To celebrate Guerlain’s Paris+ Art Basel partnership, the international art fair that took place in Paris for the very first time; Guerlain, one of the world’s first perfume houses, that is strongly engaged in sustainable activities such as the preservation of bees, supporting art and empowering women, has curated an extraordinary and meaningful show: LES MILITANTES, a new exhibition dedicated to women’s activism. Bringing together 21 established and emerging contemporary artists who share strong messages for a fairer world through their works.
Dedicated to the commitment of women, Guerlain opened the doors of its boutique on the Champs-Élysées to 21 international female artists, from established to emerging, pioneers to recent graduates, all of whom wish to embody a movement, progress ideas and transform perceptions. The show takes place form 19 October – 14 November 2022
„Guerlain is proud to support Les Militantes, to make these artists’ work accessible to the wider public and for audiences around the world to experience the beauty of art.“ says Ann-Caroline Prazan, Director of Art, Culture and Heritage at Guerlain. „The theme of activist art raises the question of our relationship to art, whether it is aesthetic or political.
“Thu Van Tran Trail Dust #2, 2021 Graphite on canson paper 105x152cm”, Courtesy of the artist and … [+] Almine Rech
Guerlain and Pierre Mouton
Maison Guerlain considers contemporary art to be defined by the fact that it reflects the society in which it is created, it becomes a mirror and thus confronts the viewer with a reality that is often full of injustice, fear and danger. It is at this point that the perspective or the point of view of the artist becomes essential because what she shows us corresponds to his own sensibility.
„Amongst the committed and militant artists, we have chosen to show women activists, who have since the second half of the last century carried the voice of those who, until now, have rarely been on the walls of museums and in the archives of art history.“ Prazan says.
„We dedicated our first exhibition to women in 2017, with “And God created women’. We celebrated their creative force and beauty. Here we want to highlight their ability to be real game changers. We have selected, together with Caroline Messensee and Ann Caroline Prazan, 21 committed artists, including renowned artists such as Kiki Smith, Bianca Bondi and Francesca Pasquali, pioneers such as Niki de Saint Phalle or Louise Bourgeois; and emerging artists such as Min Zhang, the youngest, who has proposed an innovative work combining Chinese shamanism, social network algorithms and interactivity. Each one brings a perspective, a path, and moves forward a debate. It is a source of pride for Guerlain to bring them together.“ Véronique Courtois, President of Guerlain adds.
All of these unique artists couldn’t be different from one another, yet their diversity unites them and makes this exhibition so special. Together their voices are even more powerful by raising concerns about current political, environmental, social and ethical issues. By supporting each other these 21 women send a strong message to be heard by the world, by governments, by society and by each viewer: „Listen to us. We want to see change in the world, in you. Stop the empty words, take action towards a better, healthier and inclusive future.
Among the strong struggles these activists mention, the ones that Maison Guerlain carries with the most determination are the defense of nature and sustainable development.
„We source our raw materials from all over the world, in what are often fragile ecosystems. We have revolutionised our ways of doing things, our processes and our human resources management, everywhere. Our ‘Bee Respect’ programme and transparency programme has put us at the forefront of our industry. The second major battle is the battle for women. For example, women are now central to the management of the of the company. But above all, we have launched in 2021 the “Women for Bees” programme, with UNESCO, to support women’s entrepreneurship in beekeeping throughout the world. For 5 years, we will finance the training of 50 women, who will be able to start their own business and in turn share their knowledge.“ Véronique Courtois says.
Two of my personal highlighted artworks of the LES MILITANTES exhibition are:
German Born Kiki Smith (1954) is an American artist who now lives and works in New York. Since the 1980s, she has been known for her multidisciplinary practice: sculptures, prints, photographs, drawings, books, tapestries and objects. One of the characteristics of her work is the representation of the human body, and more particularly the female body, its anatomy and, its imprint. The latter is sometimes shown in a disturbing, altered or fragmented way. Since the mid-1990s, her research has focused on the cosmos and myths; In her work, she mixes animality and fairy tales, suggesting both wonder and fear. While observing the sculpture you wonder whether it is a woman playing with the dog (that looks like a wolf) or if the dog is actually attacking her. As we could see in an accompanying art work from this series: the latter is the case.
French artist Jeanne Susplugas (1974) lives and works in Paris. I have personally met her at Guerlain to speak with her about her art work La Maison Malade. Jeanne Susplugas’ approach, committed and sensitive, attacks all forms and strategies of confinement. She constantly questions the individual’s relationship with himself and with others, in the face of an obsessive and dysfunctional world. “La Maison malade” is a closed space, saturated with boxes of medicine. An improbable pharmacy in chaos, overflowing with packages, piled up from floor to ceiling. Each box tells a story. A claustrophobic installation in the image of a Western society sick of overproduction, satiated to the point of choking on drugs and other prescriptions. A strong message to the individual viewing it that says: stop, reflect, question, and inform and educate yourself what true health really means, and if there might be alternatives to chemical medicine, which could be better for you.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
