Last year, I visited Parisian department store Le Bon Marché twice. The first time, I only admired the roof – designed by Gustave Eiffel – and considered the store as a relic from the past. Once a local gem, now a dull showcase for the advertising of world’s biggest designer labels.
I see it happening in my city too, where department store De Bijenkorf only serves as house for shop-in-shops like Louis Vuitton and Hermes and their Russian and Chinese customers (even the announcements are in Russian and Chinese).
But last week, my second visit to Le Bon Marché pictured a totally different picture. The shop reserved the most beautiful floor – right under Eiffel’s roof – for an exhibition-like store with a clear theme: Japan. I estimate that around thirty Japanese suppliers had a stand at Le Bon Marché Japon where they could showcase their goods and it was clear that they were neatly selected, only offering quality and original products.
There was also an art installation, honoring the art island Naoshima in a rather dramatic fashion:
Seems like Le Bon Marché figured that to compete with web shops, they have to put up a show.
Judging from the amount of shoppers in the store and the Japon-bags on the streets, this project seems successful. It proves that when vendors offer something else than the usual designer-subjects, customers are willing to visit their department stores again.
Palais de Tokyo is an art museum that is open from noon to midnight, so I was able to visit on Saturday evening around 9pm, which I absolutely loved. During the evening, I’m in a better mood to experience the art installations of Palais de Tokyo. During the day, I’m more concerned with the next thing on the schedule, but at night, none of that is bothering me.
The Parisian museum basically is a ruin – especially the basement – and it’s filled with conceptual art – which is not to be understood, but to experienced. Such as Ange Leccia’s impressive loops of the Costa Rican coastline:
After visiting the exhibitions, we had dinner on the courtyard, that is surrounded by pillars and even offers an accidental view on the Seine and the Eiffel Tower. As we saw the crowds gather for club YoYo’s front door, the waiter served us BBQ pork ribs. Outside the terrace, people sat down on the staircases, enjoying picnics and their skateboards.
The Palais de Tokyo really seemed part of daily life for at least hundreds of Parisians, what I absolutely loved and which should serve as a blueprint for other modern art museums.
It would be admirable if more museums opened their doors at night. Art after work!
My girlfriend is in fashion and wanted to see the Dries van Noten exhibition in Les Arts Décoratifs in Paris, so we took the train from Amsterdam to get there, which felt like a very cosmopolitan thing to do.
Belgian fashion designer Van Noten (1958), who still owns 100 percent of his company’s shares, shows his inspirations, grouped in loose themes like ‘Graphic’, ‘Uniforms’ and ‘Foppish’. Per theme, you’ll see a vitrine with Van Notens designs, accompanied by pieces he found in the museum archive and his personal inspirations, like extracts from his favorite movies.
I especially liked the part where Van Noten combined Jean Cocteau’s sword with a portrait of David Bowie and his own impressive men coats.
The whole show felt like an enormous and sophisticated mood board and reminded me of the book by American author Austin Kleon, who encourages artists to share their inspirations publicly: Steal Like an Artist (2012).
So this is on YouTube! I can now watch the dance scene from La Grande Bellezza over and over again. Especially the part where Jep Gambardella turns around, cigarette hanging from his mouth, tantalizing smile on his face – which, for studying reasons, I have captured in a GIF.
I remember reading an interview with the two creators of Southpark, where they discussed how the losers of their high schools went on and lead great lives, while the cool kids all became insurance agents. I’ve always remembered that line, but by now I’m in doubt whether I’ve actually read it, since I can’t find the article online.
When I watched the Swedish movie The Reunion (2013) yesterday, I thought about this hopeful anecdote again.
In The Reunion, a succesful artists confronts her old bullies at a highschool reunion. When the artists discusses her old class with friends, they tell her she is on top of the food chain now.
To which she replies: ‘I’m not, because in their eyes, I’m still a loser’.
I urge you to go see this uncomfortable and thought-provoking movie.
Excited to tell you we’ve started publishing books at De Correspondent (more about our platform here). Author Rutger Bregman has written about importance of utopian thinking on our platform and three months ago announced that he wanted to further explore these ideas in a book. We immediately though: why not publishing it ourselves.
So here goes, De Correspondent is now a publishing house too. These are our 4 foundations for publishing books:
Ebook is 60 percent cheaper than print edition (€18 vs €7);
Ebook isn’t secured with DRM or any of that nonsense: readers are free to lend books to friends and family (with 85 to 95 percent of Dutch ebooks being illegal copies, it’s obvious that DRM doesn’t work);
We’ve raised author’s royalties for print edition with 50 percent;
I have three rules for visiting a city: 1) never take the underground, 2) when you see a queue for a restaurant, join it and 3) visit the museum for modern art. Last week, when I visited London to speak at a journalism conference, I had a hard time abiding the first rule, but the third one didn’t meant any trouble at all, since I visited the Tate Modern for the first time in my life.
To give you a taste of the current displays of its collection, I’ll share the paintings I’ve found most impressing.
(click on the image for more information on the Tate’s website)
While exiting through the gift shop, I picked up a copy of Austin Kleons new book ‘Show your Work‘. Expect a review soon.
Het eerste wat bij de film American Hustle (2013) in beeld wordt gebracht, is de enorme bierbuik van Christian Bale. ‘Ja, hij is voor deze rol enorm aangekomen’, lijkt de regisseur te willen zeggen. Of het is een verwijzing naar het knallende begin van Duke Ellingtons Jeep’s Blues, die op de soundtrack staat:
Maar het is Jennifer Lawrence die pas echt de show steelt in deze zorgvuldig gestileerde seventies-film. Telkens wanneer zij als woedende en sensuele huisvrouw, komt de film pas echt tot leven.
The New Yorker has just launched a clean and responsive site for their writings. Moreover, they’ve made their archive – dating back to 2007 – available and allow everyone to browse the site for free during this summer (there’ll be a paywall similar to The New York Times wall after that).
I enjoy browsing the new site, yet it strikes me as odd that the first article I read is basically still a paper article. In a review of the Jeff Koons retrospective in the Whitney, no photos or videos showcase the discussed works. Instead, I’ll have to trust the rather concise descriptions of the author.
On paper, this makes perfect sense. Online, it’s unacceptable.
And using photos is just the beginning. It would get even more exciting if The New Yorker would unlock their beautiful archive with links to older pieces about Koons, etcetera (because the story could be the platform)
For now, The New Yorker has only created a beautiful site for their paper writings (and, ok, their blogs, but those aren’t as heavily invested in as in the paper magazine). I certainly hope that their next step will be an exploration of the advantages of digital storytelling.