House of art, gallery of the Park Palce, has introduced the photographic job of Massimo Listri. Photograph Italian he has already realized 34 books on castles and extraordinary gardens.His photos, realize in plexiglas, they reveal a very personal talent and a geometric and poetic vein

The ‘Alexandre PONOMAREV: Faire surface’ exhibition, presented in the temporary exhibition rooms of Villa Sauber, is being organised on the occasion of the Kiosk presentation project at the port of Fontvieille and then in the gardens of Villa Paloma when it opens at the end of 2009; the work benefitted from a donation from the artist.

The exhibition includes the artist’s drawings, collages, objects and photographs covering the design of a strange sculpture that resembles a submarine kiosk i.e. the visible part of the military ship. Ponomarev’s Kiosk symbolises an artistic approach that always focuses on the sea, its environment and its surroundings. Faire surface is the eighth stage in the ‘Recycler la meute’ cycle inaugurated by Ponomarev in 1996 with a spectacular creation in reference to ‘Atlantic Codex’ by Leonard de Vinci: Ponomarev repainted a Russian Navy submarine in a rainbow of colours before submerging it in the Barents Sea. The vessel, supposedly invisible in its military function, suddenly appeared as a tool of artistic expression not lacking in provocation and humour.

Kiosk, created when the artist was in residence at the Calder studio, was presented at Tours sur La Loire and then in Saint Etienne, at the Mudam in Luxembourg, in the Tuileries Gardens of the Louvre and finally on the Moskva River within the framework of the 2nd Biennial Contemporary Art Exhibition in Moscow. It will be on display again at a date to be confirmed in the bay of Monaco Port. Each exhibition of the object plays a part in the creation of a poetic situation that is anachronistic -even surreal.

From Maya l’Ile perdue, an unbelievable ‘performance’ consisting in making an island in the Barents Sea ‘visually disappear’ thanks to support from the military navy, to the installation of a huge periscope in the Salpêtrière Chapel during the last Autumn Festival in Paris, Ponomarev’s works are emotionally monumental. They create situations.
Exhibition Parners :
Monaco Yacht Show - Timmerman Yachts - Titevent Art

AN EXHIBITION AT THE NEW NATIONAL MUSEUM OF MONACO

FROM 26TH SEPTEMBER TO 2ND NOVEMBER 2008 - VILLA SAUBER Á MONACO

 

 

Usually, the first few dates of a world tour staged by Michigan's biggest export since the automobile are rife with controversy. Last time around, for 2006's Confessions tour, Madonna hung herself from a glittering black cross. For 1990's Blond Ambition tour, it was simulated masturbation. Catholic authorities usually make banning noises when Madonna's visa request comes in.

But this year's Sticky & Sweet world tour feels different. Less sticky, perhaps, even though this is a hot French summer night, and the gig-goers of Nice scoff waffles and doughnuts. The outrage is minimal. Throughout the two hours of her show, watched by Nice's mayor and Elton John, she fakes one orgasm, kisses a female doppelganger on the lips, calls us motherfuckers and says: 'Mon fesse' (my arse) in ropey French. That's about it for fluids'n'sacrilege, two formerly key ingredients of a Madonna globetrot. The tour began in Cardiff last weekend not with a bang but with a grumble. She came on late. Tonight, the screens fail for a song and a half and a guitar is out of tune for a bit. No scandal here, just technical hitches, for which she politely apologises.

Is it that Madonna, now 50, has finally grown up? Is it a newfound piety instilled by kabbalah? Perhaps. But after a quarter of a century of provocation, we are now probably unshockable. Madonna would have to fellate a donkey while dressed as the Pope to get cab drivers tutting now.

No, the hoopla this time is merely political. Republican senator John McCain has objected to being part of a montage of world ills that obliquely aligns him with war, famine, pestilence and Nazi Germany, while his Democratic rival Barack Obama ends the sequence elided to Gandhi, John Lennon, ice cream and fluffy bunnies (well, not quite, but you get the idea). This is the 'Get Stupid' sequence of the gig, in which video projections of Madonna lecture us about imminent Armageddon, while the real, sinewy thing executes one of her umpteen costume changes elsewhere. Pop concerts are obviously not the best arena for nuanced political debate but, even by stadium standards, this is a point too crudely made.

Moreover, Live Nation, Madonna's concert promoters, have issued a guide to Sticky & Sweet, listing the quantity of freezers, trampolines and lipstick used on tour. While it's nice to learn of some gofer trawling eBay for vintage pantyhose for Mrs Ritchie and dancers (100 pairs), this litany of products, designers and equipment feels de trop. One fan here has T-shirt that reads: 'Liberté, égalité, jet privé', a French philosophical discourse Madonna might readily subscribe to.

Still, we do not come to Madonna for dignified austerity, and the Sticky & Sweet tour delivers on visuals, pace and sheer physicality. Divided into four suites, each with its own theme, the show radically remixes old favourites and showcases the newer songs from her Hard Candy album. 'Candy Shop' and 'Beat Goes on' kick off with Madonna on a throne and in a retro convertible car, all soundtracked by some headily futuristic R&B. Pharrell Williams, Timbaland, Kanye West (and, later, Justin Timberlake and Britney) all do their guest bits on giant video screens while Madonna and troupe contort below.

In the absence of stickiness, perhaps the sweetest segment of the night is the homage to Eighties New York. 'Into the Groove' is reinvented in a blizzard of hip hop scratching while Madonna skips between two ropes, double-Dutch style. On the screens, Keith Haring visuals mirror the skipping below. In his memoir, Madonna's brother Christopher Ciccone accuses his sister of forgetting her gay roots since marrying Guy Ritchie, whom he portrays as a casual homophobe. So it is nice to see Haring's work onstage and the loyal gangs of gay men, lesbians and transsexuals out in support tonight.

Less successful is the Gypsy interlude, where Madonna follows her infatuation with New York gypsy punk band Gogol Bordello to its logical conclusion. 'La Isla Bonita' is transported many miles to the east, with Madonna gripping a rose in her teeth and galumphing alongside Romany musicians and dancers.

To be fair, she becomes more respectful, taking a break from centre-stage to watch them perform 'Doli Doli', a Romanian folk song. But it all ends with 'You Must Love Me', Madonna playing guitar on a stool and laboriously enunciating the Evita number. It is ghastly.

Indeed, whenever Madonna picks up a guitar - which is often - the songs wilt a little. As the loveliness of 'Ray of Light' disappears under the groans of Madonna's axe, she increasingly recalls Courtney Love, who was, for a time, grunge's Madonna. Of course, she can't be all-disco, all the time, but Madonna is always at her finest singing about dancing while doing just that. So 'Give it to Me' - with its added cheesy rave stabs - brings the fourth quarter to a euphoric end. The body is where Madonna's true genius lies; all the head stuff is just a distraction.

 

Marilyn Monroe, Steve McQueen, Robert Redford and Sharon Stone are reborn in Monaco thanks to the Parisian artist Natacha Toutain who is famous for her portraits of the stars.  Her father’s passion for Marilyn Monroe inspired her first portrait and now there are few Hollywood icons who do not feature, she has even painted Clint Eastwood and Monaco’s own Grace Kelly. “It is their eyes that attract me” she says “and oil is definately the best medium for painting the human body”   Her passion is transmitted in her work, Every part of the image is used, every detail depicted and then she uses her lead pencils, cuts and pastes, forming another dimension. Each day she manages to move on and fill in spaces left bare, in continuation… the most difficult aspect? “To create depth of feeling in my paintings.”

 

 

 

« Whiteout » Creation by Marco Goecke

“Walking mad” Monaco Premiere by Johan Inger

 “Vers un pays sage” by Jean-Christophe Maillot

 

 

“Romeo and Juliette” by Jean-Christophe Maillot

 (Music by Prokofiev, Stage design: Ernest Pignon Ernest, Costumes: Jérôme Kaplan, Lighting by Dominique Drillot)

Celebrate the 200th performance of Romeo and Juliet on July 26 !

 

“Altro-Canto (Part I)” by J-Ch Maillot (Music by Monteverdi) and

“Altro-Canto (Part II)” Creation by Jean-Christophe Maillot (Music by Bertrand Maillot)

 

 

         Marco Goecke, German choreographer who won the “Emerging Choreographer” prize at the last Nijinsky awards in Monaco; a rare modern choreographer who likes to confront the world of classically trained dancers, this summer, he will create his first piece for the Ballets de Monte-Carlo.

 

The pleasure of once again seeing, under the starry sky of the Terraces “Vers un pays sage” by Jean-Christophe Maillot, a baroque view of the world, like that of his father, Jean Maillot and “Romeo and Juliet”, a ballet which on this occasion will celebrate its 200th performance, “a timeless work of art already recorded in the universal repertoire” Danse Light 2007.

 

Finally, to close the season, the mysterious “Altro-Canto” by the Choreographer-Director of the Ballets de Monte-Carlo, where the body movement en pointe curls up in the vocal loops of Monteverdi, followed by a second part, “Altro-Canto II” a Jean-Christophe Maillot creation set to a modern score by Bertrand Maillot.

 

 

 

 

 

There is always a certain tension between my subjects and myself. I like creating that emotion which is best captivated by their expression.

 

 

Everything – from working with my brother, who directs the gallery, to saving children’s lives in doing the charity, traveling all around the world and knowing how much HASTA SIEMPRE is appreciated. Private portraits bring unique challenge specially when presented to clients. 

 

Each and every time I paint Che Guevara.

 

 

The biggest luxury is in giving

 

Your motto? – All or Nothing

 

 

HASTA SIEMPRE is a portrait gallery based for the past seven years in St .Tropez and presented by Una and her brother Milan.

 

Current exhibitions can also be seen in London and Monaco.

 

Their Collection is sold worldwide