#romainville

[filmap]

Sale comme un ange / Dirty Like an Angel Catherine Breillat. 1991

House 124 Rue Henri Barbusse, 93260 Les Lilas, France See in map

See in imdb

[walker-diaries]

[memorabilia-memoria]

Romainville, décembre 2024

(this part of Île-de-France really reminds me of the suburbs of London, making me so nostalgic which i love)

[postcard-from-the-past]

Quarries of Romainville, eastern suburbs of Paris

French vintage postcard

[mentaltimetraveller]

Irene Abello, Soplo, 2024. Digital printing on fabric, iron sections, 348 x 246 cm. Unique. Photo: Grégory Copitet. Courtesy the artist and Air de Paris, Romainville | Grand Paris.

[germanpostwarmodern]

Collège d'enseignement secondaire (1973) in Romainville, France, by Paul Chemetov

[lesmisletters-daily]

Forms Assumed By Suffering During Sleep

Les Mis Letters reading club explores one chapter of Les Misérables every day. Join us on Discord, Substack - or share your thoughts right here on tumblr - today's tag is #lm 1.7.4

Three o’clock in the morning had just struck, and he had been walking thus for five hours, almost uninterruptedly, when he at length allowed himself to drop into his chair.

There he fell asleep and had a dream.

This dream, like the majority of dreams, bore no relation to the situation, except by its painful and heart-rending character, but it made an impression on him. This nightmare struck him so forcibly that he wrote it down later on. It is one of the papers in his own handwriting which he has bequeathed to us. We think that we have here reproduced the thing in strict accordance with the text.

Of whatever nature this dream may be, the history of this night would be incomplete if we were to omit it: it is the gloomy adventure of an ailing soul.

Here it is. On the envelope we find this line inscribed, “The Dream I had that Night.”

“I was in a plain; a vast, gloomy plain, where there was no grass. It did not seem to me to be daylight nor yet night.

“I was walking with my brother, the brother of my childish years, the brother of whom, I must say, I never think, and whom I now hardly remember.

“We were conversing and we met some passers-by. We were talking of a neighbor of ours in former days, who had always worked with her window open from the time when she came to live on the street. As we talked we felt cold because of that open window.

“There were no trees in the plain. We saw a man passing close to us. He was entirely nude, of the hue of ashes, and mounted on a horse which was earth color. The man had no hair; we could see his skull and the veins on it. In his hand he held a switch which was as supple as a vine-shoot and as heavy as iron. This horseman passed and said nothing to us.

“My brother said to me, ‘Let us take to the hollow road.’

“There existed a hollow way wherein one saw neither a single shrub nor a spear of moss. Everything was dirt-colored, even the sky. After proceeding a few paces, I received no reply when I spoke: I perceived that my brother was no longer with me.

“I entered a village which I espied. I reflected that it must be Romainville. (Why Romainville?)

“The first street that I entered was deserted. I entered a second street. Behind the angle formed by the two streets, a man was standing erect against the wall. I said to this man:—

“‘What country is this? Where am I?’ The man made no reply. I saw the door of a house open, and I entered.

“The first chamber was deserted. I entered the second. Behind the door of this chamber a man was standing erect against the wall. I inquired of this man, ‘Whose house is this? Where am I?’ The man replied not.

“The house had a garden. I quitted the house and entered the garden. The garden was deserted. Behind the first tree I found a man standing upright. I said to this man, ‘What garden is this? Where am I?’ The man did not answer.

“I strolled into the village, and perceived that it was a town. All the streets were deserted, all the doors were open. Not a single living being was passing in the streets, walking through the chambers or strolling in the gardens. But behind each angle of the walls, behind each door, behind each tree, stood a silent man. Only one was to be seen at a time. These men watched me pass.

“I left the town and began to ramble about the fields.

“After the lapse of some time I turned back and saw a great crowd coming up behind me. I recognized all the men whom I had seen in that town. They had strange heads. They did not seem to be in a hurry, yet they walked faster than I did. They made no noise as they walked. In an instant this crowd had overtaken and surrounded me. The faces of these men were earthen in hue.

“Then the first one whom I had seen and questioned on entering the town said to me:—

“‘Whither are you going! Do you not know that you have been dead this long time?’

“I opened my mouth to reply, and I perceived that there was no one near me.”

He woke. He was icy cold. A wind which was chill like the breeze of dawn was rattling the leaves of the window, which had been left open on their hinges. The fire was out. The candle was nearing its end. It was still black night.

He rose, he went to the window. There were no stars in the sky even yet.

From his window the yard of the house and the street were visible. A sharp, harsh noise, which made him drop his eyes, resounded from the earth.

Below him he perceived two red stars, whose rays lengthened and shortened in a singular manner through the darkness.

As his thoughts were still half immersed in the mists of sleep, “Hold!” said he, “there are no stars in the sky. They are on earth now.”

But this confusion vanished; a second sound similar to the first roused him thoroughly; he looked and recognized the fact that these two stars were the lanterns of a carriage. By the light which they cast he was able to distinguish the form of this vehicle. It was a tilbury harnessed to a small white horse. The noise which he had heard was the trampling of the horse’s hoofs on the pavement.

“What vehicle is this?” he said to himself. “Who is coming here so early in the morning?”

At that moment there came a light tap on the door of his chamber.

He shuddered from head to foot, and cried in a terrible voice:—

“Who is there?”

Some one said:—

“I, Monsieur le Maire.”

He recognized the voice of the old woman who was his portress.

“Well!” he replied, “what is it?”

“Monsieur le Maire, it is just five o’clock in the morning.”

“What is that to me?”

“The cabriolet is here, Monsieur le Maire.”

“What cabriolet?”

“The tilbury.”

“What tilbury?”

“Did not Monsieur le Maire order a tilbury?”

“No,” said he.

“The coachman says that he has come for Monsieur le Maire.”

“What coachman?”

“M. Scaufflaire’s coachman.”

“M. Scaufflaire?”

That name sent a shudder over him, as though a flash of lightning had passed in front of his face.

“Ah! yes,” he resumed; “M. Scaufflaire!”

If the old woman could have seen him at that moment, she would have been frightened.

A tolerably long silence ensued. He examined the flame of the candle with a stupid air, and from around the wick he took some of the burning wax, which he rolled between his fingers. The old woman waited for him. She even ventured to uplift her voice once more:—

“What am I to say, Monsieur le Maire?”

“Say that it is well, and that I am coming down.”

[adieuparis]

Romainville

[laurine-te]

Le livre que je n’ai pas acheté

La Fondation Fiminco. Située à Romainville, c’est là que s’est déroulé le salon (Made Anywhere). Ce lieu qui est décrit comme joyeux, sensible, poétique, empli de curiosité et de partage donne l’impression d’un salon axé sur une démarche expérimentale, rassemblant artistes, éditeurs, designers, et plein d’autres… Habituée au salon du Livre jeunesse de Montreuil, je m’attends à une atmosphère chargée, étouffante, bien que dense d’ouvrages graphiques tous plus attrayants que les autres.

Le salon débute au rez-de-chaussée avec la salle des nominés Révélation Livre d’artiste. Le bâtiment est brut, alors que les tables sont couvertes de papier bulle, renforçant l’idée du livre comme objet précieux, fragile, qu’il faut manipuler avec soin. Certains sont d’ailleurs sous des plaques de verre, surélevées par des cylindres de bois.

L’espace est vaste et séparé en deux parties. Un couloir surplombé de néons colorés et décoré d’affiches aux couleurs pétantes mène à une pièce à l’atmosphère plus détendue (icono 1). Elle permet de s’assoupir, mais aussi échanger, acheter, créer… 

Les étages plus hauts sont plus lumineux et spacieux: : la hauteur sous plafond laisse une respiration visuelle agréable, et le lieu ne paraît pas surchargé malgré l’effervescence des objets et des visiteurs.

Toutes les salles sont reliées par une identité visuelle simple mais marquante par son papier jaune fluo (icono 2), qui fait toute sa force. Au-delà de l’identité du salon, tous les exposants sont reliés par le caractère libre de leurs objets : expérimentations, recherches, créations uniques… Ils ont pu être créés n’importe où et surtout librement. C’est un concept appuyé par la répétition du mot anywhere : (Made anywhere), Act!anywhere, Dance♫Dance♫Dance♫Anywhere♫…

C’est le stand d’Iconomoteur qui a attiré mon oeil, quelques instants avant de partir. C’est Jean-Claude Mattrat qui en est à l’origine : sérigraphe de formation, il réalise des ouvrages aux couvertures en toile et uniquement ornés d’un titre. A travers ses éditions, on ressent une exploration des moyens et des formes graphiques. Sans aucune narration, il suffit de se laisser contempler le contenu pour saisir l’idée d'expérimentation. C'est aussi là que je n’ai pas acheté le livre Brigandage (icono 3), mon favori. Il montrait des couleurs qui m’étaient agréables, des lignes s’entrechoquant entre elles, tout en conservant tout de même un espace de respiration qui était le bienvenu. 

Finalement, je suis sortie de ce salon l’esprit embrouillé, forcée de laisser mon esprit traiter toutes les informations qu’il avait accumulées. Avec un peu de recul, il était inspirant de me retrouver dans un espace baignant dans la créativité, tout en montrant des objets tous différents les uns des autres.

[pardonraymond]

Romainville 2023 

[zeozeozeo]

“Miriam Cahn is above all a figurative painter but, right from the start, she has associated her artistic project and its pictorial expression with other exploratory processes, such as performance or installations. After her training at the Gewerbeschule in Basel, where from 1968 to 1973 she took lessons in graphic art, she rose to renown in 1979 with an artistic action, consisting in placing murals along a motorway bridge. In 1981, the art historian and museum curator Jean-Christophe Ammann invited her to take part in a group show at the Kunsthalle in Basel then, two years later, for her frst solo exhibition. In 1984, she represented her country at the Venice Biennale.

In Miriam Cahn’s work can be seen the infuence of the feminist movements and thought of the 1970s, and then the 1980s. In particular, right at the beginning of her artistic career, she involved her own body in her work, by painting on the ground, on her studio foor, sometimes naked or with her eyes blindfolded, so as to reduce the infuence of the mind on the creative process. For this Swiss artist, any depicted body radiates beyond its physical condition – whether it be men and women, or animals and vegetation. Even a house can become embodied thanks to her brush, becoming as though inhabited, just like the fragment of a body, or female genitalia: they are all inhabited by a force which is at once physical and mental, sensual and emotional. Miriam Cahn places the body and its expression in an aura of profoundly emotive, subjective colours. Often bright, these colours become emotions. From the depths of her canvases, or from the strokes of her charcoal, she brings out what has been buried: concealed secrets and forbidden sensations. Her work evokes bodily desire, just as much as it does the violence that bodies undergo.”

Text by Bettina Wohlfarth

[walker-diaries]

[memorabilia-memoria]

I love — endless stairs. Galerie Air De Paris

Romainville, janvier 2024

[postcard-from-the-past]

Town Hall of Romainville, eastern suburbs of Paris

French vintage postcard

[netpen-info]

[ad_1] “It’s a celebration!” exclaims Florence Bonnefous, a board member of Paris Gallery Weekend and a co-founder of suburban Romainville’s tastemaking Air de Paris gallery, of the previous’s tenth-anniversary version. Staged from 24-26 Might, the occasion featured greater than 100 collaborating business galleries and non-commercial establishments in and across the French capital, providing guests entry to artwork and artists from world wide. The programme celebrated not solely the Parisian artwork commerce’s development but in addition its endurance amid quite a few existential challenges.“I’m proud that we’ve lasted this lengthy,” says Marion Papillon, the founding president of Paris Gallery Weekend and the proprietor of Galerie Papillon. “It takes quite a lot of vitality to convey galleries collectively, and quite a lot of time to permit an occasion like ours to face out within the cultural calendar of Paris.”Paris Gallery Weekend has undergone important adjustments prior to now decade. Though it's now a city-spanning exploration of dealerships and establishments, the primary version, staged in 2014, consisted of a single group present of artists nominated by their respective galleries. This 12 months’s iteration retained one thing of that preliminary idea by way of an initiative known as Cartes Blanches, during which a dozen sellers invited curators to organise exhibitions of no matter they desired of their galleries.Since 2018, nevertheless, Paris Gallery Weekend has been outlined by its organisation round “gallery walks”: routes designed to information guests to groupings of areas inside neighbourhoods whose density of artwork choices would possibly in any other case really feel overwhelming. Among the many seven gallery walks featured within the occasion’s purple map of Paris this 12 months, 4 have been located within the Marais, which has develop into the guts of the town’s major market. Collectively, the quartet could possibly be mixed to type a circuitous route from the Place de la République to the Île-Saint-Louis that related round 55 collaborating galleries—almost double the citywide quantity that took half within the inaugural Paris Gallery Weekend.From youthful to tweedyCrossing the Seine, the youthful, future-facing vitality of the Marais is changed by a tweedier, extra classical focus in Saint-Germain-des-Prés, the historic gallery neighbourhood centred on the secondary market. Yves Zlotowski, a Paris Gallery Weekend board member and the director of Galerie Zlotowski, which specialises in Trendy artwork, says this section of the market typifies the broader resilience of Paris’s non-public commerce.“Trendy artwork was a sector that was struggling,” he says. “The competitors from festivals and public sale homes was brutal. However in recent times we’ve skilled a comeback.”Parisian sellers’ collaborative, maybe even collectivist, mentality has been pivotal to this resurgence, and lots of the gallery weekend’s organisers stress how important that mentality has been to the occasion itself. “It’s essential that galleries come collectively, as we're in any other case on the mercy of huge occasions just like the festivals,” says Isabelle Alfonsi, one other Paris Gallery Weekend board member and the director of Marcelle Alix gallery in Belleville. “We’ve additionally made it less expensive to take part.”“Our organisation is sort of a labour union,” Papillon says. “We defend the pursuits of galleries, speaking with politicians and the representatives of different components of the artwork ecosystem, resembling artwork critics and museum staff. We [support] gallerists in understanding juridical questions, taxes, guidelines, rules and issues of that nature.”Anxiousness versus pleasureRegardless of the festivities and solidarity, latest developments within the international artwork market have provoked some apprehension amongst locals. The arrival of Artwork Basel epitomises the considerations over the globalisation and professionalisation accelerated by Brexit and the Covid-19 pandemic.

The Swiss artwork honest juggernaut controversially supplanted the long-running Foire Internationale d’Artwork Contemporain (Fiac) from its October slot on the Grand Palais in 2022, making Artwork Basel Paris (briefly often known as Paris+ par Artwork Basel) the Metropolis of Gentle’s premier honest. A number of worldwide sellers have both opened or expanded everlasting Parisian areas of late, too, together with no fewer than 4 mega-galleries: Hauser & Wirth, Gagosian, David Zwirner and White Dice.Paris Gallery Weekend not solely permits smaller sellers to compete or combine with the large worldwide manufacturers absent a decade in the past; it additionally promotes the native scene’s rising variety and democratisation. For instance, a gallery specialising in Chinese language Sots artwork (socialist Pop artwork) adjoining to a gallery run by the ultra-conservative Falun Gong non secular sect—neither of them contributors in Paris Gallery Weekend—may nonetheless be discovered alongside one of many gallery walks. The purple information additionally led guests to magical, homegrown areas hidden in obscure alleyways, behind nondescript doorways, by way of a sequence of verdant courtyards and up flights of stairs. Amongst these outliers was Galerie Cipango, which specialises in bringing collectively work and jewelry. Located on a quaint facet road, it appears to be like and feels much less like a dealership than like the house of Sylvie and Christophe Tissot, the artists and homeowners who greeted guests to their exposed-beam-ceilinged area by sitting them on stools, providing them fruit juice and regaling them with tales in regards to the Parisian artwork scene of the Nineteen Seventies and 80s.Pleasure and anxiousness about forthcoming adjustments are evident in Paris’s gallery scene, with this summer time’s Olympic Video games and the sluggish however regular urbanistic growth often known as “Le Grand Paris” looming giant. However Bonnefous’s concentrate on the longer term is resolute: “I’m interested by the color of the following brochure. I feel we’ll go along with pink subsequent time.” [ad_2]

[actu-juridique]

Seine-Saint-Denis et Paris : l’encadrement des loyers mal respecté

https://justifiable.fr/?p=60 https://justifiable.fr/?p=60 #des #lencadrement #loyers #mal #Paris #respecté #SeineSaintDenis Antonio/AdobeStock En 2024, près de la moitié des annonces de location de logement ne respectent pas l’encadrement des loyers dans le département de la Seine-Saint-Denis (93), une situation dégradée par rapport à l’année précédente. À Paris, le taux d’annonces illégales atteint presque un tiers. En Seine-Saint-Denis (93), 47 % des annonces de location de logements ne respectent pas le plafond d’encadrement des loyers, révèle l’association nationale de défense des consommateurs et usagers CLCV (Consommation Logement Cadre de vie) dans son enquête Encadrement des Loyers 2024, publiée en septembre 2024, portant sur 800 annonces en Seine-Saint-Denis, et 1 000 à Paris. « Il s‘agit de l’un des taux de conformité les plus bas jamais constatés, après 2018 ». Un dispositif spécifique Le dispositif d’encadrement des loyers concerne les locations de logements nus ou meublés tant qu’ils constituent la résidence principale du locataire, les lieux devant être occupés 8 mois par an, sauf cas particuliers (obligations professionnelles, raisons de santé…). Il ne s’applique pas aux locations saisonnières ni aux logements de fonction. Le dispositif étudié ici est celui qui s’applique spécifiquement à Paris et, en Seine-Saint-Denis, dans les zones d’Est ensemble et de Plaine commune. Sont donc concernées les communes suivantes : Aubervilliers, Bagnolet, Bobigny, Bondy, La Courneuve, Épinay-sur-Seine, L’Île-Saint-Denis, Les Lilas, Montreuil, Noisy,-le-Sec, Pantin, Pierrefitte-sur-Seine, Le Pré Saint Gervais, Romainville, Saint-Denis, Saint-Ouen-sur-Seine, Stains et Villetaneuse. Ces règles encadrent notamment le complément de loyer, les loyers de référence minorés et majorés. Le bailleur qui ne respecte pas l’encadrement des loyers peut se voir infliger une amende administrative de 5 000 euros, au plus, 15 000 euros s’il s’agit d’une personne morale. La situation se dégrade surtout pour les meublés L’année 2024 marque un recul dans la bonne application de l’encadrement des loyers, puisqu’en 2023, le taux d’annonces illégales était de 31 %. À Paris, les résultats sont meilleurs avec 29 % d’annonces non conformes. Si on cumule les annonces parisiennes et séquano-dyonisiennes, le taux de non-conformité s’élève à 37 %. Cette tendance met fin à plusieurs années de progression continue. Les locations meublées sont les plus touchées, avec un taux d’annonces illégales qui flambe à 61 % en Seine-Saint-Denis, et à 32 % à Paris. En moyenne, les loyers mensuels dépassent de 149, 83 euros, en Seine-Saint-Denis. C’est donc un surcoût de 1 797, 96 euros par an qui est réclamé au locataire en toute illégalité. À Paris, le surcoût mensuel s’élève à 170,62 euros (2047, 44 euros par an). Dans le 93, certaines annonces vont bien plus loin que ce surcoût moyen, l’association a en effet relevé le loyer d’un studio de 20 m² à 1 300 euros quand il ne pouvait dépasser 642,50 euros, c’est-à-dire une différence de 657,50 euros par mois, 7 890 euros à l’année ! Pour justifier de leur dépassement, les propriétaires évoquent l’argument des caractéristiques exceptionnelles. Mais ils l’appliquent à des éléments qui n’en sont vraisemblablement pas, comme la présence d’un ascenseur dans l’immeuble, d’une cave et du bon état général du logement. L’explosion des meublés : un effet JO ? Pour expliquer cette dégradation, l’association y voit un effet des Jeux olympiques (JO). « Certains bailleurs, peu scrupuleux, n’avaient d’ailleurs pas hésité à délivrer des congés à leurs locataires afin de libérer leurs logements pour espérer le louer à des touristes à des loyers plus ou moins élevés ». Sans parler d’annus horribilis, ce recul n’en demeure pas moins important, qui plus est dans une agglomération qui compte un public fragile économiquement. Autrefois minoritaires, les meublés, sont désormais quasiment à égalité avec les locations nues. Pour l’heure, CLCV reconnaît ne pas être en mesure de conclure à l’aspect pérenne de cette réelle transformation du marché. L’association regrette cette situation qui limite considérablement le choix des ménages qui recherchent une location nue. Elle constate par ailleurs que les grands logements (3 ou 4 pièces) n’échappent pas à ce phénomène, alors que les locations meublées étaient auparavant traditionnellement réservées aux studios et aux logements composés de deux pièces. Or le taux de conformité des locations meublées en Seine-Saint-Denis est le plus mauvais score jamais constaté depuis la réalisation de cette étude. « Si le taux de conformité des locations nues est tout juste correct avec 65 %, il plonge littéralement pour les locations meublées avec un score de 39 % ». Un recours abusif au bail mobilité et au bail civil Le contournement de la loi ne se limite pas au complément de loyer non justifié. Il passe également par le recours en hausse au bail mobilité. Créé par la loi n° 2018-1021 du 23 novembre 2018 portant évolution du logement, de l’aménagement et du numérique, dite Elan, le bail mobilité est un contrat de location de courte durée, entre 1 et 10 mois, d’un logement meublé donnant plus de flexibilité au bailleur et facilite l’accès au logement, notamment, à des étudiants ou des personnes en mobilité professionnelle. En pratique, ces contrats sont souvent utilisés pour contourner l’encadrement des loyers, en partant du principe erroné qu’il s’agit d’une location saisonnière. Idem pour le recours au développement des baux « Code civil » ou bail de droit commun, qui ne sont pas destinés à la résidence principale. Prévu par les articles 1713 à 1778 du Code civil, ces baux sont marqués par une grande souplesse puisque les parties sont libres de négocier tous les aspects de la location comme la durée, le délai de préavis, le montant du loyer ou du dépôt de garantie. Ils peuvent être choisis lorsqu’aucune réglementation spécifique n’est applicable, type bail d’habitation, bail commercial ou professionnel. Les propositions de la CLCV Forte de ces constats, la CLCV propose trois mesures fortes : la pérennisation de l’encadrement des loyers. L’association plaide aussi pour l’interdiction du complément de loyer pour les logements ayant une superficie inférieure ou égale à 14 m² et dans le cadre d’un bail mobilité. Enfin, elle préconise la création d’un modèle type de petite annonce avec l’instauration de sanctions en cas de non-respect et l’obligation d’y préciser les motifs justifiant l’application d’un complément de loyer.