#claude de montesse

[whoishotteranimepolls]

"Who's Hotter? Pride Month Event: Canon Trans Characters

The requester provided additional info about the characters trans identity, which is below the cut

Kikunojo: Says she's a "woman at heart", which is a Japanese expression basically meaning she's a trans woman.

Kenji Hikiishi: Confirmed to be a trans woman.

Masaru "Chaplin" Sukegawa: A trans woman who started identifying and presenting femininely sometime before the start of the series. Is shown dealing with discrimination as a transgender inmate.

Aoi Futaba: A trans woman who started identifying and presenting femininely sometime before the start of the series. Repeatedly struggles to find a boyfriend who will accept her.

Nao: A trans woman who started identifying and presenting femininely sometime before the start of the series. Reveals this to the protagonist early in the story.

Claude de Montesse: The whole manga is about his life and struggles living as a trans man in early 20th century France.

[antynous]

I could never love any man but you anyways

[little-sw33tie]

AWAAAAAAAAAAA

[asachuu-et-cetera]

In honor of me somehow finding this manga at a local bookstore, to my extreme surprise.

I thought this artstyle would be somewhat easier to attempt than several others I’ve encountered already, mainly the hair, which…turned out to be the hardest part. Yet again, I was extremely wrong, but I hope my rendition is close enough.

[officialkaitov8]

Rip Claude you would’ve loved hrt

We lost a real one fr 😔

[transotd]

trans character of the day: claude de montesse from claudine…!

(he/him)

[transmascotd]

transmasc character of the day: claude de montesse from claudine…!

[wyrmghost]

Just read the very short manga from the 70’s called Claudine, about a trans man, Claude de montesse in the early 20th century, very good, very sad, surprisingly good representation despite it being a tragedy, but sadly the version I read refers to him solely with she/her pronouns despite being very clear and explicit with the fact he is a man.

Definitely recommend giving it a read

[anewgayeveryday]

Today’s LGBT+ Character is;

Claude de Montesse from Claudine by Riyoko Ikeda-Transgender Man

Species: Human

Requested by Anon

Status: Deceased

[canonlgbtcharacters]

The canon LGBT+ character of the day is

Claude de Montesse from Claudine…!, who is a trans man!

[fairy-islearchive]

Claude deserved so much better 😢

[thierrytillier-blog]

((( L'ESPRIT FRANÇAIS CONTRE-CULTURES, 1969-1989 ,,,

"L'esprit français, Contre-cultures 1969-1989"

De la Figuration Narrative à la violence graphique de Bazooka, des éditions Champ Libre à la création des radios libres, de Hara-Kiri à Bérurier Noir, cette exposition rend compte d’un « esprit français » critique, irrévérencieux et contestataire, en proposant une multitude de filiations et d’affinités. À travers une soixantaine d’artistes et plus de 700 oeuvres et documents, rassemblant à la fois journaux, tracts, affiches, extraits de films, de vidéos et d’émissions de télévision, l’exposition assume une forme de révision esthétique, en allant regarder vers d’autres “genres” de la création que ceux généralement mis en avant dans l’art contemporain. Elle est également l’occasion de présenter des pièces rarement montrées telles que des carnets du groupe Dziga Vertov (fondé par Jean-Luc Godard et Jean-Pierre Gorin), une sculpture monumentale de Raymonde Arcier ou les « livres d’école » d’Henri et Marinette Cueco ainsi que de passer commande d’œuvres inédites à Kiki Picasso (Il n’y a pas de raison de laisser le blanc, le bleu et le rouge à ces cons de français, 2016-2017), Jean-Jacques Lebel (L’Internationale Hallucinex, 1970-2017) et Claude Lévêque (Conte cruel de la jeunesse, 1987-2017).

Sexualités, militance, dandysme et violence opèrent comme des fils rouges dans l’exposition qui s’organise en chapitres notamment consacrés aux contre-éducations, au sabotage de l’identité nationale, mais aussi à l’influence du Marquis de Sade sur certaines pratiques radicales. Les modes de production et de diffusion alternatives dans la presse et les médias, en même temps que la persistance d’une violence contestataire et sa répression tout aussi brutale, construisent aussi un paysage social qui s’assombrit, sur fond de crise, d’émergence du chômage de masse, de ségrégation et d’une banlieue trop froide ou trop chaude qui catalyse les malaises.

En France, de la contre-culture à la sous-culture, il n’y a qu’un pas. Beaucoup parmi les artistes montrés, ont d’ailleurs fait le choix volontaire et manifeste de ne pas aller vers l’art, tout en restant à côté, parfois tout proche, comme pour y puiser sans en subir les prescriptions. D’autres, à l’intérieur même de ce champ, sont restés fidèles, à des manières qui ne se faisaient pas : figuration, caricature, ethnographie, militance politique. Autant de dissidences esthétiques qui sont des formes de résistance à un ordre formel des choses et qui viennent redonner de la diversité à une histoire de l’art français un peu monochrome. À travers la convocation d’idées et de pratiques singulières, qui furent un temps marginalisées, il s’agit, sans nostalgie, d’éclairer des mutations culturelles mais aussi de réactiver certaines énergies au présent.

Artistes et auteur.e.s de l'exposition

Djouhra Abouda et Alain Bonnamy, Olivier Agid, Émile Aillaud, Gilles Aillaud, Malek Alloula, Raymonde Arcier, Adolfo Arrietta, Jean Aubert, Jean-Christophe Averty, Igor Barrère, Cathy Bernheim, Bérurier Noir et Laul, Alain Bizos, Julien Blaine, Bertrand Blier, Jean-Pierre Bouyxou et Raphaël Marongiu, Régis Cany, Claude Caroly, Henri Cartier-Bresson, Jules Celma, Olivia Télé Clavel, Nicole Claveloux, Collectif Eugène Varlin et Jacques Kebadian, le Collectif Mohammed, Coluche, la Coopérative des Malassis (Bernard Alleaume, Henri Cueco, Jean-Claude Latil, Mikaëloff, Martin Parré, Gérard Tisserand), Copi, Jean-Louis Costes, Alfred Courmes, Jean Criton, Marinette Cueco, Jorge Damonte, Pierre Desproges, Elles Sont De Sortie (Pascal Doury et Bruno Richard), Catherine Faux, Dan & Guy Ferdinande, Lucien Fleury, Marie France, Bernard Froidefond (Lastar Crémière), Dominique Fury, Serge Gainsbourg, Jean-Pierre Gallèpe, Jean-François Gallotte et Joëlle Malberg, Gébé, Michel Giniès, le Groupe Dziga Vertov (Jean-Luc Godard et Jean-Pierre Gorin), Daniele Huillet et Jean-Marie Straub, Les Insoumuses (Nadja Ringart, Carole Roussopoulos, Delphine Seyrig et Ioana Wieder), Françoise Janicot et Bernard Heidsieck, Michel Journiac, Jean-Paul Jungmann, Peter Klasen, Pierre Klossowski, Eustachy Kossakowski, Arnaud Labelle-Rojoux, Claude Lalanne, Lulu Larsen, Alain Le Saux, Jean-Jacques Lebel, Jean-Patrick Lebel, Claude Lévêque, Lea Lublin, Annette Messager, Pierre Molinier, Jacques Monory, Chantal Montellier, Alain Montesse, Philippe Morillon, Didier Moulinier, Edgard Naccache, ORLAN, Frédéric Pardo, Michel Parmentier, Kiki Picasso, Loulou Picasso, Pierre et Gilles, Daniel Pommereulle, Professeur Choron, Jean-Marc Reiser, Michel Saloff-Coste, Siné, Romain Slocombe, Lionel Soukaz, Lucien Suel, T5Dur, Thierry Tillier, Roland Topor, Jean-Marc Toulassi, Clovis Trouille, le Groupe Utopie, Paul Vecchiali, Bernard Vidal, Georges Wolinski, Henri Xhonneux, Jean Yanne, Rocking Yaset, Pierre Zucca.

[antynous]

Claude and Rosemarie

[little-sw33tie]

Redrew a page from Ikeda Riyoko’s manfa Claudine!!! I love this manga so much, Claude is the beloved ever<3

Original page under the cut!

[dillinger]

L’esprit français Countercultures

La maison rouge presents L’Esprit français, Countercultures, 1969-1989, a thematic group exhibition by curators Guillaume Désanges and François Piron. From Narrative Figuration to the hardcore graphics of Bazooka, from Les Editions Champ Libre to the first «radios libres» (a form of pirate radio), from Hara-Kiri to Bérurier Noir, the exhibition looks at the formation of a critical, irreverent, dissenting «French spirit» by proposing a multitude of crossovers and affinities. 

Through some sixty artists and over seven hundred works and documents, spanning newspapers, flyers, posters, and extracts from films, videos and television shows, it purposely looks to other creative «genres» than those generally in the spotlight of contemporary art. It is an opportunity to show rarely-seen pieces, such as notebooks from the Dziga Vertov Group (formed by Jean-Luc Godard and Jean-Pierre Gorin), a monumental sculpture by Raymonde Arcier, and Henri and Marinette Cueco’s «school books», and to commission original works from Kiki Picasso (Il n’y a pas de raison de laisser le blanc, le bleu et le rouge à ces cons de français, 2016-2017), Jean-Jacques Lebel (L’Internationale Hallucinex, 1970-2017) and Claude Lévêque (Conte cruel de la jeunesse, 1987-2017). France as a country doesn’t like itself, yet invariably sees itself at the centre of a self-reflexive, selfcelebrating cultural model. A generation was shaped by the ideas thrown into the ring by May ‘68, which advocated every kind of freedom - political, social, aesthetic, freedom to live as one pleased; meanwhile, the country remained in what amounted to a political status quo. This situation would have a lasting impact on different countercultures, liberation movements or protest movements and, without realising, give rise to new forms of avant-gardism whereby popular culture such as film, rock music, comics, journalism, television and graffiti influenced the more traditional cultural productions of literature, philosophy, contemporary art and the theatre. They produced an indefinable nebula of autonomous practices that came and went between these different fields, demonstrating a singular «French spirit» made up of idealism and nihilism, caustic humour and eroticism, darkness and hedonism. A distinct brand of humour appeared to permeate the fringes of French society, from the emergence of a «youth movement» - irreverent, arrogant and politically ambiguous, one that grew up in the shadows of Guy Debord’s «society of the spectacle» - to the crisis that monopolised political thinking from Giscard to Mitterrand. Working within this diachronic («the French spirit») and synchronic (1969-1989) framework, the exhibition seeks to pinpoint an impossible identity by exploring its cultural backroads and alternative branches (from which, paradoxically, an excellence recognised beyond French borders grew). Emphasis is therefore on deviant figures, anti-heroes and creators from outside accepted history, because they were either too marginal or too mainstream. 

Themes of sexualities, militancy, dandyism and violence run through the exhibition, which is structured as chapters. The focus of these chapters includes alternative education and sabotage of the French identity, but also the influence of Marquis de Sade on certain radical practices. Alternative means of production and diffusion in the media and the press, ongoing protestatory violence and its equally brutal repression contributed to a darkening social landscape against a backdrop of crisis, growing mass unemployment, segregation, and the soulless, tightlywound housing projects that became a catalyst for social malaise. This original and subjective mapping of very different personalities takes in every type of creative expression - plastic arts (Lea Lublin, Pierre Molinier, Pierre Klossowski, Michel Journiac, Claude Lévêque, Daniel Pommereulle, Jacques Monory, Françoise Janicot…), comics and illustration (Roland Topor, Olivia Clavel, Kiki Picasso, Pascal Doury…), literature and thinking (Félix Guattari, Guy Hocquenghem…), music (Marie-France, Serge Gainsbourg, Bérurier Noir…), theatre (Copi, Jean-Louis Costes…), film and video (Carole Roussopoulos, Jean-Claude Averty, Paul Vecchiali, Jean-Pierre Bouyxou…) - and also explores important sites such as La Borde psychiatric clinic, La Grande Borne housing projects, Les Halles shopping mall and the Palace nightclub. In France, it’s just a short step from counterculture to subculture, and many of the artists shown deliberately and openly chose not to go towards art but nonetheless stayed close, sometimes very close, as though to tap into it without having to conform to it. Others, within this field, never strayed from ways that «weren’t the done thing»: figuration, caricature, ethnography, political militancy. These aesthetic dissidences are all forms of resistance to a formal order of things, and which restore diversity to a rather colourless history of French art. The purpose of this invocation of once marginalised ideas and practices is to shed a non-nostalgic light on cultural mutations, but also bring a certain form of energy back to life. 

Chapters in the exhibition: Fire away!, Forbidden/ Tolerated, Good Sex Illustrated, Sentimental Sordid, Dancing on Ruins, Diagonal Parallels, Cold Cuts, Inner Violence.

Artists of the exhibition

Djouhra Abouda et Alain Bonnamy, Olivier Agid, Émile Aillaud, Gilles Aillaud, Malek Alloula, Raymonde Arcier, Adolfo Arrietta, Jean Aubert, Jean-Christophe Averty, Igor Barrère, Cathy Bernheim, Bérurier Noir et Laul, Alain Bizos, Julien Blaine, Bertrand Blier, Jean-Pierre Bouyxou et Raphaël Marongiu, Régis Cany, Claude Caroly, Henri Cartier-Bresson, Jules Celma, Olivia Télé Clavel, Nicole Claveloux, Collectif Eugène Varlin et Jacques Kebadian, le Collectif Mohammed, Coluche, la Coopérative des Malassis (Henri Cueco, Lucien Fleury, Jean-Claude Latil, Michel Parré, Gérard Tisserand, Christian Zeimert), Copi, Jean-Louis Costes, Alfred Courmes, Jean Criton, Marinette Cueco, Jorge Damonte, Jacqueline Dauriac, Pierre Desproges, Elles Sont De Sortie (Pascal Doury et Bruno Richard), Catherine Faux, Dan & Guy Ferdinande, Lucien Fleury, Marie France, Bernard Froidefond (Lastar Crémière), Dominique Fury, Serge Gainsbourg, Jean-Pierre Gallèpe, Jean-François Gallotte et Joëlle Malberg, Gébé, Michel Giniès, le Groupe Dziga Vertov (Jean-Luc Godard et Jean-Pierre Gorin), Daniele Huillet et Jean-Marie Straub, Les Insoumuses (Nadja Ringart, Carole Roussopoulos, Delphine Seyrig et Ioana Wieder), Françoise Janicot et Bernard Heidsieck, Michel Journiac, Jean-Paul Jungmann, Peter Klasen, Pierre Klossowski, Eustachy Kossakowski, Arnaud Labelle-Rojoux, Claude Lalanne, Lulu Larsen, Alain Le Saux, Jean-Jacques Lebel, Jean-Patrick Lebel, Claude Lévêque, Lea Lublin, Annette Messager, Pierre Molinier, Jacques Monory, Chantal Montellier, Alain Montesse, Philippe Morillon, Didier Moulinier, Edgard Naccache, ORLAN, Frédéric Pardo, Michel Parmentier, Kiki Picasso, Loulou Picasso, Pierre et Gilles, Daniel Pommereulle, Professeur Choron, Reiser, Michel Saloff-Coste, Siné, Romain Slocombe, Lionel Soukaz, Lucien Suel, T5Dur, Thierry Tillier, Roland Topor, Jean-Marc Toulassi, Clovis Trouille, le Groupe Utopie, Paul Vecchiali, Bernard Vidal, Georges Wolinski, Henri Xhonneux, Jean Yanne, Rocking Yaset, Pierre Zucca.

exhibition : February, 24 - May, 21 2017

http://lamaisonrouge.org/en/la-maison-rouge/

[nofomoartworld]

Hyperallergic: Surveying 20 Years of French Counterculture, Sans Punk Rebellion

Philippe Morillon, “Members of the Gazolines group in front of the shop Pendora de Luxe in the Halles” (1975) (image © Philippe Morillon)

PARIS — Before filter bubbles, there were countercultures: self-selecting groups that did not give a shit about what other people liked or wanted. Recently a plethora of reflective countercultural revivals have been blooming in Paris, evidenced by the proclivity of archival-based shows centering around the 1970s and 1980s. Undoubtedly these long looks back provide a supportive locus to keep one foot in as we step into areas of unknown protestation in our troubled times. It’s almost as if there has been some cultural algorithm working away behind the cerebral scene, enabling museum content providers to know exactly what angry people with free time prefer to see in wake of the escalation of worldwide right-wing wingnuts.

The latest misty-eyed effort is Guillaume Désanges and François Piron’s display of 700 pieces of punk and post-punk art and ephemera, L’Esprit français, Countercultures, 1969–1989, which is jarring the house at Antoine de Galbert’s La Maison Rouge. In its radical commitments and rebellious spirit, the show easily dovetails with Soulèvements, which was at the Jeu de Paume last fall, in its fringe consortium, with Beat Generation at the Centre Pompidou, in its dependence on period-piece presentation, L’Esprit français with The Velvet Underground: New York Extravaganza, which was at the Philharmonie de Paris last summer, and to the archival Europunk (1976–1980), which took place at Cité de la Musique a few years ago.

Alfred Courmes, “The intervention of the army is requested” (1969) (image © Musée d’Art Moderne de la Ville de Paris / ADAGP, Paris 2017)

Pierre Molinier, “Self-portrait” (1968) (all photos by the author for Hyperallergic unless noted)

Bérurier noir, “Macadam Massacre” (1984), vinyl record cover)

Alas, L’Esprit français is not only the latest to appear in this march of insurgence, but also the least. To be frank, it struck me as listless. I felt as listless there as I do when listening to a ’70–’80s new wave–themed mixtape. I know I am supposed to feel something savagely biting, but age has given a lame tragicomic ring to it all. In our age of imprudent Trumpism, this astute nasty display felt like dainty relics mislaid: pearls cast before swine.

Obligatorily, sex, violence, and death are the main “inspirational” themes in this show, hurled in revolt against conservative culture and hippie pot, peace, love, and understanding. As such, L’Esprit français consumed me with feelings of uneasy nostalgia mixed with ennui for a perplexing “no future” time when nihilism mixed easily with hedonism.

L’Esprit français, Countercultures, 1969–1989, installation view

L’Esprit français, Countercultures, 1969–1989, installation view

Of course, the threats in France posed by Marine Le Pen and all reactionary politics are serious, so any additional engaged material in the skirmishing culture wars is welcome. But although there were a handful of notable exceptions, what bored me about this show of far-flung disconsolate ephemera was the lack of impact that powerful art delivers. There is very little here that was ambitiously dense, intellectually rigorous, or in any way monumental. Rather, there are a lot of gestures toward outrage, mockery, self-mockery, self-loathing, and cultural image–hijacking that, despite the gleeful, stupid exuberance, provide few moments of critical transcendent emancipation.

Jorge Damonte, “Copi posing for one of his roles in the play Le Frigo” (1983) (image courtesy Lola Mitchell)

The Narrative Figuration paintings, hardcore graphics (like Bazooka), the studies for Les Editions Champ Libre or Hara-Kiri (the precursor to Charlie Hebdo), punk band Bérurier Noir’s documentary material and knowing nodes at Fabrice Emaer’s club Le Palace — it all reeks of mock-subversive doom-and-gloom. Everything is drab and rather exhausting as these florid documents struggle hard to communicate what turgid “punk aggression” was about. There are newspapers, flyers, posters, and extracts from films, videos, and television, along with rarely seen notebooks from the Dziga Vertov Group formed by Jean-Luc Godard and Jean-Pierre Gorin, as well as Henri and Marinette Cueco’s School Book. The yellow paper and the crumbly quality of much on view added to my sense of wandering among relics of a lost civilization.

After passing through a hallway containing an illustrated timeline, the first persuasive work encountered is Alain Montesse’s punky noise film Les Situs heureux (Happy Situs, 1970–78), a 10-minute extract taken from the larger full 52-minute film of anti-situationist decomposition. It is quite good. Almost all the scratchy beauté sombre images depict devaluation of place and image. Dark, decadent semblances are superimposed, removed from their original situational context and meaning. It should come as no surprise then that Roland Barthes is quoted in the film, but concealed. Turned upside-down.

Alain Montesse, “Les Situs heureux” (1970–78), still image from 52-min film

Coopérative des Malassis, “Detail of Who kills? the affair Gabrielle Russier, “The true story of a young woman, of her love story, of her death” under-titled” (1970) (image © Musée des Beaux-Arts de Dole / Photo Claude-Henri Bernardot)

Another highlight is Coopérative des Malassis’s new-wave painting “Detail of Who Kills? The Gabrielle Russier Affair: The True Story of a Young Woman, of Her Love Story, of Her Death” (1970), part of a large body of political and figurative paintings produced by six painters working collectively — Henri Cueco, Lucien Fleury, Jean-Claude Latil, Michel Parré, Gérard Tisserand, and Christian Zeimert — between 1968 and 1981. And another work of panache is the painting by master of Surrealist irony Alfred Courmes, “The Intervention of the Army is Requested” (1969). In his heyday, Courmes’s provocative painted fantasies earned him the nickname “The Angel of Bad Taste.” Along those same bad/good lines, there is a tremendous balls-out Pierre Klossowski drawing called “L’hermaphrodite souverain” (1972) hung near Pierre Molinier’s autoerotic masterpiece “Self-portrait” (1968). Another marvel was the bountifully decadent drawing by Elles Sont De Sortie (Bruno Richard and Pascal Doury) of a huge sloppy orgy, “Aventure Vacances Loisirs” (1978). Richard and Doury created together the graphic journal Elles Sont De Sortie in 1977, the year punk really exploded in Paris.

Elles Sont De Sortie (Bruno Richard & Pascal Doury), “Aventure Vacances Loisirs (1978), ink, detail (collection Chantal Aladenize, Paris)

Jacques Monory “Antoine n° 6” (1973) (image © Jacques Monory / ADAGP, Paris 2017)

Only a bit less interesting were Jacques Monory’s painting “Antoine n° 6” (1973), Annette Messager’s photo installation “Les Hommes-femmes et les Femmes-hommes” (1972), and Philippe Morillon’s stark photo “Edwidge à la corde” (1977), which shows a chic and sultry Parisian punk woman who lived in my building on Ludlow Street during the height of the Downtown scene in New York: chanteuse Edwige Belmore. Belmore, a rather charismatic butch-femme, had moved to Manhattan and begun living on the edge of self-destruction during what is widely celebrated as one of New York’s most radically creative periods — before AIDS, drugs, and gentrification shattered and scattered the scene. This punk-elegant photograph was painfully beautiful for me to see, reminding me once again that New York’s Downtown scene was very connected to European immigrants during a specific sociopolitical time of apocalyptic expectations, a factor that helped shape quite a few prodigious punks in both America and France. With the fall of the Berlin Wall, that sordid bubble burst and much of the countercultural spirit drained away.

Philippe Morillon “Edwidge à la corde” (1977)

So even as L’Esprit français struck me as a moderately melancholy march down memory lane, the listlessness produced a reminder that countercultural moments serve best as guides for how to squat and hold on to an unknown future: by keeping one black eye on contrarian precedents and the other on precarious present moments.

Annette Messager “Les Hommes-femmes et les Femmes-hommes” (1972), installation view

Bazooka Production, Bazooka n° 1, Paris, Éditions Bazooka, 1975

Pierre Klossowski, “L”hermaphrodite souverain” (1972)

L’Esprit français, Countercultures, 1969–1989 continues at La Maison Rouge (10 bd de la bastille, Paris) through May 21.

The post Surveying 20 Years of French Counterculture, Sans Punk Rebellion appeared first on Hyperallergic.

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