Word: arte
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Dates: during 2000-2009
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...that means it's time to rethink the Asterix metaphor. For half a century, the Asterix books have delighted generations with their thrilling adventures, rich characters and subversive comedy. Using those stories to make a political point about France's supposed endangered status demeans the brilliance of the art and writing in the comics, as well as their incredible commercial success. As Uderzo insists, his stories are for children. The idea that France - or the rest of Europe - needs to be treated as kids as well is, as Asterix might say, pathetix...
...cemeteries, from Montparnasse to Montmartre and Père-Lachaise, aren't dour sites of mourning and mortality so much as elegiac pleasure grounds. They memorialize the city's famed, infamous and all but forgotten in parklike environments studded with tombs so exquisitely imaginative that they resemble works of art. There's a certain macabre logic, then, to Le 104 (or the Centquatre), an ambitious multidisciplinary arts center that was once a state-run pompes funèbres - a municipal funeral hub from which hearses, coffins and corpses were dispatched to cemeteries...
...signs of its grim history thanks to a $150 million makeover spearheaded by Mayor Bertrand Delanoë as part of a long-term effort to revitalize Paris' 19th arrondissement. Launched just over a year ago, with high-profile events by fashion giant Alexander McQueen, trip-hop icon Tricky and art-rock legend Lou Reed, the immense 39,000-sq-m space was renovated by architectural firm Atelier Novembre. It boasts artist studios, designer boutiques, a café, a bookshop, a children's area and even a free-standing pizza truck under its soaring glass roof, which echoes the spectacular glass...
...other female characters play roles consistent in their appearances as Anne throughout the show. Ella Gibson ’13 pierces the show with a stern cool that permeates her part as the pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg ’13 elicits...
...backdrop during “Faith in Ourselves,” and then, scenes later, the sleek curves of a new model vehicle in “The New Anny.” “What fascinates me is her use of textures,” offers one art critic during “Untitled.” “I think there’s a great sensitivity here in the juxtaposition of materials.” The entire performance presents a similarly impressive layering and contrasts of sparseness and chaotic engagements; in scene...