It is to be held at the Petit Palais in Paris from December 11, 2018 to March 31, 2019.
It probably hasn’t been since 1964, at the occasion of Les architectes visionnaires de la fin du XVIII° siècle curated by Jean-Claude Lemagny at the Bibliothèque Nationale, that the work of Lequeu was shown.
Illustration: “The Big Yawner”
See also: phantasm
“Artichoke” wallpaper, by John Henry Dearle for William Morris & Co.
As I’ve mentioned, I travelled to China over the holidays, to visit my daughter Bonnie.
On holiday , and practically only then, I read.
My finest read this trip was Michel Houellebecq‘s De koude revolutie. One of the most enigmatic essays in that collection is “Sortir du XXe siècle” (2000), the title of which translates as “Leaving the 20th Century”, but which has, to my knowledge, not been translated into English.
The essay starts as a diatribe against the left, against 20th century social sciences (Pierre Bourdieu) and thought (Jean Baudrillard). It criticizes the nouveau roman and praises New Wave science fiction (“Ballard, Disch, Kornbluth, Spinrad, Sturgeon and Vonnegut…”).
Most of all it praises American writer R. A. Lafferty and extols the virtues of the short story “The World as Will and Wallpaper” (1973), the title of which references Schopenhauer’s The World as Will and Representation and manages to weave William Morris (English artist, writer, socialist, activist and designer of wallpaper) in the story, both as character and as author of The Wood Beyond the World, which in this story has become a place which cannot be reached.
I am quite fond of texts that make broad sweeping generalizations.
“Nowhere is one more a foreigner than in France. Having neither the tolerance of Anglo-American Protestants, nor the absorbent ease of Latin Americans, nor the rejecting as well as assimilating curiosity of the Germans or Slavs, the French set a compact social texture and an unbeatable national pride against foreigners.”
The above generalization is one of national character, one of the hardest to make and the least respected, the category basically came into being with Hegel and Herder‘s Volksgeist and fell out of favor with Nazism.
Jazz À Gogo (1964) – France Gall
France Gall was a French singer. She is famous for such songs as “Teenie Weenie Boppie” (on LSD), “Zozoi” (Brazilian), “Ella, elle l’a” (on Ella Fitzgerald) , “Laisse tomber les filles” (on Lotarios), “A Banda (Ah Bahn-da)” (Brazilian), “Poupée de cire, poupée de son” (Eurovision song winner) and “Pauvre Lola” (which only features her giggle).
Of personal interest is her collaboration with Serge Gainsbourg.
Notorious is the fact that she ignored that the “lollipops” in “Les Sucettes” could mean more than just mere lollipops, despite her being already 19.
Major names this year include:
Alain Jessua was a French film director and screenwriter who directed ten films between 1956 and 1997.
Léon la lune (1956), a film documenting the life of the ‘clochard‘ of the title, was Alain Jessua’s first film and it won the influential Prix Jean Vigo in 1957. The short film was inspired by Jean-Paul Clébert’s book Paris insolite (1952), the first of a series of realist photojournalistic books depicting the underworld in Paris. Clébert’s friends Jacques Yonnet and Robert Giraud wrote their own tales of the vagabond life on the streets of Paris; Yonnet wrote Paris Noir (1954), and Giraud’s Le Vin des rues (1955). The three frequented the same haunts as the youths of Letterist International, and this scene would become the subject of Ed van der Elsken’s photonovel Love on the Left Bank (1956), the most popular depiction of Parisian bohemian bar life.
RIP Jerry Lewis, 91
I know French film criticism of the 1960s was crazy about him.
The reason for this infatuation was explained in the book Why the French Love Jerry Lewis.
Well, Lewis died.
I researched him anew.
I found the movie above: Slapstick of Another Kind.
It’s the second Kurt Vonnegut film adaptation I see.
Both are bad films.
I enjoyed both films.