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So for example, the festival of Saint Barbara on December 4th was a paroxysmal moment, where effervescence in all its forms expressed itself with vigour over the course of an entire week. These festive phenomena, in every society, are corollaries of a sense of the tragic. I would also point out that this atmosphere also enabled me to get a sense of the hypocrisy of political and trade union leaders, real dames patronnesses of social life who dedicated themselves to doing good while demanding the subjection of those to whom their charity was addressed. From there, a libertarian sensibility developed that became an essential component of all my work.

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What do you remember of him? And who were the other intellectual figures who influenced or made an impression on you?


I met Julien Freund in Strasbourg in , and at that time we stood on opposite sides of the divide, in that he bravely questioned the motivations of the students involved in the uprising of which I was a part. The difference between him and many other university professors was that he had the courage to come out and say it. Ultimately, in , he called me back to Strasbourg to take over from him at the Institute of Polemology. This was a man of integrity, a free spirit, and even though there were a lot of things on which we disagreed, there was a mutual intellectual respect between us.

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What do you make of this current and the lifestyle associated with it? What do these things awaken in terms of our perception of the body? One of the tracks of my work has been to look at the importance of the body. Perhaps we could speak of corporeisme.

Tremaine Haynes: Collecting Proust in the New Millennium

This phenomenon of bodily augmentation is becoming more and more common, and certainly tattoos, piercings and other bodily modifications play an increasingly important role and constitute an essential part of urban theatricality. They are no longer the preserve of the marginalised and outlawed, but a common practice which cuts across all classes, generations and strata of society.

L'ombre du vent - Coup de coeur

Retail and the media help us to see how this corporeisme , for better or worse, is developing in our societies. But do we not see a recuperation of these behaviours by consumerism and their assimilation by the system? That said, these new tribes are no longer situated in relation to the State. They care very little about politics and the organisations that relate to it, but this is difficult for us to understand in view of our colbertism, or native statism, which makes it hard to accept the idea that there can be a social ordering without an overarching body.

Description de La Terre du Milieu : L'Ombre du Mordor - extension vers l'édition GOTY

And here again we note that technological advances in the online domain allow us clearly to grasp the importance of such a shift. What are the new forms taken by this movement overtaking established elites? Technology has helped the artist, especially with his large panoramic photographs which are stitched together by computer.

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  • The resulting works, capturing the act of disappearance are his remarkable way of conveying a message or highlighting an issue. Bolin alludes to the rapid urbanisation seen in China where buildings pop up at an alarming rate. With it, the vast amount of waste materials disposed of by humans pollute the environment. And there was the recent collaboration with French artist JR at the Louvre. As Bolin immerses himself in his paintings, we are drawn in to wonder what it is we are seeing, this imperceptible presence acting as an all-way mirror for the viewer.

    Collecting Proust in the New Millennium

    The backgrounds chosen by Bolin are deliberate. The national flag, propaganda slogans, icons and symbols of Chinese culture, the aisle of a fruit and vegetable market or myriad brands of plastic bottled waters. Where some images are arguably fun to look at, others are equally alarming and this is where Bolin succeeds. Mobile phones, drinks cans, and soft toys may appeal to the younger set, other destructive objects — the diggers, obstacles, ruins, toxic rivers and lost or misplaced heritage call yearningly to hindsight and common-sense rhetoric.