Latest news with #Pompidou
Hypebeast
6 days ago
- Business
- Hypebeast
Centre Pompidou to Open First South American Outpost in Brazil
Summary As theCentre Pompidoureadies its five-yearclosurestarting this September, the Parisian institution is amping up its global presence with a forthcoming satellite location in Foz do Iguaçu, Brazil, set to launch in November 2027. The museum will be situated near Iguaçu Falls, a UNESCO World Heritage site nestled in the 'Triple Frontier' of Brazil, Argentina and Paraguay. This marks the Pompidou's first permanent branch in South America, with outposts in Shanghai, Málaga andMetzalready under its belt. Additional branches for Brussels,SeoulandJersey Cityare also currently underway. Centre Pompidou x Paraná will feature exhibition galleries, research spaces and a central public plaza designed to foster community engagement through events, screenings and cultural festivals. Showcasing selections from the Pompidou's vast 150,000-object collection, programming will focus on celebrating the diversity and depth of South American contemporary art. The $240 million USD will be designed by Paraguayan architect Solano Benítez. Known for his sustainable design ethos, Benítez, the 2016 winner of the Golden Lion at the Venice Biennale, will lead a seamless integration between the architecture and the surrounding natural landscape, offering stunning views of the nearby falls. Meanwhile in France, the Paris home base will close for five years starting this September for a $280 million USD renovation. The overhaul, overseen in part by France's cultural ministry, will upgrade energy systems and modernize the building's original 1997. Prior to the closure, a Wolfgang Tillmans show will be mounted in the museum's library.
Time Out
19-05-2025
- Entertainment
- Time Out
The Phoenician Scheme
Haters look away now because Wes Anderson's twelfth film, The Phoenician Scheme, offers everything we've come to expect from cinema's most meticulous auteur: quirky dialogue, plaid-and-stripe costumes, and a roster of cameos arranged as carefully as one of his colour palettes. He's a director whose visual artistry and hyper-stylised, analogue worlds are celebrated from the Pompidou in Paris to London's Design Museum, why would we expect him to change his immaculate spots at this stage? Here, Anderson doubles down on the vignette structures of The French Dispatch – not everyone's glass of pastis – while giving his pack a shuffle. Benicio del Toro showcases his rarely seen comedic charm as Zsa-Zsa Korda, an arms-dealing entrepreneur seeking funding for his latest project from a motley crew of friends and foes (Tom Hanks, Bryan Cranston, Scarlett Johansson, Riz Ahmed, Benedict Cumberbatch and Jeffrey Wright). Korda's past is shady and his Trumpian approach to the art of the deal positions him somewhere between an antihero and an out-and-out villain. In a nod to Powell and Pressburger's A Matter of Life and Death, there's even a heavenly court where Korda must justify his dastardly existence to God (played by Bill Murray). Mia Threapleton is brilliantly deadpan as Sister Liesl, Korda's daughter and heir, a would-be nun with a deadpan demeanour and daddy issues. Meanwhile, Michael Cera, as a Swede called Bjørn Lund – a mysterious tutor to Korda's nine sons – adds to the film's delightful eccentricities with his odd moustache and enigmatic past. This unholy triumvirate forms the most tight-knit group of protagonists Anderson has created since 2007's The Darjeeling Limited. They join the mission to help Korda persuade his frenemies to back the construction of his dream desert city project, Phoenicia. Wes Anderson blends his signature style with dashes of film noir and action beats That's not to say Anderson doesn't change things up. He blends his signature style with dashes of film noir and action beats. Stravinsky plays over dogfights, hand grenades and ejected pilots filling the air. The film is split into five segments – 'shoeboxes' – and Anderson doesn't mind cramming in more information and A-list turns than we can process. Just as we start enjoying Cranston and Hanks teaming up to play basketball, or Ahmed as a graceful Indian prince, we're off again. Does this overdose of Wes-ness harm the experience? Not when there's Italian costume designer Milena Canonero's wonderful choices to enjoy (look out for Sister Liesl's stockings) or production designer Adam Stockhausen's playful set designs to disappear into. In fact, the question is rhetorical, because watching this Anderson extravaganza is like assembling a meticulously detailed puzzle: at times frustrating, but deeply rewarding when the full picture comes together.
The Independent
26-04-2025
- Entertainment
- The Independent
Paris's Pompidou is closing – visit these six overlooked museums instead
The Centre Pompidou, Europe 's largest contemporary and modern art collection, is as fundamental to Paris sightseeing landmarks as the Louvre, Musée d'Orsay or even the Eiffel Tower. The building itself is part of the attraction; often compared to an oil refinery or a container ship, it shocked the public when it opened in 1977. I've always thought it looks more like a hamster cage, with thousands of daily visitors scuttling up the tube-like escalators on the outside of the museum to get one of the best views of Paris's rooftops from the third floor. From September, the Pompidou will be closing its doors for five years of renovations, leaving a gaping hole in many Paris getaways. The permanent collections have already closed, so those wishing to see Andy Warhol's Ten Lizes in the flesh will need to wait until 2030. If you're quick, you can still make it to the temporary exhibitions. 'Paris Noir', the city through the lens of the immigration which shaped it during the 20th century, is on until 30 June, and the works of Suzanne Valadon (an artist active in the late 19th and early 20th centuries who frequently painted portraits of Montmartre cabaret dancers) is showing until 26 May. The final exhibition before closure will focus on contemporary photographer Wolfgang Tillmans (13 June–22 September). Originally known for portraits and gay scenes, his more recent works include astrophotography, abstract work and landscapes. Buy tickets in advance – the partial closure hasn't made the Pompidou any less popular. The temporary closure of an old favourite presents a new opportunity to discover Paris, and its often-overlooked smaller museums and galleries, outside the box – and there are more than 130 museums in the city, many eccentric and obscure. Cast your mind back to the hobbies of lost acquaintances from school and you'll probably find there's a museum dedicated to them. Stamp collecting? Check. Coin collecting? Check. Personally I had a morbid fascination with diseases – there's a museum that panders to my hobby. Fortunately, there's no museum dedicated to nose picking (yet). Here are six weird and wonderful museums to fill the Pompidou's hamster cage-shaped hole. The Funfair Museum (Musée des Arts Forains) A jump through time into the funfairs of early 20th-century Paris, this museum has you half expecting to see cartoon penguins break into dance and Dick Van Dyke on a carousel horse, like in Mary Poppins. Situated inside an old wine cellar, it's full of vintage merry-go-rounds, fairground games and puppet shows, and visitors can even have a go on the old rides. Guided visits are in French, but the guides generally make an effort to translate key parts into English. Opening Wednesdays, weekends and school holidays by prior reservation, no ticket office on site; The Sewers Museum (Musée des Égouts) Going down into the sewers of a capital city sounds pretty gross, but channel your inner Ratatouille and find there's something eerily beautiful about Paris's waste evacuation system. Take a guided tour to learn about the different animals that lived in Paris's sewers, many much less native to the city than rats, and the often unfortunate people that worked here. The stories are at once sordid and inspiring, from how an underground network of more than 1,600 miles was created, to the disease-ridden Paris of the 17th–19th centuries. Opening Tuesday–Sunday; The Wine Museum (M. Musée du Vin) First a 14th-century limestone quarry, next the cellars of a Franciscan Monastery during the 15th century, wine was produced and stored on the site of the modern-day Wine Museum as early as 600 years ago. Inside the vaults are exhibitions and models tracing the history of French winemaking and notable figures in viticulture, and for €4 extra, a glass of the 'wine of the month' is included with your ticket. Book the 'afterwork' package on Friday evenings for a drinks and food package, and a DJ set in the vaults. The European Photography Museum (Maison Européenne de la Photographie) With multiple temporary exhibitions that change most months, there's always something new to discover at the MEP. The permanent collection has photos from around the world – from the 1950s to the present day – from some of the world's best-known photographers, such as Irving Penn and Robert Frank. It scratches the itch of the Pompidou's now-closed photography gallery. Musée Cernuschi The 19th-century Italian banker and collectionist Henri Cernuschi spent two years travelling around Asia, collecting art, objects and curiosities now displayed in his mansion (the building is beautiful and worth a visit in its own right). There are almost 15,000 works, spanning some 5,000 years of history, with the largest collection being ancient Chinese art. The permanent collection is free, temporary exhibitions are chargeable. Open Tuesday–Sunday; The Plaster Cast Museum (Musée des Moulages) Morbidly fascinating, the Musée des Moulages – which is situated inside a hospital – has almost 5,000 plaster casts of different diseases, afflictions and injuries which were used to teach medical students in the absence of something more sophisticated. Created between 1867and 1958, the plaster casts detail the effects of everything from leprosy to syphilis in graphic detail. Through a modern lens, it looks like the dressing room on a film set – Game of Thrones' Hall of Faces perhaps. Hôpital Saint-Louis is still a working hospital; the museum and library is in a separate wing.
The Guardian
19-03-2025
- Entertainment
- The Guardian
‘The colour of my skin didn't matter': exhibition shines light on black artists in postwar Paris
For many black artists and intellectuals, postwar Paris was a cosmopolitan hub. While colonisation, racism and segregation cast a shadow over their countries of origin, the City of Light appeared then a more liberated place where they were free to mix, study, work and create. Now, a new exhibition – the last major event at Paris's Pompidou Centre before it closes for a five-year renovation in September – explores the 'unrecognised and fundamental' contribution these artists made to the French capital and how it influenced them. This vibrant final show brings together 350 works by 150 artists of African heritage, many of whom have been historically sidelined or forgotten and who the museum says are being given the recognition they deserve for the first time in France. The Pompidou, Paris's primary showcase for modern and contemporary art, describes it as an 'unusual project'. Paris Noir (Black Paris) 'celebrates artists who persisted in their commitment to create' despite being ignored by most cultural institutions at the time and for whom Paris was an essential part of their journey. Alicia Knock, the exhibition's lead curator, said: 'It is a story that hasn't been told and should be. The exhibition allows us to see the richness of these artists who came to Paris, many of whom were also philosophers and poets and whose works have not been seen before in France.' Paris had attracted African American artists even before the second world war. The celebrated Boston-born artist Loïs Mailou Jones arrived in the city on a fellowship in 1937 and marvelled at the positive response she received when painting was displayed outside on the streets. 'The French were so inspiring. The people would stand and watch me and say 'mademoiselle, you are so very talented. You are so wonderful.' In other words, the colour of my skin didn't matter in Paris …' she said of her time in the capital. Mailou Jones, who died in 1998 and whose work features in the exhibition, later returned to the US and set up the Little Paris Studio Group, a salon to provide local artists of colour with training and an outlet to show their work. Other artists featured include Chéri Samba, one of the most renowned contemporary African artists from the Democratic Republic of the Congo, African American Sam Middleton and James Baldwin's close friend Beauford Delaney, as well as the Cuban Wifredo Lam and the Tanzanian-born, Edinburgh-based artist and writer Everlyn Nicodemus. After Delaney died in 1979, Baldwin wrote in a tribute that he was 'the first living proof, for me, that a black man could be an artist'. But for decades his legacy was forgotten. Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion For Knock, the exhibition is the culmination of a decade's work to fill what she discovered was a 'major gap' in the Pompidou's collection. Many of the artists featured remain unknown to a wider public. At least 50 of the works in the exhibition have been acquired by the Pompidou. Knock hopes they will be included in its permanent exhibition when the museum opens again in 2030 after an estimated €262m refit of the 50-year-old building. 'It's a way for the museum to be more global, more inclusive and also about honouring the artists. As a last exhibition before the museum closes for five years it is spectacular but it's part of a longer-term project,' Knock said.
National Geographic
18-03-2025
- Entertainment
- National Geographic
In her music, Björk is unconstrained. As an activist, she wants to be hyperpragmatic.
Björk still counts the island nation of her birth (population 383,000) as her home base. She grew up with a fiercely principled, antiestablishment mother who, in 2002, went on an 18-day hunger strike to protest plans to build an aluminum smelting operation and a power plant in the Icelandic highlands. Björk's heritage is central to her environmental concerns, which have been increasingly enmeshed with her broader artistic project. 'Every time I do something in Iceland, I always reach out to the environmental groups. We meet in my living room for coffee,' she says. For decades, she's been a globally beloved visionary who can sell out arenas, but she still operates with the spirit and principles of an indie act from the nineties: 'I'm like an old punk, so I never receive money from anyone,' she tells me. This constitutional independence means that she usually rejects requests for commissioned works. But when the curators at the Pompidou asked her, last year, to create a version of her environmental manifesto for the museum, she recognized an opportunity to bridge the pillars of her creative, political, and technological sensibilities. Along with her own vocals, and with the help of AI software, the piece featured snippets of sound from endangered or extinct animals. 'I give them the microphone. They repeat all the words with me,' she explains. She immersed herself in field recordings with animals. 'At first, I cast the net quite wide. But then I ended up choosing animals that are most similar to the human voice, that are endangered or extinct,' she says. This list included the Hawaiian crow, the orangutan, and rare species of dolphins. At one point, she spent a full week listening to flocks of birds taking off in different parts of the world to figure out 'which was the most ecstatic.' Inspiring exploration for over 130 years Subscribe now a get a free tote SUBSCRIBE As part of the Pompidou commission, Björk asked the museum's curators to gather young environmental activists to pursue another 'reachable' cause: She wants them to petition French president Emmanuel Macron to ban bottom trawling in the country's protected waters. It's another seemingly modest goal with the potential to make a tangible impact. 'I try to make the best of the fact that I come from a very small country that is very untouched,' she says. 'Instead of doing 10 things, [I try to] do one thing properly and follow it all the way to the end … not just be a face on some campaign and show up at a cocktail party and go home and not know what's going to happen.' Set design: Andrew Lim Clarkson; stylist: Edda Gudmundsdottir; makeup artist: Daniel Sallstrom National Geographic magazine. A version of this story appears in the April 2025 issue ofmagazine.
