Tag Archives: Paris

Making Light of Art: Paris

25 May

Luminous Disks: Daniel Buren’s installation at Monumenta 2012 in Paris. (Image by HWL)

First impressions of Daniel Buren‘s Excentrique(s) Travail In Situ installation at the Grand Palais for the annual Monumenta show were ho-hum. The whole set up felt a little bit …well…crafty…and not in a good way. (We might define ‘bad crafty’ as, say, a pointless box given a decoupage make-over using left-over magazines from a doctor’s office, and not in an ironic way.)

Coloured spheres: Monumenta in Paris. (Image by HWL)

The artist who has, ahem, earned his stripes creating site specific art work, such as the Les Deux Plateaux in Palais-Royal, Paris, has created a false ceiling of transparent, umbrella-like disks that form a sub-level beneath the glass roof of the Grand Palais. The effect is immediately frustrating – the visitor is largely robbed of one of the venue’s best features – a superb sense of space, both vast and grandiose.  The summer show is not called Monumenta for nothing – last year’s installation, Leviathan, by Anish Kapoor was a hella whopper and the better for it. In contrast, Buren’s work feels bitsy, fussy, and a little bit twee; and then the sun came out.

The cellophane effect: Daniel Buren at the Grand Palais, Paris. (Image by HWL)

With the lights on, so to speak, the show went from being pretty naff to being kind of fun.The 377 coloured disks create a kaleidoscope that reflect and play with the light pouring from the roof-top.  In this case, Buren has created something of an Alice-in-Wonderland effect; we find ourselves to be miniature pieces inside the kaleidoscope. Moving through the work creates new vistas and interactions with forms, colour and shadow.

Light Dancers: coloured disks reminiscent of crazy casino carpet; there’s no clocks here either so you’ll have to tell the time by the sun. (Image by HWL)

In many ways, it’s a cheap trick. In other ways, it’s a reminder that simple ideas can be the best ones. Pity about those trademark stripey pillars  – they feel clunky and out of place in this ballroom of light. Our tip: go when the sun is shining. Exhibition runs until June 21, 2012. For details see here.

Grand Palais: Daniel Buren’s coloured spheres mushroom below the vast canopy of the Grand Palais in Paris. (Image by HWL)

Tags: , , , , ,

Disturbing the Peace: Oui Oui to Ai WeiWei in Paris

23 Mar

Peek-a-boo: Artist Ai Weiwei flashes some cheek at Tiannamen Square, with his photo ‘June, 1994′. (Image © Ai Weiwei)

Last year the Taipei Fine Arts Museum in Taiwan held an exhibition of Ai WeiWei’s work entitled ‘Absent’ referencing the artist’s detention by the Chinese authorities and his subsequent inability to attend his own show. ‘Ai Weiwei: Interlacing’ currently showing at the Jeu de Paume, in Paris, acts as a retrospective of the artist’s work which, in his continued absence, verges on a memorial. It creates a portrait of an artist as strong as he is fragile; as mischievous as he is serious; as alive as he is mortal.

Disobey!: Stencil art of the artist Ai Weiwei spotted in Lyon, France, during the artist’s detention. (Image by HWL)

A solo show at the Jeu de Paume is the highest accolade Paris can grant to a photographer. In this context, the show is a bit of a stretch, not only does this multi-faceted artist not fit in to the narrow category of the art form but photography – let’s face it – is not his strongest suite. As an artist, blogger and ‘Twitterer’ Ai is a prolific photographer; he uses the medium to document (and share) the ephemera of daily life (meals eaten, art works in creation, travels taken etc) and as a means of documenting the process or outcome of his work. Photography provides the ‘interlacing’ between his many projects and media; in this sense the show reminds us of the power of this medium to bear witness. Case in point: Ai was repeatedly invited by the authorities to construct a studio in Shanghai. Finally, he concedes but as soon as the building is completed, it is declared illegal. The building is torn down, all evidence of the site is removed and finally the field is ploughed-up and returned to farm land. The only evidence of this studio ever being part of reality (as opposed to a Kafkaesque nightmare) are Ai’s photographs.

Giving the finger: Ai Weiwei’s Study in Perspective encourages viewers to ‘Question Everything’. (Image © Ai Weiwei)

Continue reading →

Tags: , , , , , , ,

Memories of the Future: Now!

17 Nov

'The Last Supper' by David Lachapelle from his 'Jesus is my Homeboy' series. Now showing @ La Masion Rouge, Paris.

You can always count on the Maison Rouge, in Paris, for something best described as a headf**k and their current show is no exception. Any curatorial bent that throws Pieter Bruegel, Jake & Dinos Chapman, Robert Capa and Cindy Sherman into the same room is fine by us. If you’re feeling a tad blasé over the whole vanitas revival-slash-taxidermy thang, think again.

Before the Chapman Brothers, there was Bruegel.'Pride', by Pieter Bruegel Elder from the Seven Deadly Sins series, on show La Maison Rouge, Paris

La Maison Rouge in Paris is consistently one of the city’s most interesting galleries, sitting somewhere between the big public blockbusters  and the commercial scene, the Foundation reinvents itself for every new show. Memoires de Futur is drawn from the collection of Thomas Olbricht, a German collector of ‘curiosity cabinets’ and art old and new. The show pitches traditional art against the contemporary grouped around themes of death, religion, and a bit of sex for good measure. In short: a crowd pleaser guaranteed to disturb just about everyone.

Camp, kitsch & beautiful: The White Queen by French photographic duo Pierre et Gilles, now showing @ La Maison Rouge

Eerie swans and ropey forms of feathers: one of the works by British artist Kate MccGwire's currently showing at La Maison Rouge, Paris

Details: Mémoires du Futur, la collection Olbricht continues until January 15, 2012. For information & opening hours: La Maison Rouge.

Tags: , , , , ,

Stitch’in time! Danish Yarnbombers in Paris

4 Nov

Home with a tree by Isabel Berglund: the Tree is on display at the Maison du Danemark in Paris

An exhibition in Paris at the Maison du Danemark elevates the anarchic mischief-making of yarn bombing to an evolved commentary on issues ranging from animal conservation and weaponry without losing the bite of it activist roots.

If yarnbombing grew out of the ironic revival of knitting and crochet clubs it found its voice in the graffiti movement. But whereas the latter is dominated by spray-can wielding types sporting XY chromosomes and low-hung jeans, yarnbombing is a decidedly more feminine movement. And if you will forgive us making a sweeping statement, it is smarter for it. Whereas some aspects of graffiti – such a tags and repetition of motifs – speak largely of territory marking –  the urban  interventions of yarnbombing seem more concerned with space reclamation, statement making or delight creating – in part perhaps because each object must be individually crafted.

Take that!: Lady Weapons by Hanne G (Image by HWL)

The Maison du Danemark devotes a considerable portion of its presentational text to proving/defending the knitted objects as works of art. To be sure, knitting has usually been relegated, along with other ‘women’s work’, as craft rather than art. (The relationship of ‘craft’ to ‘Art’ being that of ‘cook’ to ‘Chef’ with the same gender implications.) For us it’s a moot point – whether art is made using wool and needles, steel and blowtorch or coloured pigments mixed with oils and dabbled about with a little hairy stick is irrelevant.

The show is dominated by Danish artist Isabel Berglund’s gorgeous tree. Rendering what is usually hard into something as soft and in need of support creates a Hans Christian Andersen -like fairy tale mood while engendering the desire to tree hug. Or should we say tree hygge? (Don’t worry, out supply of Danish themed puns is now officially exhausted.)

Knitted Stag by Art Oriente Objet (Image by HWL)

Woolly endangered panda by Art Oriente Objet (Image by HWL)

Also on show are French artists Art Oriente Objet’s lovely interpretations of endangered animals from their 1992 series, The Year My Voice Broke. Reflecting on issues of extinction and human’s approach to conservation whereby animals became subject to human laws (governing, we suppose, their movements, migration, procreation etc), the artists decreed it should be “The Year of Knitting for Animals” during which, according to their website, they “would knit as many animals skins as were asked of us”. The Panda and Stag on display are beautifully realised works reminiscent of the ongoing (and somewhat bemusing) craze for taxidermy.

Choose your weapons: artist Hanne G's Crochet for Peace series (Image by HWL)

Danish artist Hanne G has taken history’s most common and iconic guns and rendered these objects of – let’s face it – masculine power all floppy and harmless. The Crochet for Peace (2007) series inspires the following un-woolly idea: let’s spend our defence budgets on buying wool for knitted guns and live in peace. In contrast her  Lady Weapons (2007)  series features feminine and domestic paraphernalia with a potentially violent application such as rolling pins, irons, stilettos and lady razors.

Also on display are knitted and knobbly landscapes captured from Google Earth  by the Collectif France Tricot.

The Mailles: Art en Laine show continues until 19 November, 2011. Visitors are welcome to contribute to a communal knitting project and help themselves to cups of tea, bringing a touch of homeliness and sociability to this otherwise crisp, if lovely, space on the Champs Elysee.

For details: see the Maison du Danemark website.

Tags: , , , , , , , ,

You Make Me Slick: Paris’ Hipster Art Fair

21 Oct

Just a little prick: outsider artist Francis Marshall at Slick art fair in Paris (Image by HWL)

Visitors to Paris this week will find the city mid-art explosion. The largest contemporary art fair FIAC is on, plus dozens of related ‘off-events’. If you were to visit just one, we suggest SLICK. Admittedly, we haven’t yet been to FIAC – we have unwisely opted to wait until the weekend so we can enjoy the art with the maximum amount of unpleasant crowding – nonetheless, we know how these things work. Pricey ticket, enormous expanse of art works, zillions of people and  a sense of impending panic/collapse bought about by the combination of disorientation/claustrophobia/fear of over-sized handbags and lack of water/oxygen.

You poor dear. Recalling early cinematic trauma. 'Accident de Chasse - Bambi' (Hunting Accident) by Pascal Bernier. Selling for almost €10, 000, significantly more than the poor thing would have fetched by the kilo. Sad when you are worth more dead (and stuffed) than alive. (Image by HWL)

Digging among the small change and handing over €10 will get you into Slick, best described as FIAC’s hipster offspring, situated in the forecourt of the tres cool Palais de Tokyo. In return you’ll enjoy a solid hour or so of overall pretty good art. There’s more quality than quantity, so not only can you see it all, you can also probably enjoy it. We have collected a few highlights for your perusal. Keep an eye out for them! (Hover on photos for the names of each artist/gallery.)

159/295: detail of beautiful flying kites & red threads. A lovely work at the entry of Slick, you can't miss it. (Image by HWL)

Poetic offerings by Pierre Tilman. Poems created in the early 80's using a Dyno label make was also on display - cutting edge technology at the time! (Image by HWL)

Spooky David Lynch-like vignettes by Francis Marshall. Mysterious and evocative, we rate this our favourite installation. (Image by HWL)

More Hilton than Paris. (Image by HWL)

One of Gorlizki's strange melding of slightly absurd yet terribly dainty collages in the tradition of Indian miniatures. We were also charmed by the gallerist Franz van der Grinten. Do say hello to him - or pop into the gallery in Cologne.

And now for something a little bit gimmicky. Pop art stars vs limited edition, rather pricey skateboards by the likes of Hirst, merchandising genius Takashi Murakami, and graffiti upstarts like D*Face. (Image by HWL)

Kenosha Theater, Kenosha, US, 2009 by Yves Marchand & Romain Meffre. We loved their large format photographic series of decrepit theatres in American towns such as Chicago & Detroit. (Image by Marchand & Meffre)

A timely installation by Robert Montgomery in this season of Arab Spring...

Tags: , , , ,

Hotels We Love in Paris: Bonjour (Hi)-Matic

18 Oct

Business as usual: Hanging Five at the Hi-Matic Hotel in Paris.

So, we’ve been meaning to blog about the Hi-Matic Hotel in Paris for a while now… But we’ve just come across this little video (below), and we reckon it pretty much does the job for us, so perhaps it will do for now? The 42 room Hi-Matic Hotel by Matali Crasset, Patrick Elouarghi and Philippe Chatelet in the fashionable 11th district is reasonably priced (think around the €100+ range), is in a cool neighbourhood (bobo central) and promotes a green ethos.

The Princess and the Pod, at the Hi-Matic Hotel, Paris

The hotel plays around with interesting ideas, such as rooms that fold away Japanese-style during the day and funny, chopped up living spaces reminiscent of cubby houses or half-built lofts with jewel-like colours. The costs are kept down due to the DIY (auto-’matic’) of the check-in procedure etc – there’s no staff, you simply collect a key and let yourself in. Perks: Vending machine offering snacks, books and toys. A dainty (read well-chosen, if not copious) organic (‘bio’) breakfast served on trays a la ‘in-flight’. Tips: Note that sleeping/bathroom arrangements are small and, for lack of a better word, ‘intimate’. Room to Improve: There do seem to be some issues with clothes/luggage storage and overall practicality of the design. Approach in the spirit of weekend’s living experiment! (And enjoy!)

*****

If you’re staying at the Hi-Hotel, definitely try to book a table at the lovely Septime. If it’s too pricey or you can’t score a table, the tiny Le Mouton Noir (‘Black Sheep’) Mouton on the same street is pretty good and reasonably priced, but do ask for on street level (downstairs is damp,while the mezzanine is claustrophobic).

Booking: Hi-Matic Hotel

*****

One of the hotel’s collaborators, the rather whimsical designer Matali Crasset known for her colourful and playful takes on furniture, is currently responsible for an odd little installation at the Pompidou Centre; Blobterre, a sort of growing greenery installation in the children’s section. We reckon a Hi-Matic Hotel + Blobterre could make a suitable quirky machine-for-living meets the Triffids sort of weekend. (Especially right now with Paris in full art swing with FIAC, and off-events such as Slick Paris and some amazing shows on at the Pompidou etc.)

Tags: , , , , , , ,

Paris does Delhi @ Pompidou

16 Sep

Catch Paris, Delhi, Bombay in it’s final days at the Pompidou Centre in Paris. Presenting an overview of contemporary Indian art, the exhibition spaces are broken down into six themes: politics, urban development & environment, religion, home, identity and craft. Additionally there is a final space where French artists have created works in response to the concept of India – which is a little bit unusual (did they run out of Indian artists?). Perhaps unsurprisingly, the exhibition takes a fairly bleak view of the issues effecting India – the ratio of positive to negative art was that of a bindi to an elephant.  Nonetheless it’s a great and stimulating show. Our suggested highlights include the pop art-ish yet beautifully crafted ‘ Tara’ , by Ravinder Reddy. This portrait of an ordinary Indian woman is  majestic, upbeat and somehow reassuring.

The bold & the beautiful: ‘ Tara’, by Ravinder Reddy (Image by HWL)

Other highlights include Krishnaraj Chonat’s ‘My hands smell of you’; a dual-sided wall at the entry of the exhbition. One side is covered with electrical cords, keyboards and disused computer mice evoking issues pertaining to both India’s growing digital economy and the perils of unmonitored and toxic computer waste disposal and less than bona-fide ‘recycling’.  The other side is composed of soap scented with sweet-smelling – and decidedly organic – sandalwood. The two sides evoke the two faces of India and highlights tensions between tradition and modernity, community and globalisation. Hema Upadhyay’s “Think left, think right, think low, think tight’ a three-dimensional, re-creation of Mumbai’s notorious shanty town, Dharavi, in miniature, was also a crowd pleaser. Created from left-over rubbish it was an all too easy to imagine the real thing.

The metaphysical meets the familial in the Hijra Fantasy series. 'You too can touch the moon', 2006, by Tejal Shah @ Pompidou (Image Courtesy de la Project 88, Mumbai © Tejal Shah)

Among the French contingent we enjoyed Pierre et Gille’s installation of Indian inspired portraits referencing religious iconography with a heavy dose of kitsch. If not entirely unpredictable, India a la Pierre et Gilles was a love match made in polytheistic heaven…gorgeous, lucious and lurid. Finally we enjoyed the ‘Bragdon Pavillion’ by the cool French artist Loris Greaud. Featuring a black room with multiple screens showing loops of hypnotic video art that might described as ‘pared back psychedelia’ alongside a minimalist trance-inducing sound track, Revelation: Music in Pure Intonation by Michael Harrison. After an overload of colour, themes, imagery, noise and ideas it was like stepping off a street in Mumbai and retreating to a kind of meditation ashram. Om.

Madly, deeply, lovely kitsch: 'Hanuman', 2010, by Pierre et Gilles @ the Pompidou (Image courtesy Galerie Jérôme de Noirmont, Paris © Adagp, Paris, 2011)

PS: Don’t get so overwhelmed that you forget to go downstairs and have your photo taken for French street artist JR‘s latest project.

Tags: , , , , ,

Zaha Hadid: Future Shock

14 Sep

Who dares wins: a Star-chitect Off between Zaha Hadid & Jean Nouvel in Paris. (Image by Zaha Hadid Architects)

There’s something funny in the forecourt of the Institut du Monde Arabe in Paris. A sleek and slippery object that looks like a curvy space ship crossed with a piece of futuristic footwear has landed. It is in fact a mobile art pavilion, designed by Zaha Hadid Architects. Commissioned by Chanel, which has donated the structure to the Institute, the pavilion was transported in shipping containers and toured several of the world’s fashion capitals, before coming to rest in Paris where it will be used as an additional exhibition space to showcase art by the Arabic world.

The pavilion is an interesting addition to the Institute which is already on the archi-tour hit list thanks to its own design pedigree – it was designed by Jean Nouvel in the 1980s and was one of President Mitterand’s Grand Travaux.

Islamic-inspired 'jealous windows' at Jean Nouvel's Institut du Monde Arabe in Paris (Image by HWL)

The pavilion’s first show is fittingly dedicated to Hadid, an Iraqi-born and educated architect, who has since trained and settled in London. Showcasing several of her current projects, with an emphasis on those in Middle Eastern countries, the exhibition seeks to demonstrate a synergy between Islamic influences (from traditional calligraphy to the intricate geometry of mosaics) and Hadid’s style that somehow melds two extremes: organic molecular and geometrical structures such as branching and cell repetition with the crazy artificiality of skyscrapers.

the geometry of skyscrapers: Zaha Hadid (Image by HWL)

As far as the exhibition goes it’s more of a taster than Hadid’s exhaustive (and exhausting) 2006 Guggenheim retrospective, the tone and content on offer is more promotional than analytical and there’s scant insight about the woman herself.

Interior of Hadid's Mobile Art Pavillion: we can confirm it looks better without people (Image by Zaha Hadid Architects)

For all that, it’s an interesting experience to see an exhibition of Hadid’s work in a pavilion that she also designed; the space and the objects certainly inform each other in a stimulating way, though the effect is a little bit like being in a showroom. Certainly, if I was Hadid I’d be bussing in the Saudi’s and those heads of nation states desperate for a new status building that will help put them on the map – if anything can convey the concept of ‘Hadid’ world, it’s this. Not that they need the business. (Aside: too bad they didn’t have Hadid’s cool kitchen unit.)

Is it a bird, a plane? Zaha Hadid's Mobile Art Pavilion, currently docked in Paris. (Image by Zaha Hadid Architects)

Twenty years ago Hadid was a brilliant and well-connected academic, dreaming up architecture that was virtually impossible to build; now it’s not. Standing there and looking at her work, gave me an insight to how visitors to the Le Corbusier and Pierre Jeanneret’s Pavillion de l’Esprit Nouveau at the 1925 Exposition des Artes Decoratifs must have felt. I think they must have felt something along the lines of: ‘This is the future’ and ‘WTF?!’.

Dates: Zaha Hadid, Une Architecture runs until October 30, 2011. Information: Institut du Monde Arabe Tips: you must buy your ticket inside the institute, and if it’s your first visit, don’t forget to take the elevator to the top floor for a great view of Paris from the terrace.

Everyone's a critic: street art commentary on Zaha Hadid's CMA-CGM Tower in Marseilles (Image by HWL)

Tags: , , , , , , ,

Space Age Alpine Hut in Paris

16 Aug

This futuristic Apline hut designed by Perriand & Jeanneret in 1938 contrasts with La Grand Palais. An exhibition of Perriand's work is on display at the Petite Palais. (Image by HWL)

Perched to the side of the misnamed Petite Palais in Paris, is the unlikely sight of a silver, dodecagon Apine Refuge hut. This 12-sided little edifice was built 72 years after it was first designed by modernist architects Charlotte Perriand and collaborator Pierre Jeanneret, the less famous cousin and business partner of the Swiss architect Le Corbusier (real name: Charles-Édouard Jeanneret). The structure was initially designed in 1938 and dovetailed with a growing interest in Apline tourism and Perriand’s own passion for the great outdoors. Alas, WWII put a stop to many things, including quirky architectural pop-ups like this one.

Architect's model for the mountain refuge which took inspiration from a Croatian 'menage'. (Photos by Charlotte Perriand.)

The Refuge Tonneau proposed various advantages over the traditionally log cabin. The structure weighs 40 kilos and can be assembled within three days – weight and time efficiency are definite pluses in the context of high-altitude construction. It’s also fire resistant, wind resistant and the aluminium cladding reflects sun/snow glare, reducing inside temperatures on sunny days. Although only 8sqm, this particular model sleeps 8-10 Aplinists, eight upstairs, with another two in the living area if required. (Modernist trademarks such as built-in/fold away furnishings assist in the hut’s transformation.) A larger version of the refuge was designed to accommodate up to 32 people providing they arrange themselves in a circle, sleeping with their heads to the exterior wall and feet facing inwards. (We’ve seen similarily space efficient sleeping arrangements on South American beaches with hammocks swung around a central pillar.)

'Honey, I'm home!' Good times were imagined chez Refuge Tonneau. (Image by Charlotte Perriand.)

This model was constructed as a student project in Thônes by ARTE (Art Contemporaines in Thônes) and the University of Technology in Annecy, using materials and building techniques of the 1940s. What it’s doing outside the front of the Petite Palais was unclear to me until a google search revealed that there’s an exhibition of Charlotte Perriand’s work inside.

Perriand may not be as well known as Le Corbusier (gender relations at the time help explain why) but she’s credited with the prototype designs for the ultra-modern kitchens in Unité d’Habitation in Marseilles; she also co-designed iconic furnishings such as the LC2 Grand Confort and the B306 Chaise Longue.

Seen in the context of some of Paris’ grandest buildings, it a truly graphic illustration of the radicalism – and modesty – of modernist architecture. Add the exhibition to your hit list for ‘Things to Do in Paris’ this summer. Charlotte Perriand 1903-1999 until September 18, 2011.

Architect & designer Charlotte Perriand, demonstrates the modernist chaise-longue.

Tags: , , , , , , , ,

My Winnipeg: burnin’ down da house @ La Maison Rouge

3 Aug

House on Fire by Winnipeg artist Sarah Anne Johnson @ La Maison Rouge

The My Winnipeg exhibition, currently on show at La Maison Rouge in Paris, explores the idea that a place is as much about geography as psychogeography and the stories that it tells about itself. Over time, those stories create a sense of place and history which, while not quantifiable or even tangible feed into a mood and feeling of the place. The show makes no apologies for its vision of Winnipeg; it is unashamedly surreal, blending disparate imagery ranging from historic etchings of colonial explorers to contemporary Aboriginal prints and the often cartoonish imaginings of the now defunct Royal Art Lodge collective.

Welcome to Winnipeg a la Marcel Dzama of the Royal Art Lodge. Currently on show at La Maison Rouge, Paris.

Wilderness lost and found, disruption of original inhabitants (both in terms of people and animals) and winter, winter, winter are reoccurring themes of a situationist-like drift across this Canadian prairie town. The art itself is a reflection of the kind of thing you might come up with if you were locked away in a studio for the three months of winter when temperatures hover between minus 20 to a toasty minus 10 degrees. (The last room of the exhibition titled ‘Winter Kept Us Warm’ suggests that creating rather puerile erotic art does help pass the time.)

Show highlights include The Collapsing of Time and Space in an Ever-expanding Universe, by Kent Monkman (below), Burning House by Sarah Ann Johnson (above), drawings and installations by Marcel Dzama (including a personalised map of Winnipeg) and a strange semi-comic film featuring fighting toboggans by Andrew Hall.

A wolf hulks & a beaver nibbles in a spooky atmosphere of regret, Kent Monkman, Winnipeg artist at La Maison Rouge in Paris. (Image by HWL)

We’re told Winnipeg, capital of Manitoba, Canada, population 700, 000 is located at the intersection of the Red and Assiniboine Rivers (known locally as ‘The Forks’). The Forks is something you’ll hear a lot about if you stick around to watch cult-filmmaker Guy Maddin’s dreamy black and white film My Winnipeg (which gave the exhibition its name) that tells of a man’s attempt to escape his homeland and all that entails (family, personal history, Mother!). The film blends archival footage with personal mythology, local folklore, fantastical enactments and surrealist editing techniques reminiscent of Jean Cocteau.  The opening minutes show the city’s supposed sleep-walkers roaming the winter streets of Winnipeg, clutching the keys to their old houses, from then on, we were hooked. We’re embedding a short scene below, click here for the official trailer otherwise, if you can catch it, settle into one of the Maison Rouge’s comfy cinema seats and bunker down for 80 minutes of what one online reviewer described as a “loopy love-letter to Winnipeg”. Yep, there’s no place like home.

*****

The exhibition is open for summer, closing September 25, 2011. See La Maison Rouge for opening hours etc. Note that the delightful Rose Bakery offers tasty drinks, snacks and lunch on site (€11 for a perky omelette).

Tags: , , , , ,

← Older Entries

Follow

Get every new post delivered to your Inbox.

Join 71 other followers

%d bloggers like this: