#contes de fees

[krsonmar]

For those asking for a full version translated to English, this one in an anthology of fairy tales translated from French might or might not be the exact, correct one (I haven't read the whole thing yet) but it is roughly 100 pages long and has de Villaneuve's name on it. Scroll down to the Table of Contents and then you can hop right to the story from there. It is 100% free because public domain and also because, as always, PROJECT GUTENBERG AND INTERNET ARCHIVE FTW!!!

What we really need is an adaptation of the original 1740 The Beauty and the Beast

So were you aware that the The Beauty and the Beast story we all know is a heavily abridged and rewritten version of a much longer novella by Gabrielle-Suzanne Barbot de Villeneuve?  And that a lot of the plot holes existing in the current versions exist because the 1756 rewrite cut out the second half of the novella, which consisted entirely of the elaborate backstory that explains all the weird shit that happened before?  And that the elaborate backstory is presented in a way that’s kind of boring because the novel had only just been invented in 1740 and no one knew how they worked yet, but contains a bazillion awesome ideas that beg for a modern retelling?  And that you are probably not aware that the modern world needs this story like air but the modern world absolutely needs this story like air?  Allow me to explain:

The totally awesome elaborate backstory that explains Beauty and the Beast

Once upon a time there was a king, a queen, and their only son

But while the prince was still in his infancy, in a neat reversal of how these fairy tales usually go, the king tragically died, leaving his wife to act as Regent until their son reaches maturity

Unfortunately, the rulers of all the lands surrounding them go, “Hmm, the kingdom is ruled by a woman now, it must be weak, time for an invasion!”

And the Queen goes, “Well, if I let some general fight all these battles for me, he’ll totally amass enough fame and power to make a bid for the throne; if I want to protect my son’s crown, I have no choice but to take up arms and lead the troops myself!”

(Btw, I want to stress that this woman is not Eowyn or Boudica and nothing in the way her story is presented suggests that she had any interest martial exploits before or in any way came to enjoy them during these battles.  This is a perfectly ordinary court lady who would much rather be embroidering altar covers for the royal chapel and playing with her child until necessity made her go, “Oh no, this sucks, I guess I have to become a Warrior Queen now” and she just happened to kick ass at it anyway.)

And the Queen totally kicked ass, but the whole “twice as good for half the credit” thing meant that no matter how many battles she won, potential enemies refused to take her and her army seriously until she had defeated them so no sooner would she fend off one invasion than another one would pop up on a different border.

So she spent the majority of her young son’s life away from the castle leading armies, but it was OK because she left him in the care of her two best friends, who just happen to be fairies!  This was an awesome idea because a) fairies have magic, and therefore are like the best people to protect the prince from any threats and b) fairies consider themselves to be so above humanity that the lowest fairy outranks the highest mortal, so they’d have no interest in taking a human throne.  Good thing they were both good fairies instead of one good and one evil one!

(Spoiler:  they were not both good fairies.)

So the two fairies basically take turns raising the prince until he’s old enough to rule.  And on the eve of his twenty-first birthday, the evil older one comes into the prince’s bedroom.

“So listen, kid.  You’re about to become king, your mother’s on her way home from the war to see you crowned, and I have a third piece of good news for you!  You see, I’ve actually been spending so much time here lately because Fairyland’s become a bit too hot to hold me for reasons totally not related to me being secretly evil.  And if I have to hang in the human world, I might as well reside in the upper echelons of it, so even though as a powerful fairy I completely eclipse your puny human status in a staggeringly unimaginable way, since you’re about to be king and since my premonition that I should stick this whole guardianship thing out because you would be hot one day has totally proved accurate (go me), I will graciously lower myself to allowing you to marry me.  Please feel free to grovel at my feet in gratitude.  (Btw, we can totally start the wedding night now, we’ll tell your mother about it when she arrives tomorrow.)”

Keep reading

[keffirinne]

Inktober day 31 - landmark

Reference

[2t2r]

Le château de Neuschwanstein , un château de conte de fée pour de vrai

Nouvel article publié sur https://www.2tout2rien.fr/le-chateau-de-neuschwanstein-un-chateau-de-conte-de-fee-pour-de-vrai/

Le château de Neuschwanstein , un château de conte de fée pour de vrai

[jd-loves-fiction]

hello hello i’m sneaking in for the Contes De Fees~ maybe i have Malleus, with aftercare from their first time? can be nsfw or just fluff, your choice~

💐Surprised Malleus didnt get like... all the requests 😅 Here's something cute for ya :) turned out a little short tho

❧ Hold me in return

❧ Malleus leans over you, panting as harshly as you do – pride swells within you at the thought that could affect such a being in the same way he does you.

His hot breath fans over the side of your neck, his long hair tickling your skin as you relax, letting go of your tight grip on his cape upon which you lay.

The sky is dark as his hair, stars as bright as his eyes which watch you silently as you gather your thoughts. The moment is broken when you shift and feel the evidence of your coupling, as he called it, sliding down your thighs. Suddenly, everything is sticky, gross and just too much.

Your disgust must show on your face because without a moment’s hesitation, Malleus scoops you up, hands under your knees and back, and cradles you to his broad, milky chest, “Mal–”

“I believe cleaning up is required after such… activities.” The hesitation in his voice comes from a place of amused mocking, not shyness, as is the fae way. You nod wordlessly, too tired to produce one of the reactions he delights in seeing.

He carries you with all the grace of a prince, arms strong around your weakened body, despite how weak he'd turned when leaned over you just a few minutes ago.

The lake you'd laid by shines with the light of the moon and stars, utterly unreal in its visage, were you not in the arms of a fae prince at this very moment. He steps into the water elegantly, lowering the both of you down into the cool waters together. You shiver slightly at the temperature and he clutches you closer in response, though the view around you is simply otherworldly, his eyes do not stray from you.

You help bathe each other in peaceful silence, observing one another now that the high has faded. Malleus sits back against the lake's edge once he feels your body grow lax and your eyes grow heavy, pulling you to his chest while delicately brushing your hair back from your face.

For a man so imposing, a man to whom nature itself bows down, he's as gentle as can be with you – aware of your human fragility.

Perhaps it is not such an odd thing, his gentle protectiveness, given his true inner nature. He just needed someone who'd hold him in return and never let go.

[xphaiea]

from Contes De Fees, 1908.

[belladevnirfou]

Un vrai conte de fées, cette fois, promijuré !

D’ailleurs il y a des fées dedans

Trois

Pas très futes-futes, mais bon...

La vie de notre héros s’en trouve quand même toute transformée

Humour saupoudré de cochonneries

C’est ma nouvelle petite histoire en lecture libre

https://www.atramenta.net/lire/la-fee-du-rubiks-cube/98826

💋

[francepittoresque]

TRADITION | Éloge des contes de fées, miroirs de l’âme humaine ➽ http://bit.ly/Contes-Fees Aucune littérature ne possède de plus beaux contes de fées que la littérature française, à commencer par ceux de Perrault, dont l’académicien Charles Nodier disait qu’ils étaient le chef-d’oeuvre du siècle des chefs-d’oeuvre et que Bonaparte avait appris par coeur pour occuper l’ennui du siège de Toulon, le général devenu empereur récitant plus tard à Joséphine d’un bout à l’autre le "Petit Poucet" ou le "Chat botté"

[emjee]

wait say more about 1600s france though

Well when it comes to The Modern Fairies I am not surprised about the internalized homophobia and the role of the Church because 1600s France was still reeling from My God Just So Many Wars of Religion; Christianity (and in this case Roman Catholicism because all the characters are at court and upper class) had a really strong influence on social mores and life!

As it happens I actually don't know a ton about the prevalence and toleration of homosexual behavior in 1600s France so there's my next rabbit hole I guess, but as a modern reader I simply would not read a historical novel set in the seventeenth century and go "wow I wonder why that woman feels bad about kissing this other woman at a party; love is love."

When it comes to Marie-Catherine d'Aulnoy and the other ladies who came to her salons though--basically they were these high born ladies. some of whom (like d'Aulnoy) were in horrid marriages, and they would write literary compositions and read them to each other at these salons and then critique them, and they used the literary form they were refining (contes des fees--which we translate directly into English as "fairy tale") to comment on their social situations. This turned into a whole network of women writing and commenting on each other's literary work, and they took each other seriously when few other people would. Charles Perrault was a contemporary of these women and he's much better known today but I think they're far more interesting.

It is late where I am and I am sleeby and thus worried I'm not doing a great job of explaining but here is a great little write up from giant of the fairy tale scholarly field Jack Zipes about d'Aulnoy. I'd recommend looking up her story The Island of Happiness to get a feel for the sort of thing she was writing.

[princess-ibri]

Does the French fairytale Princess Mayblossom exist in the Disneyverse?

Eh, I was tempted for a bit as it is where the og name Carabosse comes from, but ultimately I decided that it was 1. A little too close to what we already have with Sleeping Beauty (hence why the name travled over into the Sleeping Beauty Ballet and became ubiquitous with the Wicked Fairy until Maleficent's portrayal gained prominence)

And 2. Its just a little bit too silly? Well not silly so much as tounge in cheek, which was very common for the salon fairy tales/ conte de fees before the Brothers Grimm's more folkloric style gained popularity (one of the reasons Beauty and the Beast has managed to become a staple when so many of the other salon takes have faded was because Beaumont's version reworked it into this folklore style)

And while I can definitely appreciate the tounge in cheek aspect and actually enjoy it from time to time my personal tastes run more towards Grimm's style.

[sugaldean]

I need to find an English version of it but I know that they used phylogenetic to study different versions of fairy tales from around the world to trace their origin

Here is a French one at least but I will try to read/find some paper on it

https://www.science-et-vie.com/article-magazine/contes-de-fees-leur-origine-revelee-par-la-genetique

I’m tired of hearing people say “Disney’s Cinderella is sanitized. In the original tale, the stepsisters cut off parts of their feet to make the slipper fit and get their eyes pecked out by birds in the end.”

I understand this mistake. I’m sure a lot of people buy copies of the complete Grimm’s Fairy Tales, see their tale of Aschenputtel translated as “Cinderella”, and assume what they’re reading is the “original” version of the tale. Or else they see Into the Woods and make the same assumption, because Sondheim and Lapine chose to base their Cinderella plot line on the Grimms’ Aschenputtel instead of on the more familiar version. It’s an understandable mistake. But I’m still tired of seeing it.

The Brothers Grimm didn’t originate the story of Cinderella. Their version, where there is no fairy godmother, the heroine gets her elegant clothes from a tree on her mother’s grave, and where yes, the stepsisters do cut off parts of their feet and get their eyes pecked out in the end, is not the “original.” Nor did Disney create the familiar version with the fairy godmother, the pumpkin coach, and the lack of any foot-cutting or eye-pecking.

If you really want the “original” version of the story, you’d have to go back to the 1st century Greco-Egyptian legend of Rhodopis. That tale is just this: “A Greek courtesan is bathing one day, when an eagle snatches up her sandal and carries it to the Pharaoh of Egypt. The Pharaoh searches for the owner of the sandal, finds her and makes her his queen.”

Or, if you want the first version of the entire plot, with a stepdaughter reduced to servitude by her stepmother, a special event that she’s forbidden to attend, fine clothes and shoes given to her by magic so she can attend, and her royal future husband finding her shoe after she loses it while running away, then it’s the Chinese tale of Ye Xian you’re looking for. In that version, she gets her clothes from the bones of a fish that was her only friend until her stepmother caught it and ate it.

But if you want the Cinderella story that Disney’s film was directly based on, then the version you want is the version by the French author Charles Perrault. His Cendrillon is the Cinderella story that became the best known in the Western world. His version features the fairy godmother, the pumpkin turned into a coach, mice into horses, etc, and no blood or grisly punishments for anyone. It was published in 1697. The Brothers Grimm’s Aschenputtel, with the tree on the grave, the foot-cutting, etc. was first published in 1812.

The Grimms’ grisly-edged version might feel older and more primitive while Perrault’s pretty version feels like a sanitized retelling, but such isn’t the case. They’re just two different countries’ variations on the tale, French and German, and Perrault’s is older. Nor is the Disney film sanitized. It’s based on Perrault.

[emmanuellegauthiersgallery]

In her latest series Plastic Baroque, Emmanuelle Gauthier explores the latest techniques of digital manipulation to create a refined and glamorous body of work. Layering lush imagery and sensibility of European and American painting to create contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality.

Emmanuelle explores a favorite subject in different hues, her candy colors entice the viewer. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity. Dans sa derniere serie “Plastic Baroque”, Emmanuelle Gauthier explore les techniques de pointe de manipulation digitales pour creer une oeuvre raffinee et glamour. En utilisant differents elements d'une imagerie lush, superposes et une sensibilite inspiree par la peinture Europeenne et Americaine afin de creer des photographies Contemporaine d'une beaute subtile. Ses compositions est simultanement dense et fluide avec des couleurs tres riches . Emmanuelle explore un sujet favori en differentes couleurs, ses couleurs acidulees de bonbons attire l'attention du spectateur. En creant une allure de reve les images sont chargees d'une sensibilite Baroque, seduisant le spectateur avec des mise en scene de contes de fees et d'une luminosite subtile.

—————————————————–

Incorporating painting into my photography and using special transfer techniques I give them the look of a colorized daguerreotype.

Adding a single color to the entire image, the color then becomes as important as the image. I’m mostly draw to French Baroque and 19 century American landscape painting. The vibrancy of the colors and the plexiglass presentation gives this series a contemporary sleek and plastic feel…Combining the old with new I reinterpret classical imagery into a modern, original and enigmatic aesthetic.

Emmanuelle Gauthier

New York, 2006-

-LIST OF EXHIBITIONS-

Studied in Paris, France, Film structure and Production techniques,Multimedia at the University of Paris VIII;as well as drawing,painting at the Ecole des Beaux-Arts in Paris.

She also studied History of Photography at Parsons School of Design, NYC

Works included in the MoMA, NYC, British Museum Collection in London-United Kingdom, The Chelsea Art Museum Collection, NYC, and important private collections.

-Selected One Person Shows- May 2014- “Shining Escapes”-Cannes Film Festival-Martinez Hotel-Exhibition of Selected Paintings in an Hotel Suite May 2012- “Bing Beng Booom” -video-art- 8 mns- Cannes Film Festival- Martinez Hotel- Private screenings in an Hotel suite-

June -July 2010: Chelsea-NYC- Intersections Art Projects curated by Kevin Alexander-

May 2009: Cannes Film festival-Short Film Corner & Intersections Films

“Cosmopolitan” screenings - 6 minutes short film-

May 2008: Intersections Art Projects-NYC

‘Colors Wanted"

June 2007: Ca'Zanardi Palazzo-Venice-Italy

Photography installation from Latest Series Plastique Baroque-

March 2007: Intersections Art Projects-USA-

Site Specific installation with Neons sculptures, Photography,

paintings, and videos

February 2007: Red Dot Art Fair, Plastic Baroque Series of photographs and Videos,

Co-curated by Emmanuelle Gauthier and Asher Remy Toledo for Remy

Toledo Gallery in NYC. Park South Hotel-

October 2006: “Candy for dinner” presenting new photography works from

the series “Plastic Baroque” and a video titled

“LACE” at Remy Toledo Gallery, 529 West 20 st-

October 2005: 109 Crosby gallery-

PURSUIT curated by Lynn del Sol from CTS

May 2005: Intersections Presents, exhibition of new

works from the Series: Brazil reportage

December, 2004: Art Basel Miami.

On site installation with new photographs, paintings and videos in a Hotel Suite

January 2004 : Bauhaus Lounge,

Photographs from the Series “SCREENS.”

January 2002: Institute of Matter in Hong Kong, Photography show.

October 1998: Espace gallery in

Montpellier, France, Contemporary Photography show.

-Selected group shows- March 2014- X Gallery- London- September 2010- Chair and the Maiden Gallery- NYC-

October 2009:Allen Projects curated by Robert Curcio-Chelsea-NYC-

“ Fall Survey”

August 2008: Robert Curcio Projects-NYC-

“Walks-in welcome”

June 2008: Garden Art Party-3AM Projects-NYC-

September 2007: Instanbul Biennale. Curator’s choice show curated by:

Michelle Thurz

June 2007: Corniche Art Fair, Venice. Remy Toledo Gallery- NYC-US-

March 2007: Art of Americas, Miami. with Remy Toledo Gallery-USA-

February 2007: Scope Artfair NY- “Aesthetics of belonging” curated by Kasia Kay

January 2007: Palm Beach Art Fair with Remy Toledo Gallery-

January 2007: Twilight Time curated by David Gibson at Realform- Brooklyn-NY

December 2006:Scope Miami with Kasia Kay Gallery, and PAM

August 2006: Kasia Kay Gallery, Chicago

July 2006: SCOPE Hamptons projects. Curated by Lee Wells, photography

and Art Videos for PAM (Perpetual Art Machine)-

May 2006: SAATCHI Gallery group exhibition curated by Jane Sutherland

and the Light Foundation to benefit the Harlem

School of Arts-USA-

March 2006: Intersections Projects at

Diva Artfair in NYC. Video works ( Dennis Oppenheim, Benedicte Gauthier)

October 2005: PHOTO NY Artfair with CTS, Creative

Thrifshop-USA-

June 2005: WATERWAYS at the Venice Biennale curated by Ethan Cohen, Renee Vara.Italy-

April2005: CULTURE VULTURE at JACK THE PELICAN

PRESENTS-NYC- Curated by David Gibson

February 2005: INTERSECTIONS PRESENTS in NYC

STARLIGHT Group show

January 2005: D & H gallery inNYC-

CHROMALUX Group show

March 2004: SCOPE New york with Damien Montalieu Projects and

Pablo’s birthday Gallery in NYC.

March 2003: SCOPE New York with Nikolai

Fine Art at the Dylan Hotel.

Feb 2003: Cynthia Broan Gallery: New York City

Recession 2003, $.99 Show.

January , 2003: Egizio’s project gallery

NYC-USA_

February 2003: Nikolai Fine Art Gallery

New York City.

April , 2002: Marcus Ritter Gallery, New York City-Chelsea-USA-

New Photography works along with works on paper from collaborative artists team:

Petra zmirk, and Moriceau.

- BIOGRAPHY WRITTEN BY RICHARD VINE -

Emmanuelle Gauthier Born in 1971, Emmanuelle Gauthier is a French fine arts photographer who has lived and worked in New York since 1994. She studied photography at the Ecole des Beaux-Arts in Paris, as well as film structure and production techniques at the Université de Paris VIII. Her training also includes history of photography classes with George Pitts, the photo editor of Vibe magazine. Thereafter, working on independent productions, she assisted director Eric Ceret on his documentary Diaries and director Mark Humphrey on numerous music videos.

As a freelance photographer,Emmanuelle Gauthier has contributed to numerous publications such as

Citizen k, Spoon, Trace, Zing, The Fadder, Trax,Madame Figaro, Dazed & Confused, and Pure.

Among her commissions are ad campaigns for Audemars Piguet,Fred Sathal, and Totem. Emmanuelle Gauthier’s images–of airports, clubs, city streets, and glamorous youths–often imbue their

subjects with a dreamy allure. Her figures smoke and drink in louche surroundings; some pose with clothes laid on top of their bodies rather than worn normally. All seem too hip for love or grief. Yet their bohemian chic is inseparable from a pervading sense of desolation–as if the emptiness of the jetways had entered every aspect of life for these young urban nomads. Most recently, Emmanuelle Gauthier completed a compilation video of interviews with several New York-based artists with whom she has an aesthetic affinity: Andres Serrano, Dennis Oppenheim, Scott Hug,and others. Here scenes from the urban environment, including the living and working spaces of the artists, are punctuated by shots of a sleek building lobby and highly reflective revolving door*emblems, in effect, of the hardness, gloss, and transitoriness of life in New York*s often impersonal milieu. Emmanuelle Gauthier has previously exhibited in New York City at Marcus Ritter Gallery, Nikolai Fine Art Gallery, Egizio’s project, Cynthia Broan galleries. And in Hong Kong at the Institute of Matter gallery.

Richard Vine

Editor at large at Art in America

REMY TOLEDO Gallery/ Projects is pleased to present an exhibition of three young artists “Candy for Dinner”

Emmanuelle Gauthier, Vadis Turner, and Hu Ren Yi.

This dinner party has been cooked in America , China and France . French photographer Emmanuelle Gauthier presents a different kind of candy, one of sweet seduction. In her latest series Plastic Baroque, techniques of digital manipulation create a refined and glamorous body of work. Layering lush imagery from European and American painting, Gauthier creates contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality as she explores favorite subjects in different hues. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity. Vadis Turner exhibits cupcakes and a tea party constructed from kitchen materials and sewing goods. Influenced by generations of southern women who reigned in the kitchen and sparkled at society events. The immanent artist was expected to learn the ways of a proper lady, folding her napkin properly and writing gracious thank you notes. Such traditions have been replaced by fast food and superficial entertainment, which becoming our legacy. Many now eat candy for dinner. This exhibition will be the first viewing in New York of paintings by the young Chinese artist Hu Ren Yi. His candy color like paintings are cynical and playful with undertones of sexuality, family and politics. They are constructed simply, although the concept is much deeper than what physically appears on the surface of the canvas. The viewer is engaged by the dream like quality of the images. There is an obvious influence of the tradition of Chinese painting that merges with the contemporary.

Barbara Braathen

Curator, Art Dealer

Emmanuelle Gauthier’s work has an ethereal and atmospheric quality, with a delicate sensitivity to light which creates a mysterious and stage like effect on reality.

Irene Nikolai

Nikolai Fine Art Gallery

Photographs- Edition of 3 + 2 Artist proof-

2 SIZES AVAILABLE:

30 X 40 Inches- $10.400.00 ( 76.2X 101.6 CMS)

20 X 24 Inches-$4400.00 ( 50.8X 61 CMS)

Paintings- Size:30X 40 Cms 10.0000.00 £

“Syrup” series is available on nine colors in 20 X 23 Inches, and 40 X 46 inches for wall installation-

-Artist Statement-

“Interventions”

Video art together with photography examine the parallels and liaison between history and truth. The two mediums address issues of misinterpretations, miscommunications and language barriers .

Other themes, such as the rights of animals are very close to my mission of wanting to make a positive change in our life and, give back to this world elements of beauty and wonder. Characterized by a visionary force, the works traces a sense of tragedy and fragility. Inspired, intricately and sensuously styled, the art video titled “Lace” presents lustrous images voluntarily slowed down: capturing and contemplating the moment…all in a surreal film speed. It translates dreamy and eery qualities to movement decomposition and into a different environmental transposition. Against a curtain of violent rupture/ isolation, and a will for using art as an export for social progress and awareness, the images’ aesthetics import a wide range of poetic interpretations.

Experiencing with new software techniques and digital interventions the photography juxtapositions or layers deepens and twists meanings. The moving images are mixed in with music composed with fragmented sample sources running across cultures, time and sensibilities. The piece highlights and emphasizes the importance of cultural differences, the richness and depth of cross cultural exchanges as well as tolerance, and dignity. Emmanuelle Gauthier

NYC, 2006

-ARTIST STATEMENT -

I have always been interested in exploring the

juxtaposition and convergence of illusion and reality.

My photography and film incorporate many references:

video, music, cinematographic special effects, set

design, architecture, poetry and reverie. I’m

interested in linear readings as well as the

possibilities of subjective reinterpretations of

events that have shaped our realities. Luminous and ethereal the images are charged with a

sense of longing, hope and a dreamy allure. Vibrancy

of color imbue the photographs with a warm and sublime

glow. In my process I embrace surrealistic techniques

and theories. Filmmaker’s Luis Bunuel and Jean Cocteau have informed

and inspired my work. Through my films and

photography, I capture the intimate beauty of the

details of life exploring the interconnections and the

fragility of existence. Emmanuelle Gauthier, New York City,2004

—ARTIST STATEMENT —

Art videos titled Dolphins, Transitoriness ( included

in the British Museum collection), dolphins,

effervescence pills, orthodox church, speak with images

mixed with sound, in an elaborate montage that

emulates one’s imagination.

And encourages one’s of having their own

interpretations, through imaginative stimulus…

Using music, editing techniques, repetitive images, an

original concept, and the utilization of storytelling

notions.

The ensemble of my photography works is wrapped up in

a diary style survey of my aesthetic preferences.

Made out of attentive observations where my life

events have transported me.

The different work series ultimately come together in

a reverie collage.

In an omnipresent and also very direct attempt to

unveil life’s deep mysteries the work is mostly

revolving around the themes of loneliness,

psychological states, betrayals, fantasy and reality

realms, blurring system beliefs.

It is translated visually with an imagery of empty

melancolic interiors, extreme close ups of human

forms, close ups of objects, exteriors, abstract

environment which are emotionally charged with a range

of expressed and repressed feelings.

The photos tell the story of social changes throughout

decades, and freezes time into a kaleidoscope of

photos mixed with newspaper clippings, journal entries

and the use of mixed media.

Individual portrait’s placed together to suggest a

single narrative in an exhaustive editing process; that

aim at a critical, long thought juxtaposition of

photographs.

In an inherent artistic logic, the ensemble of the

work thrive to make people think.

Using subjectives point of views designed to haunt

them for a long time. Emmanuelle Gauthier

New York, September 2005 - Aesthetics of Belonging -

Curated by Kasia Kay- Scope Artfair- NYC 2007- Layered and complex ideas of gender, identity, belonging, sexuality and intimate narratives are explored in selected artworks. Presented here short-films examine issues of relationships, the construction of female and her belonging to society, and in relationship.Few works with focus on aesthetics of belonging to space, allude to notions of absence and presence, a sense of place and of no place, volume and void, notions of home, as well as personal freedom and belonging to a pre-constructed world. Artists included: Kristin Anderson, Sandra Bermudez, Emmanuelle Gauthier, David A. Parker, Nick & Shelia Pye, Alicja Karska and Aleksandra Went, and Chris Wasko. The photographs, painting, and collages of Emmanuelle

Gauthier are each different manifestations of the same

desire, to communicate the basic mystery of life.

Though the artist works in a range of different

mediums, she never limits her esthetic choices to one

type of image at a time, nor does she restrain a

natural inclination to exhibit them together, creating

tangents of recognition. Much of Gauthier’s imagery

comes from media sources that may include high school

text books, events reported on TV news programs, as

well as from her own senses. Combining first- and

second-hand images, Gauthier simultaneously offers up

a critique on the nature of meaningful encounter and

on those sources of knowledge which contribute to it.

The many specific images she portrays do not

immediately answer the questions they pose, but

provide further details–further complexities–that

open up the perspective of the viewer. Rather than

seeking a highly focused and morally specific imagery,

the artist expresses the broadest possible spectrum,

which in turn provides more context, and more answers

that ironically enter into a dialectic with existence.

David Gibson Curator Article Projects

https://emmanuellegauthiersgallery.tumblr.com/page/8

[ataturquie]

https://www.geo.fr/voyage/732-chateaux-de-conte-de-fee-et-une-corruption-xxl-le-cauchemar-du-disneyland-turc-222859

[2t2r]

La féérique forêt de Fanal et ses lauriers tordus à Madère

Nouvel article publié sur https://www.2tout2rien.fr/feerique-foret-de-fanal-lauriers-tordus-madere/

La féérique forêt de Fanal et ses lauriers tordus à Madère

[mermaiddragon]

Also, there is financial help from the state to pay school lunches :

Kid turned down from school lunch because unpaid fee is something i dont remember ever seeing nor hearing about. However my experiences arent universal so i'm researching it.

There was one case in 2021 where a cop took a kid back from school lunch to his home because his mom hadnt paid lunch in over a year. Once. It made the news. It was unheard of. Everyone was appaled.

It was to the point the Défenseur des droits¹ had to write a report about it, reminding that access to school lunch is a right for children in france and serves an important socializing and education and health purpose

¹la défenseure des droits is an administration that checks our rights are respected.... wikipedia will explain better :

[thetheatreacademy]

À moitié complet : Summer School 2024 | Stage de théâtre pour tout-petits | spécial Conte de fées | 10.07.2024 à 16h | Marseille #thetheatreacademy #Marseille

À moitié complet : Summer School 2024 | Stage de théâtre pour tout-petits | spécial Conte de fées | 10.07.2024 à 16h | Marseille: Marseille | The Theatre Academy | Summer School 2024 | Stage de... thetheatre.academy/theatre-hidden/theatre-pour-adolecents/stages-pour-adolescents/...

https://thetheatre.academy/theatre-hidden/theatre-pour-adolecents/stages-pour-adolescents/a-moitie-complet-summer-school-2024-stage-de-theatre-pour-tout-petits-special-conte-de-fees-10-07-2024-a-16h-marseille.html

[raffaelapflueger]

À moitié complet : Summer School 2024 | Stage de théâtre pour tout-petits | spécial Conte de fées | 10.07.2024 à 16h | Marseille #thetheatreacademy #Marseille

À moitié complet : Summer School 2024 | Stage de théâtre pour tout-petits | spécial Conte de fées | 10.07.2024 à 16h | Marseille: Marseille | The Theatre Academy | Summer School 2024 | Stage de... thetheatre.academy/theatre-hidden/theatre-pour-adolecents/stages-pour-adolescents/...

https://thetheatre.academy/theatre-hidden/theatre-pour-adolecents/stages-pour-adolescents/a-moitie-complet-summer-school-2024-stage-de-theatre-pour-tout-petits-special-conte-de-fees-10-07-2024-a-16h-marseille.html