The rise of teenage power of influence has drawn my attention for quite some time now. Art after art, young people under the age of twenty have been conquering new territories and making waves as well as their voices heard in the past few years. Their ideas and views of the world, albeit undoubtedly fresh, have yet to prove their force. Do they really deserve so much interest?
If they are like 20-year-old Xavier Nolan‘s I Killed My Mother film, the answer is a resounding yes.
Written at the age of 16, the script is a painstakingly rich depiction of a young man’s suffocating relationship with a confused single mother. Xavier is not only the brilliant writer but also the outstanding actor and promising director of this truly emotional story.
The 2009 much awarded film was followed by another tale of dangerously close relationships, this year’s Les amours imaginaires (Heartbeats):
Nolan’s films achieve the unexpected success of portraying the unclear depth of youth in a sophisticated yet simple way.
But do all manifestations of adolescence deserve equal credit?
Well, much like teenagers’ own lives, the final answer as to whether the attention is indeed generally merited is a very decided maybe.
Yesterday evening I went to the movies to see Where the Wild Things Are, by Spike Jonze.
I liked it a lot and it also got me thinking on the ways I used to escape reality as a child and how my childhood angst got to me. I was never one to create wonderfully imaginative worlds to seek refuge in nor did I have any creative hobbies to express my emotions through.
The way I evaded my uncomfortable child life was through living very close to the adult world. I kept a lot of what I saw or heard in my mind, never sharing it with anyone, not even those same grown-ups I so often found myself around. I was a very shy kid since I felt so stifled by everyone. All those adult conversations, opinions, perspectives and all types of relationship meanders have fed my brain with words that only years later could be freed. They were very likely the source of my lexical creativity.
the will to escape reality isn't scary anymore
The general feeling I got from the movie was a sense of relief for not being a child anymore. Enough is enough.
People questioned me on my views on Mario Testino‘s new book. Just so everyone knows:
I don’t dislike Testino, I actually think he’s very nice, a nice person.
I don’t dislike Rio, I actually think it’s one of the most beautiful places on earth.
I don’t dislike hot people, I actually need to have a look at beauty to strengthen my resolve sometimes.
The usual view of Rio
What I do dislike, though, is cliché. Rio has so exhaustively been shown as the land of the sexy that it just bores me to be faced with yet another batch of its people sexiness.
I truly expected more from MaRio de Janeiro Testino.
As Miranda Pristley once said: My God, I live on hope. On hope for novelty.
As a Brazilian journalist and fashionista once so shrewdly said: in this world of ours, one cannot pretend not to notice Madonna.
I cannot do it either. Many are those who think she should be thinking about retiring. Some say it’s because of her age. Other claim she’s lost all she once had. Yet, she seems to be ever so hungry for fame (despite her regretting having trade for love, without a second thought) and has a new album and single out as we speak. Here’s the single, boringly entitled Celebration:
I’ve been to her last show and I’ve listened to the song and my personal veredict, if asked, would be: besides dating the very hot (and incredibly pedestrian) Brazilian model Jesus Luz, she hasn’t been doing anything worth to notice.
Nevertheless, I have been wrong about her in the past. Just before Confessions On a Dancefloor was released, I had been hoping she would retire and choose a life of glorious memories. As always, I was glad to be mistaken. Let us see what happens this time.
I never run out of feelings of admiration for artists who put a lot of effort into their work.
a sugar child by Vik Muniz
I’ve just come home from a breath-taking retrospective of Vik Muniz‘s wonderful works at the Museu de Arte de São Paulo (MASP). For those who aren’t familiar with his creation process, he creates 2D sculptures using unlikely materials, such as chocolate, ketchup, caviar and diamonds, then photographs the result which thus becomes portraits and pictures of different sorts.
My heart actually started pounding when I saw the Sugar Children series, a series of portraits of Caribbean children made with sugar grains. As with all his projects, Vik Muniz chose this specific material because of its connection to his subjects. These children are the sons and daughters of sugar cane plantation workers who had a lot of hope despite their probably abject future.
I admire so much artists who will spend hours, days or weeks on one piece of work just so it fits perfectly with the idea they had for it.
Music-wise, I’ve been listening quite often to an older Björk album and, more specifically, to my favorite song on the album, Who Is It:
What most strikes me about this version of the song is how Björk recreated this rather electronic song for the video using almost nothing but bells, in all shapes and sizes. It is masterpiece.
Right this moment, there is a combination in Paris which can mesmerize even the most demanding beauty lover: the Fondation Cartier‘s exhibition on Beatriz Milhazes, the geometrical color-loving painter from Brazil.
The eye-catching expression of joy translated in bright circles and intersections of geometrical figures suits the Jean Nouvel museum just perfectly. The simplicity of the museum’s glass exterior and its gentle take on reflection function like an aquarium for Milhazes’ works: the art is contained yet beautifully shown in a very large scale.
Beatriz is one of the only Brazilian artists working these days who seem to be able to express Brazilianness through a medium that is not music. She has said that she wishes to combine all influence she’s taken in all through her life, be it art from her own country, from Latin America or even Portuguese barroque, and make it her own visual translation of painting. Appropriating multiple influences and transforming them into something new is a very Brazilian characteristic.
Convergingly, Jean Nouvel’s remarkable creations that make us rethink architecture integration are a fresh breeze into the building era’s air. Two of my favorite buildings in Paris (namely the Fondation Cartier building and the Institut du Monde Arabe) integrate so well with their surroundings and yet have a clear identity connected to their purpose that it is just impossible not to appreciate them.
For those who want to delight in color, shape & architecture, this exhibition is the place to be in Paris. It’s on until June 21, so there’s quite some time for you to shun the clichés of Paris and still have a great aesthetic time.