The Indochine group performs on Saturday for a test concert in front of 5,000 volunteers who have agreed to be tested to verify that they do not have Covid-19. The objective of this event is to observe, under medical supervision, the cases of contamination in this type of event.
This concert is the first in a series of life-size tests wanted by the government and intended to observe the moments of relaxation when the public may be tempted to remove their masks, for example, in order to study how the Covid-19 spreads in large cultural and festive gatherings. A control group of 2,500 other spectators, who will follow the concert from home, should allow comparisons to be made. This test should help determine under what conditions concerts can resume in the coming months.
Two hundred years after his death, we look at Napoleon’s legacy. In Paris, La Villette is devoting a large exhibition to him which retraces the main stages of his life, from his coronation as emperor to the wars he waged through the slavery he restored in the colonies of Guadeloupe and Saint -Domingue, when he was First Consul. To retrace his career, La Villette exhibits in particular objects that belonged to him, such as the coach used during his second marriage, with Marie-Louise of Austria.
It took four years for the Carnavalet Museum to afford a new lease of life. Housed in a 16th century mansion, the history museum of the city of Paris was not very suitable for people with reduced mobility. The work made it possible to make it more accessible to all but also to reorganize the collections to make them more readable.
In Bordeaux, “Memoria: narratives of another History” gives the floor to 14 African artists. The exhibition gives pride of place to collective memory, made up of stories, questions or experiences from our intimate memories. Through their works, these women talk about their vision of the continent, its history and its diasporas.
Finally, with “Le grand jeu”, the BnF lets five co-curators present their vision of the work of Henri Cartier-Bresson. These curators all have a close connection to photography, such as director Wim Wenders, writer Javier Cercas, photographer Annie Leibovitz, collector François Pinault and the director of the Prints and Photography department of the BnF, Sylvie Aubenas. Each of them chose about fifty images of the photographer – without knowing the choices of the others – and staged them according to their own vision of Cartier-Bresson’s work, thus presenting a total of five parallel exhibitions and scenographies.