This week in Paris, The Gaze of a Parisienne suggests a rock theater show and several exhibitions that include Louise Bourgeois photos by Jean-François Jaussaud, Dem 189’s return to Paris at MMartproject, and the young winners of the Friends of Fine Arts contest. Last but not least, we suggest an extremely entertaining Andy Warhol book. Read on!
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Comme une pierre qui…
Comme une pierre qui..
Written by Greil Marcus, directed by Marie Rémond and Sébastien Pouderoux
Don’t miss this occasion at the Studio Théâtre…and rock music at the Comédie-Française!
In what can only be described as a magical moment, we have the genesis of the legendary Bob Dylan song “Like a Rolling Stone”…and it’ll surely make you want to dance! In an ensemble of top actors, Pouderoux plays the role of Bob Dylan. We find ourselves immersed in this night of 1965…
Photographs of Louise Bourgeois, 1995-2006.
By Jean-François Jaussaud
October 15 2015 – october 25 2015
Galerie Elizabeth Royer – 5 Place du Palais Bourbon – 75007 Paris – Tél : 01 44 39 54 00
Mail : elizabeth.royer@wanadoo.fr
Monday Saturday 10h – 18h
In her gallery, Elizabeth Royer Grimblat presents photographs of Louise Bourgeois taken by Jean-François Jaussaud—a beautiful meeting between a young photographer and the great artist. For eleven years (1995-2006), Bourgeois left Jaussaud free to come and go as he pleased and to photograph her in her studio as well as her house in New York, which opens to visitors this autumn.
I met Louise Bourgeois for the first time in the winter of 1994. Without delay, on this first encounter, we went into the office of her Brooklyn workshop, an old garment factory at 475 Dean Street. What followed was an « interrogation » a little strange and yet funny, a sort of questionnaire almost administrative: date of birth, address, contact information. She was meticulously writing everything down in a little notebook.
Very quickly she noticed that I used to live close to Choisy le Roi, the town where she had spent part of her childhood, so she was very pleased to have me speak of it. She asked me to go and see the place where her house used to be at the time, and to tell her about it at our next meeting.
She set up a meeting with me for April of 1995 for our first photo-shoot. On one condition: I want to see all of the photos, and if I don’t like them, I destroy them!
In April of 1995, I arrive at the Brooklyn studio—I had hired an American assistant to lend me a hand for I was bringing with me lighting equipment (the studio was parceled into spaces that bathed in a superb natural light and others that were lit only by simple electric bulbs).
My assistant’s name was Robert Miller, so I introduce him. This made Louise laugh—that was her gallery owner’s name too!
Louise had dressed especially for her portrait; she was very well groomed and looked smart, not at all like the outfit she usually wears to work in her studio. Instead, she usually would wear layers of worn clothing, often covered with a blue or grey smock.
First photo, I’m ready. I chose the sculpture « Eyes » made of two huge chunks of granite that rather make one think of breasts. The sculpture sits in the middle of the studio, Louise is very happy; she positions herself in front of the camera, a few words, and she turns abruptly to hide her face. Taken by sudden rage she tells me that it’s not acceptable, that I attacked her, “stole her image.” She leaves to take refuge in her office…
Astonishment. I think, everything is over; I only have to pack up my material and return to Paris. A few minutes pass, Louise comes back with a big smile: she pushes a white cap on her head, positions herself in front of me with two hands on the granite blocks, “C’est bon, now you can go, I’m protected.”
Two fantastic days in the studio, I’m entirely free—I observe, I soak it all in, breathe the place in. Louise comes to see me from time to time; or rather, it’s me who asks her for a new portrait. She works, and I only sense joy.
Two days later, we meet at the little house in Chelsea at 347W 20th Street. I promised to show her everything. Boards touching N & B, color slides, I spread everything out on the table. She looks attentively, smiles… “It’s good, you can come back whenever you want.”
For eleven years, until February of 2006, I came back from time to time to visit her. Whenever I was passing through New York and it was possible, that is. I used to call her unexpectedly in the morning before 9AM to be sure that she would be the one to pick up: “Bonjour Jean-François, is it you, the photographer from Français de Choisy? Come by today, I’m expecting you.” Around 9:30 or 10:00, her assistant Jerry opens the door for me, I enter, the door closes…I’m at Louise’s house, her cell, her theater, the house snatches me up and I let it carry me. Each room is a scene of battle, work, a laboratory, a memory…the house watches me and I register its look.
My last visit: February, 2006. She used to hold an exhibition every Sunday afternoon around 3:00 for 30 years. These were informal reunions where young artists, writers, collectors or amateurs of all ages were present. Some young artists would show their work and listen to Louise’s critiques without concession. I was working then with polaroid, instant images that were quickly revealed, and these photos were circulating from hand to hand. Louise would see them, and show them. This was my last encounter with her.
Jean-François Jaussaud
Dem 189 / MMART Project A partir du 10 octobre 2015Dem 189 / MMART Project A partir du 10 octobre 2015
DEM 189 – SYSTEM PANIC
74 Rue Quincampoix – 75003 Paris – beginning on October 10, 2015
Muriel Marasti art project – tel : 0617362608
DEM 189 – MMARTPROJECT
Dem 189 is a major artist of the French graffiti scene of the early ’90s, and he participated in many major projects that characterized the urban art scene of his later years. His works can be found in the Palais de Tokyo, the Mausolée, or Les Bains Douches, each of which he accomplished with fellow graffiti artists LEK and Sowat.
Andy Warhol – Ma philosohie de A à B et vice versa. Editeur Flammarion Traduit de l’américain par Marianne Véron
The Philosophy of Andy Warhol – From A to B and Back again
« How Andy puts his Warhol on » Excerpt The Philosophy of Andy Warhol p.11
Paris during Andy Warhol’s era…this just might be the time to unearth his philosophy…
« Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a
business artist. After I did the thing called « art » or whatever it’s called, I went into business art. I wanted to
be an Art Businessman or a Business Artist. Being good in business is the most fascinating kind of art.
During the hippie era people put down the idea of business—they’d say, « Money is bad, » and « Working is
bad, » but making money is art and working is art and good business is the best art. » Andy Warhol excerpt P. 33
Exhibition: Award winners of the Friends of Fine Arts contest, 2015
Preview Thursday, October 15, 2015
Affiche Exposition des lauréats des Prix des amis des beaux-arts 2015
Clara Saracho del Almeida – Thaddaeus Ropac Award
Pablo Jomaron and Benoit Aubard – Agnès B. Award
Enzo Mianes – Fondation Jean-François and Marie-Laure de Clermont-Tonnerre award
