Paris, the epicenter of culinary innovation, is abuzz with new dining destinations that are redefining the city's gastronomic landscape. From the opulent revival of iconic Art Nouveau bastions like Maxim's to the daring and adventurous flavors found at spots like Boubalé, showcasing the richness of Eastern European cuisine, the dining scene in the French capital has reached a fever pitch of excitement. This curated list unveils the top 10 hottest restaurants, each offering a unique blend of tradition, innovation, and a tantalizing journey through diverse culinary narratives, promising a feast for the senses and an exploration of Parisian dining at its most avant-garde.
Fifty Years After Picasso’s Death, The Musée Picasso Celebrates By Removing All Of His Art
31.10.2023 - 13:57 / forbes.com
When Sophie Calle was six years old, her father framed a drawing she made. Her grandmother responded enthusiastically, declaring that there appeared to be “a Picasso in the family”.
Calle’s grandmother was right. Nearly seven decades after Calle drew it, the picture now hangs on the ground floor of the Musée Picasso in Paris, offering a fitting introduction to a most unusual tribute to the most famous 20th century artist on the 50th anniversary of his death.
Although Calle is not quite as famous as Picasso, she is one of the most significant artists alive today, and perhaps the only one capable of reassessing Picasso’s outsized reputation without pandering or competing for attention. Previously Calle engaged with the art of past masters by having museum staff describe their paintings and hanging the written descriptions in their place. She also once anonymously hired a private investigator to follow her, reporting on her movements as a sort of outsourced autobiography. As an artist, Calle excels at creating space for artistic expression of her ideas by others, entering into an ambiguous collaboration with them that investigates the nature of creativity.
In her Musée Picasso exhibition, Calle treats Picasso as obliquely as she ordinarily treats herself. Almost every Picasso painting and sculpture has been removed from view. Those that remain have been shrouded, with descriptions printed on the shrouds. The descriptions were provided by museum personnel ranging from curators to guards, all from memory while the paintings were on loan. “I veiled them in the memories they leave behind in their absence,” she explains in an accompanying text, leaving unspoken the myriad contradictions that make the descriptions more stimulating than the familiar canvases they obscure.
Even more than Picasso’s artwork, Calle appears to be interested in his fears about losing his creative faculties. Given his ego, there was never a phobia about running out of ideas. He was afraid, instead, of going blind or dying.
Blindness is eloquently addressed in a body of work that Calle created in the ‘80s. She started by asking blind people their vision of beauty, and then did her best to photograph what they told her. For instance, one subject informed her that “Green is beautiful, because every time I like something I’m told it’s green.” Calle’s photograph is a picture of grass.
Calle’s treatment of death is more comprehensive, taking up much of the museum’s floor space (an understandable decision given that the exhibition has been organized fifty years after Picasso died, never having lost his eyesight). Typical of Calle, the approach is indirect, focusing instead on her own inevitable death. And akin to the autobiography she had a
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travelandleisure.com
17.11.2023 / 19:57
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theguardian.com
16.11.2023 / 17:51
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theguardian.com
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