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ARTS&#13;
&#13;
THE PAINTERS OF THE BASTILLE&#13;
&#13;
Since 1982, the artists have opened their studios to visitors&#13;
&#13;
Amidst the general depression, the artists of the Aquartier de la Bastille, on the edge of the 11th and 12th arrondissements of Paris, are showing incredible energy. The tenth edition of their "open house" operation, which took place from October 8 to 11, was once again a surprising success. They estimate that more than 15,000 people entered their studios. "This personal, direct, and often warm contact with an audience that doesn't always dare to enter galleries gives us a new lease of life every year," explains the association's president, painter Henri Yeru. "For the younger among us, who have difficulty making themselves known and showing their creations, this gaze from amateurs is already a reward." &gt;&gt;&gt; -&#13;
&#13;
-et e S ko s s at le e Es&#13;
&#13;
ar and -st of S, it n the e&#13;
&#13;
in us the és .es ti-&#13;
&#13;
The idea of ​​opening his workplace to the public was born in 1982 in an interior courtyard on Rue de Charonne. Desperate to break through the wall of anonymity, five neighboring artists decided to put down their brushes for a few days and welcome their acquaintances and friends of their friends. Anyone could enter the studio, look around, and leave without even saying a word. This was the rule, which is still in effect today. The formula was taken up the following year, then expanded and organized by an "association for the dissemination and defense of contemporary art in the Bastille district," better known as "The Genius of the Bastille."&#13;
&#13;
At the time, the neighborhood lived on the roguish reputation of the dances of rue de Lappe. But, occupying dilapidated craftsmen's shops, the artists were already numerous there. A few ventured to half-open their premises. Then, as success came, most agreed to play the game. The most well-known no longer need this publicity, but each year there are 15 to 20% newcomers. This year, sixty-seven studios, five galleries and two other exhibition spaces were accessible to the public.&#13;
&#13;
In its adventure, the association obviously benefited from the spotlight brought to these narrow streets and their inhabitants by the construction of the new opera house. But in return, it allowed the curious and enthusiasts to wander into the alleyways, enter the courtyards, and climb the stairs. In short, this rediscovered Parisian terroir has become fashionable.&#13;
&#13;
A kind of consecration&#13;
&#13;
Galleries, shops, restaurants, and real estate agents all benefit from this. The Café de la Bastille, for example, has understood this well. Every year, it offers one of its premises free of charge so that the event organizers can open their information desk. The volunteers who are there must speak every language. Now, enthusiasts flock from various European countries to learn about current painting trends. One tour operator has even offered&#13;
&#13;
the association to include the "open days" in one of its cultural trips through Paris.&#13;
&#13;
Official institutions have been swept along by the success. The town hall of the 11th arrondissement, whose image has been ennobled by it, is supporting the association with a grant of 60,000 francs this year, but also by sending 10,000 programs and opening the festival hall to the works of young sculptors. The Opéra-Bastille, which until then had superbly ignored the association, itself asked this time to participate in the celebration. For a day, but no longer, selected canvases were exhibited in one of the rooms of the monumental establishment. A sort of consecration for those who were admitted. The technique of the workshops&#13;
&#13;
"Open doors" has been widely adopted, not to say plagiarized. But the "geniuses of the Bastille" want to stay ahead of the curve by continuing to innovate. Their obsession: above all, not to become trapped in a sort of neighborhood folklore or cultural ghetto. This is why, during the annual event, each "local" artist is required to invite a colleague living elsewhere in Paris to hang their works alongside their own. Last year, the Bastille artists brought painters from Amsterdam. Next year, they hope to welcome Japanese artists, and the year after that, Polish artists. They are also seeking to establish an exchange system with the regions. Some Parisians would exhibit at the homes of their provincial colleagues and then welcome them back. Constantly bustling with new projects, the Bastille district is becoming a sort of vast, fragmented gallery where all the facets of contemporary visual art come to sparkle in turn. It thus maintains, in an original way, the great tradition of the capital.&#13;
&#13;
M. A.-R.</text>
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&#13;
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A superb last hurrah from gallery owner Charles d'Estève&#13;
&#13;
&#13;
&#13;
Fourteen visual artists in writing&#13;
&#13;
Charles d'Estève is holding his latest exhibition at the Entre Temps gallery. A superb show of honor that showcases the works of 14 artists exhibited within the gallery, as well as at the Manège and the Caisse d'épargne. The exhibition focuses on writing.&#13;
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Take a stroll in search of these 150 or so paintings and sculptures. Go there to be surprised by the emotion, the wonder of beauty. Go there also to appreciate the extent of the waste generated by the announced demise (on March 31) of this superb gallery.&#13;
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Certainly, we will regret the public's lack of interest in contemporary art. But above all, we will never stop denouncing the public impotence, which, in three years, has provided no support for this artistic enterprise. Fifty meters from the Manège, yet another clothing store, quite a symbol, will open after March 31st.&#13;
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While waiting for this disaster, which speaks volumes about the poverty of the visual arts in this city, head to the Caisse d'épargne on Allende Street. You'll see some solid performances there.&#13;
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That of Jean-Pierre Broux (originally from Douai): a work on wood and kraft paper around the word "to paint". There is a whole rhythm there, an unusual scansion.&#13;
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Charles d'Estève: he ends his presence in Yonne with a very, very fine exhibition.&#13;
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On the first floor are the marbles of Marie Orensanz on which the thoughts of the creator are inscribed. Let yourself be taken by her landscape&#13;
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Mental, Imaginary, Alexis Borodine shows paintings with charred materials, collages of tree bark. Élisa Tan creates a whole graphic design on the word "word." The word experienced as a game.&#13;
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Other significant works: those of Strasbourg-based Sonia Gerber, who creates icon-like A-types with a slightly pre-classic, oriental feel. And then there's Martine Dallennes, a favorite. This woman, who lives between Germany and the Vendée, uses the alphabet to create light, luminous, almost dancing movements. This woman doesn't paint, she says, the letters constituting a support, a pretext.&#13;
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Noah&#13;
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The Manège exhibits folded, cut-out books by the Nazai-rienne Brig Laugier. And then there are the little "jewels" shown at the gallery, rue Thiers. In particular, the animated books by the Parisian Jac-196 πει τα φίλωques Varnarsky: graceful as well as ingenious ghosts made of wooden slats that breathe. » This wooden hvorav, which gentleman is not the first artist to come along: one of his books, created for the Universal Exhibition in Seville, will soon join the National Library. Dr.&#13;
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14368xual coaster Gaspard NORRITO. banquet OD ROH U phy&#13;
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This exhibition, which opens on Saturday, January 21, runs until February 18. 4</text>
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