenwich Village.” Some say she invented the bob hairstyle.

Thumbing her nose at bourgeois social mores, she fell in with the Dada crowd at the home of Walter and Louise Arensberg—major Dada collectors, patrons, and intellectuals who held salons at their 67th Street home. While her work had its sassy commercial appeal, it also appeared in the Dada journal The Blind Man and in the first exhibition of the avant-garde Society of Independent Artists.

Ella Bergmann-Michel

B. 1896, Paderborn, Germany

D. 1971, Eppstein, Germany

Zwei Eliptische Formen, 1932. Ella Bergmann-Michel Annely Juda Fine Art

After studying art in Weimar and developing a relationship with the artist Robert Michel, who would become her husband and part-time collaborator, Bergmann-Michel was associated with the Bauhaus for a short time before moving on to more Dada-inflected endeavors. The couple hosted Dada meetings and worked on photo collages at their home in Vockenhausen, near Frankfurt.

In Bergmann-Michel’s abstract, constructivist drawings, geometric components become vaguely dystopian, precarious mechanisms that suggest a metaphor for civilization gone awry. She might be all but forgotten if Man Ray, Duchamp, and Katherine S. Dreier hadn’t included her and Michel’s work in the Société Anonyme, the organization they founded in 1920 to show avant-garde European art in America.

Bergmann-Michel went on to make documentaries in the 1930s. Her artwork was especially scarce until the discovery, in the 1980s, of a trove of drawings likely hidden from the Nazis in a mill where she and Michel had lived in 1920.

Mina Loy

B. 1882, London

D. 1966, Aspen, CO

Mina Loy, Lamps photographs by Charmet, Jean-Loup Photos Presse Paris, ca.1920.  Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.

Mina Loy, Lamps photographs by Charmet, Jean-Loup Photos Presse Paris, ca.1920.  Courtesy of the Beinecke Rare Book & Manuscript Library at Yale University.

The British-born Loy was a regular at Gertrude Stein’s salons in Paris, and dabbled in Futurism while living in Florence before moving to New York in 1916. When she arrived in the States, she was already known in literary circles, not only for her 1914 “Feminist Manifesto,” in which she called on women everywhere to break with social conventions and live sexually liberated lives, but for her poetry, whose praises were sung by T.S. Eliot and Ezra Pound.

Fashionable, frisky, and brainy, she fit right in with the happening bohemian scene that Duchamp belonged to. Her shockingly frank poetry—erotic, personal, and uninhibited when it came to bodily functions—appeared in vanguard literary magazines like The Blind Man, Others, and Rogue, but Loy also painted, drew, acted, and had an unusual affinity for lampshades. She depicted them, dressed as one at a costume ball, and later started a business selling them in Paris, backed by Peggy Guggenheim.

Baroness Elsa von Freytag-Loringhoven

B. 1874, Swinemünde, Germany (now Świnoujście, Poland)

D. 1927, Paris

Elsa von Freytag-Loringhovento, God, 1917. Image via Wikimedia Commons.

Fusing art and life was one of the guiding principles of Dada, and von Freytag-Loringhoven did it with flair. A German-born fixture of New York’s downtown scene in the late 1910s and early ’20s, the fearless and eccentric Baroness made assemblage art and collages, and wrote poetry, as well as modeling and performing. But she might have been most famous for her bizarre getups. On any given day, she might have been wearing a soup-can bra or a hat decorated with dangling spoons or feathers—like a sort of streetwise flapper gone mad. Or she might have been semi-nude, a crime for which she was arrested multiple times.  

Although extravagant in style, von Freytag-Loringhoven lived like a pauper, having received her royal title from her marriage (her third) to the penniless Baron von Freytag-Loringhoven, who joined the war in Europe and never returned. But her close circle of New York artists and intellectuals—Duchamp, William Carlos Williams, and Djuna Barnes—ensured a rich cultural life.

She wrote poems about Duchamp, painted an amusing interpretive portrait of him, and some have even conjectured that it was Freytag-Loringhoven herself who came up with the idea of Duchamp’s famous urinal, and sent it to him signed R. Mutt.

—Meredith Mendelsohn

Header images, from left: Portrait of Hannah Hoech, 1973, by Will/ullstein bild via Getty Images; Portrait of Beatrice Wood, circa 1990, by Nancy R. Schiff/Getty Images; Portrait of Elsa von Freytag-Loringhovento via Flickr.

from Artsy News

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Ella Bergmann-Michel, Untitled, 1925 [Galerie Zlotowski, Paris] Fuente: galeriezlotowski.fr