RUI MOREIRA Press Review - selection of articles - Jeanne Bucher Jaeger
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Rui Moreira working in the Sahara desert, 2005 © Tiago Marrecas
Press Review
selection of articles
RUI MOREIRA
5, rue de Saintonge 75003 Paris T. +33 (0)1 42 72 60 42
info@jeannebucherjaeger.com www.jeannebucherjaeger.com
Print media/ Presse papier
Country/ Pays : France
Date : March 2022
Exhibition/ Exposition : The Passengers, Gallery Jeanne Bucher Jaeger, Marais, Paris
Journalist : Damien Aubel
ART GALERIE
Des cathédrales et des roues
La peinture est peut-être muette, le dessin de Rui Moreira, lui, ne l’est pas.
On s’en convaincra avec la splendide exposition chez Jeanne Bucher Jaeger.
Par Damien Aubel
C
RUI MOREIRA, athedrals of Wind : l’assaut au
THE PASSENGER ciel d’une déchiqueture, une
du 12 mars au 28 mai,
Galerie Jeanne Bucher Jaeger, double dentition minérale, de
jeannebucherjaeger.com bleus froids et de blancs, mais
la piste alpine est fausse, se perd lit- Rui Moreira, The Passengers 4, 2020, Stylo gel sur papier, 153 x 102 cm
téralement dans les sables. Cette série © Cintra & Castro Caldas Courtesy de l’artiste et Jeanne Bucher Jaeger, Paris
de dessins, le Portugais Rui Moreira,
pèlerin des déserts, l’a conçue à partir et elle remplaçait le texte par l’image
LATIFA ECHAKHCH, HORIZON de la « Cathédrale des Vents », cette pour les ignorants. » Défalquons le
Galerie Kamel Mennour, 75006 Paris,
jusqu’au 20 mars. titanesque dentelure, ces plissés de sable résidu prêcheur de la phrase, et elle
kamelmennour.com et de vent, dans le Namib. Et ces bleus est notre meilleur guide pour cette
sombres qui collent, comme des éma- exposition.
Dans le sous-sol plongé dans l’obs- nations ectoplasmiques, aux raideurs Campez-vous devant la série des
curité de la galerie Kamel Mennour onduleuses des versants, n’est-ce pas Passengers : tentacules lovecraftiens dans
apparaît le paysage idyllique d’un ainsi que « tournoient les ombres indi- la distraction d’une vision lointaine,
levée de soleil sur un lac. Happé gnées des oiseaux du désert » (Yeats) ? une fois approchés, ils se révèlent de
par cette représentation roman- Rui Moreira, homme des déserts, souples concrétions constituées d’un
tique monumentale, le regard l’est sans doute aussi des puits, en tout même motif élémentaire, répété ad
interroge les masses sombres qui cas de ces puits où on s’abreuve aux lib. Formes sans figures, mémorial,
le dissimulent. Latifa Echakhch a, eaux mêlées, régénératrices, du cinéma nous dit-on, de la myriade des morts
révèle-t-elle,« dégommé des parties (Tarkovski ou Syberberg, apprend-on), de la Covid, mais elles pourraient aussi
de cette fresque murale dans un de la musique (Bach ou Stockhausen, bien, dans leur innocente simplicité,
geste puissant. Dans l’atelier je ne nous précise-t-on). Les eaux froides, figurer ces anges dont les superposi-
réfléchis pas, mon corps est mon irlandaises, de Yeats irriguent-elles tions se succèdent aux voussures des
instrument. Il sait ce qu’il doit ses dessins ? Je n’en sais rien, mais portails, ou dont les cohortes parent
faire », explique l’artiste. Si, par leur élégante économie chromatique la peinture pieuse.
ce geste, l’image perd son statut en bleu et blanc ici, la rigueur de la Et voici les rosaces – la série des
de fenêtre sur le réel pour assumer déclinaison harmonique des nuances Roda-Viva – mais elles ont moins en com-
celui de représentation, il n’annihile et des intensités de l’embrasement de mun avec les roues de pierre creusées
pas son pouvoir attractif. L’image l’astre solaire, du blanc franc au rouge dans les façades des églises, qu’avec les
résiste. Ou est-ce le spectateur ? Sa calciné, ailleurs, dans une autre série bâtonnets des cercles brisés du Yi-king,
fascination le pousse à chercher (Roda-Viva III) : c’est une concentra- et voilà notre cathédrale rêve oriental.
à voir derrière ces zones effacées tion soigneuse des effets plastiques qui Mais qu’importe, il ne s’agit pas de
qui s’apparentent à un mur. Pour donne leur cohérence au pullulement « christianiser » Rui Moreira ou de
prolonger sa plongée dans la beauté, des formes, à la myriade des références. le tirer vers la divination chinoise :
même imparfaite, et dans l’illu- Aussi se sent-on, sans remords, fondé seulement de laisser entendre que ses
sion. Ce polyptyque de la série à mêler les nôtres, et puisque la « cathé- dessins ont la puissance symbolique
des Sun Set Down préfigure la drale » nous fait un clin d’œil suggestif, et la complexité architectonique des
future participation de l’artiste à convoquons un expert en la matière, grands vaisseaux de pierre, des grands
la 59e Biennale de Venise, au sein Huysmans : « La cathédrale était donc systèmes d’élucidation du monde. Et,
du Pavillon Suisse. un macrocosme, elle embrassait tout ; comme eux, ils sont opaques. Un mys-
Aude de Bourbon Parme elle était une bible, un catéchisme, une tère éloquent, telle pourrait être la
classe de morale, un cours d’histoire définition de l’art de Rui Moreira.
Page 104 / TRANSFUGE
Print media/ Presse papier
Country/ Pays : France
Date : March 2022
Exhibition/ Exposition : The Passengers, Gallery Jeanne Bucher Jaeger, Marais, Paris
Journalist : Damien Aubel - translation
ART GALERIE
Des cathédrales
Cathedrals
Painting
et des roues
and wheels
mayestbepeut-être
La peinture Rui Moreira’s
silent, butmuette, le dessindrawings are not. lui, ne l’est pas.
de Rui Moreira,
You’ll
On s’ebe convinced avec
n convaincra by thisla splendid
splendideexhibition Jeanne
expositionatchez Bucher
Jeanne Jaeger.
Bucher Jaeger.
By DDamien
Par amien aAubeluBel
C
RUI MOREIRA, athedrals
athedralsofof Wind: Wind an assault au
: l’assaut on
THE PASSENGER the
cielsky; jaggedness;
d’une déchiqueture, a doubleune set
From
du 12March
Jeanne
mars au12 28
to mai,
May 28
Bucher Bucher
Galerie Jeanne JaegerJaeger,
Gallery,
ofdouble
mineraldentition
teeth in cold blues and
minérale, de
jeannebucherjaeger.com
jeannebucherjaeger.com whites; an alpine
bleus froids et de slope lost in
blancs, the
mais
sands.
la pisteThisalpine series of drawings
est fausse, se perdwas lit-
imagined
téralementbydans the les
Portuguese artistsérie
Rui
Rui Moreira, The Passengers
Rui Moreira, 4, 2020,
Passengers Stylo
4, 2020, gel suronpapier,
Gel-pen paper, 153
153 xx 102 cm
102 cm
sables. Cette © Cintra & Castro Caldas Courtesy de l’artiste et Jeanne Bucher Jaeger, Paris
Moreira,
de dessins, pilgrim of theRui
le Portugais deserts,
Moreira,ins-
pired
pèlerinbydesthe “Wind
déserts, l’a Cathedral”,
conçue à partir the human race, set forth
et elle remplaçait le in broad
texte paroutline…
l’image
LATIFA ECHAKHCH, HORIZON titanic
de la « indentation
Cathédrale in desNamibia,
Vents », made cette It wrote
pour lesaignorants.
book, as it »were, intelligible
Défalquons le
Galerie Kamel Mennour, 75006 Paris, of folds ofdentelure,
titanesque sand andces wind. And
plissés de those
sable to the humblest,
résidu prêcheur de superseding
la phrase,the text
et elle
by
estimages, and so instructing the cette
igno-
jusqu’au 20 mars.
kamelmennour.com deep bluesdans
et de vent, thatlestick
Namib. like ectoplas-
Et ces bleus notre meilleur guide pour
mic
sombres emanations
qui collent, to comme
the undulating
des éma- rant.” If we strip away the residue of
exposition.
Dans le sous-sol plongé dans l’obs- stiffness of the slopes, isn’t
nations ectoplasmiques, aux it in this
raideurs preacheriness,
Campez-vous these phrases
devant can serve
la série des
curité de la galerie Kamel Mennour way that “reel”
onduleuses the “shadows
des versants, n’est-ce of pas
the as an excellent
Passengers guide lovecraftiens
: tentacules to this exhibition.dans
apparaît le paysage idyllique d’un indignant desert birds”
ainsi que « tournoient les ombres (Yeats)?
indi- laSet yourself d’une
distraction in frontvisionof thelointaine,
series of
levée de soleil sur un lac. Happé Rui des
gnées Moreira,
oiseaux a man of the» desert,
du désert (Yeats) is? Passengers:
une fois approchés,Lovecraftian ils se tentacles
révèlent de in
par cette représentation roman- undoubtedly
Rui Moreira, alsohommea man des of drinking
déserts, the distraction
souples of a distant
concrétions vision,d’un
constituées that
tique monumentale, le regard wells,
l’est sansor in any aussi
doute case desa man of the
puits, well
en tout at
mêmeclosemotif
rangeélémentaire,
turn out to répété be supple ad
interroge les masses sombres qui where
cas de ces one puits
drinks oùfrom the blended,
on s’abreuve aux concretions
lib. Formes made of the same
sans figures, elemen-
mémorial,
le dissimulent. Latifa Echakhch a, regenerating waters of cinema
eaux mêlées, régénératrices, (Tar-
du cinéma tary
nousmotif,
dit-on,repeated
de la myriade in an impromptu
des morts
révèle-t-elle,« dégommé des parties kovsky
(Tarkovski or Syberberg,
ou Syberberg, we come to learn)
apprend-on), manner.
de la Covid, Headless
mais elles shapes, in remem-
pourraient aussi
de cette fresque murale dans un and
de laof music (Bach
musique (Bach ou or Stockhausen,
Stockhausen, brance,
bien, dans we leur
are told,
innocenteof thesimplicité,
countless
geste puissant. Dans l’atelier je ne we
nous areprécise-t-on).
told). Are hisLes drawings also ir-
eaux froides, people
figurerwho died ofdont
ces anges Covid. les But in their
superposi-
réfléchis pas, mon corps est mon rigated
irlandaises,by Yeats’
de Yeatscold irriguent-elles
Irish waters? I innocent simplicity,aux
tions se succèdent they could also
voussures des
instrument. Il sait ce qu’il doit have no idea,
ses dessins ? Je butn’entheirsaiselegant chro-
rien, mais represent
portails, ou angels,
dont les superimposed
cohortes parent one
faire », explique l’artiste. Si, par matic austerity,économie
leur élégante here in blue and white,
chromatique after anotherpieuse.
la peinture on the arch portals of a
ce geste, l’image perd son statut the rigoretofblanc
en bleu the harmonic
ici, la rigueurconjugation
de la church or adorning
Et voici les rosaces religious
– la paintings.
série des
de fenêtre sur le réel pour assumer of the nuances
déclinaison and intensities
harmonique of the
des nuances And there
Roda-Viva areelles
– mais alsoont rosettes—in
moins en com- the
celui de représentation, il n’annihile conflagration
et des intensités of dethel’embrasement
solar star, from de series
mun avec Roda-Viva—but
les roues de pierre they have
creuséesless
pas son pouvoir attractif. L’image straightforward
l’astre solaire, duwhite blanc to franccharred
au rouge red in common
dans withdes
les façades theéglises,
stone wheels
qu’aveccar-les
résiste. Ou est-ce le spectateur ? Sa in another
calciné, seriesdans
ailleurs, (Roda-Viva
une autreIII): sériea ved into the
bâtonnets desfacades of churches
cercles brisés than
du Yi-king,
fascination le pousse à chercher careful
(Roda-Viva concentration
III) : c’est of une visual effects
concentra- with thenotre
et voilà lines cathédrale
in the I Ching rêvehexagram;
oriental.
à voir derrière ces zones effacées giving coherence
tion soigneuse to theplastiques
des effets eruptionqui of here
Mais isqu’importe,
our orientalil dream ne s’agit cathedral.
pas de
qui s’apparentent à un mur. Pour shapes,
donne leur and cohérence
to a myriadauofpullulement
references. But no mind; the»issue
« christianiser Rui is not to “Chris-
Moreira ou de
prolonger sa plongée dans la beauté, desSoformes,
with no à laregrets,
myriade I feel justified in
des références. tianize”
le tirer versRui la Moreira
divination or tochinoise
pull him:
même imparfaite, et dans l’illu- bringing
Aussi seinsent-on,
my own sansreferences.
remords, fondé And towards
seulement ancient
de laisserChinese
entendre divination:
que ses
sion. Ce polyptyque de la série since
à mêlerthe les “cathedral”
nôtres, et puisque is suggestively
la « cathé- merely
dessins to ontsuggest
la puissance that his drawings
symbolique
des Sun Set Down préfigure la winking
drale » nous at me,
fait un I summon
clin d’œil an expert
suggestif, have the symbolicarchitectonique
et la complexité power and architec- des
future participation de l’artiste à in the field, Huysmans,
convoquons un expert en forlawhom
matière,the tural
grands complexity
vaisseauxof degreat
pierre, stone
desvessels,
grands
la 59e Biennale de Venise, au sein cathedral
Huysmanswas : « La“acathédrale
pile of stones that
était donc of the world’s
systèmes great elucidation
d’élucidation du monde.sys- Et,
du Pavillon Suisse. may be a macrocosm…
un macrocosme, elle embrassait Everything
tout ; tems.
comme Andeux,like
ils them, they are Un
sont opaques. opaque.
mys-
Aude de Bourbon Parme lies contained
elle était une bible, in that building,…the
un catéchisme, une An
tèreeloquent
éloquent, mystery, which could
telle pourrait être bela
scriptures, theology,
classe de morale, unthe courshistory of the
d’histoire the very definition
définition de l’artof deRui RuiMoreira’s
Moreira.art.
Page 104 / TRANSFUGE
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Nos Actions Publications Galerie
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Jeunes Futés % Presse
Publications Galerie
Presse
Expo : Rui Moreira, The Passengers
Press online / Presse en ligne : https://capmagellan.com/event/expo-rui-moreira-the-passengers/
Expo : Rui Moreira, The Passengers
Country/ Pays : France Home & Expo : Rui Moreira, The Passengers
Home & Expo : Rui Moreira, The Passengers
Date : March 2022
Exhibition/ Exposition : The Passengers, Gallery Jeanne Bucher Jaeger, Marais, Paris
« Tous les Évènements
Expo : Rui Moreira, The Passengers
« Tous les Évènements
mars 12 - mai 28
Expo : Rui Moreira, The Passengers
mars 12 - mai 28
Du 12 mars au 28 mai 2022 (Vernissage le samedi 12 mars)
Du mardi au vendredi de 10h à 19h / Le samedi de 11h à 19h
Galerie Jeanne Bucher Jaeger, 53 rue Seine, 75006 Paris
Après l’exposition « Inner Moosnon » en 2010 et « La Nuit » en 2014, la galerie Jeanne Bucher Jaeger consacre au dessinateur Rui Moreira une
troisième exposition personnelle : « The Passengers ». L’artiste portugais présente à cette occasion trois séries de dessins réalisés au cours des
deux dernières années : « The Passengers », « Roda Viva » et « Cathedrals of Wind ». Toutes sont empreintes, à leur manière, de la pandémie qui
s’est installée dans notre quotidien, tout en reflétant des préoccupations sur le passage du temps et la force de la nature.
Créée durant le premier confinement en 2020, la série « The Passengers » se compose de six dessins qui rendent hommage aux victimes de la
pandémie. Devant la masse de gens sans nom ni visage, dont le nombre surréaliste augmente sans cesse, Rui Moreira dessine un par un des figures
semblables aux sarcophages égyptiens. La multiplication de ce motif prend alors la forme de longues vagues – reflétant le vocabulaire utilisé par les
médias pour évoquer les contaminations et les décès. Ces vagues bleues défient la pesanteur du moment, engagées dans une ascension constante,
telle une procession dont on ne voit la fin.
Pour en apprendre davantage autour de cette exposition, consultez l’article de Caroline Gomes dans le CAPMag de mars 2022.
Vous pouvez également consulter le site officiel de la galerie.
Vues : 2
+ Ajouter à Google Agenda + Ajouter à iCalendar
DÉTAILS LIEU
Début :
mars 12 Galerie
Jeanne
Fin : mai 28 Bucher
Jaeger
Catégories Art,
d’évènement: Expositio 5 rue de
n Saintoge
Paris, Ile
https://je
de
annebuc
France
herjaege
75003
r.com/ex
France +
hibition/t
Google
he-
Map
passeng
ers/
Lou Teixeira Release Party au Sunside Jazz Club JPO Collège La Nacelle Corbeil-Essonnes
Contacts: Recherche
E-mail : info@capmagellan.org
Du 12 mars au 28 mai 2022 (Vernissage le samedi 12 mars)
Enter your search
Tel : +331 79 35 11 00
Du mardi au vendredi de 10h à 19h / Le samedi de 11h à 19h
Adresse : 7, Avenue de la Porte de Vanves – 75014 Paris
Galerie Jeanne Bucher Jaeger, 53 rue Seine, 75006 Paris
© 2022 Betheme by MuUn group | All Rights Reserved | Powered by WordPress !
Après l’exposition « Inner Moosnon » en 2010 et « La Nuit » en 2014, la galerie Jeanne Bucher Jaeger consacre au dessinateur Rui Moreira une
troisième exposition personnelle : « The Passengers ». L’artiste portugais présente à cette occasion trois séries de dessins réalisés au cours des
deux dernières années : « The Passengers », « Roda Viva » et « Cathedrals of Wind ». Toutes sont empreintes, à leur manière, de la pandémie qui
s’est installée dans notre quotidien, tout en reflétant des préoccupations sur le passage du temps et la force de la nature.
Créée durant le premier confinement en 2020, la série « The Passengers » se compose de six dessins qui rendent hommage aux victimes de la
pandémie. Devant la masse de gens sans nom ni visage, dont le nombre surréaliste augmente sans cesse, Rui Moreira dessine un par un des figures
semblables aux sarcophages égyptiens. La multiplication de ce motif prend alors la forme de longues vagues – reflétant le vocabulaire utilisé par les
médias pour évoquer les contaminations et les décès. Ces vagues bleues défient la pesanteur du moment, engagées dans une ascension constante,
telle une procession dont on ne voit la fin.
Pour en apprendre davantage autour de cette exposition, consultez l’article de Caroline Gomes dans le CAPMag de mars 2022.
Vous pouvez également consulter le site officiel de la galerie.
Vues : 2
+ Ajouter à Google Agenda + Ajouter à iCalendar
DÉTAILS LIEU
Début :
mars 12 Galerie
Jeanne
Fin : mai 28 Bucher
Print media/ Presse papier Country/ Pays : France Date : March, 29, 2019 Exhibition/ Exposition : Atmo(sphères), Galerie Jeanne Bucher Jaeger Journalist : Lionelle Courbet
Print media/ Presse papier Country/ Pays : France Date : March, 29, 2019 Exhibition/ Exposition : Atmo(sphères), Galerie Jeanne Bucher Jaeger Journalist : Lionelle Courbet
My Lisboa (5)
focuses on the concepts of diversity,
celebration, and ambiguity. Portugal (4)
PORTUGAL ALGARVE COMPORTA LIVE INVEST CONTACT Lisbon (4)
Saudade, China & Portugal, a partnership
Lapa (3)
between Museu Coleção Berardo and the
Nature (3)
Fosun Foundation, showcases artists from
both countries, such as Sun Sun, Leng Portugal Turism (2)
Guangmin, Rui Moreira, Joana Vasconcelos, Lisboa (2)
and Luísa Jacinto.
Print media/ Presse papier Nature (2)
Country/ Pays : France
Yuko Hasegawa, the exhibition’s curator and Porto (1)
Date : November 2018
chief-curator of the Tokyo Museum of
Exhibition/ Exposition : Saudade - Unmemorable Place of Time, Fosun Foundation Art Center, Shanghai, China Walking (1)
Journalist : Francisco Candeias Contemporary Art selected 16 Portuguese and
Running (1)
Chinese artists in whose works, she says, there
Par Francisco CANDEIAS Il y a 2 ans Culture are two distinguishing features. “The first is Lisbon
the intimate relationship with the saudade restaurants (1)
narrative” and the second is “the concept of
DE AT
Discover
Saudade at Museu Coleção Francisco
entangling and intertwining, including Portugal (1)
diversity, festivity, ambiguity, which oftentimes Brussels (1)
Berardo CANDEIAS
Colaborador
work as a group”.
French Embassy (1)
In Luísa Jacinto’s work, for example, saudade Palácio de
Santos (1)
PopulairesRécents seems to be found in the void of her hazy
Saudade, China & Portugal was inaugurated gradients that limit spaces where there could Lisbon (1)
on the 16th November at Museu Coleção be people, but there is no one. Her canvases
Pieter Bela Silva (1)
Berardo, where it will remain until the 6 are somewhere between a memory place and
January 2019. a non-place.
Paris (1)
Hugo
Decl… New Book (1)
Guangchang Guo, chairman of Fosun Art (1)
Exhi…
of
Sai International, hopes that “this small step may
Alentejo (1)
connect more resources and friends, forming a
house
Prego more influent, more important cooperation
bridge” between the Chinese and the
Accueil BLOG Categories:
Saudade supp…
at Museu Portuguese governments.
Coleção Berardo
Culture (74)
with These are the artists whose works can be seen
News (62)
in the exhibition:
Lisbon incre…
Restaurants (59) Vasco Araújo
Portugal dem… Pedro Valdez
Tourism (54) Cardoso
To do in José Pedro
Lisbon (42) Croft
Lisbon Tourism (37)
Leng Guangmin
Tao Hui
Comporta (30)
Luísa Jacinto
Living Lisbon (24) Liu Jianhua
Hotels Portugal (13) Rui Moreira
Cheng Ran
Algarve (12)
André Sousa
Interviews (11) Joana
As the title suggests, the exhibition takes the
Visiting Lisbon (7) Vasconcelos
Portuguese word that has long been regarded
Guan Xiao
as untranslatable and goes well beyond it. My Comporta (6)
Sun Xun
The objective is to establish a dialogue that
My Lisboa (5) Shi Yong
focuses on the concepts of diversity,
Portugal (4) Xia Yu
celebration, and ambiguity.
Liang Yuanwei
Lisbon (4)
Saudade, China & Portugal, a partnership
Lapa (3)
between Museu Coleção Berardo and the Articles liés
Nature (3)
Fosun Foundation, showcases artists from
both countries, such as Sun Sun, Leng Portugal Turism (2)
Guangmin, Rui Moreira, Joana Vasconcelos, Lisboa (2)
and Luísa Jacinto.
Nature (2)
Yuko Hasegawa, the exhibition’s curator and Porto (1)
chief-curator of the Tokyo Museum of Walking (1)
Contemporary Art selected 16 Portuguese and
Running (1)
Chinese artists in whose works, she says, there
are two distinguishing features. “The first is Lisbon
the intimate relationship with the saudade restaurants (1)
narrative” and the second is “the concept of Discover
entangling and intertwining, including Portugal (1)
and unstable situation that we are situated in
makes it rather spiny for us to grasp anything for
sure.
Saudade comes as an efficacious tranquilizer when
Japanese
English
human beings have to face the fact that we have
HOMEbegun to be centrifugalized after running too fast
Access in the whirl of anthropocentrism, and that we are
Contact us
Japanese
being forced into corners by information
Print media/ Presse papier English
redundancy, as well as great regional, ethnic and
HOME
Country/ Pays : France Links
Access
Date : July 2018 social discrepancy in the multi-cultural context
Contact us
Links
Exhibition/ Exposition : Saudade - Unmemorable Place of Time, Fosun Foundation
where Art Center,
creolization Shanghai,
is yet to China
be fully acknowledged.
At this stage, the further and deeper network
Topics sprawls, the more the syndrome of alienation and
Topics
Saudade̶Unmemorable Place of Time nostalgia gets reported, -so is in China, so is in
Chinese & Portuguese Contemporary Art Exhibition
2018.07.03 ‒ 2018.08.26
Venue: Fosun Foundation Art Center, Shanghai,
Portugal, so is anywhere else. Yann Martel in his
China
Curator: Prof.Yuko Hasegawa book The High Mountains of Portugal notes
Curatorial Statement by Yuko Hasegawa
through one characterʼs mouth that everyone
Saudade̶Unmemorable
The untranslatable Portuguese word, saudade,
Place of Time
“smells of time and radiates solitude”. And itʼs
Chinese & Portuguese Contemporary Art Exhibition
conveys a desire for a past moment that may be
forever unattainable. In many directions this word
definitely not only a problem of 5-
2018.07.03 ‒ 2018.08.26
hydroxytryptamine. Before we come to the ultimate
Venue: Fosun Foundation Art Center, Shanghai,
solution, which perhaps doesnʼt exist at all, or at
China
least wonʼt arrive in an apocalyptical way which
Curator: Prof.Yuko Hasegawa
many are longing in hope, roaming and resonating
Curatorial Statement by Yuko Hasegawa with the tranquilizer critically might just work as
well.
The untranslatable Portuguese word, saudade,
conveys a desire for a past moment that may be In The Book of Disquiet, Portuguese philosopher
forever unattainable. In many directions this word Fernando Pessoa touched on one of the signature-
like art styles of Europe: Baroque. To him, Baroque
is mobility, a process of passing through all things,
constantly touch on the others, and to the end
generally becoming the others, or in other words,
becoming the Other to the Self. Umberto Eco
regarded Baroque as a dynamic uncertainty, and
questioned whether it was the Baptism that
provided the prototype of Baroque. The festivity
that once belonged to Baroque now seems to be
speaks of the current situation we are facing, history, but the contemporary age has its own form
where going back to the sweet past seems to be so of festivity, embracing all the possibilities that
convenient because of the overwhelming human beings invent to fit in where we are, or to go
desperation generated by the terrifying present back to the aforementioned concept, all kinds of
and future. In the midst of globalization which tranquilizers that help us survive the somewhat
reveals itself in the forms such as cross-border awkward situation.
trade and cultural exchange, we are strongly
searching for connection with others to identify Reflecting on these cultural and philosophical
ourselves, as well as ideals and hopes among the notions, I selected the 12 artists from Portugal and
past and the future. Nevertheless, the ambiguous China, within whose expressions two remarkable
and unstable situation that we are situated in characteristics stands out.
makes it rather spiny for us to grasp anything for
The first one is the intimate relationship with the
sure.
narrative of saudade. The notion “immemorial” in
Saudade comes as an efficacious tranquilizer when the exhibition title, The Immemorial Space in Time,
refers to a place in memory that we are not able to
human beings have to face the fact that we have
remember, recall or touch. It is longing for
begun to be centrifugalized after running too fast
admiration, yet it never arrives Here. It is a place in
in the whirl of anthropocentrism, and that we are
memory that one would wish to relive once more,
being forced into corners by information
yet at the same time, contradictorily, it is a place
redundancy, as well as great regional, ethnic and
one can not memorize. The sense of distance in the
social discrepancy in the multi-cultural context
narrative leads to new forms of abstraction, such
where creolization is yet to be fully acknowledged.
as Guan Xiaoʼs sculptures, Vasco Araujoʼs drawings
At this stage, the further and deeper network
and Rui Moreiraʼs drawings in particular.
sprawls, the more the syndrome of alienation and
nostalgia gets reported, -so is in China, so is in
The other characteristic is the interwinding
Portugal, so is anywhere else. Yann Martel in his
concepts including diversity, festivity, ambiguity,
wall of Sun Xunʼs, which boldly warns us that the
contemporaneity derives exactly from history,
which is not necessarily beautiful and desirable as
we imagined when dwelling in saudade, with the
figure of magician who travels back and forth in
time to reveal the unseen social and political
scenery. This vertical investigation in history is also
observed in Andre Sousaʼs installation, which goes
Japanese
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Date : July 2018 Contact us
Links with the other side of the continent referring to the
Exhibition/ Exposition : Saudade - Unmemorable Place of Time, Fosun Foundation Art Center, Shanghai, China
20th Century literature PAISAGENS DA CHINA E
DO JAPÃO, as well as other scattered conventions
Topics and practices such as whale hunting and the
application of calendar. He leads us to flaneur
Saudade̶Unmemorable Place of Time
The first one is the intimate relationship with the
Chinese & Portuguese Contemporary Art Exhibition
horizontally to look as the world as a
2018.07.03 ‒ 2018.08.26
narrative of saudade. The notion “immemorial” in
Venue: Fosun Foundation Art Center, Shanghai,
China
Curator: Prof.Yuko Hasegawa nondifferentiated whole, with which approach we
the exhibition title, The Immemorial Space in Time,
Curatorial Statement by Yuko Hasegawa
are able to go back to the works of Rui Moreira
refers to a place in memory that we are not able to
and Joana Vasconcelos. Rui Moreira is an
The untranslatable Portuguese word, saudade,
remember,
forever unattainable. Inrecall or this
touch. It is longing for
conveys a desire for a past moment that may be
many directions word
adventurer, who trace his memory of his personal
admiration, yet it never arrives Here. It is a place in
history as well as the exploration of the global
memory that one would wish to relive once more,
landscape. The images of dessert, exotic masks
yet at the same time, contradictorily, it is a place
and costumes are tokens of this journey. Near the
one can not memorize. The sense of distance in the
Entrance, Joana Vasconcelosʼs work of great
narrative leads to new forms of abstraction, such
festivity and Baroque aesthetics eulogizes
as Guan Xiaoʼs sculptures, Vasco Araujoʼs drawings
Portugalʼs traditional technique of crochet and the
and Rui Moreiraʼs drawings in particular.
craftsmanship. Recreating the tradition in the
The other characteristic is the interwinding present while leave the past in the past might
concepts including diversity, festivity, ambiguity, provide us a way to emancipate ourselves from the
which often come in a set. Joana Vasconcelosʼs tangle of nostalgia.
giant crochet work could be an intelligible example
Following this path, various allegories of cultural
for this baroque open-up field contained in the
intercourses are created on the 3rd floor from
artwork, as well as the Work in Space series of
each artistʼs perception of global mobility. Luisa
Luisa Jacinto. Personal and collective experiences
Jacintoʼs Flora Series could be seen as a rather
are from different places in time and space, then
get transformed to the present as an alternative romantic way of expression which enjoys a long-
vision, with which we should be able to ease existing tradition of being poetic and abstract. But
ourselves and embrace the infinity of the universe. on the other hand, the Work in Space Series tells a
story never happened before, which contains the
The 12 artistsʼ works are presented on the 2 floors
double angle of seeing humanity̶from the
of Fosun Art Center as well as the outdoor space.
mundane daily practice, and from the grant view of
On the 2nd floor, 5 artists create a space of
the universe. Our existence and fluctuation are
cosmopolitan imagination and dynamic trans-
precisely floating in the infinity, the past cannot be
historical dialogue. Liu Jianhuaʼs work takes the
seen in our back, but rather in a different
place in the center, which megaphones towards the
dimension in the sea of stars. Guan Xiao brings us
flourishing and prosperous modernization of
back to the reality of post-Internet age with her
Shanghai, while depicts the city as somewhat an
eery sculptures and instructive video installation.
island as if lack of root. This links to the historical
This dynamic display of the contemporary reveals
the collective memory that each of us shares a bit.
wall of Sun Xunʼs, which boldly warns us that the
Among many, Cheng Ran goes for the gaze of
contemporaneity derives exactly from history,
birds standing on the cable wire to re-edit the
which is not necessarily beautiful and desirable as
perception of the metropolis from a strangerʼs
we imagined when dwelling in saudade, with the
point of view. The cutout of the city landscape
figure of magician who travels back and forth in
reminds us there are many that we havenʼt seen
time to reveal the unseen social and political
when we are already exhausted by what we in front
scenery. This vertical investigation in history is also
of us every day. Using everyday commodities,
observed in Andre Sousaʼs installation, which goes
Pedro Valdez Cardoso presents a theater play of
back to look at the Portugueseʼs primary encounter
objects about cultural interaction and
with the other side of the continent referring to the
commercialization along with the process of cross-
20th Century literature PAISAGENS DA CHINA E
border trade. In contrast, Vasco Araujo studies the
DO JAPÃO, as well as other scattered conventions
everyday objects in history with an archeological
and practices such as whale hunting and the
approach, at the same time takes in the historical
application of calendar. He leads us to flaneur
heritage of Chinese porcelains that was exports all
horizontally to look as the world as a
over the world since the 16th century. It is right the
This dynamic display of the contemporary reveals
the collective memory that each of us shares a bit.
Among many, Cheng Ran goes for the gaze of
birds standing on the cable wire to re-edit the
perception of the metropolis from a strangerʼs
point of view. The cutout of the city landscape
reminds us there are many that we havenʼt seen
when we are already exhausted by what we in front
Japanese
Print
of us media/ Presse
every day. Usingpapier
everyday commodities, English
HOME
Country/ Pays : France
Pedro Valdez Cardoso presents a theater play of
Access
Date : July 2018 Contact us
objects about cultural interaction
: Saudade and
Links
Exhibition/ Exposition - Unmemorable Place of Time, Fosun Foundation Art Center, Shanghai, China
commercialization along with the process of cross-
border trade. In contrast, Vasco Araujo studies the
Topics
everyday objects in history with an archeological
Saudade̶Unmemorable Place of Time
approach, at the same time takes in the historical
Chinese & Portuguese Contemporary Art Exhibition
2018.07.03 ‒ 2018.08.26
heritage of Chinese porcelains that was exports all
Venue: Fosun Foundation Art Center, Shanghai,
China
over the world since the 16th century. It is right the
Curator: Prof.Yuko Hasegawa
Curatorial Statement by Yuko Hasegawa
fact that the immemorial past did leave something
The untranslatable Portuguese word, saudade,
behind for us that infiltrates us with a both sweet
conveys a desire for a past moment that may be
forever unattainable. In many directions this word
and blue tone. These things strike down into the
very depth of our nature and touch the chords of
saudade.
Shi Yongʼs neon light of saudade might cheer us
up. But be careful, the immemorial place in time is
Installation View
just like the Neon which seldom combines with any
Left: Cheng Ran, The Homing Pigeon (Diary of a
other chemical element, saudade is as inviting as
Madman ‒ New York), 2016
confusing. If you look closer into the mirror of Jose
In the separated room: Artist: Pedro Valdez
Pedro Croftʼs sculpture which contains the
Cardoso
surrounding scenery into its self-construction, all
that you can see is exactly yourself.
Floating and concretely touching the ground are
two facets of our existence, lacking each of them
will lead us into the mash of nothingness. To
calibrate our own position, it is helpful to look at
the others from time to time. Functioning as the
factory of the world, todayʼs China has attracted
huge worldwide attention in such a short period of
time. On the other hand, as a bright star in the Age Installation View
of Discovery which weaved the scattered cultures On the wall from left to right: Rui Moreira, I am
in the world into a whole at the first place, Portugal a Lost Giant in a Burnt Forest, 2010; Rui
stands undoubtedly as a prolocutor for Moreira, LʼAir du Matin II, 2012; Rui Moreira, The
globalization, too. Particularly, the fruitful material, Machine of Entangling Landscapes III, 2009; Rui
technological, and cultural exchanges between Moreira, Telepath I, 2013; Rui Moreira, Our Lady of
China and Portugal through the Marine Silk Road Abortion II, 2007
makes the two countries as a pair an attractive In the center: Liu Jianhua, The Virtual
case for digging into the time & space dynamism in Scene, 2005-2008
the present and perhaps in the future, as well as Drawing Installation on the right: André
two different examples which cast unique opinions Sousa, Half Roulette, 2016-2018
on globalization from different perspectives at the
same time sharing something similar. Presenting
ideas from the two countries through artworks, will
surely bring fresh air to Sino-Portugal relation, and
to the understanding on who we are, where we are,
and where we are going to from now on.
Installation View
Joana Vasconcelos, Valkyrie Marina Rinaldi, 2014
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Exhibition/ Exposition : Solo show, I am a Lost Giant in a Burnt Forest - Mudam Luxembourg
R
«Faç
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TEXTO TEXT SÓNIA GOM
THE MACHINE OF ENTANGLI
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Exhibition/ Exposition : Solo show, I am a Lost Giant in a Burnt Forest - Mudam Luxembourg
ART CULTURE
RUI MOREIRA
«Faço tudo por intuição e só depois é que
penso» \\ «I do everything intuitively and
think about it only afterwards»
Depois de três meses em exposição no museu MUDAM do Following three months on show at the MUDAM muse-
Luxemburgo e de expor na Galerie Jaeger Bucher, em Paris um in Luxembourg, and exhibiting at the Galerie Jaeger
(que o representa), Rui Moreira tem os seus desenhos em Bucher, in Paris (which represents him), Rui Moreira has
duas mostras em Guimarães e está agora a fazer dois tra- his drawings at two shows in Guimarães and is now creat-
balhos para uma que decorrerá a partir de 24 de março nas ing two works for a show that will open on March 24 in the
caves do Museu do Louvre, em Paris. Com mais eventos em cellars of the Louvre museum in Paris. With more events in
carteira, o pintor espera fazer uma grande exposição em the pipeline, the painter hopes to put on a major exhibition
Lisboa e outra maior em Guimarães, no próximo ano. Des- in Lisbon and another major one in Guimarães, next year.
de criança que adorava fazer desenhos. Estudou artes na Ever since he was a child he has loved to draw. He stud-
escola António Arroio e depois na ARCO. «Não me imagino ied art at the António Arroio school and then at ARCO. «I
a fazer outra coisa», diz. Mas, se fizesse diferente, trabalha- couldn’t see myself doing anything else», he says. But, if he
ria num circo ou seria um cavalo, como desejava quando had done things differently, he would have worked in a cir-
em criança, porque gosta da liberdade: «Se não formos li- cus, or he would have been a horse, as he wanted as a child,
vres, não conseguimos fazer nada». because he likes freedom: «If we weren’t free, we wouldn’t
be able to do anything».
TEXTO TEXT SÓNIA GOMES COSTA \\ FOTOGRAFIA PHOTOGRAPHY 1, 3, 4, 5 ©NUNO ANDRÉ SANTOS; 2, 6, 8 ©MIGUEL ANGELO GUERREIRO; 7 ©LAURA CASTRO CALDAS
THE MACHINE OF ENTANGLING LANDSCAPES VII, 2011 | GUACHE SOBRE PAPEL | 160,4 X 240 CM | CORTESIA GALERIE JAEGER BUCHER / JEANNE-BUCHER, PARIS | COLLECTION
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Exhibition/ Exposition : Solo show, I am a Lost Giant in a Burnt Forest - Mudam Luxembourg
pin
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Para este pintor esquerdino que desenha com a mão di- For this left-handed painter, who draws with his right
reita, o ato da criação nada tem de transcendente e é como hand, the act of creation has nothing transcendent to it
qualquer outro trabalho que exige dedicação e muita dis- and it is like any other job that requires dedication and a
ciplina. Pinta todos os dias à mesma hora e segue uma ro- great deal of discipline. He paints every day at the same
tina diária: «As pessoas acham que a vida de artista é só time and follows a daily routine: «People think that an
glamour… a minha, pelo menos, não é». Levanta-se e de- artist’s life is nothing but glamour… mine, at least, isn’t».
ita-se cedo, e segue o mesmo ritmo, desde a preparação He gets up and goes to bed early, and sticks to the same
das tintas, passando pela escolha da música, tudo faz parte rhythm, from preparing his paints to the choice of music,
da criação: «O que acontece resulta de muito trabalho». everything is part of the creation: «What happens is the
E esse processo passa so- result of a lot of work». And
bretudo pelo corpo e pelas O corpo é o principal instrumento this process particularly
suas sensações. Por isso involves his body and its
de trabalho de Rui Moreira. \\ Rui
assume que o corpo é o seu sensations. As such he as-
principal instrumento de Moreira’s body is his main work sumes that his body is his
trabalho, e não os pincéis instrument. main work instrument, and
porque são «os ritmos do not his brushes, because
corpo que alteram o desenho e a perceção», explica. «the rhythms of the body are what change the drawing
Rui Moreira gosta de viver experiências intensas e pri- and the perception», he explains.
oriza a sua intuição face ao intelecto: «Faço tudo por intu- Rui Moreira likes to experience things intensely and
ição e só depois é que penso». O trabalho de investigação prioritises his intuition above his intellect: «I do every-
é feito através das viagens e da música, e só depois dos thing intuitively and think about it only afterwards».
livros. Nas primeiras vezes não desenha. Diz que não pode Research work is done through travel and music, and
«começar a desenhar sem conhecer, sentir e integrar». Só only then through books. The first times he doesn’t draw.
depois de «ter acesso à essência, que é única através da He says that he cannot «start to draw without knowing,
experiência», é que parte para o desenho. O trabalho deste feeling and integrating». Only after «having access to the
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Exhibition/ Exposition : Solo show, I am a Lost Giant in a Burnt Forest - Mudam Luxembourg
pintor é uma súmula que frutifica das suas experiências. Já essence, which is only through experiencing it», does he
foi ao deserto de Marrocos para lá de uma dezena de vezes, then go on to drawing. The work of this painter is a sum-
onde pintou de sol a sol para «ver o que sentia com aquela mary that bears the fruit of his experiences. He has already
luz, aquele calor, e com aquela lonjura de vista, como o meu been to the desert in Morocco on more than a dozen occa-
corpo reagia e se transformava no desenho», que, diz, é sions, where he has painted round the clock to «see what
bem diferente e mais difícil do que estar a pintar no atelier. I would feel with that light, that heat, and with that distant
O pintor assume que gosta de vivenciar experiências físi- view, how my body would react and would transform in
cas intensas, como desenhar na natureza, porque alteram the drawing», which, he says, is very different and more
a sua perceção e o próprio corpo. Já foi à Índia três vezes, e difficult than painting in his studio. The painter admits to
vai muito a Trás-os-Montes, onde guarda memórias infan- enjoying having intense physical experiences, such as
tis. Voltou lá há uns anos para fazer um trabalho sobre os drawing in nature, because they change his perception and
Caretos, e chegou a encarnar a personagem para sentir na his very body. He has been to India three times and often
pele o êxtase desse ritual. goes to Trás-os-Montes, from where he has fond childhood
«Não posso estar consciente de que estou à procura memories. He returned there a few years ago to do a piece
porque senão não encontro nada. Tenho que me esquecer on the Caretos [masked carnival characters] and he ended
de mim, para encontrar… tal como no amor… quando an- up dressing up as one to truly feel the rapture of this ritual.
damos à procura nunca dá certo. O inusitado é quando «I cannot be aware of what I’m looking for because
tropeçamos em alguém na escada… e é esse o momento. otherwise I don’t find anything. I have to forget myself, to
O mesmo me acontece com o desenho e na vida». E Rui find it… just like with love… when you look for it, it never
Moreira não separa o trabalho da vida. «As coisas mis- works. It’s at unusual moments that we bump into some-
turam-se». É a vida que o inspira. Assim como Bosh, ou a one on the stairs… and this is the moment. The same hap-
visceralidade de Bacon, ou os vermelhos de Rothko. David pens to me with drawing and in life». And Rui Moreira does
Lynch, Tarkovski, Werner Herzog, António Reis, João César not separate work from life. «Things get mixed up». Life
Monteiro são também referências. No trabalho do pintor is what inspires him. Just as Bosch does, or the visceral
misturam-se ainda imagens criadas através das bandas nature of Bacon, or the reds of Rothko. David Lynch,
sonoras ou de outras músicas que ouve, desde a clássica Tarkovski, Werner Herzog, António Reis, João César
ao punk rock. Monteiro are also influences. The painter’s work also sees
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MAN OF THE LOG, 2009 | GUACHE, CANETA DE GEL E LÁPIS DE COR SOBRE PAPEL | 232,5 TELEPATH I, 2013 | GUACHE E CANETA DE GEL SOBRE PAPEL | 215 X 140 CM | CORTESIA
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MUDAM, LUXEMBOURG
E Rui Moreira vai pintando obras em guaches vermelhos, images created through soundtracks or other tracks he
azuis e pretos, paisagens de sonho que se materializam listens to, from classic works to punk rock.
em telas de papel de algodão de grão fino. Porque, conta, And Rui Moreira paints works in red, blue and black
«sonhar é agir para que se concretize na matéria. E eu não gouaches, dream landscapes that are materialised on
tenho qualquer interesse em só sonhar. É a concretização canvases of fine grain cotton paper. Because, he explains,
que me motiva». Assim É. «dreaming is acting so that it materialises into matter. And
I don’t have an interest in just dreaming. It’s the materiali-
sation that motivates me». That’s how he is.
I AM A LOST GIANT IN A BURNT FOREST, 2010 | GUACHE E CANETA DE GEL SOBRE PAPEL | 250 X 318 CM | CORTESIA GALERIE JAEGER BUCHER / JEANNE-BUCHER, PARISPrint media Country/ Pays : France Date : December 24, 2014 Exhibition/ Exposition : Solo show, I am a Lost Giant in a Burnt Forest - Mudam Luxembourg Journalist : Gilles Kraemer
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Luxemburger
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un
article
du
30-‐12-‐2014
Luxemburger
Wort,
un
article
du
30-‐12-‐2014
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de
mai
2014
Art
Daily,
un
article
du
12
décembre
2014
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DIENSTAG 2 DEZEMBER 2014 I www.lequotidien.lu
GASTRONOMIE
LES COULISSES
DES CUISINES
Photo : afp
Lire en page 33
Dix siècles de
BD en 200 pages
De la Tapisserie de Bayeux
(XIe siècle) au dernier album
de Riad Sattouf, l'auteur
Hervé Bourhis et Terreur
Graphique racontent toute
l'histoire du 9e Art dans
Le Petit Livre de la Bande
dessinée. Drôle et informatif!
Lire en page 30
Danser en silence
et en hauteur
Photo : ©rui moreira - laura castro caldas
Faire la fête au sommet
d'un gratte-ciel londonien
constitue déjà une sortie
pour le moins originale.
Certains y ont ajouté une
dose de Silent Disco, ou com-
ment danser en silence,
casque audio sur les oreilles.
Lire en page 36
La surprise de
Les dessins de l'artiste Rui Moreira sont le fruit de voyages et d'expériences physiques Robbie Williams
comme psychiques. D'imposants «paysages mentaux» à découvrir au Mudam. Vendredi, le chanteur avait
annoncé la réalisation d'un
Lire en page 31 nouveau disque dans une
vidéo loufoque postée via
YouTube. Depuis hier, l'album
AC/DC : rock ou crève!
Under the Radar Volume 1 est
disponible uniquement sur
le site officiel du musicien
britannique. «L'album est
MUSIQUE Le groupe légendaire de hard rock n'a pas le blues... malgré les coups durs. une collection d'inédits dans
lesquels j'ai mis toute ma
A C/DC reste AC/DC. Un des
membres fondateurs du célèbre
groupe de hard rock, malade, s'est
Rock or Bust, sorti hier en Europe,
semble taillé pour entretenir la
flamme avec onze chansons de
avions trouvés mais pas encore
utilisés, on a toujours fonctionné
comme ça». «Cela a été un peu dif-
semaine dernière qu'il partirait bien
en tournée l'an prochain, avec ou
sans son batteur, lequel avait rejoint
passion. J'en suis très fier
et je ne voulais pas que mes
morceaux restent dans mon
retiré, et son batteur est actuelle- veine blues-rock absolument sans férent sans lui, mais Stevie joue le groupe en 1975 avant d'en partir ordinateur!», explique l'ex-
ment poursuivi par la justice néo-zé- surprise mais toujours diablement dans le même style. Stevie a déjà en 1983 après une brouille avec Mal- membre du groupe Take
landaise. Mais les autres sont en efficaces, à l'image du single Play joué avec nous en 1988, il était ar- com Young, puis de le retrouver en That, qui pose nu, de dos,
forme et font parfaitement tourner Ball, paru il y a déjà quelques semai- rivé en cours de tournée» pour 1994. AC/DC a toujours su surmon- sur la pochette.
la machine dans le nouveau Rock or nes, ou du sautillant Miss Adventure. suppléer Malcolm qui tentait alors ter les coups durs, comme le décès
Bust, paru hier. Voilà 40 ans désor- Le groupe, qui a vendu plus de de combattre une dépendance à l'al- de son chanteur Bon Scott en 1980,
mais qu'Angus Young, déguisé en 200 millions de disques depuis ses cool, rappelle Angus Young, 59 ans, quand un groupe comme Led Zep- Picasso cartonne
écolier, tire de sa Gibson SG tou- débuts en 1973, maintient le cap en dernier membre fondateur encore à pelin, lui, n'a jamais repris du ser-
jours les mêmes riffs, ou presque. dépit du retrait de Malcolm Young, bord du paquebot AC/DC. vice après la mort de son batteur, Un mois après sa réouverture
Cela fait quasi aussi longtemps que 61 ans, qui l'avait fondé avec son Le groupe essuie depuis début no- John Bonham, également en 1980. au public à l'issue de cinq ans
le chanteur Brian Johnson, au micro frère Angus. Souffrant de démence vembre une nouvelle tempête avec Une philosophie qu'illustre le titre de travaux, le musée Picasso
depuis 1980, martyrise ses cordes et hospitalisé à Sydney, le guitariste l'arrestation en Nouvelle-Zélande de ce nouveau disque, Rock or Bust, accueille aujourd'hui son
vocales sous sa casquette. rythmique est remplacé par son ne- du batteur Phil Rudd, 60 ans, que la qui pourrait se traduire par «le rock 100 000e visiteur. Proposant
Mais la recette fonctionne tou- veu Stevie sur le disque, comme lors police soupçonnait d'avoir ou la mort». «Ça veut juste dire : une nouvelle présentation
jours auprès des armées de fidèles de la prochaine tournée. tenté d'embaucher un "agis ou meurs, joue le tout de sa collection – qui est la
>
que compte le groupe, auteur de tueur à gages pour pour le tout", ce qui a pro- plus complète au monde du
classiques comme Highway to Hell, «Le tout commettre deux bablement tou- peintre espagnol (avec 297
peintures et 368 sculptures) –
Let There Be Rock ou Back in Black. Le pour le tout» assassinats. Ces jours été
le musée Picasso a rouvert le
dernier album, Black Ice, avait été poursuites ont l'approche
numéro un des ventes dans 31 pays «AC/DC, c'est son bébé», rap- été abandonnées d'AC/DC», 25 octobre. Deux journées
à sa sortie, en 2008, et s'est écoulé à pelait Angus Young au sujet de son mais il reste in- explique An- gratuites, lors du lancement,
«plus de 8 millions d'exemplaires frère, à l'occasion d'un passage à Pa- quiété pour posses- gus Young, pour ont connu un large succès. La
dans le monde», selon Sony Music. ris début novembre. Malcolm a lar- sion de drogue et qui il n'est pas collection provient de deux
Pour la présentation du disque, en gement participé à l'élaboration du menaces de mort. question d'envisa- donations, celle des descen-
l'absence du groupe, ils étaient en- disque car «beaucoup de chansons Une comparution ger la retraite : dants de Picasso en 1979 et
core près de 2 000 à avoir pris d'as- viennent d'idées que nous avons devant la justice est «Tant qu'on aime celle des héritiers de Jacque-
saut dimanche la bourgade austra- eues au cours des années», précise prévue jeudi. ça!» line Picasso en 1990.
lienne de The Rock pour écouter les Angus. «Nous avons l'habitude de Le groupe a néan- www.museepicassoparis.fr
nouveaux titres. reprendre des riffs que nous moins laissé entendre la Rock or Bust, d'AC/DCVous pouvez aussi lire
