Tout Public pays tribute to the total artist that was the American David Lynch after his death at the age of 78. Alongside his cinematographic work, “there was the discovery of an entire submerged heritage, a submerged part of the iceberg”explains Grazia Quaroni, collections director at the Cartier Foundation for Contemporary Art, and who worked for the David Lynch exhibition, The Air is on Fire, in 2007. This exhibition made it possible to “know his activity of painting, sculpture, photography, sound, installation, music… (…) Everything was very Lynchian in some way” she remembers. Since the exhibition, part of the heritage has also been preserved at the Cartier Foundation.
A director whose influence has therefore gone beyond the sphere of cinema, as attested by another jack-of-all-trades artist, Bertrand Belin, singer, actor and writer, who says he was marked by many of Lynch’s cinema images. “What I find incrediblehe observes, it is to have left an adjective as Kafka did, which allows us to designate a certain quality of mood of matter, of reality, of a situation… It’s not nothing.”
Among his many hats, Bertrand Belin writes books, and he comes to Tout Public to talk about the latest one, The Figure. Through an autofiction, Bertrand Belin recreates his past as a child beaten by his father, which he spends in the company of The Figure, both his fictional double and his companion. A writing that involves neither realism nor settling scores. “I write with my way of welcoming events and restoring them”explains Bertrand Belin.
“I gave a counterpart, a comrade, to this interior voice, which is The Figure. It is an interlocutor, while remaining interior.”
Bertrand Belinfranceinfo
Although Bertrand Belin’s writing detaches itself from a certain realism, for him it is “a way of understanding reality”. This in fact presents itself to his eyes as a “investigation” that it is “the elucidator” passing through “all possible methods, including those which have a certain poetic dimension”argues the author. This way of understanding reality is reminiscent of that of the cinema of David Lynch, of which Bertrand Belin himself says he likes “this indirect and somewhat elliptical relationship to events. “It is something that makes my life much more pleasant,” he confides.
-The Figure (POL), available now in bookstores.
The Mia Mao club located in Paris in the 19e arrondissement opens Friday January 17, with an evening that aims to celebrate party and electro culture. A project supported by the town halls of Paris and 19e district, explains club boss Arnaud Perrine, still surprised that they believed in the project from the start. The objective in creating this club was to “keep the nightlife in the city of Paris. A city without parties and a city without nightlife, it is missing a legsays Frédéric Hocquard, nightlife assistant. The Olympic Games, for example, served as a reminder with the closing session of the Paralympics, where there was the entire French electronic scene, that Paris was very rich in its cultural diversity.”
Clubbing also constitutes a moment of letting go, as Frédéric Hocquard maintains. “It is also the question of spaces of permissiveness, of transgression, and which are spaces of forgetting all forms of domination. Because the dancefloor is also a place of freedom”he says.
Arnaud Perrine also explains that clubbing can be a protesting and subversive place. “In the 1990s, the first rave parties in England were resonances and movements in relation to complicated moments in English society, where guys said: fuck it, we’re going to do something, we’re going, we’re who cares, we free ourselves and people followed.”he tells Yann Bertrand’s microphone.
A program with the participation of Matteu Maestracci and Yann Bertrand, journalists in the culture department of franceinfo.
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