In October 2008, as a consequence of the strengthened partnership between the Louvre and the FIAC, and in collaboration with cultural Department of the Jeu de Paume, Auditorium du Louvre will host a new series of events involving the participation of contemporary artists. Entitled “Ouvertures/Openings”, this series explores current performance trends.

The Fiac at the Louvre

Three musical performances, in the Auditorium and the Cour Napoléon, thus honor the alternative approaches of three artists at the intersection of visual arts and music: Tony Conrad, Rodney Graham and Jeremy Deller.

The work of Tony Conrad, a composer, violinist and experimental filmmaker, focuses on sensations, enveloping the listener in a blanket of sound, accompanied by hypnotic projections, thus inspiring a variety of perceptions and ideas. As Conrad always designs his musical and light performances for specific venues—here the Louvre’s Auditorium constructed by I. M. Pei—the artist creates a unique experience.
Rodney Graham, also known for his works on film as well as his sound and video installations, will perform in a rock concert with The Rodney Graham Band, making a rare appearance in France.
Jeremy Deller, co-initiator of the Folk Archive, a collection celebrating contemporary folk art in the United Kingdom, will present an evening of Acid Brass in the Cour Napoléon, a musical piece that has now attained mythical status, a fusion of acid house anthems created by the artist in collaboration with and performed by the Fairey Brass Band. In conjunction with the outdoor concert, the artist will present a program of video projections in the Auditorium.

Following the exhibition “Picasso/Delacroix”, to be presented at the Louvre from October 2008 to February 2009, in connection with the exhibition “Picasso et les maîtres” and with a view to delving once again into the rich mine of confrontations between contemporary artists and earlier masters, in February 2009 the museum will host an exhibition by the Franco-Chinese painter Yan Pei Ming. The artist will present several monumental paintings emulating and encouraging comparisons with the abiding reference for American abstract painting, namely outsized mural paintings. Using this approach, Yan Pei Ming will attempt, through his own canvases, to convey his singular perspective on certain masterpieces exhibited at the Louvre. In extending an invitation to this artist, the Louvre reveals its increasing interest in contemporary works inspired by earlier masters. Furthermore, as an initiative reflecting its wish to provide greater recognition for conceptual art, the Louvre, in association with its partner institution, the High Museum of Art in Atlanta, has commissioned a work to be created specifically for the museum by Joseph Kosuth, an American artist who has been invited to create a number of exhibitions within traditional museums, and to whom we owe the sculpture in honor of Champollion commissioned by the city of Figeac in 1991.

Lastly, Marcelline Delbecq has been selected to create this season’s visual identity for the “Louvre Jeunes” card, available to youths between the ages of 18 and 26. For the design, the artist has chosen a detailed view of a painting by Pierre-Narcisse Guérin, Portrait of a Young Girl, which she has associated with a sentence inspired by the often paraphrased quote from Plato: “Since beauty is also in the eye of the beholder”. The figure depicted, in its delicateness and its inaccessibility, evokes an ideal of beauty. Above all, the viewer is confronted with the desire to behold.


From Louvre

Christie’s will offer Francis Bacon’s Portrait of Henrietta Moraes at the Post-War and Contemporary Art Evening Sale on 19 October 2008 in London. An intimate painting which offers a fascinating insight into the characters who shaped the thriving bohemian scene of Soho in the 1960s, the work is expected to realise £5,500,000 to £7,500,000. The painting was acquired by the Hon. Garech Browne in 1970; he was a close, personal friend of Francis Bacon, as well as many of the other leading figures of the time including Lucian Freud, the poet Dom Moraes and the sitter, Henrietta Moraes. Garech Browne’s romantic home in the Wicklow mountains, Luggala, has been a creative centre of Irish culture for the last 50 years, and was described recently by U2’s Bono as ‘our epicentre’ and ‘our inspiration.’

Pilar Ordovas, Head of Post-War and Contemporary Art, Christie’s London: ‘This portrait of Henrietta Moraes is a wonderful painting which offers a fascinating insight into life and the characters of 1960s Soho. The painting was bought by Garech Browne in 1970, shortly after it was painted, and has remained in his care since. Garech Browne’s influence on British and Irish culture in the last 50 years, combined with both the artist and the sitter of this work being close friends of his, makes it a wonderfully appealing painting which is sure to attract the interest of international collectors and institutions.’

The Hon. Garech Browne: ‘I remember well my years in Soho even sometimes with my younger brother Tara, who inspired the Beatles song ‘A Day in the Life’. We often went to the Gaston Berlemont’s French pub officially called the York Minster and had lunch with Francis, my first cousin Caroline Blackwood (then Caroline Freud) and Lucian in Wheelers restaurant with my mother. We would then proceed to the Colony Club where the proprietress Muriel Belcher, one of the three known women Bacon ever painted, told me I was the only “member” ever allowed in under the age of 12. Later, Lucian would take me to the Gargoyle Club where Johnny Minton, Francis Bacon and Stephen Spender were often to be found. I would not be allowed in by the bouncers so Lucian would put me under his long overcoat and I walked on his feet to gain entry. It was only the doorman and not the proprietors who felt that I should not be allowed in to meet such “disreputable people” at such a young age. Many of the inmates were to be painted by both Francis and Lucian.’

Henrietta Moraes was an integral character in Soho in the 1950s and 1960s, and she played a major part in making the scene so legendary. She was a great friend and drinking partner of artists, writers, musicians and poets, and she befriended Francis Bacon in the early 1950s before he had found fame. In the 1960s, Bacon turned to painting portraits of the people around him. He would ask John Deakin to take photographs of his proposed subjects, and then paint from the photographs themselves, ensuring that the presence of the sitter could not merge their appearance with the character and emotions which the artist wished to portray in them. The present work was painted in 1969; it is a profoundly personal portrait of one of the artist’s greatest friends, and a searing, universal exploration of the human condition, and of the battle that is life itself.

The portrait was acquired by the Hon. Garech Browne in 1970 in London, and inscribed by the sitter on the reverse of the canvas. The inscription reads: 'For the first time A vision of me by my friend Francis Bacon with Gareth [sic] at Luggala 30-6-76&7 I love y 2 good heavens Henrietta Moraes'. It has been exhibited at the Hugh Lane Municipal Gallery of Modern Art in Dublin in conjunction with the opening of the Bacon studio in its new permanent home; The Scottish National Gallery of Modern Art in Edinburgh; and the Kunsthalle in Hamburg. It will be on public view in London for the first time from 15 to 19 October at Christie’s South Kensington.

Garech Browne was born into the Guinness dynasty, his mother being Oonagh Guinness, the youngest of the three ‘Golden Guinness Girls’. In 1937, Ernest Guinness gave his daughter Oonagh the Luggala Estate as a wedding present and it fast became the gathering place for the Irish intelligentsia, as well as for artists and musicians from around the world. Garech Browne was first introduced to Lucian Freud at the age of 12 and he soon built friendships with many of the artists, musicians and poets of both London and Ireland, as Luggala continued to thrive as a creative centre for Irish culture. Garech Browne founded Claddagh Records and oversaw the founding of Irish group The Chieftains. He recorded traditional Irish music, as well as the works of Seamus Heaney, Ted Hughes and Robert Graves. Lucian Freud has painted his portraits, John Boorman chose Luggala as the setting for the film Excalibur and the house has hosted a diverse range of artistic guests including Mick Jagger, John Hurt, Patrick Kavanagh and Lucian Freud. In an article in Vogue in 2005, U2’s Bono stated that Luggala had ‘become our epicentre’ and was ‘our inspiration’.

Christie’s will present a series of exhibitions and auctions dedicated to Post-War and Contemporary art and 20th century Italian art from 15 to 21 October 2008, during a week when the international art world will gather in London for a showcase of contemporary art exhibitions and events including The Frieze Art Fair. A leading highlight is one of only two oil portraits of Francis Bacon (1909-1992) ever painted by Lucian Freud (b. 1922). The last known remaining oil portrait (the other was stolen from an exhibition in Berlin in 1988), the rarely-seen painting offers a tangible and intimate glimpse into the inspirational friendship of two of the greatest British artists of the 20th century. It will be exhibited to the public for the first time in London from 15 to 19 October at Christie’s, 85 Old Brompton Road, and is expected to realize £5 million to £7 million.

The auctions will take place at the newly refurbished salerooms at Christie’s, 8 King Street, St James’s, and are scheduled as follows:

Sunday 19 October at 4pm: Post-War and Contemporary Art Evening Sale
Monday 20 October at 7pm: The Italian Sale
Tuesday 21 October at 10am and 2pm: Post-War and Contemporary Art

The public exhibitions for the sales will take place as follows:

Post-War and Contemporary Art: 15 to 19 October 2008 at Christie’s, 85 Old Brompton Road

The Italian Sale:15 to 20 October 2008 at Christie’s, 8 King Street

From Christie's

Image: Francis Bacon (1909-1992), Portrait of Henrietta
Moraes, oil on canvas 14 x 12in. (35.5 x 30.5cm.) Painted in 1969.
Estimate: £5,500,000 - £7,500,000. © Christie's Images Limited 2008.

One more time, we talk with the artists of meseon community. Today, we know more about Mayuko Fujino (personal website) and her artwork. Enjoy it!!

Mayuko Fujino: "One day I watched the introduction video of Japanese traditional stencil dyeing at a museum. In Japanese way, stencil plates are made out of paper. I was attracted by the process of cutting stencil plates, and I felt I can do that too, and I started it. Actually my mother made paper cutout once when I was a little child, so I was sort of knowing how to do it"


Q: Hi Mayuko, first of all we would like know more about you. Tell us who is Mayuko Fujino, tell us something about your life and your childhood in Japan.
A: I am paper cutout artist from Japan. Currently, I live in Asakusa district of Tokyo.

My mother likes David Hockney. When I was a child I loved to turn over pages of his book with her. My father was a member of a band when he was young and used to play the Beatles songs. Influenced by that I loved the animation movie "Yellow Submarine". Those two are the germs of my interest in art.

I used to be stuck for a long time with my life and art. I have spent most of my 20's to it. Now I just work and work - stop making sense temporary because perhaps the "real meaning" is outside of my thinking. This quotation below from Moondog explains it well.

"What is the answer to the whole scheme of things?
To know the answer ... the answer ... to know.
The answer stands as kingdoms fall.
There is no answer. There is none at all. None at all."

I am learning to take my hands off and let it flow - then visions began to spring spontaneously. I am trying to see things that somehow penetrate inside of me in my daily life. I look for the lines which gratify my senses, and the images taken from my dream journal. To reach the realm of my subconscious. That's the way I found how to take a small part of bulk flow of humankind, in my opinion universality exist deep down in everyone's mind.

Q: What is art for you?
A: Knowing what is your given gift and Living with it.

Q: How did you get started in the art world?
A: One day I watched the introduction video of Japanese traditional stencil dyeing at a museum. In Japanese way, stencil plates are made out of paper. I was attracted by the process of cutting stencil plates, and I felt I can do that too, and I started it. Actually my mother made paper cutout once when I was a little child, so I was sort of knowing how to do it.

Q: Have you always been interested in arts?
A: My interest is like a planet orbiting around art, sometimes it was so far like Neptune, now it is close like Venus, but it never got totally away from art.

Q: All your artworks exhibited in meseon are paper cutout, Do you practice other techniques as painting, sculpture or photography? Why?
A: Now I don't. I used to practice pen drawing once. Just for fun.

Q: What is a georama?
A: "georama" is the experimental shadow play duo. I make shadow puppets and backgrounds, and put ideas out. Tomoyuki Takahashi takes on the role of direction, sound effect and music. He is who told me about many things about art and music like Moondog, and is a member of the music group Kowun Ryusui. We both are the puppet players.

Q: What would you like communicate with your georama's artwork?
A: Today it seems we can do anything - with help of technology. Smooth and speedy animations are everywhere.
We think "Can't" could be fun. And sometimes it bring about peculiar and interesting effect. We are only 2 people and only use 1) a lantern-slide projector, 2) a small screen, 3) our four hands, 4) paper shadow puppets. Adittionaly, Tomoyuki plays music instruments too (BGM is live music). No dialogue, no words description (As long as there are no visually-impaired person. We once did improvise dialogues). It's like playing a game with strict rules... sometimes we win and sometimes we lose. Our best time was at a charity Christmas party for children with disabilities, we received great applause from them. Our worst time was show at a swanky restaurant in Shibuya, the most crowded district of Tokyo, the audiences are uninterested.

Q: Your artworks shows peace, sensitivity and beauty, What concept are you showing to your viewers? What would you like say with your artworks?
A: My artworks are a kind of internal travelogue. All of us are very different and live in very diverse ways. But in the depth I believe we all have something in common. Like all the myths over the world do. My art (and perhaps all the artworks) are like a mirror, I cast a reflection of myself and viewers would see themselves there, and we share the same mirrored image. If you see peace, sensitivity and beauty in my art, I think you see YOUR piece and sensitivity and beauty there. It's how we connect through art, and that resonance is what I wish to happen with my artworks.

Q: What are the most important artist that are influence in your life and your works? why?
A: I have many favorite artists but I think the anonymous handicrafts makers of Northern peoples influenced me most. They gave me the cue.

When I was a teenager I took a trip with my family to Hokkaido (northernmost tip of Japan), that is the first time for me to learn the culture of indigenous people "Ainu". I was really impressed with their handicrafts - especially their stitchwork. The original patterns they create represent their worldview, myth and life attitude. So I understood how colors, shapes and lines could be eloquent even if they are so simple. And then the questions arose - what is MY worldview? Where are MY myths? I felt like I don't belong to anything.
When returning from the trip first I read the books to know what is "Japanese". But there are no clear definition, actually we are said to be mixture of peoples from the continent. Our traditions and myths are gradually fading away due to the westernization of Japanese society. Curious to say, traditions are our origins but we treat it as if it is kind of "exoticism" nowadays. It means that they are not my own culture anymore. So I had to start looking for something other than traditions, that forms the basis of my life and art. It was the beginning of everything.

Q: Why do you choose the paper cutout as a means of expression?
A: Because I love its dual nature and dichotomy - and love to fill the cracks as well.
Paper cutout has many constraints. If you work with limitation, you should always make the best use of inventiveness, and sometimes unexpected ideas occur. I love that moment.

Q: Do you carry out investigations before starting to develop a work?
A: Sometimes yes, sometimes no.

Q: Could you talk about the procedures that you use in your artworks? Preparation, development and finishing.
A: It's very simple.
1.Small very rough sketches. Taking pictures or prepare books for references.
2.Draft.
3.Cut. The important thing is to keep the edge of the cutter. I use X-acto knife kind of cutter manufactured in Japan.
4.Prepare magazine paper fragments. Paste and collage them.

Q: What do you feel when you are finished a artwork?
A: Contentment.

Q: Do you have some challenge or goal which you are pursuing in art?
A: Contribute to the diversity of human race and the development of mutual understanding all over the world.

Q: Do you have any other goals or challenge in your life?
A: Learn to love (because I hated so many things) and learn to let go (because I love so many things).

Q: Have you had bad artistic moments in which you decided to leave the art world?
A: I never thought of leaving art world, even when I felt numb. I know I got nothing to do except it in my life.

Q: Some quick questions:

Tell us an artist: 鬼海弘雄 Hiroh Kikai Japanese photographer. He knows life.
Tell us a city: Hong Kong. I went that fascinating city last year, I really want to visit again and have exhibitions there!
Tell us a dream: I wish to go abroad and show my work in person to people there, of course in Spain too

Q: For all your work, which is your favorite artwork or you love most?
A: I love most the piece I work on at the time.

Q: Could you tell us something about you are currently working?
A: Lately I am working on making 100 pieces in same size (790mm x 545mm). It began since last summer. I have done 31 at this time.


Thanks a lot for your time Mayuko. Has been a pleasure know more about you and your work.

The Board of the Foundation La Biennale di Venezia, chaired by Paolo Baratta, gathered today in the offices of Palazzo Querini Dubois, and on the proposal of the Director, Aaron Betsky, attributed the Golden Lion for Lifetime Achievement for the 11th International Architecture Exhibition to Frank Gehry. With this award, the desire is to stress –in line with the spirit of the 11th Architecture Biennale– how much Gehry’s work is the significant result of years of experimentation. “Frank Gehry has transformed modern architecture”; writes Aaron Betsky in his motivation. “He has liberated it from the confines of the ‘box’ and the constraints of common building practices. As experimental as the art practices that have been his inspiration, Frank Gehry’s architecture is the very modern model for an architecture beyond building”.

The Board has also underlined the important presence Gehry will have in Venice with his Venice Gateway, the water gate linking the city to the airport.

The Board also approved the assigning of a special Golden Lion for lifetime achievement to a historian of Architecture –on the occasion of the 500th anniversary of the birth of Andrea Palladio– to the American James S. Ackermann, the doyen of historians of Renaissance architecture and one of the scholars who created the modern history of architecture, as well as the author of two of the most important monographs dedicated to Michelangelo and Andrea Palladio.

The Board of directors also took note of the progress in the preparation of the 11th International Architecture Exhibition, Out There: Architecture Beyond Building, directed by Aaron Betsky, and approved the definition of the official awards, which are as follows: a Golden Lion for Best National Participation; a Golden Lion for the Best Project in the ‘Out There: Architecture Beyond Building’ International Exhibition; a Silver Lion for a Promising Young Architect in the ‘Out There: Architecture Beyond Building’ International Exhibition.

These prizes have been attributed by the International Jury which – on the proposal of the Director, Aaron Betsky – is formed as follows: Paola Antonelli (Italy), curator of the department of Architecture and Design at the Museum of Modern Art (MoMA) in New York; Max Hollein (Austria), director of the Städelsches Kunstinstitut and of the Schirn Kunsthalle in Frankfurt; Jeffrey Kipnis (USA), critic and lecturer at the University of Ohio; Farshid Moussavi (Iran), founder of Foreign Office Architecture in London and lecturer at the Harvard University Graduate School of Design; Luigi Prestinenza Puglisi (Italy), critic, historian and lecturer, specialising in urban planning, and teacher in the History of contemporary architecture at the Università di Roma La Sapienza. The President of the Jury will be nominated by its members during their first meeting.

From La Biennale di Venezia