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stillthewordgirl · 8 years ago

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Central City Rendezvous, chapter 13 (of 16)

Rip Hunter never came for the Legends. But maybe some meetings are meant to be... (A Captain Canary AU.)

Yeah, yeah. It’s now 16 chapters. I promise that’s it. :) Expect one every two days from now until March 20, just about the one-year anniversary of my first CC story! (Well... that’s the plan. The only chapter that’s not done at this point is 15.)

This also takes place during the Flash episode “Invincible.” Many thanks to @larielromeniel for the beta.

Can also be read here at AO3 and here at FF.net.

Sara can't reach Laurel, her Laurel, in Star City.

And somehow that just makes it all worse. Because it’s tough, so very tough, to look at the image of the smirking, slinking, black-clad woman on the surveillance camera footage and remind herself that that’s not Laurel, not really, that Laurel is mostly confined to a wheelchair right now, and she’s still in Star City, and she's OK. She is. Sara has to believe that.

It’s hard, too, to watch Wally strike the… Black Siren… with his car, even though it’s not Laurel, not her Laurel, and she’d been about to hurt Barry, and, and…

She turns away, closing her eyes, but stops when she bumps right into the man who’d been standing behind her. Leonard lifts his hands to her arms, then hesitates and slowly lowers them to his sides after only a brief touch.

And then, a moment later, she feels them return, feels his hands settle firmly on her upper arms, holding her, anchoring her, and all the watchers be damned.

But no one says a word.

“She’s a meta. And she brought down all of Mercury Labs,” Sara says a bit numbly. “While we were out there?”

“You all were on the other side of the city,” Barry offers. “And we didn’t know… who it was… at the time.”

Leonard turns to level a glare at Wells. “You knew about our Earth-2 counterparts. But you didn’t tell them about her?”

Wells meets him stare for stare. “Frankly, until Mr. Allen had his run-in with her, I thought she was dead.” He shrugs. “Zoom didn’t take the death of... well, her failure to capture... your counterpart well. And there are other meta powers that can take down buildings.”

“Yeah, well, no one else managed to kick Barry’s ass.” Cisco’s grin slips a little as Barry turns to look at him. “Uh. Anyway, we’re putting together some tech to take down all the Earth-2 metas—it uses vibrations, it’s kinda weird, just trust me,” he rattles off. “We just need some time. But she says she’s just going to keep taking down buildings for Zoom. We don’t really have another good way to stop her. We just need…”

The silence hangs for a moment before Sara finally opens her eyes, then turns around and looks at him.

“… time,” she finishes. “You need a distraction.”

As if on cue, a noise from the other side of the room breaks into the tableau. Caitlin reacts first. “Cisco, it’s your metahuman alert app.”

“That’s the hi-rise development on the west side,” Joe says, eyes on the display as Iris comes up behind him.

“Hundreds of people live there,” she breathes in horror.

But Harrison Wells is moving already, running for a bank of computers. “Ramon, we’re up! Let’s go. Set that pulse off right now.” He pauses to point at Barry. “Allen, you start generating that refracting field around the city right now.”

“But… all those people…”

And, just like that, there’s no more time. Sara takes a deep breath. “Where is she?” she whispers. “Black Siren. I’ll go.” She looks at Barry. “Admit it. I’m the perfect distraction. With what Wells has told us, she’ll be completely focused on me. Not on what you’re up to.”

“She’s right,” Wells breaks in before Barry can respond. “And Black Siren… she knows capturing this Sara could be a ticket back into Zoom’s good graces.” He holds up a hand as Sara looks at him. “But… she gets angry. That’s how… well. Be careful.”

“I’m going too.” Leonard’s voice is flat and profoundly unhappy. It’s his turn, though, to hold up his hand as Wells starts to speak. “She needs backup. It’s me.”

And that’s that.

They park the bikes a block or so away, then split up, Leonard giving Sara's elbow a quick touch before vanishing into the night. She watches him go, then takes a deep breath, sets her shoulders, and gets on with it.

Black Siren, obviously waiting for someone to respond to her use of powers, is lingering in an abandoned building near the development. She turns as Sara steps through the door, a quick blink the only sign of surprise she shows.

“Well, well! If it isn’t my sweet lil’ sister," she says, stepping closer. "I'd wondered about you."

"Not quite," Sara responds tersely. But Siren doesn't even seem to hear her.

"You look like quite the bad-ass here. I heard it went a bit differently, on this Earth.” She makes a tsking noise, shaking her head as she strolls slowly in a large circle around Sara, who turns to keep her in view. “Dear ol’ Ollie. I wonder if my version harbored any of the same thoughts? I’m going to guess… yes.” She shrugs. "Maybe he just didn't have the balls to go for it there. Doesn't matter."

Sara licks her lips, moving her bo from hand to hand, unable to escape the visceral feelings of guilt that she and Laurel are long since past, that don't, can't apply to this Laurel.

"I'm not her," she points out, as much to herself as the other woman. "And you're not... you're not my sister."

"No." Siren stops, cocking her head to the side, birdlike. "I'm not. I'm ever so much better." She smiles as Sara's eyes narrow. "Oooh, protective of your dear sissy, are you? My s... she was, too. Or at least she pretended to be."

Keep her talking. Just a little longer. She doesn't dare look past Siren to where she knows Leonard is skulking silently at the other side of the building. "Oh?"

It's almost like this Laurel wants to talk, wants to air her grievances. She continues, still moving, still circling, as Sara watches.

"I came to Central for a fresh start, but everywhere, it was always about her. Sara, working her way up through the ranks, fighting for women's services. Sara, the young, hard-working director of the CC YWCA, helping women with nowhere else to go." Her tone is light, but with a bitter edge, Sara thinks. "And then, the perfect story, the fairytale romance with the politician no one thought had a heart. My baby sister was fucking the goddamned mayor, after I'd lost..." Siren stops, spins, and stares at Sara a long moment, then smirks again.

"And then! I got the meta powers, you didn't." She does a little pirouette, smiling, black leather flowing out around her legs. "So much potential, I thought! Maybe... now, I could…” Her expression hardens. "But people hated metas. And all that potential... the only one who wanted it was Zoom... and, oh, it's just so much fun to watch things crumble and fall..."

Sara, who's been watching Siren's throat, tenses as she sees the muscles tighten, but the other woman doesn’t attack her. Instead, she spins, screaming, sonic waves aimed at the back of the room and causing havoc in their wake. Leonard dodges and rolls out of the way, bringing himself into view in the dim light.

“Oh, you did! You did find him here!" Black Siren actually sounds quite pleased about this, taking a step closer to see the newcomer. “And, my my, you look a lot more bad-ass on this Earth, Leonard.” Her tone is admiring as she looks the crook up and down. "I like the jeans, and the black leather, of course."

She taps a finger against her lips. "Other you is a lot more... staid. Cute, in a preppy, older sort of a way, but staid. Should have realized there was a bit more potential there, given how difficult he's proven, but... well, that's besides the point."

Since the jig is up anyway, she can see Leonard weigh his options… and then shrug in typical Captain Cold insouciance, sauntering over to stand by Sara.

“Thanks,” he drawls, hand on cold gun, “I think.” She can see the gleam in his eyes. “I might appreciate it a bit more if you weren’t so obviously insane.”

Siren actually laughs. “Oh, I do like you better! But I’m not insane. I just like being the one with the power. It’s such fun.” Her eyes narrow. “And now, speaking of which…”

Come on, Cisco! “Laurel!” Sara says in desperation. “We could really use your powers here, use them for good. I'm sorry they weren't appreciated there, that you weren't appreciated there, but you could be, here."

She sees a spark of surprise in the other woman’s eyes, quickly concealed. Siren pouts, dark lips forming a moue of annoyance, as she steps closer.

"The time for that is past, dear Sara," she says lightly. "Besides which, she tried to convince me of that, too." A shrug. "She was wrong. And then she died."

Sara can feel Leonard's arm move as he grips the cold gun besides her, as she grasps for more distraction. She seizes, then, the very real grief she feels bubbling up at the other woman's words.

"You were her sister," she cries, her tone full of anguish. "Even if you hated her... even if you had reasons... how could you kill her? Just tell me that."

Siren seems just as stunned by Sara's words as Sara herself is. She blinks a moment, then says, "It was an accident."

They both stare at the Earth-2 woman. Black Siren glances away, but she continues.

"You had earplugs," she says, as if to herself, as if she's forgotten again that this is not the same Sara. "They fell out. I didn't know... Zoom was going to let me go, he was... he was just going to use you..."

Sara takes a step, feeling Leonard tense again. But she needs to take this opportunity, for more reasons than one. "I mean it," she says quietly. "You don't need to work for him here. You could change sides. It's not too late."

For a moment, Earth-2 Laurel Lance stares back at her little sister's Earth-1 version, and there's almost something besides mockery in her eyes. Something wistful.

But then they harden again, and she laughs.

"Oh, please. Really? After I've disposed of lover boy here and taken you back to Zoom, gotten him off my back, I think I'll head to Star City, see what my counterpart is up to." Her lips curve. "She should be easy to dispose of, and then I might be able to get an actual life back. Is it any less than she deserves, for being such a little..."

Sara lunges for her, bo in one hand, knife in the other. Leonard curses, bringing the cold gun into firing position. And at that moment, the S.T.A.R. Labs secret weapon blankets the city in vibrations designed to take out the residents of Earth-2.

And Black Siren claps her hands to her head with a look of horror on her face--before dropping like a marionette with her strings cut.

Sara stutters to a halt, then drops to her knees by the other woman's side, a hand covering her mouth, shoulders shaking. With her free hand, she reaches out toward the Black Siren’s shoulder, stopping just shy, her fingers trembling, unable to bridge the final centimeter of space. Leonard hesitates just a moment, then puts a hand on her shoulder, and she reaches up to put hers over it.

They're still there, motionless, when Barry arrives.

They go back to her apartment this time, the solitude much-needed, Sara giving the request to Leonard in a voice that’s more numb than anything else.

Once they’ve parked their bikes, he takes one look at her standing there, staring at the building with a blank expression… and then makes a decision. Moving slowly so she can see what he’s doing, he steps closer, then swings her up into a bridal-style carry and makes his way toward the door.

Then up the stairs. Into a sparse apartment that has less sign of someone actually living there than the S.T.A.R. Labs medical rooms. Into the bedroom, where she finally stirs from her curl in his arms to motion, still wordlessly, for him to put her down. When he does, she divests herself of her uniform in small, efficient, unthinking movements, finally peeling back the bed covers only to stare at them like she's not sure what to do.

Leonard's the one who gently pushes her down until she’s stretched out on the bed, then pulls the covers up over her. But as he does, small, strong fingers wrap around his wrist, tug him toward her and down.

He caves, lying down next to her and pulling her into his arms with a sigh. She curls up there with a sigh of her own and is asleep in moments.

Leonard intends to wait only until she’s out—as comfortable as he is, and as much as he’d like to stay with her, there are things he needs to do. But it’s been a long day, a long, exhausting, stressful day with only one brief rest. It’s not much longer before he’s out too, breathing evenly and deeply as they slumber.

Sometime in the middle of the night, he wakes from a sound sleep to find Sara staring at him from only a few inches away, eyes nearly purple in the dim light, hand on his chest. After a moment, she leans forward to kiss him, lips soft, then increasingly urgent.

They’d been having fun, before. Blowing off steam and enjoying each other.

This is different. This, he thinks, not long later, every sense filled with Sara, is what people call love-making.

He’s never understood that before, not really. He does now.

This is… healing. Far more than the physical, more than a satisfying release. And when she whispers his name on a breathless cry, hands tightening on his shoulders, the words he responds with are not her name.

It’s nothing he’s thought out. Nothing he’d expected to ever say. But other words and thoughts from throughout the day keep echoing through his head and…

Since I knew it contained Sara Lance.

There are people who simply seem to find each other in all the worlds we know.

You were each other's balance, on my Earth.

… and life can change, so fast.

He sees her eyes widen, even as he, too, gasps, shuddering over her as her arms tighten again around him. And then she whispers. His name.

A few other words.

He lowers himself to the bed, pulls her into his arms. She buries her face in his neck.

And they hold each other.

He waits until she's sound asleep again, then carefully disentangles himself, rising and searching for the clothing discarded earlier. Dressed, he scrawls a quick note, then stands there a moment, looking down at her, thinking about the paths he's chosen and those he's walked away from, and why he's done what he's done.

What he wants.

How it's changed.

And then he goes back to S.T.A.R. Labs.

#central city rendezous #captain canary #legends of tomorrow #sara lance #leonard snart

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izzyovercoffee · 5 years ago

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Prompt number: 12. “What if I don’t see it?” Fandom: Republic Commando Rating: PG Warnings/Tags: none that I can tell, ask to tag if need Summary: Bardan can’t sleep, but he’s quick to learn this isn’t much better. Notes: ¯\_(ツ)_/¯ dear etain come home everyone misses you and bardan’s developing some neuroses from seeing you floating indefinitely thanks

##. or maybe he’s just hallucinating

It lurks at the corner of his eye.

He turns, and it’s gone. A trick of the light. A trick of his mind. The paranoia and the anxiety that permeates the ground Kyrimorut’s built within creeping into his blood, maybe. Louder, still, at night and in the dark, where his eyes find difficulty to adjust and he relies more on … other … senses to guide him, much to his chagrin.

A friend of Mereel’s once took one look at him and laughed.

“It’s hard to be haunted, no?” they said, after.

“I don’t know what you mean,” he said, and thought he sounded convincing.

Certainly he hadn’t been, for they said nothing in reply. Just smiled, knowing, and walked away.

Bardan breathes in the bite of cold air as he crosses the snow---over the tracks that have worn away at the fallen evidence of winter, packed down the cold and the dirt to forge a path just shy of “safe” to walk in the night.

It occurs to Bardan, suddenly, as his hand lands on the wall panel to the makeshift medical bay on-property that Mereel has a suspiciously long list of friends who all, it seems, are equally as haunted. If that is, indeed, what haunted means.

The door cycles open under the scan of his palm, and he’s met with a figure that chills his blood before his eyes.

He blinks and it’s …

Gone.

Leaving only an open hall, lit as well as their off-grid power can afford to offer alongside the regular heating.

He steps into the hall, and waits for the door to cycle shut behind him. He removes the outer layers, hanging them up on a rack to the left of him, and leaving him in sparse armor---casual wear, if mandalorians could be said to have them.

He walks down the hall, down past the open door connecting the lab to this hastily built structure connecting multiple points of necessity to a centralized power. The voices of Mereel, and Dr. Uthan, blur together with the gentle hum of power in the walls as he passes.

Still talking, still working, long, long past the end of daylight.

He stops at the end, at the door to another room---empty. Lighting as sparse as everywhere else in this medical station, he feels a pressure lay on his chest he hadn’t at the door. The hairs at the back of his neck rise, and he’s reminded, suddenly, of when he was a child in the temple. Of wandering the halls, past curfew, and feeling the weight of being watched by one of the Knights that walked the halls.

They had watched him in silent curiosity, and later he understood what he didn’t know then.

So long as he behaved, he would find no trouble.

He can’t imagine, now, why he’d begin to court trouble in here, in this very room, in this very place, at this very day, but…

Hell.

Maybe there is something to calling their gifts a haunting, rather than a gift.

“What do you think, Etain?” he asks as he enters the room slowly, hands out of his pockets and hanging at his sides.

She says nothing---simply floats there, dead to the world, the galaxy, the universe---unresponsive and barely better than the night before.

Worse, he knows, than Fi had been.

He wants to wonder what the point of maintaining a corpse might be, but the weight of the watching is nowhere near as threatening as the grief welling up in his chest at the thought.

“You’re right,” he says, “I can’t give up hope.”

He sometimes thinks he wants to. Isn’t it easier to entertain the grief, and the tragedy, and the world-shattering weight of losing her over the unending pain of uncertainty? Of hanging in this limbo of not knowing if she would ever recover?

Her vitals stable. Her body mending, slowly. But… nothing. Unresponsive.

If not for the …

But he can’t explain that to anyone who asks. Only defend the maintenance of the bacta tank, and his periodic attempts to reach her, through the glass and the distance of…

No one ever spoke about this, before.

And as much as he had distanced himself, broken off and separated himself, from the Order and everything it had once stood for before it was cut down brutally in its hubris, he still struggles, now, to piece together broken and painful memories to find an understanding---some kind of way through this nightmare Etain’s trapped in.

But as the days drag into weeks and into months, he finds himself more, and more, desperate---more, and more, fiddling on the edge of frustration, and fury. Fury at himself, for being unable to do what he should have been able to do, easily. Fury at the universe, for aligning in this way, to strike out at them at their heart, and nearly succeed---and, if she never improves, then ‘nearly’ becomes certainty.

And fury at Kal, for calling her back to the core, for no reason that Bardan could guess at, could understand or make sense of---when she could have easily rendez-vous with the rest of them, at Kyrimorut. They didn’t need her in the city. She didn’t have to come back.

And Ordo knew it. And said it.

And yet Kal.

Didn’t listen.

One of the vials to Bardan’s right shatters. Glass sprays, everywhere.

Bardan takes a step back. Like peering through a curtain, he can see, and feel, his desperate anger as a separate creature from himself. Like a thing of its own mind, and own being, though it lives inside of him.

It takes effort to unfurl his fists, and even more to understand what he stares at is broken glass of an empty vial from the counter against the far wall.

And yet he can’t be sure if it’s him who’s responsible.

A different version of himself might say it’s no one’s fault. A different person with his face and his voice and his name, from a different time, might try to find the middle ground.

But here, and now, with Etain so close to them and yet on the edge of being lost forever, and him being unable to find the path to her, to bring her back---

What middle ground could he justify, that he could not before to stay with the Order? What middle ground could he create to explain his willful blindness, that would not have been just as senseless, and hypocritical, and of help to no one?

He’s supposed to be a healer. A healer heals.

A healer mends a wound, but a wound can only be mended when it’s recognized for the damage done.

“But what if I don’t see it?” he asks, and receives nothing in answer. “What if I can’t see it?”

Something moves in the dark, and he spins to face it---and finds nothing.

A crack of something sounds down the hall. The lights go out.

The dark seizes his shaken heart and for a brief moment it’s fear, and grief, that roots him to the spot. All that lights the room is the single bacta tank and Etain’s near-lifeless, comatose form floating in the fluid. Though he knows, logically, that her medical supports are hooked up to numerous fail-safes, panic still grips him.

The backup generators grind to life, and the emergency lights blink on, lighting the room in red.

It’s less than comforting.

He finds his frustration and gathers it back down in his chest, and leaves her without a goodbye. He passes the lab---noting Mereel and Uthan still worked despite the outage---and stops only to gather the outer layers he needs to survive the bitter cold.

The door opens under his press to the wall panel.

A dark figure stands in the snow.

A sharp wind bursts across the clearing, throwing snow and ice in every direction, and as it passes---so does she. There and gone, in a breath and a breeze.

He wants to say the pressure is getting to him. The anxiety, the frustration, the failure.

But he knows better.

And that knowing only weighs heavier on his heart.

#writing: mine #writing: fictober19 #c: Bardan Jusik #c: Etain Tur-mukan #this continues to be an etain lives au and we can just deal with that

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fuckyeahroadtrippin · 5 years ago

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Jour 39: Little Clinic

Après une grosse matinée à bien glander dans les bassins d'eau chaude, on s'est remis en route vers Denver pour voir un toubib et en finir avec cette histoire d'infection urinaire qui nous limitait depuis quelques jours. La route valait le détour. On a dû retraverser la montagne par le sud du parc national cette fois, encore des vues pas degueu depuis les lacets, et des petites stations de ski bien sympa en mode estival.

On est allés dans une Little Clinic, une clinique de supermarché. C'est un genre de stand dans le supermarché, comme le stand pharmacie, où tu te pointes sans rendez-vous, tu remplis un formulaire, et tu es reçu par un•e "nurse practitioner", un statut intermédiaire entre l'infirmière et le médecin, qui peut faire des diagnostics et prescrire. S'il y a un peu d'attente, tu peux faire tes courses en attendant. Là c'était pas le cas, mais Morgan s'y est quand même collée le temps de ma consult. J'ai pissé dans mon bocal, récupéré mon antibio au stand pharmacie à côté, et chopé du paracétamol au rayon médocs ainsi qu'un truc qui allait me faire pisser orange fluo mais m'éviter de me lever 5 fois par nuit en attendant que l'antibio fasse son taf.

Aucun camping dispo sur Denver même, du coup on a mis le cap sur Central City, à 45min à l'ouest, dans les montagnes. On a trouvé un spot au Columbine Campground, au bout d'une dirt road un peu funky. Chouette ambiance dans le camping, qui était rempli de denverites venus passer le weekend en grands groupes, avec moult pick-ups et quads. Ils faisaient des grandes veillées en famille autour du feu. Le ciel était rempli d'étoiles. On s'est dit que si on habitait là on ferait ça tous les week-ends. C'est vraiment le truc cool de la culture américaine qu'on a négligé de copier en France, la tradition familiale du camping semi-sauvage, en pleine nature, sans night club qui joue du Claude François, juste des veillées au feu de bois à griller des Chamallows en racontant des histoires de fantômes.

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surlespaves-linstant-blog · 6 years ago

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JUSTINE

Elle ne doit pas rater le prochain. Arriver en retard est hors de question. Pas ce matin. Elle sait qu’elle aurait dû prendre le train d’avant, celui de 6h42, mais elle a mis plus de temps que prévu à se maquiller. Même si dans ce domaine, le maquillage discret et naturel est privilégié, elle a voulu en faire un tout petit peu plus, s’assurer d’être agréable sous tous les angles. La première impression est toujours la plus importante. Elle le sait bien. L’expérience le lui a appris, plusieurs fois à ses dépens.

Elle a rendez-vous à 08h00 au numéro 10 de la Rue de Hollande, 1211 Genève. Banque Havilland SA. En plein quartier des banques. Heureusement, ce n’est pas très loin de la gare. Son train devrait arriver à 07h48 précises, le tram 15, direction Palettes, devrait ensuite partir de l’arrêt Cornavin à 07h51, arrivé à Stand à 07h56, et elle devrait être devant l’immeuble trois minutes plus tard, soit juste une minute avant l’heure de son rendez-vous. Ce sera serré, mais ça devrait le faire.

Justine court. Elle sort du bus et elle court. L’escalier qui mène au tunnel sous voie se trouve exactement en face des portes latérales du bus. Quelle chance ! Elle descend les marches aussi rapidement que ses hauts talons le lui permettent et s’engouffre dans le tunnel. Il y a du monde à cette heure-ci. Presque tous des pendulaires. Tant de visages, tant de regards absents, tant de directions différentes. En face, en contre-sens, à gauche, à droite. De dos, devant elle. Ils ne vont pas assez vite. Ils ont dû mieux prévoir leur emploi du temps qu’elle, pour être si calmes et confiants. Justine, elle, n’a pas l’habitude de prendre le train, surtout aussi tôt. Elle n’aurait jamais imaginé que cela impliquait autant d’étapes, depuis la sortie de son appartement jusqu’au quai. Voie 8, une des plus éloignées. Forcément… Il est 7h11. Le train doit déjà être là.

Elle zigzague dans la foule, évite les gens et finit par atteindre le plan incliné qui monte au quai. Il y a moins de monde ici. Elle accélère, monte la rampe en quelques secondes seulement et saute littéralement dans le train. Elle n’a pas le temps de reprendre sa respiration que, derrière elle, la porte du wagon se referme dans un bruit métallique, fort et désagréable. Puis, un autre bruit, tout aussi violent et inattendu la fait bondir. Elle se retourne. Un homme énervé frappe frénétiquement sur la vitre de la porte. Ses poings la martèlent, mais la porte ne bouge pas, évidemment, heureusement.

Le train commence à s’ébranler et démarre. Un « Putain ! » étouffé, mais venant clairement du cœur, résonne sous la verrière de la gare, jusque dans le wagon. L’homme resté sur le quai ne sait plus quoi faire et regarde sa montre, le panneau d’affichage, les gens qui arrivent déjà sur le quai pour le prochain train, sur la voie d’à côté. Tout ça dans un ordre totalement aléatoire et désordonné.

Encore saisie, Justine ne le quitte pas des yeux, fascinée. Puis l’homme disparaît. À quelques secondes près, ç’aurait été elle. Un de ses amis pendulaires lui avait dit que deux tiers des trains, au moins, avaient du retard le matin. Ça l’aurait sûrement arrangé.

Justine choisit de ne plus y penser. Elle se sent déjà assez stressée comme ça. Elle entre dans le wagon et une autre porte, coulissante cette fois-ci, se ferme à nouveau derrière elle dans un bruit brutal et encore métallique. Elle fait quelques mètres dans le couloir central et s’assoit à la première place qu’elle trouve, à côté d’un jeune rivé à son téléphone et en face d’une femme italienne, qui discute au téléphone. Justine souffle. Dans exactement trente-six minutes, elle sera à Genève.

Cet entretien d’embauche est inespéré. Ça fait plus de six mois qu’elle cherche du travail et apparemment, même si les marchés financiers se portent bien, les emplois ne courent pas les rues. Peut-être est-ce la faute des logiciels et algorithmes prévisionnels qui prennent bien plus vite qu’on ne le pensait la place de l’humain. C’est déconcertant, certes, mais elle trouve ça logique. Néanmoins, les clients ont besoin de parler à de vraies personnes pour se sentir écoutés, pas à des machines. Surtout les clients de ce genre de banques.

Malgré cela, Justine a déjà passé plusieurs entretiens avant celui-ci, tous soldés par un échec. La plupart du temps, elle arrivait à comprendre ces refus, car elle répondait à toutes les annonces, toutes, mêmes à celles auxquelles ses compétences ne correspondaient pas exactement. Ainsi les recruteurs la voyaient souvent plus par curiosité qu’autre chose. Il faut dire que son curriculum vitae a de quoi éveiller l’intérêt : deux Master, l’un en Finance pure, l’autre en Comptabilité, Contrôle et Finance, tous deux obtenus à la HEC de Lausanne, Championne du Monde étudiant 2018 de l’analyse financière, stages effectués dans la célèbre banque privée J.P. Morgan de New York et à la HSBC de Londres, en pleine City, agrémentés des pléthores de recommandations qui vont avec. On lui a même parfois dit qu’elle était sur-diplômée, sur-expérimentée. Conneries ! Certaines fois pourtant, le poste pour lequel elle postulait correspondait parfaitement à ses compétences, mais finissait quand même par lui passer sous le nez. Il y en a eu plusieurs comme ça. Peut-être sept ou huit. Au début, elle ne comprenait pas. Elle avait tout ce qu’il fallait, et même plus, pour obtenir ce genre de postes. Puis elle a revu ses camarades de promo et certains bruits de couloir l’ont aidée à mieux comprendre.

Justine est une femme et elle est noire. Ce genre de critères compte apparemment encore aujourd’hui dans le choix de nouveaux employés. C’est du moins ce qu’on lui a raconté, que ce pouvait être une explication plausible et que certains recruteurs et recruteuses étaient connus pour ça. Ils s’en défendent d’ailleurs en disant que ce n’est pas eux qui veulent cela, mais leurs clientèles qui avec tout l’argent qu’elles ramènent aux banques peuvent bien se permettre d’être un peu racistes et sexistes.

Justine y est habituée. Elle s’y était depuis longtemps. C’est pour ça qu’elle a n’a pas traîné pour faire ses preuves. Dès le début de ses études, elle finit presque toujours première de sa promotion, et réitéra l’exploit dans tout ce qu’elle entreprit ensuite. Elle a toujours eu l’impression de travailler plus que les autres, car elle n’était pas partie sur les mêmes bases. Les siennes étaient plus basses, plus en arrière. Et cela se vérifie encore aujourd’hui.

De toute façon, que ce soit vrai ou pas, Justine s’en fout. Elle finira bien par trouver quelque chose, une place où on l’aura prise pour ses compétences et non pas pour ce à quoi elle ressemble. Finalement, elle est plutôt contente de ne pas être recrutée par des gens aux a priori si prononcés, car ce serait trahir ses convictions. Et puis elle en a marre de penser à ça. Elle ne peut de toute façon rien y changer pour le moment, assise ici dans ce wagon.

Alors elle regarde par la fenêtre. À gauche le lac, à droite les collines. Elle vit dans un beau pays quand même, un pays carte-postale comme on dit souvent. Mais elle aimerait voyager. Quitter temporairement ce beau pays. Voyager, vraiment. Ne pas passer qu’un week-end dans une autre ville européenne. Découvrir d’autres contrées, de nouvelles cultures, partir plusieurs semaines. Peut-être le pourra-t-elle si elle obtient ce travail. Elle pourra enfin souffler financièrement et s’offrir des vacances, car contrairement à ce que beaucoup pensent, faire des études et chercher du travail n’en sont pas, n’en ont jamais été.

Justine s’imagine déjà en Italie, par exemple, un pays qui l’a toujours attirée, un pays tout proche et pourtant si différent du sien. Elle pourrait découvrir Milan, Florence, Venise, Rome, Naples et terminer en Sicile ou dans les Pouilles. Elle adorerait ça. Et ce ne serait qu’un début. Il y a tant d’endroits à découvrir sur Terre qu’elle en a parfois le vertige. Mais savoir qu’elle ne pourra pas tout voir ne lui fait pas peur, au contraire, cela veut dire qu’il y aura toujours un nouvel endroit, une nouvelle culture, de nouvelles personnes à rencontrer et à découvrir.

Le soleil se reflète sur les eaux du lac. Le regard de Justine s’y plonge, jusqu’aux rétines. En face d’elle, la femme italienne est toujours au téléphone, mais Justine ne l’entend plus. Elle vit dans ses pensées, qui se reflètent aussi sur le lac et c’est comme si elle y était entièrement immergée, que tout son corps ne faisait plus son poids et qu’il flottait là au milieu des poissons.

Soudain, plusieurs bâtiments moches et carrés obstruent la vue et la remplacent aussitôt par un spectacle d’abord de ville quelconque. Puis c’est le Jardin Botanique de Genève qui s’étend rapidement sous ses yeux, la faisant à nouveau, mais brièvement, rêver. Puis un mur de béton gris recouvert de graffitis, puis des rails en cascade surplombés par des immeubles de verre et de métal. Une voix annonce l’arrivée très prochaine du train en gare de Genève Cornavin et comme par magie, tous les passagers jusqu’ici scotchés à leur téléphone s’animent, rassemblent leurs affaires, s’habillent et se lèvent pour se figer presque aussitôt devant la porte et attendre.

Justine sort de ses pensées. Elle doit se dépêcher. Que le voyage est vite passé. Tout ce qu’elle espère maintenant, c’est d’attraper le tram à temps et de tomber sur quelqu’un qui la jugera pour ses capacités et non pour ce qu’elle est. Car malheureusement, la suite de sa vie en dépend.

Prochain portrait : NOAH

#portrait #chronique #lausanne #geneve #lac #train #banques #entretien #stress #slice of life #finance #photography #photo #travail #futur

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freelance-informatique · 1 year ago

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Mercato : Monaco s'apprête à perdre un joueur important en attaque !

L'été s'annonce mouvementé sur le Rocher. Un attaquant phare de l'AS Monaco pourrait bien faire ses valises avant la fin du mercato pour rejoindre les rangs de l'Union Berlin. Mercato : Un départ imminent de Monaco pour Volland Selon RMC Sport, un accord aurait été trouvé entre les deux clubs, signe que le joueur de 30 ans est bel et bien sur le départ. L'indemnité de transfert s'élèverait à 5,5 millions d'euros, dont 4 millions en versement immédiat et 1,5 million sous forme de primes de performance. Un montant bien inférieur aux 11 millions d'euros déboursés par Monaco pour s'offrir les services de Volland en 2020, en provenance du Bayer Leverkusen. Retour aux sources pour Volland Après avoir porté le maillot monégasque à 115 reprises, inscrit 39 buts et délivré 24 passes décisives, Volland semble désireux de retrouver son Allemagne natale. L'Union Berlin, ayant organisé un examen médical pour l'attaquant, a réussi à coiffer au poteau Wolfsburg, autre prétendant sérieux pour accueillir le joueur. Voir ensuite : - Monaco vise un défenseur central de Man City ! Monaco : Les arrivées s'enchainent sur le mercato Du côté des arrivées, le club de la Principauté et le Torino ont trouvé un accord pour le transfert du latéral droit ivoirien, Wilfried Singo. Ce jeune joueur de 22 ans, originaire de Ouaragahio, a su se démarquer en Serie A par ses performances. https://www.youtube.com/watch?v=xdfEwKoo-6U Avec une valeur marchande de 10 millions d'euros, Singo est vu comme une belle acquisition pour Monaco. Une deuxième arrivée après la récente signature de Denis Zakaria en provenance de la Juventus pour 20 millions d'euros. L'Atalanta Bergame avait également montré un intérêt pour Singo, mais c'est bien Monaco qui a remporté la mise. Sa puissance et son endurance font de lui un atout majeur, particulièrement dans un système défensif à trois. Conséquences en chaîne pour l'effectif monégasque L'arrivée de Singo pourrait signifier un bouleversement dans la hiérarchie défensive de l'AS Monaco. Ruben Aguilar, jusqu'alors titulaire indiscutable, souhaiterait une aventure du côté du Stade Rennais. De plus, Vanderson, le joueur brésilien, devra redoubler d'efforts pour ne pas se faire éclipser par le talentueux ivoirien. Voir aussi : - Wissam Ben Yedder accusé de viol : une enquête est en cours ! L'AS Monaco affiche ses ambitions L'AS Monaco semble déterminé à remodeler son effectif pour la saison à venir. Si le départ de Volland est une perte, les arrivées prometteuses comme celle de Singo montrent une volonté de renouveau et d'ambition. Les supporters monégasques peuvent s'attendre à une saison riche en émotions et en rebondissements. ________ Pour retrouver toute l'actu foot, rendez-vous sur notre page Facebook ou sur notre page Twitter ! Read the full article

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omagazineparis · 1 year ago

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Un voyage aux États-Unis? Voici quelques endroits incroyables à ne pas manquer

Lorsque l'on prépare un voyage aux États-Unis, on peut se poser de nombreuses questions sur les endroits à visiter, les régions à parcourir et le nombre de jours à passer sur place. Rien d'étonnant à cela, puisque les États-Unis est un pays d'une superficie de 9,834 millions de km² et de 331,9 millions d'habitants répartis dans 50 États différents. Si vous souhaitez obtenir quelques conseils sur les éléments à prendre en compte avant de vous rendre aux États-Unis et sur les endroits à visiter, cet article vous expliquera tout ce qu'il faut savoir pour passer des vacances inoubliables. Préparatifs avant le départ - Réservez votre hébergement et vos billets d'avion, à l'aller comme au retour, suffisamment à l'avance pour bénéficier des meilleures offres, - N'oubliez pas que les soins médicaux sont très chers aux États-Unis et que l'assurance maladie ne vous couvre pas à l'étranger (sauf dans l'Union européenne) ; il est donc conseillé de souscrire une police d'assurance voyage tout inclus avant votre départ, - Vérifiez vos conditions de voyage pour savoir si vous devez ou non demander un Visa, - Assurez-vous d'avoir un passeport en cours de validité. Comme nous l'avons déjà mentionné, les États-Unis sont un vaste pays que vous ne pourrez probablement pas parcourir en un seul voyage. C'est pourquoi, dans cet article, nous nous limiterons à expliquer ce qu'il faut visiter dans les villes les plus importantes de la côte est et de la côte ouest des États-Unis. Il est maintenant temps de commencer à organiser votre voyage aux États-Unis. Côte Est La ville de New York Sans surprise, l'une des villes incontournables est New York City. Je recommande un séjour minimum de 3 jours pour visiter les sites d'intérêt suivants : - La statue de la Liberté, - La statue du Taureau de Wall Street, - Le pont de Brooklyn, - Times Square, - Central Park, - Chinatown, Greenwich Village et DUMBO. Si vous avez la possibilité de rester un jour de plus, je vous recommande de vous rendre à la frontière canadienne pour voir les impressionnantes chutes du Niagara. Washington DC Une autre étape incontournable de votre séjour aux États-Unis est Washington DC, où vous pourrez faire les activités suivantes : - Visite du National Mall où vous verrez la Maison Blanche et différents monuments, - Accès gratuit aux musées emblématiques de la ville. Boston La ville de Boston peut facilement être visitée en deux jours et je recommande le Boston Freedom Trail qui permet de faire le tour de la ville et de visiter les 16 lieux les plus emblématiques. A lire également : Un bijou caché en France : le village troglodyte de Saumur Côte Ouest Seattle Seattle est la plus grande ville du nord-ouest des États-Unis et est mondialement connue pour le Space Needle, une tour d'observation de 158 mètres de haut. Vous pourrez également visiter le célèbre Pike Place Market et le musée de la Pop Culture. San Francisco Si vous vous rendez dans la ville de San Francisco, une visite des lieux suivants s'impose : - Le pont du Golden Gate, - L’architecture des Painted Ladies, - Lombard Street. Los Angeles Vous ne pouvez pas terminer votre voyage sur la côte Est sans vous arrêter quelques jours dans la trépidante ville de Los Angeles. Vous pourrez y visiter quelques-uns des sites d'intérêt suivants : - Le Mont Lee, - Hollywood Walk of Fame, - La promenade de Venice Beach, - Jetée de Santa Monica. La jetée de Santa Monica est peut-être l'endroit idéal pour terminer votre voyage aux États-Unis, car c'est aussi là que vous trouverez le panneau qui marque la fin de la Route 66. Nous espérons que cet article vous aidera à préparer votre voyage, et n'oubliez pas que si vous ne voulez pas payer une fortune en cas d'accident malheureux, nous vous recommandons toujours de souscrire une assurance voyage pour les États-Unis. Read the full article

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stillthewordgirl · 8 years ago

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LOT/CC fic: Central City Rendezvous, Ch. 11 of 14

Rip Hunter never came for the Legends. But maybe some meetings are meant to be. (Captain Canary, of course!) An AU.

Thanks to @larielromeniel for the beta. I own nothing! (*grumble*)

This one is a little shorter than some, and if it reads like the second half of chapter 10 ... well, it sort of was. :) AU takes place during events of the Flash episode “The Runaway Dinosaur.”

Also can be read here on AO3 or here on FF.net.

It's a somewhat grumpy and discouraged group that finally makes it back to S.T.A.R. Labs, engendering a wave of reactions in Cisco Ramon that would be fairly amusing, Leonard thinks, if he wasn't so goddamned annoyed.

"Mick Rory? Heatwave?" Ramon gapes at the grinning Mick as he saunters openly into the room with the rest. "Oh, nononononono... oh, hi, Ray. Kendra!? Oh, wow. Wait, what happened to..."

"Differences of opinion," the woman tells him mildly, with a smile. "Carter and I… parted ways. Ray said Central City could use some help."

"Yes! Um..." Cisco glances at Ray, who's earnestly chatting with Iris. "Right..."

The inventor notices the glance and walks back over. "So, um... we sort of need to find this zombie again. Cisco…”

Leonard snorts as he makes his way carefully into the Cortex. This is not how a Snart... this Snart... plans out operations, he thinks, collapsing into a chair. He’s gotten… well. Maybe not precisely soft. But out of practice at the precise plotting and planning a well-executed heist entails.

Working with Sara has been exhilarating in its own right. (He smirks a little, watching her cross the room, enjoying the view.) But with an enemy like this Girder, and a group that’s not just the two of them, it’s different.

Closing his eyes, he finally entertains the thought that’s been lurking in the back of his brain since he’d hit the concrete in the Big Belly Burger parking lot … and wonders again if maybe it isn’t time to leave.

Cut his losses. Let his wounds mend. Let the insanity ruling Central City shake down a bit before sniffing back around to see what opportunities are available for an enterprising crook and… and…

His mind just doesn’t want to go there.

Someone nudges his shoulder, interrupting his train of thought. Sara’s returned, holding out the ankle brace he should have been wearing. Her glare says that he better put it on, and so he accepts it without a word. She smiles a little, shakes her head at him, and then turns to perch on the arm of the chair, close enough that he could slip an arm around her waist if he wanted to.

He wants to.

He can’t leave. He can’t. Not while his city’s this open to things like this Girder, like this Zoom, who apparently killed seven cops while he and Sara had been holed up in the safe house and who seems dedicated to being a force for the type of chaos Leonard just can’t stand. If Wells is correct—and there’s no reason he wouldn’t be—eventually there will be nowhere left to run.

And not while Barry is still MIA. While his feelings on Central City’s speedster are complicated—he’ll admit that—running off while his fate’s unknown just doesn’t feel right.

And not while Sara won’t go with him.

And she won’t. There’s simply no way. Whatever fragile thing they have, it’s no match for her pure drive to be a hero, to help people. It’s who she is. He glances up at her, takes in her profile as she watches the others discussing metahuman apps and Girder’s probable whereabouts, and thinks about card games and fighting side by side and long hours in bed…

“So! If he’s probably at the West’s house, are we going to go get him?” Palmer’s voice is plaintive. And when Leonard looks over at him, the other man is looking a trifle lost, casting about the room as if looking for someone to tell him what to do.

Well. They do need a plan. And now Sara’s looking down at him, a little smile playing about her lips, and damned if maybe she didn’t know exactly what he was thinking all along….

Leonard Snart sighs… and levers himself to his feet, resigning himself to his fate.

“That thing’s metal, more or less,” he says. “I laid out the plan before, although we didn’t get a full chance to carry it out. Mick heats it up as much as possible, then I hit it with ice. I don’t think I have to tell you what that combination does to metal.”

Palmer looks intrigued. “Makes it brittle,” he says. “So… what do Sara, Kendra and I do?”

Leonard shrugs. “Distract him. Make sure he stays in metal form. Make sure no civilians get in the way. And when I’ve cooled him down…”

“Shatter him.” Kendra’s voice is low. “It’s a good plan.”

“Of course it is.” Turning, he offers Sara a hand. She accepts it, getting to her feet, and smiles at him.

But into this silence, then, comes a new noise: the low hum of the heat gun.

Mick’s standing, primed gun in hand, and he’s sweeping it back and forth to cover them all, more or less.

"I don't know what the hell he thinks he's doing," he says, staring at Leonard. "But I'm no hero. Sure, it was fun frying zombie ass, but I’m not putting my life on the line for nothin’. There are other cities. Why would…”

"I'll pay you."

At this point, everyone, including Mick, turns to stare at Ray Palmer, who colors faintly, but looks stubborn.

"I'm rich,” he says to Mick. “Well, sort of. Not as much as I used to be. But enough to make it worth your while. What’s a good take in a heist? Hit me.”

Mick snorts, but hesitates… and then names a sizable figure, one that Leonard knows perfectly well is far more than he’d be pulling in on anything other than one of Len’s elaborately planned jewel heists, enough that he won’t have to pull anything else for months.

And Palmer nods. “Done,” he says. “But you have to see this out. After that... well... we'll renegotiate."

Mick stares at him, then lowers the gun and shakes his head.

“I’m in,” he says, “for now.”

Palmer takes a deep breath, then looks at Leonard. “And you? Is that what it’s going to take?”

He’s actually surprised at the fury that sparks momentarily. Hasn’t he been protecting the city pro bono over the past few weeks with Sara? Wasn’t he the one out there about to get flattened by a fuckin’ meta zombie? And isn’t…

A noise from Sara, though, distracts him from his own anger, and he glances at her to see utter rage in her eyes as she glares at Palmer, who, showing an ounce of self-preservation, takes a wary step back. The hawk woman steps to his side, watching Sara, and Mick watches them all, and this whole thing could go downhill really fast…

Which will serve no purpose whatsoever.

He puts a hand on Sara’s shoulder, and when she looks at him, he meets her eyes, trying to convey gratitude and understanding and…

"Got my own reasons," he says shortly to Palmer, still holding Sara's gaze. "So, they say he’s probably heading for the West residence? I just happen to already know where that is..."

It is a good plan.

They lure and herd Girder off the quiet city street to a vacant lot in an area when the resulting fallout can’t damage much, then put Leonard’s plot into motion. While Ray and Kendra and Sara herself harry the lumbering meta zombie from one side and then another, keeping him off base and in his metal form, Len and Mick move around them, alternately heating and freezing him until he finally slows to a stop, metal body stressed to the breaking point by the forces of physics.

Palmer moves into position then, readying his weapons… when what seems to be a shooting star in human form careens right through their midst, smashing into the metal form with a resounding crash and sending chunks of stressed metal everywhere.

The fiery figure loops back into the air, then comes to a rest at the spot when the animated form of a dead man once stood.

"Whoo!" it crows, with a young man’s voice. "That was awesome!”

This spectacle earns a long moment of silence, even from Ray, whom Leonard had started to suspect never really stopped talking. It's eventually Mick who, lowering his weapon, shakes his head in amazement.

"This day," he informs the fiery man, "just keeps getting weirder and weirder."

The figure tilts its head and then, with a low rush of air, glows brighter for a moment before separating into two figures who step away from each other as the flames die.

The shorter of the two, an older, bespectacled man who looks like nothing so much as an absent-minded professor, shakes his head.

"Was that," he says, distaste dripping from his voice as he scans the group, "a zombie?"

The other man, much younger and with the build of an athlete, laughs out loud and stretches, looking around at the startled faces around him.

"Like I said," he adds with a grin, "awesome."

The fiery man, it turns out, is two people in one superhuman form: Martin Stein (the older man, who is indeed a professor) and Jefferson “call me Jax” Jackson, who takes his older counterpart’s lectures with a combination of fond exasperation and annoyed frustration. They’d apparently also been among the help Cisco’d called in when Barry’d vanished, although Leonard, listening to the two sides of “Firestorm” bicker as they all head back to S.T.A.R. Labs, thinks to himself to perhaps they have some issues to work out as a bit more of a priority.

But then, don’t they all.

The members of their little group, flush with the success of the operation, are chattering amongst themselves as they head down the corridor toward the Cortex. Leonard, bringing up the rear side by side (and hand in hand) with Sara, shakes his head in amusement—but then frowns as he notices the silence falling the moment each of them reaches the Cortex. He slows, squeezing Sara's fingers in warning, then lets his other hand drift down to rest on his gun...

… and stops dead in his tracks as they emerge into the room.

Barry Allen, grinning, stands there with Joe and Iris, Cisco and Wells and Henry Allen, still wearing his ridiculous red costume and taking in the group with a smile that just grows wider when he sees Leonard and Sara.

“Hi, guys,” he says, spreading his hands out in front of him. “Thanks for the assist. But I’m back!”

Leonard stares at him a long moment... and then snorts.

"Whatever," he tosses over his shoulder as he steps around the bemused speedster and heads for the elevator. "I need a shower."

Barry, as it happens, has returned from an experience with what he seems to believe is the Speed Force itself. He’s woken Jessie Wells with a mere touch of his hand, and he seems to have a renewed store of faith that he’s meant, destined even, to defeat Zoom and bring balance to the force… or something like that.

But Leonard just can’t seem to shake the feeling that something’s about to go sideways. He stands in the Cortex and watches the impromptu welcome-home celebration, frowning, until Sara shakes her head, makes him take a drink, and insinuates herself under his arm, leaning against him in a way that once would have had him running, but honestly just feels right.

“What’s bugging you?” she asks finally. “And don’t tell me ‘nothing.’ ”

He owes her the courtesy of honesty. "Barry seems to think everything's sunshine and rainbows now," he says slowly. "But...”

“It just doesn’t work that way,” Sara finishes. “So, what are you thinking?"

He exchanges a long look with her, then turns again to look at the group. Mick is regarding Palmer with an expression that seems to be equal parts amusement and bewilderment as the armored man jabbers on at him about dwarf star alloy and astrophysics. The hawk woman... Kendra... is speaking with some animation to the professor (whom he thinks he's met at one point, though he can't recall precisely how) while the kid is watching her with an expression of great appreciation.

A motley crew, to be sure, but... he's worked with worse.

And he can work with this. He can work with them.

"If Barry's not going to be ready for the worst," he says slowly. "We will be."

#captain canary #fanfic #legends of tomorrow #the flash #central city rendezous

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seneweb · 4 years ago

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des enjeux à tous les niveaux pour cette nouvelle saison 2020/2021

Premier League : des enjeux à tous les niveaux pour cette nouvelle saison 2020/2021

Alors que la saison 2020/2021 commence ce week-end, l’occasion est idéale pour faire le point sur les forces en présence et la lutte à tous les niveaux. Focus.

La course au titre

Champion d’Angleterre pour la première fois en 30 ans la saison dernière, Liverpool essayera de conserver son titre. Figurant dans les favoris, les Reds ont su garder un effectif qui a prouvé sa valeur depuis quelques années et met davantage en valeur les jeunes à l’image de Neco Williams et Curtis Jones qui sont amenés à jouer plus cette saison. Sinon peu de mouvements sont à noter avec les départs de Dejan Lovren, Adam Lallana et Nathaniel Clyne. Konstantinos Tsimikas est arrivé en provenance de l’Olympiakos. Le départ de Georginio Wijnaldum pour le FC Barcelone est en bonne voie, mais Thiago Alcantara pourrait arriver du Bayern Munich. Le plus important pour Jürgen Klopp – qui conserve un groupe de qualité – sera surtout de garder la motivation au sein d’une équipe qui a gagné la Premier League et la Ligue des Champions sur les deux dernières saisons. Si Liverpool a été sacré champion, Manchester City est tombé de son trône la saison dernière après deux sacres de rang. Un échec qui devra être oublié lors de l’exercice 2020/2021. Et pour répondre aux attentes, Manchester City a fait des efforts. Si Leroy Sané, David Silva et Claudio Bravo ont quitté le club anglais, les Sky Blues ont ramené plusieurs éléments intéressants.

Si Lionel Messi n’arrivera pas en Angleterre, le club mancunien a accueilli Nathan Aké en provenance de Bournemouth pour renforcer la défense et l’ailier espagnol de Valence Ferran Torres. Le défenseur central napolitain Kalidou Koulibaly pourrait aussi suivre afin de renforcer une arrière-garde trop friable cette saison. Si Pep Guardiola retrouve un équilibre défensif comme lors des précédentes saisons, Manchester City sera clairement capable de soulever le titre. Un peu derrière les deux grands, Chelsea a de moins en moins à rougir. Intéressants la saison dernière sous les ordres de Frank Lampard, les Blues ont cependant beaucoup souffert à domicile et ont rencontré de gros problèmes défensifs. Pour y remédier, Thiago Silva (ex-PSG), Ben Chilwell (ex-Leicester) et Malang Sarr (ex-OGC Nice) sont arrivés tandis que le Rennais Édouard Mendy pourrait débarquer contre 20 millions d’euros. Sur le plan offensif, trois gros renforts apporteront sûrement leur lot de buts, à savoir Hakim Ziyech (Ajax Amsterdam), Timo Werner (RB Leipzig) et Kai Havertz (Bayer Leverkusen). Le principal doute qui entoure le club londonien, c’est la faculté à vite intégrer ses recrues.

La course à l’Europe

Pouvant aussi se présenter comme un candidat pour le titre en cas de bon début de saison, Manchester United semble néanmoins légèrement derrière les trois gros. Dotés d’une belle force de frappe avec Anthony Martial, Marcus Rashford et Mason Greenwood dans le secteur offensif, les Red Devils peuvent aussi s’avancer confiants au milieu de terrain avec Bruno Fernandes, Paul Pogba, Nemanja Matic, Donny van de Beek ou encore Fred. Si le recrutement d’un Jadon Sancho apporterait encore plus de puissance au club mancunien, les limites sont plutôt défensives avec le frêle Brandon Williams ou Luke Shaw côté gauche et une charnière Maguire-Lindelöf solide, mais qui manque d’un véritable patron. Cinquième l’an passé, Leicester a réalisé une saison folle avant de craquer dans la dernière ligne droite et de manquer la qualification en Ligue des Champions. Avec un effectif assez identique mis à part le départ de Ben Chilwell à Chelsea et l’arrivée de Timothy Castagne en provenance de l’Atalanta, les Foxes risquent bien d’être au rendez-vous. Une seconde qualification européenne de rang n’aurait rien d’ ubuesque bien au contraire. Cependant, la concurrence risque d’être relevée avec notamment Arsenal. Vainqueur de la FA Cup, le club coaché par Mikel Arteta semble avoir trouvé la bonne formule et a renforcé sa défense avec les arrivées définitives de Pablo Mari, Cedric Soares et William Saliba ainsi que le transfert de Gabriel. Willian offre lui une solution supplémentaire en attaque, en attendant un nouveau prêt de Dani Ceballos. Si la mayonnaise continue de prendre, Arsenal sera dans la course à l’Europe et peut-être même à la Ligue des Champions.

Pas qualifié en Ligue des Champions suite à sa sixième place de l’an passé, Tottenham va pouvoir s’appuyer sur ses stars Harry Kane et Heung-min Son qui ont connu des pépins physiques l’an passé. Malgré le départ de Jan Vertonghen, qui n’a pas été remplacé en défense, les Spurs ont apporté quelques touches avec la venue du latéral droit irlandais Matt Doherty (Wolverhampton), le milieu danois Pierre-Emile Hojbjerg (Southampton) et le vétéran anglais Joe Hart (Burnley) en doublure ou numéro 3. Des ajouts utiles qui vont élargir le groupe du club londonien pour la saison prochaine. Surtout que les recrues hivernales Gedson Fernandes et Steven Bergwijn seront davantage adaptées au jeu de Tottenham. Septième comme l’an passé, mais absent de la Ligue Europa, Wolverhampton tentera de retrouver l’Europe. L’effectif reste de grande qualité, surtout si le buteur mexicain Raul Jimenez reste en place tout comme l’ailier Adama Traoré. Avec sa colonie portugaise (Pedro Neto, Daniel Podence, Diogo Jota, João Moutinho, Ruben Neves, Ruben Vinagre …) qui s’est agrandie avec l’arrivée de Fabio Silva (18 ans), venu contre 40 millions d’euros du FC Porto, ainsi que l’ajout de Fernando Marçal, les Wolves misent sur la continuité. Cela fonctionne parfaitement depuis deux ans. Douzième la saison passée, Everton a mis les moyens pour satisfaire son coach Carlo Ancelotti en renforçant son milieu de terrain assez nettement avec les arrivées d’Allan (Napoli), James Rodriguez (Napoli) et Abdoulaye Doucouré (Watford). Sans bouleverser totalement son groupe, le coach italien va pouvoir travailler sereinement et tentera de qualifier Everton en Coupe d’Europe.

Les outsiders

Surprise de la dernière saison de Premier League, Sheffield United tentera encore d’animer les débats. Les Blades, qui avaient terminé neuvièmes, tenteront encore de s’intercaler dans le top 10, même si l’objectif reste le maintien. Si Dean Henderson (Manchester United) est parti, il a été bien remplacé par Aaron Ramsdale, révélation du côté de Bournemouth. Les arrivées de Max Lowe, Jayden Bogle, Ethan Ampadu et Oliver Burke offriront plus de solutions à Chris Wilder cette saison. Après vécu sa première saison complète à Southampton, Ralph Hasenhüttl accélère son projet. L’ancien coach du RB Leipzig peut compter sur les renforts de Kyle Walker-Peters et de Mohamed Salisu pour renforcer son arrière-garde. Onzièmes l’an passé, les Saints essayeront cette fois de se hisser dans le top 10.

Objectif équivalent pour Newcastle, qui n’a pas été racheté par l’Arabie Saoudite. Actifs, les Magpies ont bien composé les manques avec des joueurs offensifs habitués à la Premier League, comme Callum Wilson et Ryan Fraser ainsi que le jeune espoir Jamal Lewis au poste de latéral gauche. L’arrivée de Jeff Hendrick vient aussi renforcer le groupe. Souvent ambitieux, mais habitué à déchanter, West Ham n’a pas encore fait de folie sur le mercato, mais dispose de belles individualités dans l’équipe. Peut-être que le fait de ne pas chambouler le groupe permettra aux Hammers d’atteindre leur vrai potentiel. Promu mené par Marcelo Bielsa, Leeds United semble avoir les moyens de faire de belles choses. Avec un collectif solide renforcé par les arrivées de Robin Koch et Rodrigo tout en attendant Rodrigo De Paul, annoncé avec assistance en provenance de l’Udinese, les Peacocks seront à suivre. Attention cependant à ne pas louper le coche et se retrouver à jouer le maintien malgré de gros investissements.

La course au maintien

Les clubs promis à lutter pour le maintien peuvent espérer plus avec un bon départ, mais concrètement, il sera difficile pour eux de se retrouver dans le top 10. Néanmoins, Burnley et Crystal Palace peuvent s’avancer confiants. Sans grandes individualités, les premiers ont terminé 10es la saison dernière et se maintiennent souvent avec de la marge. Ils ont gardé la même colonne vertébrale et ont conservé leur coach Sean Dyche. Les seconds vont également pouvoir s’appuyer sur un groupe assez similaire avec le renfort du milieu offensif anglais Eberechi Eze. Le maintien a de bonnes chances d’être obtenu, mais ce sera compliqué d’atteindre le top 10. Derrière, les quatre autres équipes semblent un peu moins fortes même si elles peuvent déjouer les pronostics. Souvent promis à la relégation depuis sa montée en 2017, Brighton & Hove Albion va vivre une quatrième année de suite en Premier League. Les Seagulls ont perdu l’Australien Aaron Mooy, mais ont recruté le joueur de l’Ajax Amsterdam Joël Veltman. Devant souvent s’accrocher jusqu’au bout, le club de Neal Maupay aura du mal à espérer mieux que le maintien.

Passé tout proche de la relégation la saison dernière, Aston Villa espère se donner plus d’air cette année. Le club basé à Birmingham pourra compter sur un effectif bien moins bouleversé qu’à l’été 2019 et aussi sur les arrivés d’Ollie Watkins (avant-centre, Brentford) et Matty Cash (latéral droit, Nottingham Forrest) contre 30,8 et 15,75 millions d’euros pour compenser les manques à leurs postes respectifs. Promu, West Bromwich Albion devra tenter de rester dans l’élite après l’avoir quitté en 2018. Porté par Matheus Pereira, Kamil Grosicki ou encore Charlie Austin, WBA s’avance avec un effectif qui semble limité, mais dont le collectif semble uni. Il faudra bien cela pour se maintenir. Fulham a un peu plus de garanties avec l’arrivée de Mario Lemina. Anthony Knockaert est resté après son prêt tandis que le buteur Aleksandar Mitrovic sera essentiel en vue du maintien. Contrairement à 2018, où le club londonien avait dépensé 116,5 millions d’euros pour descendre en Championship, ce mercato est moins claquant, mais davantage basé sur la continuité.

Crédit: Lien source

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awesomemartineanciauxthings-blog · 7 years ago

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11-1-2018 Incroyable Mais Vrai, Quel Fiabilité Cette Technologie Futuriste? CES Las Vegas interrompu par une coupure d'électricité Il y a 9 heures-TECHNOLOGIE-Quel est le pire incident technique qui puisse arriver à un salon dédié à la technologie et à l'électronique?Une coupure de courant,c'est exactement l'expérience dramatique vécue par le CES acronyme de Consumer Electronics Show de Las Vegas, 10-1-2018 LES NOUVELLES DU CES DE LAS VEGAS 2018 ,SONT POUR LES PUIRISTES DE LA TECHNOLOGIE,UNE TRES BELLE EVOLUTION DU NUMERIQUE? POUR LES AUTRES HUMAINS,UNE TRES GROSSE APPREHENSION,DU REMPLACEMENT DE L'HOMME PAR LES ROBOTS,DANS TOUS LES DOMAINES,ET UNE ELITE AURA LA TOTALITE DES VIES HUMAINES A SA MAIN,PARDON A SON ROBOT.A.T. 26-12-2017 AMIS INTERNAUTES REMENBER-BELIEVE-PRIERES ET SOUVENIRS POUR LES DISPARUS ET BLESSES DE LAS VEGAS CES-SALON MONDIAL RFILASVEGAS2018 ©RFI LASVEGAS2018THOMASAndré© Cette année 2018,ne sera pas pleine de joies , Malgré les innovations technologiques, il y aura L'ABSENCE de ceux ,disparues,et qui nous ont fait perdre nos joies, Noël vient de passer et le vide a été intense,malgré nos recherches technologiques.ET LA VIE CONTINUE MALGRE CE DRAME,mais les plus impliqués n'oublieront jamais ce drame, et c'est par honneur et respect que le CES s'accomplira, ET L'HUMANITE DEVRA CONTINUE MALGRE LES PLEURS,VERS LE FUTUR qui se réalisera La fusillade de Las Vegas une tuerie de masse survenue 1/10/2017lors un festival de musique country en plein-air,le Route 91Harvest.Un tireur isolé situé au 32e étage de l'hôtel-casino Mandalay Bay Resort and Casino tire pendant plusieurs minutes avec des fusils d'assaut,tuant au moins 58 personnes,faisant au moins 527 blessés,avant de se donner la mort. Depuis 51 ans,le CES de Las Vegas est le grand rendez-vous annuel de l’électronique grand public organisé par la Consumer Technology Association CTA qui s’impose désormais sur la scène numérique et startup,prochaine édition aura lieu9au12/2018.Cette année la thématique centrale sera La Ville Intelligente 7-11-2016 bs pas accepté par youtube mis bs de youtube 13-10-2015 mise à jour. en ligne 12 mai 2011 Music I Want To Know What Love IsForeigner LAS VEGAS UNE PERLE DANS LE DESERT DU NEVADA, MAIS UNE ADDICTION AUX JEUX TRES DANGEREUSE POUR L'HOMME OU LA FEMME, QUAND CETTE PASSION DEVIENT DESTRUCTRICE DE VIE.THOMAS André. MARTINEANCIAUX,photographed’art,créatricephotopeinture Martine ANCIAUXcreatorphotopainting,artphotographer, 2008 j'ai visité LAS VEGAS; Pour un joueur,LAS VEGAS CELA PEUT ETRE L'ENFER OU LE PARADIS. SI TU TE CONTROLES,IL EST POSSIBLE DE S'EN SORTIR MËME DE GAGNER,MAIS SI TU ES ATTEINT PAR LA FIEVRE DU JEU,ALORS TU ES PERDU,REFLECHIS ET NE TE TROMPES PAS,DANS CE CAS LA,TU N'AS PAS DROIT A L'ERREUR MEME SI CELLE CI EST HUMAINE CAR MAINTENANT ON LE SAIT MEME LES ORDINATEURS SE TROMPENT. Ville gagnée sur le désert,perle du jeux,chaque hôtel possède son casino et rivalise avec ses confrères pour attirer le flambeur joueur LE CAESAR PALACE a aussi une grande salle de spectacle CHAQUE HOTEL EST UNE PETITE VILLE AVEC SES BOUTIQUES RESTAURANTS GALERIES D'ARTS,ses machines a sous qui tintent et qui vous font tourner la tête et vous êtes la jouant en espérant que le prochain coup ce sera votre machine qui tintera et vous qui encaisserez les dollars,vous êtes pris par le jeu et ne pouvait vous arrêter car sinon c'est juste après que la fortune va se décider.LAS VEGAS RECONSTITUTION DES VILLES,PAYS - PARIS ,FRANCE,VENISE ITALIE,LONDRES,ANGLETERRE,NEW YORK USA,PYRAMIDES,EGYPTE,WALT DISNEY INTERNATIONAL Le King ELVIS PRESLEY CHANTAIT VIVA LAS VEGAS translated by Google translation LAS VEGAS A PEARL IN THE DESERT OF NEVADA, ADDICTION GAMES BUT VERY DANGEROUS TO MAN OR WOMAN, WHEN THIS BECOMES PASSION OF DESTRUCTIVE VIE.A.T. MARTINE ANCIAUX,artphotographer,creatorphotopainting, Martine ANCIAUX creatorofthepicturepainting, photographofthe 21cENTURY,2008 I visited Las Vegas; For a player,LAS VEGAS THAT MAY BE HELL OR PARADISE. IF YOU GET CHECKS,IT IS POSSIBLE TO COME OUT If even win, BUT IF YOU ARE REACHED BY THE MOUTH OF THE GAME,THEN YOU ARE LOST,thoughtful and TE DO NOT HORN IN SUCH EVENT, YOU HAVE NOT RIGHT TO ERR IS EVEN IF HUMAN CAR NOW ON COMPUTERS EVEN KNOWS HE MISLEAD. City reclaimed from the desert,It is the pearl of games,each hotel has its own casino and competes with his colleagues to attract the high roller player THE CAESAR PALACE also has a very large auditorium EVERY HOTEL IS A SMALL TOWN WITH ITS SHOPS GALLERIES RESTAURANTS ARTS and tinkling slot machines and make your head spin and you are playing it,hoping that the next shot it's your machine and you who Tintera encaisserez dollars, you are taken through play and could stop you because otherwise it's just after that fortune will decide.LAS VEGAS IS A REVIVAL OF CITIES AND COUNTRIES -PARIS, FRANCE,ITALY VENICE,LONDON, ENGLAND,NEW YORK USA,PYRAMIDS,EGYPT,WALT DISNEY INTERNATIONALThe King ELVIS PRESLEY singing in the movie VIVA LAS VEGAS

#11-1-2018 Incroyable Mais Vrai Quel Fiabilité Cette Technologie Futuriste? CES Las Vegas interrompu par une coupure d'électricité Il y a 9 h

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martine-anciaux-blog · 7 years ago

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26-12-2017 AMIS INTERNAUTES REMENBER-BELIEVE -PRIERES ET SOUVENIRS POUR LES DISPARUS ET BLESSES DE LAS VEGAS

CES -SALON MONDIAL DU RFI A LAS VEGAS 2018 ©RFI LAS VEGAS 2018 POEME THOMAS ANDRE© Cette année 2018, ne sera pas pleine de joies , Malgré les innovations technologiques, il y aura L'ABSENCE de ceux , disparues, et qui nous ont fait perdre nos joies, Noël vient de passer et le vide a été intense, malgré nos recherches technologiques.

ET LA VIE CONTINUE MALGRE CE DRAME, mais les plus impliqués n'oublieront jamais ce drame, et c'est par honneur et respect que le CES s'accomplira, ET L'HUMANITE DEVRA CONTINUE MALGRE LES PLEURS, VERS LE FUTUR qui se réalisera

La fusillade de Las Vegas est une tuerie de masse survenue le 1er octobre 2017 pendant un festival de musique country en plein-air, le Route 91 Harvest. Un tireur isolé situé au 32e étage de l'hôtel-casino Mandalay Bay Resort and Casino tire pendant plusieurs minutes avec des fusils d'assaut, tuant au moins 58 personnes et faisant au moins 527 blessés, avant de se donner la mort. Il s'agit de la fusillade la plus meurtrière de l'histoire des États-Unis.

Depuis 51 ans, le CES de Las Vegas est le grand rendez-vous annuel de l’électronique grand public organisé par la Consumer Technology Association (CTA) qui s’impose désormais sur la scène numérique et startup. La prochaine édition aura lieu du 9 au 12 janvier 2018. Cette année la thématique centrale sera « La Ville Intelligente ».

07-11-2016 nouveau diaporama bs pas accepté par youtube mis bs de bibliothèque youtube 13-10-2015 mise à jour. Mise en ligne le 12 mai 2011 Musique"I Want To Know What Love Is" de Foreigner

LAS VEGAS UNE PERLE DANS LE DESERT DU NEVADA, MAIS UNE ADDICTION AUX JEUX TRES DANGEREUSE POUR L'HOMME OU LA FEMME, QUAND CETTE PASSION DEVIENT DESTRUCTRICE DE VIE.THOMAS André. MARTINE ANCIAUX,photographe d’art,créatrice de la photo-peinture,Martine Anciaux créateur de la photo-peinture Martine ANCIAUX creator of the photo painting,New art of the photo painting, art photographer, En 2008 j'ai visité LAS VEGAS; Pour un joueur, LAS VEGAS CELA PEUT ETRE L'ENFER OU LE PARADIS. SI TU TE CONTROLES, IL EST POSSIBLE DE S'EN SORTIR MËME DE GAGNER, MAIS SI TU ES ATTEINT PAR LA FIEVRE DU JEU, ALORS TU ES PERDU, REFLECHIS ET NE TE TROMPES PAS , DANS CE CAS LA,TU N'AS PAS DROIT A L'ERREUR MEME SI CELLE CI EST HUMAINE CAR MAINTENANT ON LE SAIT MEME LES ORDINATEURS SE TROMPENT. Ville gagnée sur le désert, elle est la perle du jeux ,chaque hôtel possède son casino et rivalise avec ses confrères pour attirer le flambeur (joueur)LE CAESAR PALACE a aussi une très grande salle de spectacle CHAQUE HOTEL EST UNE PETITE VILLE AVEC SES BOUTIQUES RESTAURANTS GALERIES D'ARTS et ses machines a sous qui tintent et qui vous font tourner la tête et vous êtes la jouant en espérant que le prochain coup ce sera votre machine qui tintera et vous qui encaisserez les dollars, vous êtes pris par le jeu et ne pouvait vous arrêter car sinon c'est juste après que la fortune va se décider. LAS VEGAS C'EST UNE RECONSTITUTION DES VILLES ET PAYS - PARIS ,FRANCE,VENISE ITALIE,LONDRES,ANGLETERRE,NEW YORK USA,PYRAMIDES,EGYPTE,WALT DISNEY INTERNATIONAL Le King ELVIS PRESLEY CHANTAIT VIVA LAS VEGAS translated by Google translation LAS VEGAS A PEARL IN THE DESERT OF NEVADA, ADDICTION GAMES BUT VERY DANGEROUS TO MAN OR WOMAN, WHEN THIS BECOMES PASSION OF DESTRUCTIVE VIE.THOMAS André. MARTINE ANCIAUX, art photographer, creator of the photo-painting, Martine Anciaux creator of the photo-painting Martine ANCIAUX creator of the picture painting, photograph of the New art painting, art photographer, In 2008 I visited Las Vegas; For a player, LAS VEGAS THAT MAY BE HELL OR PARADISE. IF YOU GET CHECKS, IT IS POSSIBLE TO COME OUT If even win, BUT IF YOU ARE REACHED BY THE MOUTH OF THE GAME, THEN YOU ARE LOST, thoughtful and TE DO NOT HORN IN SUCH EVENT, YOU HAVE NOT RIGHT TO ERR IS EVEN IF HUMAN CAR NOW ON COMPUTERS EVEN KNOWS HE MISLEAD. City reclaimed from the desert, it is the pearl of games, each hotel has its own casino and competes with his colleagues to attract the high roller (player) THE CAESAR PALACE also has a very large auditorium EVERY HOTEL IS A SMALL TOWN WITH ITS SHOPS GALLERIES RESTAURANTS ARTS and tinkling slot machines and make your head spin and you are playing it, hoping that the next shot it's your machine and you who Tintera encaisserez dollars, you are taken through play and could stop you because otherwise it's just after that fortune will decide. LAS VEGAS IS A REVIVAL OF CITIES AND COUNTRIES - PARIS, FRANCE, ITALY VENICE, LONDON, ENGLAND, NEW YORK USA, PYRAMIDS, EGYPT, WALT DISNEY INTERNATIONALThe King ELVIS PRESLEY singing in the movie VIVA LAS VEGAS

#26-12-2017 AMIS INTERNAUTES REMENBER-BELIEVE -PRIERES ET SOUVENIRS POUR LES DISPARUS ET BLESSES DE LAS VEGAS CES -SALON MONDIAL DU RFI A L

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caveartfair · 5 years ago

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On the Rise Gallerists

In this decade of recovery from a recession, the global art market has found a way to adapt and is now a juggernaut with $67.4 billion in annual sales. While the bulk of that figure changes hands at auction houses, mega-galleries, and through private deals, integral to the market’s future success are new galleries—the ones braving a demanding fair circuit and fickle collector base to strike out on their own.

With input from collectors, dealers, and fair directors, I rounded up these emerging galleries from three distinct regions: The Americas; Europe and Africa; and Asia and the Middle East. There is some range here—some are less than a year old or have just started to show at small satellite fairs; others have been around for a decade and have shown at one of the three Art Basel fairs—but all of these outfits share similar qualities. They have been started by former directors at larger shops; a trader at Goldman Sachs; critics who pivoted from reviewing shows to making them; and artists who converted studios to white cubes. These galleries bottle the energy of their distinct scenes and have founders ambitious enough to take their programs onto the global circuit.

The Americas

Mariane Ibrahim Gallery

Portrait of Mariane Ibrahim by Philip Newton. Courtesy of Mariane Ibrahim Gallery.

Founded in 2012 in Seattle by Mariane Ibrahim.

Data Point: Won the inaugural Presents Booth Prize at the 2017 Armory Show for a solo presentation of German-Ghanaian artist Zohra Opoku.

Mariane Ibrahim was raised in Somalia, and she’s used her connection to the continent to strengthen relationships with a crew of African artists who might not have received much exposure in the United States. While she’s brought Mariane Ibrahim Gallery to a number of fairs around the world—including ZONAMACO, Untitled San Francisco, and Frieze New York—she’s been based in Seattle, a city not particularly known for its African art scene. But earlier this year, Ibrahim announced she’d be making a move to Chicago, allowing her to insert herself into the city’s circuit of galleries.

Installation view of Mariane Ibrahim Gallery’s booth featuring Florine Démosthène at The Armory Show, 2019. Courtesy of Mariane Ibrahim Gallery.

What is the gallery’s overall mission?

The mission of Mariane Ibrahim Gallery is to gather a sustainable community of the best artists and audiences, and together, to fulfill creative ambitions of highest standards and longevity.

What are the biggest challenges to running an art gallery in your city or region?

To always be pushing boundaries, to never wait for validation, but instead, to reflect on global diversity and inclusion issues through art, vision, and contemplation.

How do you see your gallery changing over the next five years?

We chose Chicago for the opening of our new gallery in September. Chicago’s excellence, art culture, and creative community will have a great impact on the gallery.

Commonwealth and Council

Clockwise from left: Installation view of Alice Könitz, Los Angeles Museum of Art Display System #7, 2018. Photo by Ruben Diaz. Portrait of Young Chung, founder and co-owner, and Kibum Kim, co-owner. Photo by David Alekhuogie. Installation view of Yukako Ando, Open Fence, 2019. Courtesy of the artist. Photo by Ruben Diaz. All courtesy of Commonwealth and Council, Los Angeles.

Founded in 2010 in Los Angeles by Young Chung.

Data Point: Gala Porras-Kim, who has gone on to show her work at the Hammer Museum and the Whitney Museum of American Art, had a residency at the Koreatown space in 2010 when she was 26.

Gallery scenes have sprouted up in several parts of Los Angeles. Young Chung started Commonwealth and Council in his apartment in Koreatown—not a gallery hub exactly, but the place where he grew up. Eventually, the gallery moved to a proper space, on 7th Street in K-Town, but the name honors the original location, which sat at the corner of Commonwealth Avenue and Council Street.

What is the gallery’s mission?

Commonwealth and Council is committed to celebrating our manifold identities and experiences through the shared dialogue of art—championing practices by women, queer [people], people of color, and our ally artists to build counter-histories.

What are the biggest challenges to running an art gallery in your city or region?

Los Angeles is a sprawling patchwork city, which requires very deliberate effort from the art viewer to go visit galleries and see shows. We do not get the kind of passerby foot traffic that spaces in other more dense art capitals may get. This rhythm and texture of Los Angeles is integral to the DNA of the city’s art scene, with its intrepid spirit and slower engagement. Our history and program reflects this.

How do you see your gallery changing over the next five years?

We believe our community of artists will continue to expand beyond Los Angeles and that their projects may reach beyond the art world.

Proyectos Ultravioleta

From left: Exterior of Proyectos Ultravioleta, photo by Margo Porres; portrait of Stefan Benchoam by Alan Benchoam. Both courtesy of Proyectos Ultravioleta, Guatemala City.

Founded in 2009 in Guatemala City by Stefan Benchoam.

Data Point: The dealer makes up for his relatively remote location by doing multiple fairs per year, including Frieze New York and Liste in Basel.

In 2012, Guatemala City had no contemporary art museum to support young artists in Central America. Enter Stefan Benchoam, the founder of Proyectos Ultravioleta, and Jessica Kaire, a Guatemalan artist, who co-founded the city’s Nuevo Museo to fill that void. NuMu, as it’s known locally, is 8 feet tall, 6 feet wide, and shaped like an egg, because it used to be a shop where a guy sold eggs. Four people can stand in it at a time. Still, it’s had an outsized impact on the city, and in 2017, a replica of it was built at the Los Angeles County Museum of Art (LACMA).

Installation view of Naufus Ramírez-Figueroa, “El guardian del bosque (The Guardian of the Forrest)” at Proyectos Ultravioleta, 2018. Curated by Magali Arriola and co-presented by KADIST. Photo by Margo Porres. Courtesy of the artist, KADIST, and Proyectos Ultravioleta, Guatemala City.

What is the gallery’s overall mission?

To foster experimentation in the arts through ongoing collaborations with artists, practitioners, thinkers, and other galleries that engage with the natural, social, political, historical, and economic circumstances of Guatemala, while maintaining an international conversation.

What are the biggest challenges to running an art gallery in your city or region?

Although Guatemala has a very rich and effervescent cultural scene and art history, there has been a major void regarding structural support from the government or the private sector towards art and culture, with only a handful of contemporary art collectors at most.

Yet we have a fascinating millenary history that starts with the Mayan civilization, was severely aggravated through the Spanish Colony, and further exacerbated through the U.S.–led coup d’état of 1954, which resulted in a Civil War that took the lives of over 200,000 Guatemalans through murders and forced disappearances.

We find that our obligation and biggest challenge is to create a space for artists and thinkers to engage our context through their practices, while simultaneously generating an economy to help support and sustain their voices and livelihoods in the long term.

How do you see your gallery changing over the next five years?

As our artists grow and continue to push their practices and attain the international recognition that they rightly deserve, we intend to continue to be by their side, to be best able to support them and mature together.

Lulu

Clockwise from left: The facade of Lulu; portrait of Chris Sharp and Martin Soto Climent; installation view of Yuji Agematsu, “Mexico City: April 1 to 13, 2019,” at Lulu, 2019, photo by Ramiro Chaves, courtesy of the artist and Miguel Abreu Gallery, New York.

Founded in 2013 in Mexico City by Martin Soto Climent and Chris Sharp.

Data Point: Lulu will show in the inaugural edition of June in Basel, a new Art Basel satellite fair near the Messeplatz that features up-and-coming galleries from around the world.

Before it expanded in 2016, Lulu had just 100 square feet of space, but that didn’t stop it from hosting a biennial called “The Lulennial,” featuring artists Gabriel Arozco, Darren Bader, Martin Soto Climent, and Yoko Ono.

Installation view of Ambera Wellmann, “In medias res” at Lulu, Mexico City, 2019. Courtesy of the artist, Lulu, Mexico City, and KraupaTuskany Zeidler, Berlin. Photo by Ramiro Chaves.

What is the gallery’s mission?

Less a gallery than a hybrid project space—which is a curatorial platform with a self-sustaining commercial structure—Lulu is a monster which seeks to present both emerging and established artists who have had little or no exposure in Mexico and who, perhaps more importantly, think plastically.

What are the biggest challenges to running an art gallery in your city or region?

Getting people to come see the shows IRL and accessing local collectors.

How do you see your gallery changing over the next five years?

I hope that we can become better at what we do, which is to say, more precise and professional. Beyond our recently inaugurated collaboration La Maison de Rendez-Vous in Brussels, we have no intention of expanding.

Queer Thoughts

Clockwise from left: Portrait of Miguel Bendaña and Sam Lipp, founders and directors of Queer Thoughts, New York; Queer Thoughts exterior; installation view of Diamond Stingily, “Death,” 2019 at Queer Thoughts, New York. All courtesy of Queer Thoughts, New York.

Founded in 2012 in New York by Luis Miguel Bendaña and Sam Lipp.

Data Point: The one-time apartment gallery was an early supporter of Diamond Stingily, Donna Huanca, and Darja Bajagić.

At first, the artists Luis Miguel Bendaña and Sam Lipp had an approach to starting a gallery that was theoretical. Before there was a permanent space in New York, they held itinerant exhibitions in various places in Nicaragua, including at a waterfall in the mountains of Boaco. They participated in smaller fairs like Material in Mexico City and L.A.’s Paramount Ranch. But most of all, they were supporting artists they believed in when no one else would give them a platform—even if that platform was a Nicaraguan waterfall. Now, many of the artists in their stable have been co-signed by major European galleries, or shown in the Whitney Biennial—among them Diamond Stingily, Donna Huanca, Puppies Puppies, Martine Syms, and Darja Bajagić.

What is the gallery’s overall mission?

Queer Thoughts promotes a je ne sais quoi agenda.

What are the biggest challenges to running an art gallery in your city or region?

To develop an independent program.

How do you see your gallery changing over the next five years?

We will have a very expensive espresso machine.

Isla Flotante

From left: portrait of Leopol Mones; installation view of Ana Prata, “Sorte,” at Galería Isla Flotante, 2019. Both courtesy of Galería Isla Flotante.

Founded in 2014 in Buenos Aires by Leopol Jose Maria Mones Cazon.

Data Point: The gallery were included in a special sector at Frieze New York in 2019 curated by Patrick Charpenel and Susanna V. Temkin of El Museo del Barrio.

The young gallery Isla Flotante does not shy away from confronting Argentina’s problematic political realities. Opened by Leopol Jose Maria Mones Cazon in the La Boca neighborhood in 2014, the artists represented by the space are all young and make activist art. “We’re fond of political issues in Isla Flotante because we believe in politics as the strongest tool to bring equality and justice to our environment,” Cazon said in a video made by Art Basel on the occasion of the gallery’s inclusion in its Miami Beach fair in 2017—the gallery’s first U.S. fair.

What is the gallery’s overall mission?

We are a self-managed space, not as a last resource, but as a vindication of being an artist today.

What are the biggest challenges to running an art gallery in your city or region?

To still have fun while growing and making a living out of the project, and to keep the enthusiasm of running a business in such a turbulent context.

How do you see your gallery changing over the next five years?

Franchising the business in beautiful cities and little towns we love.

Ortuzar Projects

From left: portrait of Alex Ortuzar; installation view of “Michel Parmentier: Paintings and Works on Paper,” Ortuzar Projects, New York, 2018. Both courtesy of Ortuzar Projects.

Founded in 2018 in New York by Ales Ortuzar.

Data Point: The gallery’s inaugural show of works by Michel Parmentier completely sold out.

Over the past few years, Chelsea and Lower East Side galleries have made the move to Tribeca, turning the Lower Manhattan neighborhood into a veritable gallery hub. Founded in early 2018 on White Street, Ortuzar Projects was the brainchild of former David Zwirner director Ales Ortuzar, who left to start a by-appointment space and advisory firm in 2015 and then took the plunge with a 3,000-square-foot white cube. In addition to programming at the gallery, Ortuzar Projects had a booth at the Independent fair in March, and found a buyer for Gilles Aillaud’s Rhinoceros (1972). At $380,000, it was one of the priciest works sold during the fair’s run.

What is the gallery’s overall mission?

Ortuzar Projects is dedicated to promoting international artists that have played critical roles in the 20th- and 21st-century art-historical canon but have not received recent exposure in New York.

What are the biggest challenges to running an art gallery in your city or region?

There’s a belief in the art world that bigger is better, but we have deliberately worked against that idea, remaining focused on scholarship and excellence. We want to add value and expand the conversation, doing fewer shows a year, but making sure they contribute new ideas and are of the highest caliber.

How do you see your gallery changing over the next five years?

The biggest and most welcome surprise has been to discover that the gallery quickly found its audience—critically, curatorially, and commercially. This model has room to expand in multiple directions, and we plan to continue Ortuzar Projects beyond its original life cycle. The one thing that will remain steadfast is a commitment to the type of artists we show: artists who have had outsize influence on other artists, and whose work feels fresh and vital, whether it was made 50 years ago or yesterday.

Good Weather

Clockwise from left: Installation view of Jenny Gagalka, “racecar,” at Good Weather at Monaco, 2018; portrait of Haynes Riley; portrait of Erin Riley. All courtesy of Good Weather.

Founded in 2011 in Little Rock, Arkansas, by Haynes Riley.

Data Point: Participating in Liste for the first time this year.

Little Rock, Arkansas, doesn’t evoke visions of the glamorous international contemporary art market, but since opening Good Weather, founder Haynes Riley has managed to take the white cube he built in his parents’ garage on the road. He’s been showing at expos such as The Sunday Fair in London, Material in Mexico City, and NADA in Miami Beach. This week, Riley—who gets help from his siblings Zach, Erin, and Kelsey—has set up show at Liste in Basel, perhaps the world’s primo young art fair. But that doesn’t mean he’s turning his back on the local collector base. After all, Arkansas is home to Crystal Bridges, Alice Walton’s expansive museum complex in Bentonville.

What is the gallery’s mission?

The gallery was founded in order to initiate a contemporary art discourse in Arkansas.

What are the biggest challenges to running an art gallery in your region?

The biggest challenges are connecting with: 1) a collector base locally that understands and supports our mission; and 2) a supportive network of writers and critics that cover the exhibitions. We have recently seen the budding stages of this ecosystem, and are hopeful for that to grow.

How do you see your gallery changing over the next five years?

The commercial aspects of the gallery, seeded through an artist-run model the first five years, have grown significantly in the past three years. Our vision is to have a separate nonprofit entity (South Center Institute) operate in tandem with the commercial gallery. This building will house Good Weather’s exhibitions and focus on public programming and developing community-centered resources, including a research library, study table, and tea room.

Asia and the Middle East

Empty Gallery

Portrait of Stephen Cheng courtesy of Empty Gallery.

Founded in 2015 in Hong Kong by Stephen Cheng.

Data Point: The experimental gallery space started applying its installation eccentricities to fair booths when participating in The Armory Show in 2018.

The usual model for galleries is to build out a white cube, and that’s where the art goes. But Stephen Cheng of Empty Gallery in Hong Kong thought: What about a black cube? And so his 3,000-square-foot space in a high rise on the far side of the island is often lit as dark as a haunted house. But that doesn’t stop the shows from becoming some of the most-talked-about things on view during Art Basel in Hong Kong. The gallery also throws one of the fair’s most unforgettable parties.

Installation view of Cici Wu, Subtitle 01 (Justice and Hope), 2019, in “Unfinished Return” at Empty Gallery, 2019. Photo by Michael Yu. Courtesy of Empty Gallery.

What is the gallery’s overall mission?

Art is a transmission, not a transaction.

What are the biggest challenges to running an art gallery in your city or region?

The lack of an existing culture of engaging with contemporary art, which is great in a way because there is the opportunity for all of us involved in the arts to build it. But this takes a long time and it is a challenge, especially when there has been such a strong market for art in Hong Kong that has attracted blue-chip, multinational galleries to the city.

It can be hard to find a balance, and sometimes you wonder if art is being understood primarily as a luxury good. The lack of a critical youth to resist and challenge everything means that, so far, the story here is more of consumption rather than of a deeper, rooted, radical activity.

How do you see your gallery changing over the next five years?

I would like to open another space. I imagine something informal. Our first few years have really been about finding a groove and building a name for ourselves. I think there is room to expand the platform, not so much geographically, but in terms of how to open it up further.

Nova Contemporary

From left: portrait of Sutima Sucharitakul; installation view of Jedsada Tangtrakulwong, “The Uncertain,” at Nova Contemporary, 2019. Courtesy of Nova Contemporary.

Founded in 2016 in Bangkok by Sutima Sucharitakul.

Data Point: Turned a former storage space in an apartment into one of Bangkok’s most vibrant spaces.

By the time she decided to open a gallery in her native Bangkok, Sutima Sucharitakul was 27, and had spent most of the previous decade studying Asian art in London and New York. Her interest in Southeast Asia was rekindled by working as a curatorial associate on the Metropolitan Museum of Art’s groundbreaking show “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, Fifth to Eighth Century.” By the time she opened Nova Contemporary, the programming would be less 5th century and way more contemporary. Her shows have thrust some of the world’s most celebrated artists into the nascent Bangkok scene. She’s shown work by Rachel Rose, Luc Tuymans, and Lawrence Weiner.

What is the gallery’s overall mission?

To encourage exchange and the cross-pollination between artistic disciplines, the gallery focuses on multi-generational, local, and international artists.

What are the biggest challenges to running an art gallery in your city or region?

The biggest challenge of running an art gallery in Bangkok is that there are not enough collectors. It is very difficult when the number of contemporary art galleries is limited and without recognition from a respected institution. There are many good artists in our country, but with limited museums to showcase their work. Some topics and exhibitions are filtered to be suitable for the local audience due to our sensitive culture and law.

How do you see your gallery changing over the next five years?

I would like to show more Western art in Thailand and bring Southeast Asian art to the international art scene. This is an emerging market with respect to the art world, but many institutions and collectors are paying closer attention to our region.

Experimenter Gallery

Portrait of Prateek and Priyanka Raja courtesy of Experimenter.

Founded in 2009 in Kolkata by Prateek Raja and Priyanka Raja.

Data Point: Was accepted into Frieze London in 2010, one year after opening.

Married couple Prateek and Priyanka Raja both studied contemporary Asian art at Sotheby’s, and they opened Experimenter Gallery in Kolkata, hoping to provide local support for Indian artists. Two years after the gallery opened, the duo started the Experimenter Curators’ Hub, which has become one of Asia’s most important curatorial symposia. Last year’s participants included documenta 14’s director Adam Szymczyk and its curator at large, Bonaventure Soh Bejeng Ndikung.

Installation view of Julien Segard, “A Second Coming,” at Experimenter, 2019. Courtesy of Experimenter.

What is the gallery’s overall mission?

Focused, strong, and active programming that stands for the contemporary moment, truly representative and reflective of the political, social, and cultural fabric of the times we live in.

What are the biggest challenges to running an art gallery in your city or region?

Every art gallery needs to build a particular audience that in turn defines its own impact in the region and beyond. It is crucial that an adaptable, agile, and nuanced program is sustained.

How do you see your gallery changing over the next five years?

To be able to continue to do what we do as Experimenter, we see ourselves straddling several spheres simultaneously and collaboratively working with other relevant, key enablers in related fields. We envision the structural framework of the art world undergoing substantial fundamental changes on all fronts where partnerships across disciplines will be intertwined in a complex network of relationships opening up uncharted new frontiers.

Bank

From left: portrait of Mathieu Borysevicz; installation view of Zheng Haozhong, “TAKI,” at Bank, 2019. Both courtesy of Bank.

Founded in 2013 in Shanghai by Mathieu Borysevicz.

Data Point: The gallery was started as a commercial endeavor within MABSOCIETY, a curatorial enterprise.

The Shanghai-based gallery Bank has always been about subverting the central notions of the art market. It was housed in an actual bank, but showed daring, edgy contemporary artists—not the ones who would necessarily make bank. But after nearly three years in the Bank Union Building on the Bund, the People’s Republic evicted founder Mathieu Borysevicz, claiming he was violating a new policy that bans operating a private company on government-owned property. Borysevicz relocated and has given early solo shows to Hito Steyrel, Austin Lee, and Tianzhuo Chen.

What is the gallery’s overall mission?

To get our kicks before the whole shithouse goes up inflames.

What are the biggest challenges to running an art gallery in your city or region?

There are many challenges to living in Shanghai, never mind running a business here. I think all around the world, galleries are in the business of art education, but in China, this is further confounded by cultural differences, the country’s tumultuous history, and its current socio-political reality. Contemporary art is seen as an “imported” Western form, and connecting it to our visitors and clients’ broader social condition is one of our biggest challenges.

How do you see your gallery changing over the next five years?

We will be opening franchises in Doha, Brussels, Los Angeles, and Chiang Mai; adding a medley of global blue-chip artists to our roster as we territorialize the planet.

Capsule Shanghai

Portrait of Enrico Polato. Courtesy of Capsule Shanghai.

Founded in 2016 in Shanghai by Enrico Polato.

Data Point: Represents mostly emerging Chinese artists, but at Frieze New York in May, it showed cut-outs by the Brooklyn-based artist Sarah Faux.

The French Concession in Shanghai is a gorgeous, tree-lined neighborhood redolent of the city’s old Gallic overseers and teeming with charming coffee shops and bars, some hidden from plain sight. Among those secret little storefronts is Capsule Shanghai, a gallery opened by longtime Shanghai art-world denizen Enrico Polato in 2016. He’s the lodestar for the burgeoning gallery neighborhood, one that is scrappier than the classic art district on the Bund. He’s participated in fairs in Asia, and branched out this year by showing at Frieze New York.

Installation view of Leelee Chan, “Core Sample,” at Capsule Shanghai, 2019. Courtesy of Capsule Shanghai.

What is the gallery’s overall mission?

Discover and promote domestic and international artists in China who push boundaries for contemporary art of their time.

What are the biggest challenges to running an art gallery in your city or region?

Starting a gallery from scratch with a brand-new program has been a big risk to take. China has its own specificity—everything moves at a faster pace of change, and the notion of collecting in support to artists and galleries is relatively new compared to other regions. The ecosystem is also less developed. A new gallery needs to make a bigger effort to gain validation from the public, and I had to fast-forward the process by running a marathon-like number of shows last year, consolidating the partnership with my artists, and entering an international platform through participation in art fairs.

How do you see your gallery changing over the next five years?

I started with a long-term vision, and I hope that the core of my program will still be consistent with what it is now, and my artists will still be growing together with the gallery and becoming important players in a bigger scenario. I also hope to have a second branch or an additional project space abroad.

Edouard Malingue Gallery

Portrait of Lorraine and Edouard Malingue. Courtesy of Edouard Malingue Gallery.

Founded in 2010 in Hong Kong by Edouard Malingue and Lorraine Kiang Malingue.

Data point: Gallery artist Wong Ping currently has a show up at the Kunsthalle Basel, marking his first full institutional exhibition.

Unlike many contemporary art galleries, Edouard Malingue Gallery started out as Hong Kong’s first commercial space for Impressionist and modern art, and then spent years building out a roster of artists pulling it in a completely new direction. It’s evolved a lot from opening with 40 works by Pablo Picasso to having one of the region’s more robust contemporary programs. It now represents artists such as Samson Young, who wowed at the West Bund Art & Design fair in November 2018 with a show-stopping exhibition at the gallery’s Mainland annex.

What is the gallery’s overall mission?

Having a program of distinctive, engaging, and conceptually strong artists from Asia and abroad, and supporting impactful content that reflects the world we are in.

What are the biggest challenges to running an art gallery in your city or region?

We often face the limitation of space in Hong Kong. We try to take advantage of this shortcoming by doing projects beyond the gallery and in our Shanghai space.

How do you see your gallery changing over the next five years?

Our artists have grown and developed their careers rapidly in the last nine years, getting museum solo and group shows, and participating in biennials. They will continue to do so and be seen internationally even more frequently.

Antenna Space

From left: portrait of Simon Wang; installation view of Nancy Lupo, “No Country for Old Men,” at Antenna Space, 2018. Both courtesy of Antenna Space.

Founded in 2013 in Shanghai by Simon Wang.

Data Point: Has participated in Art Basel in Basel since 2017.

Simon Wang initially wanted to find a space where he could simply support local artists and give them a place to show new works. With the help of Shanghai’s influential collecting couple Kelly Ying and David Chau—the co-founders of the city’s ART021 fair—he got a space in M50, a massive former textile mill that has been a burgeoning arts district for over a decade. His artist roster ranges from Allison Katz and Nancy Lupo to Dora Budor—who has a solo show at Kunsthalle Basel to coincide with this week’s fair.

What is the gallery’s overall mission?

Antenna was opened to realize and materialize artists’ projects and thoughts from their ideas.

What are the biggest challenges to running an art gallery in your city or region?

To re-contextualize, really.

How do you see your gallery changing over the next five years?

Social media, too much noise, but good art will always stay.

Dastan Gallery

Clockwise from left: Installation view of Amin Akbari, “Unsafe Zone/Domestic Production” at Electric Room, 2018; portrait of Hormoz Hemmatian; installation view of “A Camp” at Dastan Gallery, 2017. All Courtesy of Dastan Gallery.

Founded in 2012 in Tehran by Hormoz Hematian.

Data Point: At a time when Iran’s galleries are struggling to survive, Dastan Gallery showed at Frieze New York last month.

It is not an easy time to have a gallery in Iran. Given the sanctions the U.S. has imposed on the country, it has been difficult for galleries such as Dastan Gallery to do business with collectors domestically. The lack of funds makes it difficult for any Iranian gallery to participate in art fairs, but in 2018, Dastan Gallery was the only representative from Iran at the Art Dubai fair. Despite the march toward recession, founder Hormoz Hematian is soldiering on, and ensuring that the Iranian artists he represents will still get the attention they deserve from global collectors.

Installation view of Shokoofeh Khoramroodi & Taba Fajrak , “Tales of Interdisciplinia: The Curious Company of a Very Long Tail,” at Dastan Gallery, 2019. Courtesy of Dastan Gallery.

What is the gallery’s overall mission?

Dastan features an extensive and multi-dimensional program, covering the full spectrum of Iranian contemporary and modern art.

What are the biggest challenges to running an art gallery in your city or region?

The main challenge we are facing as a gallery based in Tehran is a general lack of infrastructure regarding the production, exhibition, and acquisition of contemporary art. With the country’s current socio-political climate, both domestically and internationally, the galleries are also affected. These challenges present unique opportunities for us to take part in building a new future.

How do you see your gallery changing over the next five years?

We will move away from today’s constant challenge of overcoming obstacles and laying foundations and get to realize the full capabilities of the artistic practices and the Iranian art scene. Through the technological breakthroughs like blockchain, connectivity and collectivity will no longer be issues. We will be able to provide a platform where peer reviews and ease of access allow the artists to reach their global audience, free from the confines of borders and regulation. We are building our team and working hard to be prepared for when that day comes.

Carbon 12

Portrait of Kourosh Nouri and Nadine Knotzer courtesy of Carbon 12.

Founded in 2008 in Dubai by Kourosh Nouri and Nadine Knotzer.

Data Point: One of the few Middle Eastern galleries to vigorously participate in U.S. fairs. In the last year, it has shown at Expo Chicago, NADA Miami, the Dallas Art Fair, and at NADA House on Governor’s Island in New York.

Kourosh Nouri grew up in Iran dreaming of opening a gallery. In 2007, he and his wife, Nadine Knotzer, decided to open a space together. They put down roots in the U.A.E. and opened a gallery in Dubai in 2008. “There was back then a total absence of an international contemporary art program,” Nouri told Forbes. But the Alserkal Avenue location they picked soon became a hotbed of art market activity, and is now highlighted by the city’s Art Dubai fair. Carbon 12 has been the catalyst of that change, bringing international artists such as André Butzer, Michael Sailstorfer, and Philip Mueller to the Middle East.

What is the gallery’s overall mission?

The promotion of our represented artists’ practices at the highest professional level.

What are the biggest challenges to running an art gallery in your city or region?

The transient nature of the city and the geopolitical tensions in the region. It’s hard enough to be a contemporary gallery in an emerging market, these extra factors sometimes make it very challenging.

How do you see your gallery changing over the next five years?

Going forward is the most exciting thing. The change is the evolution of our represented artists’ practices.

Africa and Europe

Emalin

From left: View of Emalin’s exterior; portrait of Angelina Volk and Leopold Thun by Camilla Bach. Courtesy of Emalin.

Founded in 2016 in London by Leopold Thun and Angela Volk.

Data Point: Represents a mix of artists, ranging from young sculptor Athena Papadopoulos to the Craigslist obsessive Megan Plunkett, and 1980s performance artist Kembra Pfahler.

Angelina Volk and Leopold Thun started their gallery a week after graduating from a master’s program. The brick-and-mortar space in a former locksmith came after two years of the duo staging itinerant exhibitions while still in school. The experience allowed them to hit the ground running, showing at 20 fairs in the gallery’s first three years. They have proven that they have the drive to establish a presence on both sides of the Atlantic: Earlier this year, Emalin rented out a West Village gallery space in New York for a month and participated in Tribeca’s Independent fair.

Installation view of Augustas Serapinas, “Augustas Serapinas - February 13th,” at Emalin, 2019. Courtesy of the artist and Emalin, London. Photo by Plastiques.

What is the gallery’s overall mission?

Emalin provides a platform and support structure for a diverse and critical program, with a focus on community building around emerging multidisciplinary practices.

What are the biggest challenges to running an art gallery in your city or region?

Even though there are obvious challenges specific to London—rising rents, limited space, and political uncertainty around Brexit—London is an amazing place with a young and diverse collector base and an incredible network of artists, curators, and thinkers.

How do you see your gallery changing over the next five years?

Because the building currently housing the gallery in Shoreditch will be redeveloped, we will probably have relocated to a new space. We want to continue developing the programme and expand our team. This August, we are organizing a month-long events program with Alvaro Barrington. It would be amazing to make that kind of interdisciplinary public programming a permanent fixture at the gallery going forward.

Galerie Anne-Sarah Bénichou

Portrait of Anne-Sarah Bénichou by Jean Picon. Courtesy of Galerie Anne-Sarah Bénichou.

Founded in 2016 in Paris by Anne-Sarah Bénichou.

Data Point: Teamed up with a gallery in Istanbul, The Pill, for a two-person booth at Independent Brussels in November 2018.

Among the old-guard establishment galleries of Paris that dot the chic area of Saint-Germain-des-Prés is Galerie Natalie Seroussi, whose namesake has spent more than 30 years showing masters of 20th-century art, from Dada and Arte Povera to Pop and Surrealism. But after five years there, the gallery’s young director, Anne-Sarah Bénichou, decided to go her own way, opening a space in the Marais. Instead of focusing on Picabia or Dalí, Bénichou has built out an admirably eclectic group of artists to show at her space. On the roster is the young Algerian artist Massinissa Selmani; Marion Baruch, who was born in Romania in 1929; and Seton Smith, a photographer and sister to Kiki Smith.

Installation view of Decebal Scriba, “Passages” at Galerie Anne-Sarah Bénichou, Paris, 2019. Courtesy of the artist and Galerie Anne-Sarah Bénichou.

What is the gallery’s overall mission?

I think the principal mission of a gallery is to valorise, help, and allow artists to live from their art and to be recognized for the true value of their work.

What are the biggest challenges to running an art gallery in your city or region?

The biggest difficulty tied to our geographic zone probably comes from the fact that there is a large number of quality galleries in Paris. A new one opens and the number of collectors does not increase proportionally! It’s good for the vitality of the Parisian art scene, but it also makes for difficult competition.

How do you see your gallery changing over the next five years?

I’d like to maintain my way of working, with a real support for my artists, while also developing internationally. And especially discovering the great artists of tomorrow.

Société

From left: Portrait of Daniel Wichelhaus by Uli Holz; installation view of Kaspar Müller “Why always me?,” at Société, Berlin, 2019. Courtesy of the artist and Société.

Founded in 2010 in Berlin by Daniel Wichelhaus.

Data Point: Showing in Art Basel’s main Galleries sector for the first time this year.

At first, it seemed like purely a provocative stunt: At Frieze New York in 2016, the gallery Société had a solo booth by the artist Sean Raspet consisting of fridges filled with Soylent, which the dealers were giving out for free. But as is often the case with Société, there was more than met the eye. Raspet was hired by Soylent to create a new flavor that would be “abstract” in the way that his edible and smellable work usually is—making the meal replacement drink both the medium and message for the artist. Gallery founder Daniel Wichelhaus has built one of Berlin’s most exciting art spaces by pushing his artists to expand their platforms. His latest star is Lu Yang, the video artist whose crazed creations wowed at the Shanghai Biennale in 2018 and Art Basel in Hong Kong earlier this year.

What is the gallery’s overall mission?

Providing an infrastructure for exceptional artists to realize their vision.

What are the biggest challenges to running an art gallery in your city or region?

The food.

How do you see your gallery changing over the next five years?

The enterprise will get larger and even more exciting thanks to the exceptional artists and the exceptional team at Société in Berlin.

Addis Fine Art

Portrait of Mesai Haileleul and Rakeb Sile courtesy of Addis Fine Art.

Founded in 2016 in Addis Ababa, Ethiopia, by Mesai Haileleul and Rakeb Sile.

Data Point: The city’s first gallery to focus on Ethiopian art and its diaspora.

It took an art dealer in Los Angeles and a business consultant in London to create Ethiopia’s most exciting young gallery. After attending the 1-54 African Art Fair in London, Rakeb Sile wondered why there weren’t more Ethiopean artists who were globally known. She discovered Mesai Haileleul, a gallery owner who had been in L.A. for 30 years selling Ethiopean art, and had not returned to his home country in decades. Sile went to L.A. to find him and lured him back to Africa, convincing him to dive into the local art market. The two opened a gallery in Addis Ababa. and it quickly became the go-to place for Ethiopean art, especially after opening a sister space in London to connect the artists with collectors in European markets.

What is the gallery’s overall mission?

Our mission is to be the leading gallery facilitating critical engagement and championing fine art from the Horn of Africa and its diasporas.

What are the biggest challenges to running an art gallery in your city or region?

Running a gallery in Ethiopia has many logistical challenges! But the country is a goldmine for visual creative talent, both new and established. We feel it is important to be here on the ground, close to our artists, on the pulse of the city, and being part of the growing contemporary cultural scene.

How do you see your gallery changing over the next five years?

Our main space in Addis Ababa is the first international gallery in the country. We plan to expand the size of the gallery to present more important and exciting artists. Our international platform will move to London’s Cromwell Place in South Kensington, where we will focus on artists in the diaspora, and bringing the local and diaspora narratives together.

Blank Projects

From left: portrait of Jonathan Garnham courtesy of Blank Projects; installation view of Kyle Morland, “Kyle Morland,” at Blank Projects, Cape Town, 2018. Courtesy of Blank Projects.

Founded in 2012 in Cape Town by Jonathan Garnham.

Data point: Winner of The Armory Show’s 2018 Presents Booth Prize.

Jonathan Garnham is a Cape Town native, but he spent the last years of apartheid in Berlin, living as an artist as that city became one of the world’s most vibrant for galleries. When he returned to South Africa in 2005, he found the country’s art offerings lacking and opened a nonprofit space, christening it with an anything-goes name: Blank. In 2012, the space transitioned into a commercial gallery as Garnham began to represent artists from across the continent, and show their art at fairs around the world. He has since become a powerhouse dealer who shows talent from the entire African continent, not just artists from his country.

What is the gallery’s overall mission?

To support the artists we work with in presenting a compelling programme that furthers the discourse around contemporary art, both in South Africa and internationally.

What are the biggest challenges to running an art gallery in your city or region?

The relative lack of institutions and collectors in the region, and the distances we have to travel to present our program to different audiences.

How do you see your gallery changing over the next five years?

We have grown incredibly over the past five years, and I see us continuing that trajectory, growing with our artists and becoming better at what we do, while hopefully not losing our agility and ability to take risks.

Sweetwater

Portrait of Lucas Casso. Courtesy of Sweetwater.

Founded in 2018 in Berlin by Lucas Casso.

Data Point: Accepted to Liste less than five months after opening its first show.

Bankers have become art dealers before, but Lucas Casso may be the first dealer to leave Goldman Sachs in his twenties and open a contemporary art gallery in Berlin’s Kreuzberg neighborhood. His career change was far from rash, and his track record already proves it. In February, during Frieze Los Angeles, he rented a space steps away from LACMA and showed stellar works by the artists Friedemann Heckel and Luzie Meyer. He’s now showing at Liste with new work by Kayode Ojo, the first artist who inaugurated his gallery last year.

Installation view of Jesse Stecklow, “Ditto.” Photo by Graysc.de.Courtesy of Sweetwater.

What is the gallery’s overall mission?

I founded Sweetwater not with some grand overall mission, but because I wanted to show challenging conceptual work.

What are the biggest challenges to running an art gallery in your city or region?

It’s easy to find articles and interviews explaining that Berlin is no longer a great place for galleries because of rising costs, relative lack of local collectors, etc., but I disagree, or I wouldn’t have come here! The challenges that galleries in Berlin face are not so different from those in other major cities; regardless of where a gallery is located, creating a financially sustainable model and developing an extensive international network are imperative.

How do you see your gallery changing over the next five years?

I expect Sweetwater to grow and develop alongside and in collaboration with its artists. Developing a consistent and defined program in this way is a process that happens not just in a couple shows, but in a couple years. It is also important to export these ideas beyond the confines of the gallery in Berlin through off-site presentations in art fairs, gallery swaps, and other collaborative projects.

LambdaLambdaLambda

From left: Portrait of Katharina Schendl and Isabella Ritter by Tina Herzl; installation view of Hanne Lippard, “foul soul,” at LambdaLambdaLambda, 2019. Both courtesy of LambdaLambdaLambda.

Founded in 2015 in Pristina, Kosovo, by Katharina Schendl and Isabella Ritter.

Data Point: It’s the first contemporary art gallery in Kosovo.

The curators Katharina Schendl and Isabella Ritter were living in Vienna in 2012, but when Schendl went to Pristina, Kosovo, at the invitation of a local curator, she fell for the city. She eventually convinced Ritter to open a gallery there. In the years since LambdaLambdaLambda opened in 2015, its stature has only grown with appearances at fairs such as Liste and Material for several years running. The artist Seth Price suggested the gallery’s name. “In physics, the lambda is the sign for a frequency, which we liked,” Schendl told Artforum. “It’s also the name of the fraternity in Revenge of the Nerds?”

What is the gallery’s overall mission?

LambdaLambdaLambda’s mission is to develop a coherent and strong program to bring more visibility to the art scene of Kosovo and the overall region.

What are the biggest challenges to running an art gallery in your city or region?

The biggest challenge is definitely access and the lack of infrastructure, which we do not necessarily see as a disadvantage, rather an opportunity to think of alternative, non-hegemonic ways of doing things.

How do you see your gallery changing over the next five years?

We are working on further expanding our program to work with more artists from the wider region, and recently also started a space in Brussels with three other galleries (Lulu, Misako & Rosen, and Park View/Paul Soto) called La Maison de Rendez-Vous. We strongly believe in this type of collaboration, as well as its future.

Arcadia Missa

Portrait of Rózsa Farkas by Alice Neale. Courtesy of Arcadia Missa.

Founded in 2014 in London by Rózsa Farkas.

Data Point: Won the NADA Miami International Gallery Prize in 2018, allowing the gallery to show at the Miami Beach fair for free.

After a few years as a project space, Rózsa Farkas turned Arcadia Missa into a commercial gallery in 2014. The timing was fortuitous. That year, Amalia Ulman—an artist who overlapped with Farkas at Central Saint Martin and had her first show at Arcadia Missa—executed a groundbreaking performance that played out on Instagram. In 2016, it was included in a group show at the Tate Modern, marking one of the first times a work on social media was included in a show at a major institution. Since then, Farkas has developed a deep roster that includes Phoebe Collings-James, Hannah Black, and others.

Installation view of Melike Kara, “My beloved Wild Valley,” at Arcadia Missa. Photo by Ollie Hammick. Courtesy of the artist and Arcadia Missa, London.

What is the gallery’s overall mission?

I work with artists I consider to be making urgent and vital work.

What are the biggest challenges to running an art gallery in your city or region?

Money.

How do you see your gallery changing over the next five years?

I think we will slow down on fairs.

Bonny Poon

From left: Jacqueline Fraser, detail of The Making of Dressed to Kill 2019 (8), 2019. Courtesy of the artist. Photo by Romain Darnaud. Portrait of Nathaniel Monjaret and Bonny Poon by Mauricio Guillén. Both courtesy of Bonny Poon, Paris.

Founded in 2017 in Paris by Nathaniel Monjaret and Bonny Poon.

Data Point: Some of the unforgettable exhibition titles for past shows at the gallery include “Property Sex,” “Hip Young Gallery—A desire to participate, but at what personal cost?” and “Incest.”

The artists Bonny Poon and Nathaniel Monjaret had only been putting on shows for a year, at a by-appointment space in a high-rise building in the 13th arrondissement, when they went to install a booth at FIAC, the hometown fair. Instead of staying local, they displayed a collaboration between Franco Polish Black Jeans Porn Club, the collective associated with New York artists Ben Schumacher and Jim Joe, the latter of whom is the street artist known for writing his name on Lower East Side buildings. The collaboration turned out to be a showstopper, featuring a 2003 Volkswagen Jetta with Jim Joe graffiti that had been shipped to Paris on a boat and taken apart so it could be brought into the Grand Palais.

What is the gallery’s overall mission?

Destroy contemporary art as we know it. In the process, make money—for our artists to be happy to be artists and for us to be gallerists. Fair play is key.

What are the biggest challenges to running an art gallery in your city or region?

France. No comment.

How do you see your gallery changing over the next five years?

Bigger or over. Sadly, it’s not realistic to think otherwise in the current economy.

Galerie Maria Bernheim

Portrait of Maria Bernheim courtesy of Maria Bernheim.

Founded in 2015 in Zurich by Maria Bernheim.

Data Point: Before opening her gallery, Bernheim had been a director at Galerie Eva Presenhuber, and before that, she was head of publications for Galerie Gmurzynska.

If you want to open a gallery in Zurich, the smart location would be the Löwenbräukunst, a former brewery that houses the local branch of Hauser & Wirth, LUMA Westbau, Kunsthalle Zurich, the Migros Museum of Contemporary Art, and more. But Maria Bernheim opened her space across the street. The slight distance from the center of power suits her perfectly. She is focused on giving young Swiss artists their first shows, but also wants to exhibit bigger names like Mitchell Anderson and Jon Rafman.

Installation view of Denis Savary, “Swamp,” at Maria Bernheim, 2018. Courtesy of Maria Bernheim.

What is the gallery’s overall mission?

Supporting the best artists of my generation and building bridges.

What are the biggest challenges to running an art gallery in your city or region?

Opening up minds. The Swiss art scene is incredibly spoiled, with fantastic institutions accessible from all over the country, an extraordinary support system for artists and an incomparable collector base. It’s easy to stay within our borders. We try to bring exciting, unexpected points of view through new artists.

How do you see your gallery changing over the next five years?

Hopefully investing more into Zurich, with a larger space, hopefully a space in another location in the world, and hopefully more colleagues, so we can work with more artists that I admire. I think that there has been a great trend in rediscoveries, which was necessary to question the art historical canon, but it has also left less support for artists of my generation.

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