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22 Artists to Discover at New York’s September Fairs


Over the previous years, Margo Wolowiec has actually made due acknowledgment for her vibrant, woven fabrics that assess as well as refine the plethora of photos we eat each day. Recognized for striation-filled items that combine images chosen from the net, like tornado patterns or social networks straw, her jobs likewise include traces of the devices of their production, welcoming the imperfections that can occur while utilizing a hand impend. Wolowiec’s current jobs include her trademark polymer string and also color sublimation transfer, along with silver fallen leave string and also glossy mylar from emergency situation readiness packages. Birthed as well as based in Detroit, Wolowiec is presently included in the significant taking a trip gallery study “The Regional,” which showcases modern musicians of the Midwestern United States.

Tao Lin Is Recovering from Himself

Since Li was young, he and his mother have communicated best in writing. It began with their leaving handwritten notes around the house where he grew up, in Florida; now, even when he visits his parents’ home in Taiwan, he still tends to write them e-mails from his room. Li, in his thirties, has good reasons to view “writing, not speech, as his means to communicate ‘at a deeper level.’ ” For one thing, when he and his parents are with one another, eating fermented vegetables or walking man-made steps up a mountain, they limit themselves to short, simple phrases, speaking a “crude, ungrammatical Mandarin-English mix,” thanks to Li’s halting Chinese. For another, his parents bicker infectiously, often roping him in as a mediator, or collateral damage, or both.

When Li’s parents do attempt kindness, they often require the use of the small family poodle, Dudu, on whom they project emotions too fragile to survive the passage of direct communication. When Li’s mother flaps the dog’s paw to wave goodbye to her business-tripping husband, Li is moved by “his parents’ sly, Dudu-mediated tenderness.” In fact, Li’s parents often unthinkingly refer to their son as “Du,” as if the name were their generic term for a loved one; on his third visit to Taiwan, Li starts doing the same thing to them. In Chinese, du means many things; pronounced with a rising tone, it could, given the prodigious homophony of Mandarin, mean “reading,” “drugs,” or “being alone.”

As it happens, these are Li’s three primary activities in “Leave Society,” the latest autobiographical novel from the author Tao Lin. Lin has spent the past decade novelizing his life in aloof, literal-minded prose; his breakthrough novel, “Taipei” (2013), which fictionalized a drug-fuelled relationship, was apparently pared down from a twenty-five-thousand-page draft of recollections. Lin’s books of autofiction have made him something of a darling in the Alt Lit scene, where their disaffected sincerity has earned him the title of (although we have so many of these now) the “voice of his generation”—namely, the millennial one, with its infinitely mediated sentimentality.

With “Leave Society,” Lin continues his autobiographical project by narrowing its scope even further, until only he and a small handful of others remain. Chronic back pain limits Li’s ability to move and work on his novel (the one we’re reading); to manage the pain, he relies on LSD and cannabis, both of which he takes freely in his Manhattan apartment but must sneak into Taiwan. A doctor at a rehabilitation center eventually diagnoses Li with ankylosing spondylitis, a rare form of spinal inflammation. But Li, distrustful of Western medicine, refuses a prescription for steroids, preferring the holistic approaches he researches on the Internet from his arthritic solitude. He reads about natural health, traditional medicine, volcanic minerals, vegetable capsules. He is constantly identifying new toxins, diagnosing new vectors of inflammation. He fears glyphosate, pesticides, and Crest toothpaste.

If this is hypochondria, it is justified: Western medicine is good at handling acute trauma—for instance, a young Li’s frequently collapsing lung—but has a poor track record with chronic pain. But Li is also a hypochondriac of ideas—that is, he often thinks he has them. In bed at night, he thinks about global chronic illness, the C.I.A.’s mind-control program, pottery, the nature of dreams, Dao. He imagines life as a novel, death as finishing it and putting it down. He imagines imagination itself as a forest full of phytoncides and anions, the naturally healing “air vitamins” that he learns about from a sign by a waterfall.

In the course of “Leave Society,” Li settles on a naïve prelapsarianism, straight out of Riane Eisler’s dubious eighties classic, “The Chalice and the Blade.” It seemed to Eisler, who, as a girl, witnessed her father being dragged away by the Nazis, that Neolithic “partnership societies,” made up of peaceful, Mother Goddess–worshipping egalitarians, had been replaced by “the dominator model of social organization” around 5000 B.C.E., following the invention of copper smelting. This new model brought to the earth war, patriarchy, and—eventually—the air- and foodborne pollutants that Li spends the novel trying to expel from his body. Li turns Eisler’s ideas over in his head, slowly teaching himself to practice partnership qualities like humility and gratitude.

Occasionally, Li’s attempts to midwife the universe through mindfulness give rise to brief sunbursts of poetic exuberance, as when he starts noticing (or hallucinating) twinkling particles in the air around Washington Square Park—“translucent, vibrating, meshed hexagons” that he decides to call “microfireflies.” But most of the book proceeds with list-like matter-of-factness, as if the author is skimming the ingredients on the back of his mother’s Neutrogena hand cream. The first sentence of almost every chapter contains at least one number, often several, like a medical record: “Thirty tabs of LSD arrived on day thirty-five.” This kind of prose can be elegant; it can also feel like dieting.

But it’s most interesting to consider the book’s flat affect as a curious, sidewise effect of Li’s linguistic relationship to his parents. Their dialogue is spare and repetitive, their small Beckettian utterances often just missing their marks:

“When you were small, at Fat Uncle’s home, you fell off the sink,” said Li’s mom.

“Who?” said Li.

“You,” said Li’s mom.

“Where?” said Li.

“The sink in the bathroom at Fat Uncle’s home.”

“Fell from where?” said Li’s dad.

“Sink,” said Li’s mom.

“When?” said Li.

“When you were a baby,” said Li’s mom.

There is a translated quality to this kind of writing, as if Lin were rendering Mandarin word for word; in fact, given Li’s propensity for audio recordings, this is likely exactly what happened. “If Li has a baby, he won’t come to Taiwan,” Li’s father remarks, after Li starts seeing a woman in his apartment building. “Will,” Li’s mother replies—a single-word answer that scans in Mandarin, a language that often drops pronouns, but sounds off in English. Li and his parents putter around in this gap between languages, leaving readers with a small inventory of calques and loanwords. Lin notes early on that, in Chinese, one usually says “not good” instead of “bad,” and the phrase repeats with sweet awkwardness throughout the novel. “I don’t feel not good,” Li insists, at one point, to his mother, mediating language, emotion, and maternal relation all at once.

Like Tao Lin, whose nonfiction book “Trip: Psychedelics, Alienation, and Change” was well received a few years ago, Li is recovering from years of abusing amphetamines and benzodiazepine. But, more than that, he is trying to “recover from himself.” This is a touching notion, as earnest and meek as Li himself, who spends the novel inching tenderly toward his goal of “leaving society”—and, along with it, the existential self-importance of its most voguish genre. “He didn’t want to specialize in embodying and languaging confused alienation anymore, as he had for a decade, writing existential autofiction,” Lin writes.

Yet autofiction this is. Li reminds his parents that he is recording their conversations; he reflects on how their bickering will play in his novel; and he worries that the book is nudging him to “generate novelty,” manufacture drama. Ultimately, Li decides that he likes autobiography’s “self-catalyzing properties” too much to abandon it, observing that life is “larger, realer, more complicated” than a novel. Of course, that is a novel’s value—not that you can fit a whole life inside of one but that life, in being pared down to the size of a book, necessarily acquires the specificity of form. This act of aspect-giving—of making things look one way and not another—is the primary function of authorship. Think of Oscar Wilde, who once wrote that London wasn’t foggy until the Impressionists started painting it that way.

In this sense, all fiction is autofiction; every novel is a record of an author’s attempt to transcribe themselves. I don’t just mean that all fiction is, intentionally or not, autobiographical. I also mean that all novels refract the veiled subjectivity of their authors. On a walk up a mountain, Li and his parents rehearse a famous story from the Zhuangzi, a Daoist classic. It’s said that the philosopher Zhuangzi, upon seeing some minnows in a river, remarked to his friend that the fish looked happy. “You’re not a fish, so how do you know they’re happy?” his friend asked. “You’re not me,” Zhuangzi replied, “so how do you know I don’t?” What was Zhuangzi doing when he said the fish were happy? Well, writing fiction, of course.

My point is that what makes a piece of writing autofiction is not, in the first place, the self-consciousness suggested by that ponderous moniker but, rather, at least in Tao Lin’s case, the brazenness of its self-concealment. In other kinds of fiction, the author hides behind plot, character, or style; in autofiction, the author hides behind his own life. This, too, is form—as Lin has said, his focus in autobiographical fiction is “still on creating an effect, not on documenting reality.” But the effect he’s created is a kind of fastidious plotlessness, one whose accuracy to life, affected or not (“Li’s dad mumbled something that was inaudible in the recording”), has the ambivalent virtue of being, like life itself, mostly boring. If you prefer, we can regard boringness as a perfectly neutral aesthetic category. Even so, it’s not a reason that most people read novels.

Just how, after 9/11, New York constructed back much better


‘Cinderella’ Review: A Girlboss in Glass Slippers


Once upon a time, Cinderella desired for having a service. Approximately the tale enters Kay Cannon’s brand-new film, which drags the princess story right into the 21st century with Top-40 pop tracks, independent discussion as well as a commonplace girlboss sensibility.Among the many

models the tale has actually weathered via the ages, this”Cinderella “(streaming on Amazon), starring Camila Cabello as the orphaned maiden, is featureless. It is strangely transfixing, however, as a research in the semiotics of the updated fairytale. In this anachronism-laden kingdom, Ella daydreams not regarding royal princes on horses yet concerning ending up being a sphere dress magnate. “You’re gon na understand my name,” she vocalize in an initial opening number, as she envisions a fete store called Dresses by Ella.This yearning for business success fills in various other, extra acquainted Cinderella tale styles. The flinty Stepmother(Idina Menzel) gets a collection of singalong numbers, while the Fabulous Godmother (Billy Porter )provides sexy laugh line and also a couple of stick waves. However neither matriarchal number shares a purposeful link with our heroine, and also Ella’s dead mommy, whose existence typically floats over Cinderella tales, hardly issues; at an early stage, Ella gladly offers her late mommy’s treasure breastpin as component of an initial gown design.Dialogue additionally obtains an upgrade. Fail to remember “Bibbidi-Bobbidi-Boo”: Here, the community crier raps, the ne’er -do-well Prince(Nicholas Galitzine )exchanges with his sovereign brothers and also the stale King( Pierce Brosnan )and also Queen (Minnie Driver) harrumph over whose throne is taller.

Every person talks in concrete, self-referential terms– a du jour discussion designing frequently connected with screenwriting by Joss Whedon.”Yes, I was simply sobbing and also singing concerning it, like, 2 mins earlier,” Ella gripes, when the Godmother asks if she wishes to most likely to the ball.There are tips of the pep as well as charisma that perked up fizzier jukebox musicals like “Pitch Perfect,”for which Cannon composed the movie script. Yet with a story this asinine, also Driver bellowing the opening keeps in mind to” Let’s Get Loud”is tough to value. Ella makes use of the round as a networking occasion, the monarchy allows a female lean in at the table and also

every person lives obnoxiously ever before after, at the very least up until the following Cinderella remake.Cinderella Ranked PG. Running time: 1 hr 53 mins. View on Amazon.

Han Ong Reads “The Monkey Who Speaks”


A Daughter’s Fight for Her Mother’s Affection

In the Colombian film “Between You and Milagros,” directed by Mariana Saffron, a teen-age girl and her mother search for affection in different places—Milagros, the daughter, longs for it at home, while her mother searches for it in her social circle.

At the Telluride Film Festival, Both Magic as well as Normalcy


TELLURIDE, Colo.– Masks were obligatory in the testing areas, in addition to in the shuttle bus vans as well as gondola vehicles that shuttle cinephiles around this opulent previous mining community over the Labor Day weekend break. If you had a badge, it suggested you additionally had an inoculation as well as an unfavorable Covid examination. Participating in the Telluride Film Festival has actually constantly suggested waiting in a great deal of lines, and also there was a brand-new line up this year, outside an outdoor tents beside a park where you might obtain your nostrils swabbed.In a means, the scene over the previous 4 days really felt twice as regular: regular for pandemic times as well as likewise regular for Telluride, which is additionally to state greater than a little unique. Amidst incredible hill views in glowing late-summer climate, a couple of thousand individuals choose to shuffle right into dark areas, arising to share suggestions and also contrast notes prior to carrying on to the following one. A few of these individuals are filmmakers, flick celebrities as well as sector gamers; some are reporters; the best number are private citizens that such as movie theater as well as can pay for the financial investment of time and also cash(nearly $800 for a common pass )needed to obtain right here. “Movies are a disturbance from fact,”states a personality in Paolo Sorrentino’s”Hand of God, “an expansive

, funny-sad, autobiographical coming-of-age tale. That’s an advantage. Fact is shabby and also excruciating–“poor, “according to the movie’s English captions– and also motion pictures offer a respite.That’s barely an unique sight. Much less anticipated, this version of Telluride additionally seems like a welcome interruption from the truths of movie-world itself– suggesting the anxiousness and also manic exhilaration concerning

the prominence of streaming and also the future of movie theaters that have the market in a state of convulsion.Here was a phenomenon of normality that may become an impression: a slate of enthusiastic, primarily well-crafted, non-franchise-driven movies, several of which will certainly figure in the impending Oscar race.My solid suspicion is that of the larger honors

challengers will certainly be”King Richard,”Reinaldo Marcus Green’s big-hearted party of Richard Williams, papa of Venus and also Serena. Significantly an accredited biopic– a number of participants of the Williams family members are

amongst the manufacturers– it stars Will Smith in the title function as a driven, caring, extroverted patriarch non-stop concentrated on his children’success. While Green, Smith and also the film writer, Zach Baylin, recognize several of Williams’s blemishes, their job soaks up and also mirrors his favorable, useful, ferociously self-assured spirit.The tennis series are crisp as well as interesting, as well as the set bordering Smith(significantly Aunjanue Ellis as Richard’s partner throughout these years, Oracene, as well as Saniyya Sidney as Venus)is initial price.”King Richard”is the type of mainstream, extensively available, wisely wholesome enjoyment that made use of to be a workshop staple now seems like a rarity.Here in Telluride it took its area amongst a variety of flicks regarding moms and dads as well as youngsters, not every one of them fairly so warm and also affirmative

. Searching for motifs at movie events is a doubter’s vice– you can not enjoy a loads or even more films in 72 hrs as well as not observe patterns– yet the secrets and also obstacles of child-rearing were just about difficult to miss out on. Also “Cow,”Andrea Arnold’s ascetic as well as disturbing docudrama concerning the life of a British milk cow, is, in huge component, a reflection on motherhood.As is Céline Sciamma’s elegant as well as

unusual “Petite Maman,”though to discuss specifically just how would certainly be to ruin among its fragile shocks. Sciamma, whose” Portrait of a Lady ablaze”was a Telluride standout in 2019(the last time this event occurred), checks out women affection from a various angle. Nelly as well as Marion(played by young doubles called Joséphine as well as Gabrielle Sanz )are 8-year-old women staying in comparable residences in the timbers . They strike up a relationship touched with components of fanciful supernaturalism, enchanting realistic look as well as time traveling. The spins loaded right into the movie’s

portable 72 mins get here delicately as well as matter-of-factly. The extreme feelings they leave– this is just one of the quietest tear-jerkers I’ve ever before seen– go to as soon as acquainted as well as entirely new.That paradoxical feeling of acknowledgment and also discovery is attained in Mike Mills’s”C’mon C’mon, “with an American fourth-grader called Jesse( Woody Norman) at its facility. His treatment busies his mommy, Viv(Gaby Hoffman), as well as her sibling, Johnny(Joaquin Phoenix ). The flick has to do with simply exactly how made complex that treatment can be– concerning the stress and anxiety as well as fatigue it involves, along with the enjoyable. Viv has actually understood about the pleasure as well as problem of taking care of Jesse for a long period of time, while Johnny uncovers it throughout a couple of weeks he invests in loco parentis, jumping with his nephew from Los Angeles to New York to New Orleans.Leda Caruso, like Viv a teacher of literary works, experiences the distress and also periodic satisfaction of parent in an extra theatrical type in “The Lost Daughter,”Maggie Gyllenhaal’s adjustment of a very early book by Elena Ferrante. Played in midlife by Olivia Colman and also in recalls by Jessie Buckley, Leda is amazed by an overloaded young mommy( Dakota Johnson)she runs into on the coastline throughout a journey to Greece. The flick, Gyllenhaal’s very first attribute as a supervisor, is a mental thriller constructed around the clashing feelings of maternal, a problem revealed to be simultaneously absolutely common as well as definitely impossible.Motherhood might be what saves Princess Diana in” Spencer,”in which Pablo Larraín (“Jackie “)transforms 3

days in the life of the Princess of Wales(Kristen Stewart )right into a claustrophobic scary flick. Component of the present pop-culture rediscovery of Lady Di,” Spencer” is much less worried with British national politics than is” The Crown. “Larraín is much more thinking about the challenge of Diana’s bondage and also her means of getting away it.Sandringham House, the large, separated royal residence where”Spencer”unravels, is a labyrinth of hallways and also attaching doors. Diana, hurrying from area to space looking for convenience, privacy and also disturbance, could be a character of the festivalgoer. We’re not as hopeless or lonesome as she is, yet there is something starving as well as out of breath in our dashboard from evaluating to testing, as well as an excessive, imaginary top quality to the myriad diversions we encounter.Over the previous 4 days, I bent from the fancifulness of”The French Dispatch”– Wes Anderson’s most recent, sent off from Cannes as well as provided as a “preview” beyond the main Telluride program– to the impressive splendour of Jane Campion’s “Power of the Dog,” a wide-screen western with its very own barbed understandings right into the intricacies of family members connections. I remained in the East Texas sleaze of Sean Baker’s”Red Rocket, “the Felliniesque Naples of “The Hand of God” and also the whimsical France of” Cyrano,”Joe Wright’s music reinvention

of the French charming chestnut.Full judgment of those movies will certainly await their arrival on even more available displays, in houses or cinemas, in the coming months. What I can state with self-confidence in the meantime is this: Reality will certainly remain to be poor, however flicks are still excellent.

The Marketplace for Alice Neel’s Captivating Work Is Finally Catching Up with Her Legacy


On Artsy, the need for Neel’s job has actually climbed up continuously over the previous years, with the variety of queries per readily available job enhancing by regarding 10 percent year over year up till 2020. In the last 2 years, the price of queries on Neel’s job has actually enhanced significantly, driven by a durable supply of prints and also deals with paper.

So far in 2021, need for her job gets on track to outmatch in 2014’s high as well as dual the variety of questions Neel’s job got in 2019. “These programs, and also the vital honor that has actually included them, certainly go together with market acknowledgment,” stated Hufkens. Hubert resembled that belief: “She was an undoubtedly fantastic painter with an initial design. We have actually lastly reached her.”

Vivian Maier, Baselitz, Georgia O'Keeffe … exhibitions to see in autumn in Paris

Photography with Vivian Maier or the treasures of MoMA in New York, Renaissance art with Botticelli, contemporary art with Baselitz or David Hockney, a tour of the exhibitions to see in Paris this fall.

Baselitz retrospective at the Center Pompidou

"Die Mädchen von Olmo II [Les Daughters of Olmo II]", 1981, National Museum of Modern Art, Center Pompidou, Paris & nbsp; (© Georg Baselitz, 2021 Photo © Center Pompidou, MNAM-CCI / Bertrand Prévost / Dist. RMN-GP)

The Center Pompidou looks back on sixty years of creation by Georg Baselitz, constantly oscillating between figuration, abstraction and a conceptual approach. The contemporary German artist says: "I am mannerist in the sense that I twist things. I am brutal, naive and gothic." From his first paintings to his last self-portraits and portraits with his wife, including his inverted figures, the exhibition intends to highlight the most significant periods of his work. From October 20, 2021 to March 7, 2022.

Vivian Maier at the Luxembourg Museum

Vivian Maier, Chicago Area, c. 1960n silver print, 2020 © Estate of Vivian Maier, Courtesy of Maloof Collection andHoward Greenberg Gallery, NYVivian (© Estate of Vivian Maier, Courtesy of Maloof Collection and Howard Greenberg Gallery, NY)

The American Vivian Maier (1926-2009) was discovered by chance at a sale in 2007. Her work as a street photographer, in black and white then in color, has turned out to be one of the greatest. While making a living as a babysitter, she made more than 100,000 images that remained in the shadows, sometimes never developed. The Musée du Luxembourg presents all aspects of her work, always to be discovered: self-portraits, photos of children, street scenes… Unpublished archives, prints by the photographer, super 8 films never shown, audio recordings shed light on her practice. From September 15, 2021 to January 16, 2022.

Les Flammes, the age of ceramics at the Museum of Modern Art in Paris

Ron Nagle, "Captive Morgan", 2012 & nbsp; (© Ron Nagle, Courtesy Matthew Marks Gallery)

The Museum of Modern Art in Paris offers an immersion in ceramics, one of the oldest cultural manifestations of humanity, which has been used to produce idols, houses and kitchen utensils. 400 pieces from various eras and contexts, from great ceramists (Bernard Palissy, Shoji Hamada, Bernard Leach, Takuro Kuwata…) or artists like Dali, Fontana, Cindy Sherman and also anonymous. The exhibition intends to explore the relationship between ceramics and art, and more broadly to humans. From October 15, 2021 to February 6, 2022.

The photographic masterpieces of MoMA at Jeu de Paume

Max Burchartz, "Lotte" (Eye), 1928, The Museum of Modern Art, New York. Thomas Walther Collection. Acquired through the generosity of Peter Norton (© ADAGP, Paris, 2021 © 2021 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © The Museum of Modern Art, New York, 2021, for the digital image)

The Jeu de Paume exhibits 230 of the 350 images from the collection of Thomas Walter, a pillar of the modern collection of the Museum of Modern Art in New York, which offers a rich panorama of the art scene between the wars of the two sides of the Atlantic, from Bauhaus to surrealism, from architectures and urban views, portraits and nudes, to reports, photomontages and experiments. An exhibition that tells the story of the invention of modernity in photography, from Berenice Abbott and Claude Cahun to Edward Weston or André Kertész. From September 14, 2021 to February 13, 2022.

Botticelli at the Jacquemart-André museum

Alessandro Filipepi dit Botticelli (c. 1445 - 1510), Allegorical figure known as "La Belle Simonetta", c. 1485, tempera and oil on poplar wood (Frankfurt am Main, Städel Museum, Frankfurt am Main)

Sandro Botticelli (1445-1510), a great creator, was also an entrepreneur and trainer: the Jacquemart-André museum exhibits around forty works by the Florentine Renaissance artist, with paintings by contemporaries he influenced. An exhibition which intends to show the importance of his workshop practice. With works from the Louvre, the National Gallery in London, the Rijksmuseum in Amsterdam, the Vatican Museums, the Uffizi and the Gemäldegalerie in Berlin. From September 10, 2021 to January 24, 2022.

Georgia O'Keeffe at the Center Pompidou

Georgia O’Keeffe, "Evening Star No. VI", 1917, Georgia O’Keeffe Museum, Santa Fe. Gift of the Burnett Foundation. Courtesy Georgia O'Keeffe Museum, Santa Fe & nbsp; (© Georgia O’Keeffe Museum / Adagp, Paris, 2021)

The Center Pompidou presents a hundred paintings, drawings and photographs by Georgia O'Keeffe (1887-1886), in the first French retrospective of this great figure of North American art of the 20th century. From flower paintings that made her famous to New York skyscrapers and bovine bones, landscapes with plant motifs, her work is marked by renewal. During her long career, she participated in the birth of American modernism in the 1930s and was a pioneer of abstract painting in the 1960s. September 8 to December 6, 2021.

Julie Manet at the Marmottan Museum

Berthe Morisot, "Eugène Manet and his daughter in the garden of Bougival", 1881, Bequest Annie Rouart, 1993, Paris, Musée Marmottan Monet (© Musée Marmottan Monet, Paris)

The Marmottan-Monet museum retraces the life of Julie Manet. The daughter of Berthe Morisot and Eugène Manet, the brother of Edouard Manet, posed extensively for her mother and other painters, notably her uncle and Auguste Renoir. A hundred works evoke her youth with the Impressionists and also her love of art which led her to build a collection with her husband Ernest Rouart, also a painter, and to have her mother's work recognized. From October 19, 2021 to March 20, 2022.

Finally the cinema! at the Musée d'Orsay

Henri Rivière (1864-1951), "Characters, two dogs and a double-decker car on the Louvre bridge" n between 1885 and 1895, Paris, Musée Marmottan & nbsp; (Photo © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski © ADAGP, Paris, 2021)

The Musée d'Orsay is devoting a major exhibition to emerging cinema, a new eminently social and popular art. It brings French film production from 1895-1907 into a dialogue with the history of the arts, through themes such as the fascination for the spectacle of the city, the recording of the rhythms of nature, the desire to exhibit bodies, the taste for history. Almost 400 works, objects and films anonymous or signed Pierre Bonnard, Auguste Rodin, Gustave Caillebotte, Louis Lumière, Georges Méliès, Charles Pathé … From September 28, 2021 to January 16, 2022. The Musée d'Orsay also exhibits the collection of Paul Signac, his Neo-Impressionist friends and the Fauves Impressionists and Henri Matisse (from October 12 to February 13).

Samuel Fosso retrospective at the MEP

Samuel Fosso, Self-portrait Series "SIXSIXSIX", 2015 & nbsp; (© Samuel Fosso courtesy Jean-Marc Patras / Paris)

The European House of Photography is exhibiting 50 years of work by Franco-Cameroonian Samuel Fosso, known for his self-portraits and his incarnations of stereotypical characters, as in his iconic series Tati, in which he is The Liberated American Woman, Le Golfeur or Le Rocheur . More than 200 works by a figure of the international art scene: vintage from the 1970s, iconic black and white and color series from the 1990s to 2000, and the recent monumental series of SIXSIXSIX Polaroids. From November 10, 2021 to March 13, 2022.

Soutine and De Kooning at the Musée de l'Orangerie

Chaïm Soutine (1893-1943) "Landscape with house and tree", 1920-21 & nbsp; (Philadelphia (PA), The Barnes Foundation)

The Musée de l'Orangerie brings together the worlds of Chaïm Soutine (1893-1943) and Willem de Kooning (1904-1997). The expressive force of the painting of the artist from the Paris School of Russian origin, his gestural painting and the pronounced impasto of his canvases, visible in the United States between 1930 and 1950, marked the American abstract expressionists and in particular of Kooning, who constructs a singular expressionism, between figuration and abstraction. The exhibition presents some fifty paintings by the two artists around themes such as the tension between the figure and the formless, the painting of the flesh, the practice of gestures. From September 15, 2021 to January 10, 2022.

Anni and Josef Albers at the Museum of Modern Art in Paris

Anni Albers, "Red and blue layers, 1954 & nbsp; (The Josef and Anni Albers Foundation)

The Museum of Modern Art examines the work of Anni and Josef Albers, a couple formed at the Bauhaus, which was built in a permanent dialogue and which imbued a whole generation of artists with its educational values. They were particularly attached to the revaluation of the craft industry. More than 350 works, paintings, photographs, furniture, graphic works and textiles. The exhibition follows the stages of their life, from the B auhaus to the United States
From September 10, 2021 to January 9, 2022.

Jean-Michel Othoniel takes over the Petit Palais

Jean-Michel Othoniel, "Gold Lotus", 2019. Photo Claire Dorn. Courtesy of the Artist & amp; Perrotin (© Jean-Michel Othoniel Adagp, Paris, 2021)

Jean-Michel Othoniel, famous for his works of colored pearls, takes over the museum and the garden of the Petit Palais to invite you to dream, with more than 70 new pieces, including Le Théorème de Narcisse , un homme-fleur, des Rivières de Brick blue, Lotus and Gold Necklaces . They are embedded in the building, suspended from trees or placed on the water. From September 28, 2021 to January 2, 2022.

Normandy by David Hockney at the Orangerie

David Hockney, "A Year in Normandie", 2020-2021 (detail), Composite iPad painting & nbsp; (© David Hockney)

Installed in Normandy, in the Pays d'Auge, since 2019, the famous British painter David Hockney took advantage of the first confinement to paint the spring. Then the other seasons followed. Paintings made on iPad, a technique that allows rapid capture of light effects, in vivid colors. His series A Year in Normandy is presented in the form of a 90-meter-long frieze in the large gallery of the Musée de l'Orangerie . From October 13, 2021.

Giuseppe Penone at the BnF

Giuseppe Penone. "Alberi libro" (Trees-book), 2017, Private collection (© Adagp, Paris, 2021, photo © Archivio Penone)

The National Library of France gives carte blanche to Giuseppe Penone. The Italian artist is well known for his questioning of man's links with nature. But the notions of time and memory are also essential for him. And it is the links he has forged with the writing and the imagination of the book that are highlighted here. For the exhibition, he created Sève et thought , an installation conceived from the imprint of a tree around which a text in his hand unfolds. Unpublished pieces, such as his 12 Alberi libro (tree books), drawings, photographs, books and engravings accompany him. From October 12, 2021 to January 23, 2022.

The birth of modern Greece at the Louvre

Iakovos Rizos, "Athenian evening, Athens" (© National Gallery- Alexandros Soutsos Museum, Photo Stavros Psiroukis)

On the occasion of the bicentenary of the Greek War of Independence, just after the entry of the Venus de Milo into the Louvre, the Louvre museum offers a large exhibition on the historical, cultural and artistic links between France and Greece. It intersects the history of archeology, which in the 19th century made the discovery of an ancient Greece in color, with the development of the modern Greek state, which was built by drawing on the sources of French and German neoclassicism. Without forgetting the modern Greek art which one discovers in Paris starting from the universal exposures of the end of the XIXe century. From September 30, 2021 to February 7, 2022.

Han Ong on Slippery Professional Boundaries

Your story “The Monkey Who Speaks” revolves around the relationship between an old man and the home health aide who works for him. The story ends during the COVID-19 pandemic. Was it inspired by the pandemic?

Photograph courtesy Han Ong

No, with an asterisk, which I’ll explain.

Being from the Philippines, I’ve wanted for some time to write about an industry where Filipinos are well represented, even overrepresented. Enter the nursing and home-health-aide professions. Chances are, if you or your family have the means, you’ll have intimate relationships with a Filipina at two critical stages in your life: with a nanny, when you’re a child, and with a nurse or a home health aide, as a senior citizen. Both are hands-on jobs, where the professional can’t help but bleed into the personal. I was interested in that slippery border. Now, having decided to write a story about a health aide, a story set in the present, I may have been naïve to think that I could skirt, at the very least, mentioning the current pandemic.

Also, as writers, we are testing our stories one sentence at a time, experimentally setting down a plot point or a pivot in time, knowing that we have the luxury of the backspace key: erase, and start over. But, as soon as I wrote this sentence, I knew there was no turning back: “So the virus is here, obliterating swathes of work and also the meaning of work.” Both the sound and the sense of that sentence were, to me, incontrovertible.

There are many disparities between Roscoe, a wealthy inventor with a country house, and Flavia, who has immigrated to New York from the Philippines—age, wealth, race, and more. What makes them connect? And what keeps them from having a deeper connection?

I’m guessing that Flavia is not the first health aide Roscoe has employed. For whatever reason, he likes her the best, and she has worked for him for more than two years. I doubt that any of her predecessors lasted as long. Maybe it’s her good humor that Roscoe likes; maybe it’s her pliability, her anonymity as a person, aside from being his informal film student. Of course, there are boundaries. There are always boundaries. Where would we be without boundaries? I’m saying this both as a person within a circumscribed society, and also as a writer, who benefits from the tension, the paradox, the push-pull within a relationship like the one between Roscoe and Flavia. It’s fascinating to think about how you can husband your emotions in an exchange that involves, as the story puts it, “emotional outlay,” how to protect and not overextend yourself.

There’s a third point in the triangle—Roscoe’s daughter, Veronica, who manages his relationship with Flavia and is, inadvertently, perhaps, responsible for ending it. She’s grateful for Flavia’s involvement with her father, but is she also jealous of it? How does she view Flavia?

I don’t know about jealousy. Veronica is scrupulously fair toward Flavia. She talks Flavia into quitting the nursing service she works for and becoming an independent contractor (thereby not splitting her pay with the agency), and she also gives Flavia a raise; and when she finds out that her father has taken advantage of Flavia’s time without compensation, Veronica is quick to make up for the offense.

These sentences, which Veronica addresses to Flavia, illustrate the full range of her relationship with Flavia: “And we’ll work with you. With your class schedule, within reason.” The generosity of allowing Flavia to attend college at the same time that she is taking care of Roscoe is followed by the immediate setting of boundaries with “within reason.”

Flavia doesn’t talk to anyone about her past, about “the great unhappiness, the familial rift that had catapulted her to this part of the world, a runaway, a refugee, of sorts.” You also don’t tell the reader about it. Why hold that information back?

But I do tell the reader about it, albeit in Flavia’s style, that is to say, stealthily, and withholding any emotion in the telling: she comes from a family that forbade the children to go to the movies. I mean, can you imagine—the oppression, the stifling atmosphere, the drive to keep the children infantilized? Also: her parents never talked about family history in front of the children. The withholding, the secrets! What do you think dinner-table conversation in a family like that consists of? I’d flee that family, too! Flavia only seems not to talk about her familial estrangement; in fact, she reveals these details in answer to questions that don’t, at first, appear to be too personal.

Why did you choose movies as a focal point for the plot?

Frequently, I will meet somebody, say, at a dinner, who mentions some obscure film actress in an art-house movie, but can’t remember her name. And I’ll say, “Are you speaking of Alida Valli?” They’ll say, “Yes,” then add, “My God, your brain!” And I’ll crack, “If only I could find some way to monetize all the useless film trivia I know!” Now it seems that I have. Which is a way to say that I have a bottomless well of film knowledge, and it’s about time I used it!

Trivia: For the Japanese film night that Roscoe hosts in his home, movie No. 1 is “Ugetsu,” directed by Kenji Mizoguchi. Movie No. 2 is Yasujiro Ozu’s silent film “I Was Born, But . . .” And the last movie of the evening is, of course, Akira Kurosawa’s “Seven Samurai”—in my opinion, the greatest movie ever made.

The Apichatpong Weerasethakul film “Tropical Malady” plays a kind of symbolic role in the story (and provides the title). Did you have it in mind when you started writing?

Speaking of great films . . . Along with the desire to write about a health worker, “Tropical Malady” was a lodestar when I began the story. I wanted to fold that movie into the narrative, but had no idea how to when I started writing. IMDb gives 2004 as the year the film was produced, but I believe it was released in New York—where I saw it—in 2005. I wrote the story drawing on only that initial viewing. The movie had that kind of staying power with me.

Sunday Reading: Food & Drink

In 2006, the screenwriter Nora Ephron published an essay in The New Yorker about her lifelong obsession with cookbooks. As a young staffer at Newsweek, she received her first, “The Gourmet Cookbook,” from her mother, in 1962. She had just moved to Manhattan, and everything seemed possible. Indeed, just before she arrived, she wrote, “two historic events had occurred: the birth-control pill was invented and the first Julia Child cookbook was published. As a result, everyone was having sex, and when the sex was over you cooked something.” Ephron’s tale is wry and humorous, but it also touches on the very real connection many of us have with food and its indulgent pleasures. Cookbooks, for Ephron, were a symbol of adulthood, of coming into her own. And she delineates the different stages of her life by the various books—or, as she puts it, “culinary liaisons”—that accompanied them. Like so many of us, she marks the shifting seasons, in part, with the memorable dishes and recipes that have nourished her along the way.

More from the Archive

Sign up for Classics, a twice-weekly newsletter featuring notable pieces from the past.

This past week, we published our annual Archive Issue. The theme this year was Food & Drink, and the edition was filled with a slew of flavorful, intriguing pieces on the joys of meaningful meals and assorted cuisines. Today, we’re bringing you a selection of pieces that we simply couldn’t fit into the issue; they reflect varied culinary experiences and the ways in which they enhance our lives. In “The Man Behind the Soups,” Alex Prud’Homme profiles the Armenian chef who would later inspire the classic “Soup Nazi” episode of “Seinfeld.” In “Two Kitchens in Provence,” M. F. K. Fisher writes about her sojourns in the marketplaces of the South of France and the dishes they inspired. (With “the spiritual food a part of the whole, we would eat at breakfast canned grapefruit juice, large bowls of cafe au lait, with brown sugar, slices of Dijon gingerbread with sweet butter and Alpine honey; at noontime whole new potatoes boiled in their jackets in a big pot of carrots-onions-sausage, which we’d eat later, sweet butter, mild cheese, and a bowl of green olives and little radishes.”) In “Crabs,” the novelist Edwidge Danticat recalls living on the edge of poverty in Haiti and a miraculous Sunday when her family received a large bowl of crabs stewed with eggplants and garlic. In “A Good Appetite,” A. J. Liebling recounts the many noteworthy meals he’s had working as a reporter abroad. Finally, in “The Egg Men,” Burkhard Bilger explores the remarkable lives of short-order egg cooks in Las Vegas. “Las Vegas is a city built by breakfast specials,” Bilger writes. “Sex and gambling, too, of course, and divorce and vaudeville and the creative use of neon. But the energy for all that vice had to come from somewhere, and mostly it came from eggs.” We hope that these pieces offer an appetizing amuse-bouche (or two) for your enjoyment this weekend.

—Erin Overbey, archive editor

The soup chef dishing out a to-go cup of soup

The Man Behind the Soups

Albert Yeganeh knows he serves the greatest soups, and that soup is the greatest meal in the world.

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Illustration of a teacup with a face

Serial Monogamy

My cookbook crushes.

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Blurred chefs in a kitchen where there are seven pans cooking different omelettes on the stove

The Egg Men

How breakfast gets served at the Flamingo hotel in Las Vegas.

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Still life of fruit

Two Kitchens in Provence

The food was the same in both kitchens; it dared me daily.

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An illustration of a steaming bowl of boiled crabs


Praying for food in Haiti.

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Gastronomer Yves Mirande smiling with a cigarette in his mouth

A Good Appetite

Memoirs of a feeder in France.

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