domingo, 21 de janeiro de 2018

The museum of ceramics in Sèvres raises the colors! - Le musée de la céramique à Sèvres hisse les couleurs! - O museu de cerâmica em Sèvres eleva as cores! - 塞弗尔陶瓷博物馆提高了颜色!

The venue invites all artists to confront their interpretation of color. From the celestial blue of the Ancien Régime to the fluorescent green of Fabrice Hyber, these correspondences are often astonishing.






The trip to the color is worth for those who do not live near Sèvres and its National Museum of ceramics, which seems to sleep on the edge of the woods, on the edge of a meander of the Seine. At the end of the Pont-de-Sèvres metro, there is still a walk in the winter wind, a bridge without grace, a staircase that descends in a loop towards the bank. This is enough to empty the mind before being bombarded with images, shapes, ideas and so many colors that are fire challenges and history concentrates. With the ambition of major projects, the National Museum of Ceramics Sèvres upsets the established order in this sanctuary of matter to pass through the sieve of color.


In 400 works (including 30 major loans from the Pompidou Center, which is celebrating its 40th birthday here), it is about opening wide the doors of its imagination. From Chinese porcelain with a red undercover decoration called "blushing beauty" (Qianlong period, 1735-1795) to the red blood of oxen she inspired in the West in the nineteenth century. The famous "blue Sevres" reviewed by Arman in his Interactive triptych vase cut in three gold slices (2005) blue Monory who tells the love coldly like a polar (Velvet Jungle No 1, tapestry of haute-lice, 2012 ). From the cool "pink and green harmony" of a bowl to a tomb, with a cute military scene painted "à la Watteau" (1759), to the porcelain which, helping glaze, plays the broken glass of the contemporary Linda Swanson (Neo Lumen , 2006-2007). In each era, in each culture, its colors that technique is used in alchemist to restore, to magnify, to impose as a signature.


Happy walk

The Sèvres color laboratory has a thousand and one! Celestial blue and Pompadour rose, synonymous with Ancien Régime and royal privileges, in the fluo green of Fabrice Hyber (aka M. Vert) and the red Ferrari of Bertrand Lavier (aka the spiritual son of Marcel Duchamp), the green lights and red contemporary art. This thread of color and its interpretation by the artists allows Sèvres to go out of the strict ceramic field and to go through time (magnificent association of Georgia O'Keeffe and Philippe Starck with the solar one, or of the Long March of Julio The park squared for Hermes and colored glasses of Pierre Charpin). Ceramic finds its natural place among all the arts of which it follows or precedes the revolutions. The walk for the visitor is as uplifting as surprising, that he stops in ecstasy in front of the blood red room or that he realizes how the cosmetic sought to restore the pale pink of the skin and the carnal potential (from Andrea Branzi to Wayne Fischer). Despite its flawless erudition, this cross-sectional exhibition remains cheerful and alive. A nice lesson of things, like the incredible color tests on cubes of French artist Emmanuel Boos.


National Museum of Ceramics 2, Place de la Manufacture in Sèvres (92). Tel .: 01 46 29 22 00. Opening hours: daily from 10 am to 5 pm. Until 2 Apr Cat .: "The Experience of Color", under dir. by Frédéric Bodet, Christine Germain-Donnat and Olivier Dargaud (Liénart Éditions / Sèvres Ceramic City, 264 p., 39 €).






Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.











--fr
Le musée de la céramique à Sèvres hisse les couleurs!

CRITIQUE - Le lieu invite tous les artistes à confronter leur interprétation de la couleur. Du bleu céleste de l'Ancien régime au vert fluo de Fabrice Hyber, ces correspondances sont souvent étonnantes.

Le voyage vers la couleur se mérite pour qui n'habite pas à proximité de Sèvres et de son Musée national de la céramique, qui semble dormir à l'orée du bois, en bordure d'un méandre de la Seine. Au sortir du métro Pont-de-Sèvres, il reste encore une promenade dans le vent d'hiver, un pont sans grâce, un escalier qui descend en boucle vers la berge. De quoi faire le vide dans sa tête avant d'être bombardé d'images, de formes, d'idées et d'autant de couleurs qui sont des défis au feu et des concentrés d'histoire. Avec l'ambition des grands projets, le Musée national de la céramique de Sèvres bouscule l'ordre établi dans ce sanctuaire de la matière pour passer tout au crible de la couleur.

En 400 œuvres (dont 30 prêts majeurs du Centre Pompidou, qui fête ici ses 40 ans), il s'agit d'ouvrir large les portes de son imaginaire. De la porcelaine chinoise à décor gravé sous couverte rouge dite «beauté rougissante» (époque Qianlong, 1735-1795) au rouge sang-de-bœuf qu'elle a inspiré en Occident au XIXe siècle. Du fameux «bleu de Sèvres» revu par Arman dans son Interactive triptyque vase découpé en trois tranches d'or (2005) au bleu Monory qui raconte l'amour froidement comme un polar (Velvet Jungle No 1, tapisserie de haute-lice, 2012). De la fraîche «harmonie rose et verte» d'une cuvette à tombeau, avec mignonne scène militaire peinte «à la Watteau» (1759), à la porcelaine qui, glaçure aidant, joue le verre brisé de la contemporaine Linda Swanson (Neo Lumen, 2006-2007). À chaque époque, à chaque culture, ses couleurs que la technique s'emploie en alchimiste à restituer, à magnifier, à imposer comme une signature.

Promenade joyeuse

Le laboratoire des couleurs de Sèvres en compte mille et une! Du bleu céleste et du rose Pompadour, synonymes d'Ancien Régime et de privilèges royaux, au vert fluo de Fabrice Hyber (alias M. Vert) et au rouge Ferrari de Bertrand Lavier (alias le fils spirituel de Marcel Duchamp), les feux vert et rouge de l'art contemporain. Ce fil conducteur de la couleur et de son interprétation par les artistes permet à Sèvres de sortir du strict domaine céramique et de traverser le temps (magnifique association de Georgia O'Keeffe et de Philippe Starck au plus solaire, ou de La Longue Marche de Julio Le Parc mise au carré pour Hermès et des verres colorés de Pierre Charpin). La céramique retrouve sa place naturelle parmi tous les arts dont elle suit ou précède les révolutions. La promenade pour le visiteur est donc aussi édifiante que surprenante, qu'il s'arrête en extase devant la salle des rouges sang-de-bœuf ou qu'il réalise comment le cosmétique a cherché à restituer le rose pâle de la peau et le potentiel du charnel (d'Andrea Branzi à Wayne Fischer). Malgré son érudition sans faille, cette exposition transversale reste joyeuse et vivante. Une belle leçon de choses, comme les incroyables tests de couleurs sur cubes de l'artiste français Emmanuel Boos.

Musée national de la céramique 2, place de la Manufacture à Sèvres (92). Tél.: 01 46 29 22 00. Horaires: tlj de 10 h à 17 h. Jusqu'au 2 avr. Cat.: «L'Expérience de la couleur», sous la dir. de Frédéric Bodet, Christine Germain-Donnat et Olivier Dargaud (Liénart Éditions/Sèvres Cité céramique, 264 p., 39 €).













--br via tradutor do google
O museu de cerâmica em Sèvres eleva as cores!

O local convida todos os artistas a confrontar sua interpretação de cores. Do azul celeste do Ancien Régime ao verde fluorescente de Fabrice Hyber, essas correspondências são muitas vezes surpreendentes.

A viagem à cor vale para aqueles que não moram perto de Sèvres e seu Museu Nacional de cerâmica, que parece dormir à beira do bosque, à beira de um meandro do Sena. No final do metro de Pont-de-Sèvres, ainda há uma caminhada no vento do inverno, uma ponte sem graça, uma escada que desce em um loop em direção ao banco. Isso é suficiente para esvaziar a mente antes de ser bombardeado com imagens, formas, idéias e tantas cores que são desafios de fogo e a história se concentra. Com a ambição de grandes projetos, o Museu Nacional de Cerâmica Sèvres perturba a ordem estabelecida neste santuário da matéria para passar pela peneira de cor.

Em 400 obras (incluindo 30 empréstimos importantes do Centro Pompidou, que comemoram seus 40 anos de aniversário aqui), trata-se de abrir as portas de sua imaginação. De porcelana chinesa com uma decoração secreta vermelha chamada "beleza corada" (período Qianlong, 1735-1795) ao sangue vermelho de bois que ela inspirou no Ocidente no século XIX. O famoso "Sevres azul" revisado por Arman em seu vaso de Triptych Interativo cortado em três fatias de ouro (2005) Monory azul que diz o amor friamente como um polar (Velvet Jungle No 1, tapeçaria de alta-piolho, 2012). Da legal "harmonia rosa e verde" de uma tigela a um túmulo, com uma cena militar bonita pintada "à la Watteau" (1759), para a porcelana que, ajudando esmalte, toca o copo quebrado da contemporânea Linda Swanson (Neo Lumen, 2006-2007). Em cada época, em cada cultura, as cores que a técnica é usada no alquimista para restaurar, magnificar, impor como assinatura.

Passeio feliz

O laboratório de cores Sèvres tem mil e um! Azul celestial e Pompadour rosa, sinônimo de Antigo Régime e privilégios reais, no fluo verde de Fabrice Hyber (também conhecido como M. Vert) e Ferrari vermelha de Bertrand Lavier (também conhecido como o filho espiritual de Marcel Duchamp), as luzes verdes e o vermelho contemporâneo arte. Este fio de cor e sua interpretação pelos artistas permitem que Sèvres saia do rigoroso campo cerâmico e passe pelo tempo (magnífica associação da Georgia O'Keeffe e Philippe Starck com o solar, ou da Long March of Julio The park quadrado para Hermes e óculos coloridos de Pierre Charpin). Cerâmica encontra seu lugar natural entre todas as artes de que segue ou precede as revoluções. A caminhada para o visitante é tão edificante quanto surpreendente, que ele pára em êxtase na frente da sala de sangue vermelho ou que ele percebe como o cosmetico procurou restaurar o rosa pálido da pele e o potencial carnal (de Andrea Branzi para Wayne Fischer ). Apesar de sua erudição sem falhas, esta exposição transversal se mantém alegre e viva. Uma boa lição de coisas, como os incríveis testes de cores em cubos do artista francês Emmanuel Boos.

Museu Nacional de Cerâmica 2, Place de la Manufacture em Sèvres (92). Tel.: 01 46 29 22 00. Horário de funcionamento: diariamente das 10h às 17h. Até 2 de abril Cat.: "A Experiência da Cor", sob o diretório. por Frédéric Bodet, Christine Germain-Donnat e Olivier Dargaud (Liénart Éditions / Sèvres Ceramic City, 264 p., 39 €).










--chines simplificado via tradutor do google

塞弗尔陶瓷博物馆提高了颜色!

关键 - 场地邀请所有艺术家面对他们对颜色的解释。从AncienRégime的天蓝色到Fabrice Hyber的荧光绿色,这些信件往往是惊人的。

那些不住塞夫尔(Sèvres)和国家陶瓷博物馆(那里似乎睡在森林边缘的塞纳河边的边缘)的人们的颜色之旅是值得的。在德塞夫勒地铁站的尽头,冬天的风里还是散步,没有恩典的桥梁,一个向着银行的方向下沉的楼梯。这足以在被图像,形状,想法以及许多颜色的火焰挑战和历史集中的轰炸之前清空头脑。随着重大项目的雄心壮志,塞弗尔国家陶瓷博物馆将在这个物质世界的既定秩序打破了色彩的藩篱。

在400件作品中(其中30件来自蓬皮杜艺术中心在这里庆祝其40岁生日的大额贷款),就是要敞开想象的大门。从中国的瓷器,红色的卧底装饰,被称为“红色的美丽”(干隆时期,1735年至1795年),牛血红激素在十九世纪的西方启发。着名的“蓝色Sevres”由Arman在他的交互式三联花瓶中进行了审查,他切割了三块金片(2005年)蓝色Monory,他像极地(天鹅绒丛林1号,2012年的高tape花毯)一样冷冷地告诉爱情。从一个碗的凉爽的“粉红色和绿色的和谐”到一个坟墓,用一个可爱的军事场景,绘制“瓦托”(1759年),到瓷器,帮助釉,扮演当代琳达斯旺森(Neo流明,2006-2007)。在每一个时代,在每一种文化中,这种技术被用于炼金术士的色彩恢复,放大,强加为一个签名。


快乐的散步
塞弗尔色彩实验室有一千一百!天蓝色和蓬巴杜玫瑰是AncienRégime和皇室特权的代名词,以Fabrice Hyber(aka M. Vert)的荧光绿和Bertrand Lavier(又名Marcel Duchamp的灵性之子)的红色法拉利为蓝本,绿色的灯光和红色的当代艺术。这种色彩的线条和艺术家的解释让塞弗尔走出严格的陶瓷领域,并经历了时间(格鲁吉亚奥基夫和菲利普斯塔克与太阳能的壮美协会,或胡里奥长征公园为爱马仕(Hermes)和皮埃尔·夏萍(Pierre Charpin)的有色眼镜打上平方)陶瓷在革命之前或之后的所有艺术中找到自然的地位。为参观者散步令人惊喜,他在血红的房间前停下来狂喜,或者他意识到化妆品如何恢复皮肤的淡粉色和肉体的潜力(从安德烈·布兰齐到韦恩·菲舍尔)。尽管无懈可击的博学,这个横断面的展览仍然开朗和活着。一个很好的教训,比如对法国艺术家Emmanuel Boos立方体的令人难以置信的颜色测试。

国家陶瓷博物馆2,塞夫尔的制造广场(92)。电话:01 46 29 22 00。开放时间:每日上午10时至下午5时。直到4月2日猫:“颜色的经验”,在目录下。由FrédéricBodet,Christine Germain-Donnat和Olivier Dargaud(LiénartÉditions/Sèvres陶瓷城,264页,39€)。

ANA MENDIETA: ‘THE EARTH THAT COVERS US SPEAKS’. --- ANA MENDIETA: "A TERRA QUE COBRE EU ​​FALO".

Explore the artist’s Silueta films and her experiments with X-ray and video technologies

Ana Mendieta was a Cuban-American artist who, in her tragically short career, made over 100 films in direct dialogue with her work in performance, sculpture and photography. This screening presents a selection of short films Mendieta made between 1975 and 1981.

In 1975, the artist experimented with different imaging and processing technologies including video and Cinefluography (X-ray motion film). These are the last films in which she appears.

In Mendieta’s Silueta films (1974–81), we see the artist’s silhouette inscribed into various outdoor landscapes in Iowa and Mexico using natural elements such as earth, sand, flowers, rock and grass, often in conjunction with flammable materials such as fireworks and gunpowder.

image 1


The programme concludes with two films shot in Mendieta’s native country of Cuba. These works capture the artist’s rock etchings and sand sculpture of goddess figures from the Pre-Columbian Taíno culture.

My art is grounded on the primordial accumulations, the unconscious urges that animate the world

Ana Mendieta

image 2, 3, 4, 5








Programme
Blood Inside Outside, United States 1975, Super 8 transferred to digital, colour, silent, 4 min

Flower Person, Flower Body, United States 1975, Super 8 transferred to digital, colour, silent, 6 min

Silueta Sangrienta, United States 1975, Super 8 transferred to digital, colour, silent, 2min

Energy Charge, United States 1975, 16mm transferred to digital, colour, silent, 1 min

Butterfly, United States 1975, Super 8 transferred to digital, colour, silent, 3 min

X-ray, United States c.1975, 16mm transferred to digital, black and white, sound, 2 min

Anima, Silueta de Cohetes (Firework Piece), United States / Mexico 1976, Super 8 transferred to digital, colour, silent, 3 min

Untitled: Silueta Series, United States 1978, Super 8 transferred to digital, colour, silent, 7 min

Untitled: Silueta Series, United States 1978, Super 8 transferred to digital, colour, silent, 3 min

Untitled: Silueta Series, United States 1979, Super 8 transferred to digital, colour, silent, 3 min

Untitled: Silueta Series (Gunpowder Works), United States 1980, Super 8 transferred to digital, colour, silent, 4 min

Esculturas Rupestres (Rupestrian Sculptures), United States / Cuba 1981, Super 8 transferred to digital, black and white, silent, 9 min

Untitled, United States / Cuba 1981, Super 8 transferred to digital, black and white, silent, 2 min

This event forms part of the Tate Film Pioneers series Ana Mendieta: Body Tracks. Over two screenings, the series presents 27 of the over 100 film and video works made by the artist over a ten-year period. Also see Ana Mendieta: ‘Pain of Cuba / body I am’.


Four photographs by Ana Mendieta can also be seen as part of the Feminism and Media room of the free Media Networks collection display in the Boiler House on Level 4 East.

Biography

Ana Mendieta (1948–1985, Cuba) was a Cuban-American artist whose practice activated a potent dialogue between sculpture, performance, photography, film, video, painting and site-specific installation. Her works draw in a vast array of cultural, religious and artistic influences, from Afro-Cuban and indigenous Caribbean traditions to Catholicism to conceptual art and performance. They explore themes of mortality, the female body, human connection to the natural world, violence, displacement and cultural, spiritual, racial and gender identity. She is best known for her Silueta series, or what she has termed her ‘earth-body’ works, in which her silhouette is inscribed through various materials in outdoor, and later indoor, landscapes, recorded through photography and film.













Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.










--br via tradutor do google
ANA MENDIETA: "A TERRA QUE COBRE EU ​​FALO".

Explore os filmes Silueta do artista e seus experimentos com tecnologias de raios-X e vídeo.

Ana Mendieta foi uma artista cubano-americana que, em sua trágica carreira curta, realizou mais de 100 filmes em diálogo direto com seu trabalho em performance, escultura e fotografia. Este rastreio apresenta uma seleção de filmes curtos Mendieta feitos entre 1975 e 1981.

Em 1975, o artista experimentou diferentes tecnologias de imagem e processamento, incluindo vídeo e Cinefluografia (filme de movimento de raios-X). Estes são os últimos filmes em que ela aparece.

Nos filmes Silueta de Mendieta (1974-81), vemos a silhueta do artista inscrita em várias paisagens ao ar livre em Iowa e México usando elementos naturais como terra, areia, flores, rocha e grama, muitas vezes em conjunto com materiais inflamáveis, como fogos de artifício e pólvora .

imagem 1

O programa conclui com dois filmes filmados no país natal de Mendieta em Cuba. Essas obras capturam as gravuras de pedra do artista e a escultura de areia de figuras de deusa da cultura pré-colombiana Taíno.

Minha arte baseia-se nas acumulações primordiais, os impulsos inconscientes que animam o mundo

Ana Mendieta

imagem 2, 3, 4, 5

Programa

Blood Inside Outside, Estados Unidos 1975, Super 8 transferido para digital, cor, silencioso, 4 min.

Flower Person, Flower Body, Estados Unidos 1975, Super 8 transferido para digital, cor, silencioso, 6 min.

Silueta Sangrienta, Estados Unidos 1975, Super 8 transferido para digital, cor, silencioso, 2min

Energy Charge, Estados Unidos 1975, 16 milímetros transferidos para digital, cor, silencioso, 1 min

Butterfly, Estados Unidos 1975, Super 8 transferido para digital, cor, silencioso, 3 min.

X-ray, Estados Unidos c.1975, 16 milímetros transferidos para digital, preto e branco, som, 2 min.

Anima, Silueta de Cohetes (Firework Piece), Estados Unidos / México 1976, Super 8 transferido para digital, cor, silencioso, 3 min.

Sem título: Silueta Series, Estados Unidos 1978, Super 8 transferido para digital, cor, silencioso, 7 min.

Sem título: Silueta Series, Estados Unidos 1978, Super 8 transferido para digital, cor, silencioso, 3 min.

Sem título: Silueta Series, Estados Unidos 1979, Super 8 transferido para digital, cor, silencioso, 3 min

Sem título: Silueta Series (Gunpowder Works), Estados Unidos 1980, Super 8 transferido para digital, cor, silencioso, 4 min.

Esculturas Rupestres (Esculturas Rupestres), Estados Unidos / Cuba 1981, Super 8 transferido para digital, preto e branco, silencioso, 9 min.

Untitled, Estados Unidos / Cuba 1981, Super 8 transferido para digital, preto e branco, silencioso, 2 min.

Este evento faz parte da série Tate Film Pioneers Ana Mendieta: Body Tracks. Ao longo de duas exibições, a série apresenta 27 das mais de 100 obras de filmes e filmes realizadas pelo artista ao longo de um período de dez anos. Veja também Ana Mendieta: "Dor de Cuba / corpo que eu sou".






Quatro fotografias de Ana Mendieta também podem ser vistas como parte da sala de Feminismo e Mídia da exibição da coleção de Redes de Mídia gratuitas na Casa das Caldeiras no Nível 4 Oriente.

Biografia

Ana Mendieta (1948-1985, Cuba) foi uma artista cubano-americano cuja prática ativou um diálogo poderoso entre escultura, performance, fotografia, filme, vídeo, pintura e instalação específica do site. Suas obras desenham uma vasta gama de influências culturais, religiosas e artísticas, das tradições afro-cubanas e indígenas do Caribe ao catolicismo, à arte conceitual e ao desempenho. Eles exploram temas de mortalidade, corpo feminino, conexão humana ao mundo natural, violência, deslocamento e identidade cultural, espiritual, racial e de gênero. Ela é mais conhecida por sua série Silueta, ou o que ela chamou de obras de "corpo de terra", em que sua silhueta está inscrita através de vários materiais ao ar livre, e depois paisagens interiores, gravadas através de fotografia e filme.



Liban: la Fondation Aïshti, un musée ambitieux. - Líbano: Fundação Aisti, um museu ambicioso. - لبنان: مؤسسة إيستي، متحف طموح.

La Fondation Aïshti pour l'art contemporain implantée dans la périphérie de Beyrouth en est à sa troisième exposition. Une manifestation ambitieuse comme le fondateur de ce musée unique au Liban. Tony Salamé, à la tête d'un empire de vêtements de luxe et grand collectionneur d'art, a créé en octobre 2015 ce musée de quatre étages dessiné par l'architecte star d'origine ghanéenne David Adjaye.
-
Aishti Foundation Puts Shimmering Works Amid the Turmoil of Beirut

image 1
Tony Salamé, center, and his wife, Elham, left, at the opening of the Aishti Foundation in Beirut. Credit Photographs by Bryan Denton for The New York Times

BEIRUT — On a warm evening this fall, the cultural scene here was in full bloom. Members of the international art world, Lebanese government ministers and fashion executives had gathered to celebrate the grand opening of the Aishti Foundation, a private museum showcasing the growing contemporary art collection of Tony Salamé, the founder of Aishti, a Lebanese luxury retailer.

The star power burned bright. The architect David Adjaye had designed a $100 million building with a facade of red ceramic tiles, combining a high-end mall and a separate exhibition space. Massimiliano Gioni, the artistic director of New York’s New Museum, curated the inaugural show of abstract art. Mr. Salamé, 48, in a soft blue suit, mingled while his elegant wife, Elham, glided across the mall’s black-and-white zigzag marble floors in a revealing black-and-red dress with a long train.

Some art critics said displaying the collection in a wing of a mall eroded the line between art and commerce. Others wondered who would shop there and how Mr. Salamé could have become so wealthy selling luxury items in a small country in economic crisis. But the evening made one thing clear: Mr. Salamé and his foundation have managed to put Beirut on the global art map, reinforcing the city’s place as a dynamic hub in a troubled region.

Just two weeks later, a pair of suicide bombings claimed by the Islamic State struck the edge of Beirut, a day before the attacks in Paris. Killing dozens, the violence set this vibrant waterfront city on edge. The effect on tourism — and the new center — is not fully known.

The foundation, which is busy planning arts programming and a library, is one of the most ambitious of several new museums to open here recently, where luxury towers rise from what was once the rubble left by the civil war. It is the only one dedicated to contemporary art from abroad and for now will exclusively feature Mr. Salamé’s collection.

image 2
Guests taking a selfie at the during the opening gala. Credit Bryan Denton for The New York Times

“Tony has undoubtedly become a highly visible and thriving force in the contemporary art world,” said the New York gallerist Friedrich Petzel, who has sold works by Wade Guyton and others to Mr. Salamé and attended the October opening. “However, more compelling than his perceived status is the fact that here is a man trying to articulate a very positive message in the middle of an actual war zone.”

The inaugural exhibition, which showcased 170 works from a collection of more than 2,000, was well received locally. It mixed Italian artists of the ’50s and ’60s like Lucio Fontana and Enrico Castellani with recent work by Carol Bove and Urs Fischer. Also on view were abstract paintings by Josh Smith, Laura Owens and Kerstin Brätsch, with videos by Camille Henrot and Akram Zaatari, featured artists in the 2013 Venice Biennale curated by Mr. Gioni. An entire room was dedicated to works by Glenn Ligon exploring African-American identity and history, along with a single piece from Danh Vo’s “We the People,” in which the Vietnamese-born Danish artist recreates parts of the Statue of Liberty.

Rayyane Tabet said he loved how the show juxtaposed Lebanese artists like himself with international artists rather than confining them to the category of “art from the Arab world.” “This is the closest to a contemporary art museum that we’re going to have for the near future,” he said.

How Mr. Salamé went in a few years from relative unknown to underwriting exhibitions at New York’s Museum of Modern Art and making this year’s Art News Top 200 collectors is a testament to his persistence, checkbook and key advisers: the Italian curator Germano Celant; the New York-based curator and dealer Jeffrey Deitch; and Mr. Gioni, who has signed on to curate the first of several rotations of the collection, scheduled quarterly.

“He’s a real Phoenician,” Mr. Gioni said, referring to the ancient civilization of Mediterranean traders. “I told him, ‘That’s where he makes the money,’’’ he said, pointing to the mall, “and here’s where he spends it,” he added, pointing to the gallery.


Mr. Salamé got his start importing Italian jeans and clothing to Lebanon during the civil war, when he was still a student. In 1990, he founded the retail store Aishti, Japanese for “I love you,” which has the Lebanese franchise for 150 luxury clothing brands, many of them Italian. After 2000, Mr. Salamé who had been collecting carpets and antiques, shifted to art, encouraged by a business associate, Dino Facchini, the founder of the Italian label Byblos.

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The Aishti Foundation, which shares a building with a large retail space for luxury brands, was designed by the architect David Adjaye. Credit Bryan Denton for The New York Times

Through Mr. Facchini, Mr. Salamé met Mr. Deitch, who became an informal adviser and who now has a formal arrangement. He steered Mr. Salamé toward what Mr. Deitch calls “popstraction,” a mix of Pop Art and abstract art.

“In the past five or six years, Tony has been the most active collector of emerging art in the world,” Mr. Deitch said at the Metropolitan Art Society, a private club in an upscale Beirut neighborhood where Mr. Salamé invites foreign gallerists to host temporary shows with works for sale. (Mr. Salamé pays the shipping costs and takes a cut of the proceeds.) For the foundation’s opening weekend, the space was dedicated to a show of art from the Aishti collection curated by Mr. Deitch. Called “The Extreme Present,” it included works by Ian Cheng, Korakrit Arunanondchai and Alex Israel.

Some international art world figures, including Marc Spiegler, the director of Art Basel, who attended the opening weekend, laud Mr. Salamé for helping drum up local interest in art buying. Yet a few Beirut gallerists counter that Mr. Salamé has helped encourage novice collectors to spend six figures on foreign art at auction in Dubai rather than investing in less costly work by Lebanese artists, who struggle to find enlightened collectors.

Mr. Salamé said that at first, some gallerists were reluctant to sell to him out of concern that he was a speculator who would buy works to resell at auction, inflating prices. Eventually, he was able to buy works by painters like Christopher Wool, whose gallerists carefully control his market.

Art dealers cite Mr. Salamé’s enthusiasm and warmth and his willingness to take risks on young artists, adding that he likes to buy at lower prices and invest in an artist’s career. He is known for buying a work sight unseen. When the art was being installed ahead of the opening, Mr. Salamé was excited to see some of his purchases for the first time.

“I think he’s the fastest collector in history,” said Miguel Abreu, the New York dealer, from whom Mr. Salamé has bought work by the artist Pamela Rosenkranz. “We’ll walk through the gallery and just talk, and then he’ll walk out and you realize he’s just bought everything.”

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The architect David Adjaye, who designed the building that houses the Aishti Foundation and a luxury mall, greeting guests at the gallery's opening. Credit Bryan Denton for The New York Times

The main exhibition at the foundation is called “New Skin,” after a work by the British artist Alice Channer: a cascade of blue, printed by ink-jet onto a swath of white crepe de Chine, hung from the ceiling. “I’m at a very early stage in my career,” Ms. Channer said. “He’s extraordinarily confident about what he chooses and buys.”

It was in 2010 when Mr. Salamé decided he needed a building to showcase his collection. He began with a Beirut architect but was persuaded to aim bigger. Mutual collector friends put him in touch with Mr. Adjaye, who had lived in Beirut for several years as a child of diplomats. After a weekend touring Gio Ponti architecture with Mr. Salamé in Italy, Mr. Adjaye put together a proposal in 10 days.

He said Mr. Salamé never gave him a budget.

Mr. Salamé said the building cost $100 million, for which he had borrowed from banks. He estimated that he had spent around $170 million on art in the past 15 years, although some gallerists placed the figure higher. Mr. Salamé said that Aishti’s annual revenue had been $250 million a year in recent years, up from $100 million in 2006. Aishti, which also handles distribution for many brands in the Middle East, is a private company, and its finances could not be independently verified.

(By comparison, the Louis Vuitton Foundation, a Paris exhibition and cultural venue that opened in 2014 in a building designed by Frank Gehry, was reported to have cost $143 million; last year, the annual revenue of Louis Vuitton’s parent company, LVMH, was 30.6 billion euros, or $32.7 billion.)

In Beirut, economists have questioned for years how Aishti can generate such high revenues in a country of 4.4 million people with an average annual income of $12,000. Lebanon has a pronounced luxury market and is awash in cash — its underground economy is estimated at 30 percent of its gross domestic product of $49 billion.

Nassib Ghobril, the chief economist of Byblos Bank Group in Beirut, said he thought that annual revenue of $250 million was “an impressive figure for one department store, especially if you’re talking about the past four years in Lebanon.”

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he model Kristen McMenamy with a friend and her boyfriend, the art dealer Ivor Braka, right. Credit Bryan Denton for The New York Times

“Who comes and buys from the store?” Mr. Ghobril asked, adding that economic growth in the country had plummeted since 2011. “Demand for luxury goods definitely has declined in Lebanon,” he said.

Local newspapers have raised questions about whether Aishti is laundering money.

Mr. Salamé says his detractors are jealous of his success. “I’m not laundering money,” he said.

In addition to the new foundation building with its retail space, Aishti also has a flagship store in downtown Beirut and construction is underway for a new luxury mall on the waterfront, designed by Zaha Hadid.

In Beirut, always at risk of unrest, Mr. Salamé keeps his art in secure bunkers. In a rare move for a collector, he invited visitors to tour his storage space during the opening weekend, where the artists Suha Traboulsi and Walid Raad, who currently has a show at the Museum of Modern Art, created an ingenious installation of art painted onto the wooden crates.

While artists and arts organizations in Beirut generally welcomed the Aishti Foundation, they also wondered how it would fit into the city’s rich cultural ecosystem. Some said they were concerned that Mr. Salamé would stop funding local arts organizations now that he had his own museum. (Mr. Salamé concedes that his philanthropy is now focused on the foundation.)

Christine Tohme, the director of Ashkal Alwan, Beirut’s pre-eminent arts nonprofit, was keeping an open mind. “Maybe it will live to become a great, great artistic project,” she said. But even if that doesn’t happen, “this is still very good,” she added, “because this is bringing resources to the country.”










Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.







--br via tradutor do google

Líbano: Fundação Aisti, um museu ambicioso.

A Fundação Aisti para Arte Contemporânea localizada nos arredores de Beirute está em sua terceira exposição. Um evento ambicioso como o fundador deste museu único no Líbano. Tony Salamé, chefe de um império de roupas de luxo e grande colecionador de arte, criou em outubro de 2015 este museu de quatro andares desenhado pelo arquiteto gengio David Adjaye.
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Fundação Aishti coloca obras brilhantes no meio da agitação de Beirute

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Tony Salame, do centro, e sua esposa Elham, à esquerda, na abertura da Fundação Aishti em Beirute. Fotografias de crédito de Bryan Denton para The New York Times

BEIRUT - Temos uma noite quente neste outono, a cena cultural aqui estava em plena floração. Membros do International Art World, Aishti Foundation, um museu privado que mostra a coleção de arte contemporânea Tony Salamé, fundador da Aishti, um varejista de luxo libanês.

O poder da estrela queimou brilhante. O arquiteto David Adjaye projetou um edifício de US $ 100 milhões com uma fachada de azulejos vermelhos, combinando um shopping high-end e um espaço de exposição separado. Massimiliano Gioni, diretor artístico do New Museum de Nova York, organizou o show inaugural de arte abstrata. O Sr. Salame, de 48 anos, em um terno azul suave, misturou-se enquanto sua elegante esposa, Elham, deslizava nos pisos de mármore em ziguezague preto e branco do shopping com um vestido preto e vermelho revelador com um trem longo.

Alguns críticos de arte disseram que exibir a coleção em uma ala de um shopping corroeram a linha entre arte e comércio. Outros se perguntaram quem iria comprar lá e como o Sr. Salamé poderia ter se tornado tão rico vendendo itens de luxo em um país pequeno em crise econômica. Mas a noite deixou uma coisa clara: o Sr. Salamé e sua fundação conseguiram colocar o mapa global, fortalecendo a posição da cidade como um centro dinâmico em uma região problemática.

Apenas duas semanas depois, um par de atentados suicidas alegados pelo Estado islâmico atingiram o limite de Beirute, um dia antes dos ataques em Paris. Killing dezenas, o conjunto violento de vibrante cidade à beira-mar na borda. O efeito sobre o turismo - e o novo centro - não é totalmente conhecido.

A base, que está ocupada planejando programação de artes e uma biblioteca, é um dos mais ambiciosos de vários museus do mundo. É o único dedicado à arte contemporânea Coleção do Sr. Salamé.

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Convidados tomando um selfie na gala de abertura. Crédito Bryan Denton para The New York Times

"Tony, sem dúvida, se tornou uma força altamente visível e próspera no mundo da arte contemporânea", disse o galerista de Nova York, Friedrich Petzel, que vendeu obras de Wade Guyton e outros para o Sr. Salamé e participaram da abertura de outubro. "No entanto, mais atraente do que o estado percebido é o fato de que é uma mensagem muito positiva no meio de uma zona de guerra real".

A exposição inaugural, que apresentou 170 obras de uma coleção de mais de 2.000, foi recebida localmente. Misturou artistas italianos dos anos 50 e 60 como Lucio Fontana e Enrico Castellani com trabalhos recentes de Carol Bove e Urs Fischer. Josh Smith, Laura Owens e Kerstin Brätsch, com Camille Henrot e Akram Zaatari, apresentadas na Bienal de Veneza com curadoria do Sr. Gioni. Glenn Ligon explora a identidade e a história afro-americanas, juntamente com uma peça única do "We the People" de Danh Vo, em que o artista dinamarquês nascido no Vietnã recria partes da Estátua da Liberdade.

Rayyane Tabet disse que amava o show justapostos artistas libaneses como ele com artistas internacionais, em vez de restringi-los à categoria de "arte do mundo árabe". "Este é o mais próximo de um museu de arte contemporânea o futuro próximo ", disse ele.

Como o Sr. Salamé foi a alguns anos das exposições de subscrição desconhecidas no Museu de Arte Moderna de Nova York e fez com que este ano os Art News Top 200 colecionadores sejam um testemunho de sua persistência, talão de cheques e conselheiros-chave: o curador italiano Germano Celant; o curador e narcotraficante de Nova York, Jeffrey Deitch; e o Sr. Gioni, que iniciou as primeiras rotações da coleção, agendadas trimestralmente.

"Ele é um verdadeiro fenício", disse Gioni, referindo-se à antiga civilização dos comerciantes do Mediterrâneo. "Eu disse a ele:" É aí que ele ganha dinheiro ", ele disse, apontando para o shopping," e aqui está aonde ele está indo ", ele acrescentou, apontando para a galeria.

O Sr. Salamé começou a começar a importar jeans e roupas italianas para o Líbano durante a guerra civil, quando ainda era estudante. Em 1990, ele fundou a loja de varejo Aishti, japonesa para "I love you", que tem a franquia libanesa para 150 marcas de roupas de luxo, muitas delas italianas. Depois de 2000, o Sr. Salamé, que colecionava carpetes e antiguidades, mudou-se para a arte, encorajado por um associado de negócios, Dino Facchini, o fundador da marca italiana Byblos.

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A Fundação Aishti, que compartilha um prédio com um grande espaço de varejo para marcas de luxo, foi desenhada pelo arquiteto David Adjaye. Crédito Bryan Denton para The New York Times

Através do Sr. Facchini, o Sr. Salamé conheceu o Sr. Deitch, que se tornou um conselheiro informal e que agora tem um acordo formal. Ele dirigiu o Sr. Salamé para o que o Sr. Deitch chama de "popstraction", uma mistura de arte pop e arte abstrata.

"Nos últimos cinco ou seis anos, Tony foi o colecionador mais ativo de arte emergente do mundo", disse Deitch na Metropolitan Art Society, um clube privado em um bairro de Beirute de luxo, onde o Sr. Salamé convida galeristas estrangeiros a hospedar shows temporários com obras para venda. (O Sr. Salamé paga os custos de envio e reduz o preço). Para o fim de semana de abertura da fundação, o espaço foi dedicado a uma mostra de arte da coleção Aishti com curadoria do Sr. Deitch. Chamada de "The Extreme Present", incluiu obras de Ian Cheng, Korakrit Arunanondchai e Alex Israel.

Alguns personagens internacionais do mundo da arte, incluindo Marc Spiegler, diretor da Art Basel, que participaram do fim de semana de abertura, laudem o Sr. Salamé por ter ajudado a aumentar o interesse local na compra de arte. No entanto, algumas galeristas de Beirute contestam que o Sr. Salamé ajudou os colecionadores novatos a gastar seis figuras de arte estrangeira em leilão em Dubai, em vez de investir em trabalhos menos onerosos dos artistas libaneses, que se esforçam para encontrar colecionadores esclarecidos.

O Sr. Salamé disse que, no início, alguns galeristas estavam relutantes em vender para ele por preocupação de que ele era um especulador que compraria obras para revender em leilão, inflacionando preços. Eventualmente, ele conseguiu comprar obras de pintores como Christopher Wool, cujas galeristas controlam cuidadosamente seu mercado.

Os negociantes de arte citam o entusiasmo e o calor do Sr. Salamé e sua vontade de arriscar jovens artistas, acrescentando que gosta de comprar a preços mais baixos e investir na carreira de um artista. Ele é conhecido por comprar uma visão de trabalho invisível. Quando a arte estava sendo instalada antes da abertura, o Sr. Salamé estava ansioso para ver algumas de suas compras pela primeira vez.

"Eu acho que ele é o coletor mais rápido da história", disse Miguel Abreu, o negociante de Nova York, de quem o Sr. Salamé comprou o trabalho da artista Pamela Rosenkranz. "Nós vamos percorrer a galeria e apenas conversar, e então ele vai sair e você percebe que ele apenas comprou tudo".

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O arquiteto David Adjaye, que projetou o prédio que abriga a Fundação Aishti e um shopping de luxo, cumprimentando os convidados na abertura da galeria. Crédito Bryan Denton para The New York Times

A principal exposição na fundação é chamada "New Skin", depois de uma obra do artista britânico Alice Channer: uma cascata de azul, impressa por jato de tinta em uma faixa de crepe branco de lã, pendurada no teto. "Estou em uma fase muito precoce da minha carreira", disse Channer. "Ele é extraordinariamente confiante sobre o que ele escolhe e compra".

Foi em 2010, quando o Sr. Salamé decidiu que ele precisava de um prédio para mostrar sua coleção. Ele começou com um arquiteto de Beirute, mas foi persuadido a apontar maior. Os amigos do coletor mútuo o colocaram em contato com o Sr. Adjaye, que morava em Beirute por vários anos como filho de diplomatas. Depois de um fim de semana visitando a arquitetura Gio Ponti com o Sr. Salamé na Itália, o Sr. Adjaye juntou uma proposta em 10 dias.

Ele disse que o Sr. Salamé nunca lhe deu um orçamento.

O Sr. Salamé disse que o prédio custou US $ 100 milhões, pelo qual ele havia emprestado de bancos. Ele estimou que gastou cerca de US $ 170 milhões em arte nos últimos 15 anos, embora alguns galeristas tenham colocado o número mais alto. O Sr. Salamé disse que a receita anual da Aishti foi de US $ 250 milhões por ano nos últimos anos, ante US $ 100 milhões em 2006. Aishti, que também administra distribuição de muitas marcas no Oriente Médio, é uma empresa privada e suas finanças não podem ser verificado de forma independente.

(Em comparação, a Fundação Louis Vuitton, um espaço cultural e exposições de Paris aberto em 2014 em um prédio desenhado por Frank Gehry, teria custado US $ 143 milhões; no ano passado, a receita anual da empresa-mãe Louis Vuitton, LVMH, foi 30,6 bilhões de euros, ou US $ 32,7 bilhões.)

Em Beirute, os economistas questionaram durante anos como a Aishti pode gerar receitas tão altas em um país de 4,4 milhões de pessoas com uma renda anual média de US $ 12.000. O Líbano tem um mercado de luxo pronunciado e está inundado em dinheiro - sua economia subterrânea é estimada em 30% de seu produto interno bruto de US $ 49 bilhões.

Nassib Ghobril, economista-chefe do Grupo Byblos Bank em Beirute, disse que pensou que a receita anual de US $ 250 milhões era "um valor impressionante para uma loja de departamento, especialmente se você está falando sobre os últimos quatro anos no Líbano".

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ele modelo Kristen McMenamy com um amigo e seu namorado, o negociante de arte Ivor Braka, certo. Crédito Bryan Denton para The New York Times

"Quem vem e compra da loja?", Perguntou o Sr. Ghobril, acrescentando que o crescimento econômico no país despencou desde 2011. "A demanda por produtos de luxo definitivamente diminuiu no Líbano", disse ele.

Os jornais locais levantaram questões sobre se Aishti está lavando dinheiro.

O Sr. Salamé diz que seus detratores estão com ciúmes de seu sucesso. "Não estou lavando dinheiro", disse ele.

Além do novo edifício de fundação com seu espaço de varejo, Aishti também tem uma loja emblemática no centro de Beirute e a construção está em andamento para um novo shopping de luxo à beira-mar, projetado por Zaha Hadid.

Em Beirute, sempre em risco de agitação, o Sr. Salamé mantém sua arte em bunkers seguros. Em um movimento raro para um colecionador, ele convidou os visitantes a visitar seu espaço de armazenamento durante o fim de semana de abertura, onde os artistas Suha Traboulsi e Walid Raad, que atualmente tem um show no Museu de Arte Moderna, criaram uma engenhosa instalação de arte pintada em as caixas de madeira.

Enquanto artistas e organizações de artes em Beirute geralmente recebiam a Fundação Aishti, eles também se perguntavam como isso iria encaixar no rico ecossistema cultural da cidade. Alguns disseram que estavam preocupados com o fato de o Sr. Salamé parar de financiar as organizações locais de artes agora que ele possuía seu próprio museu. (O Sr. Salamé admite que sua filantropia agora está focada na base.)

Christine Tohme, a diretora de Ashkal Alwan, a pré-eminente artes sem fins lucrativos de Beirute, manteve uma mente aberta. "Talvez viva para se tornar um grande e excelente projeto artístico", disse ela. Mas mesmo que isso não aconteça, "isso ainda é muito bom", acrescentou, "porque isso traz recursos para o país".






--arabe via tradutor do google
لبنان: مؤسسة إيستي، متحف طموح.

مؤسسة إيستي للفن المعاصر تقع في ضواحي بيروت هي الآن في معرضها الثالث. حدث طموح كمؤسس لهذا المتحف الفريد في لبنان. توني سلامه، رئيس إمبراطورية الملابس الفاخرة وجامع الفن العظيم، التي أنشئت في أكتوبر 2015 هذا المتحف من أربعة طوابق صممه المهندس النجم الغاني ديفيد أدجاي.
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مؤسسة إيشتي تضع الأعمال المتلألئة وسط الاضطرابات في بيروت

إيماج 1
توني سلامة، مركز، وزوجته، إلهام، غادر، في افتتاح مؤسسة عيشتي في بيروت. صور الائتمان من قبل برايان دينتون لصحيفة نيويورك تايمز

بيروت - لدينا مساء دافئ في خريف هذا العام، كان المشهد الثقافي هنا في ازهر كامل. عضو في عالم الفن الدولي، مؤسسة إيشتي، وهو متحف خاص يعرض مجموعة الفن المعاصر من توني سلامة، مؤسس إيشتي، وهي متاجر التجزئة الفاخرة اللبنانية.

قوة نجم حرق مشرق. وقد صمم المهندس المعماري ديفيد أدجاي مبنى بقيمة 100 مليون دولار مع واجهة من بلاط السيراميك الأحمر، والجمع بين مركز تجاري الراقية ومساحة معرض منفصلة. قام ماسيميليانو جيوني، المدير الفني لمتحف نيويورك الجديد، بتنظيم المعرض الافتتاحي للفن التجريدي. وقد اختلط السيد سالامي، 48 عاما، في بدلة زرقاء ناعمة، في حين أن زوجته الأنيقة، إلهام، تملأ أرضيات الرخام الأسود والأبيض المتعرجة للمركز في فستان أسود وأحمر مثير مع قطار طويل.

وقال بعض النقاد الفن عرض مجموعة في جناح من مركز تجاري تآكل الخط الفاصل بين الفن والتجارة. وتساءل آخرون عن من سيحضرون هناك وكيف يمكن أن يصبح السيد سلمي أغنياء يبيعون أصنافا فاخرة في بلد صغير في أزمة اقتصادية. ولكن المساء جعل شيئا واضحا: لقد تمكن السيد سلمي ومؤسسته من وضع الخريطة العالمية، وتعزيز مكانة المدينة كمركز ديناميكي في المنطقة المضطربة.

وبعد ذلك بأسبوعين فقط، ضربت التفجيرات الانتحارية التي ادعى تنظيم الدولة الإسلامية حافة بيروت، قبل يوم واحد من الهجمات في باريس. قتل العشرات، مجموعة عنيفة من مدينة الواجهة البحرية نابضة بالحياة على الحافة. إن التأثير على السياحة - والمركز الجديد - غير معروف تماما.

المؤسسة، التي هي مشغولة التخطيط برمجة الفنون ومكتبة، هي واحدة من أكثر طموحا من العديد من المتاحف في العالم. وهو الوحيد المخصص للفن المعاصر مجموعة السيد سلامه.

2
الضيوف الذين يأخذون سيلفي في حفل الافتتاح. كريديان بريان دينتون لصحيفة نيويورك تايمز

وقال فريدريك بيتزل، الذي قام ببيع أعمال ويد غويتون وآخرون إلى السيد سلمي، وحضر افتتاح افتتاح أكتوبر / تشرين الأول: "أصبح توني بلا شك قوة واضحة ومزدهرة للغاية في عالم الفن المعاصر". "ومع ذلك، أكثر إقناعا من الوضع المتصور هو حقيقة أنها رسالة إيجابية جدا في منتصف منطقة الحرب الفعلية".

وقد تم استقبال المعرض الافتتاحي، الذي عرض 170 عملا من مجموعة تضم أكثر من 2000، محليا. وقد خلط الفنانين الإيطاليين في الخمسينيات والستينيات مثل لوسيو فونتانا وإينريكو كاستيلاني مع العمل الأخير لكارول بوف وأورس فيشر. جوش سميث، لورا أوينز وكيرستين براتسش، مع كاميل هنروت وأكرم الزعتري، ظهرت في بينالي البندقية برعاية السيد جيوني. تستكشف غلين ليغون الهوية والتاريخ الأمريكيين الأفارقة، جنبا إلى جنب مع قطعة واحدة من دانه فو "نحن الشعب"، حيث الفنان الفيتنامي المولد الفيتنامي يعيد أجزاء من تمثال الحرية.

وقال رايان تابت إنه يحب العرض الذي تجمع بين الفنانين اللبنانيين مثله مع الفنانين الدوليين بدلا من قصرهم على فئة "الفن من العالم العربي". "هذا هو الأقرب إلى متحف الفن المعاصر المستقبل القريب ".

كيف ذهب السيد سلامة إلى بضع سنوات من قريب إلى معارض الاكتتاب غير معروفة في متحف نيويورك للفن الحديث وجعل هذا العام آرت نيوز توب 200 جامعي هو شهادة على استمراره، دفتر شيكات والمستشارين الرئيسيين: القيم الإيطالي جرمانو سيلانت. وهو القائم بأعمال نيويورك وتاجر المخدرات جيفري ديتش؛ والسيد جيوني، الذي وقع على أول عدة عمليات تناوب للمجموعة، مقررة كل ثلاثة أشهر.

وقال جيوني: "إنه حقيقي الفينيقي"، مشيرا إلى الحضارة القديمة للتجار في منطقة البحر الأبيض المتوسط. وقال: "قلت له،" هذا هو المكان الذي يجعل المال، "وقال، مشيرا إلى المركز التجاري، وهنا حيث انه ذاهب"، مشيرا إلى المعرض.

بدأ السيد سلامه في استيراد الجينز الإيطالي والملابس إلى لبنان خلال الحرب الأهلية، عندما كان لا يزال طالبا. في عام 1990، أسس متجر التجزئة إيشتي، اليابانية ل "أنا أحبك"، التي لديها الامتياز اللبناني ل 150 ماركات الملابس الفاخرة، وكثير منهم الإيطالي. بعد عام 2000، قام السيد سلامه، الذي كان يجمع السجاد والتحف، بتحويله إلى الفن، وشجعه أحد رجال الأعمال، وهو دينو فاشيني، مؤسس شركة بيبلوس الإيطالية.

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مؤسسة إيشتي، التي تشترك في مبنى مع مساحة التجزئة الكبيرة للعلامات التجارية الفاخرة، وقد صمم من قبل المهندس المعماري ديفيد أدجاي. كريديان بريان دينتون لصحيفة نيويورك تايمز

ومن خلال السيد فاشيني، اجتمع السيد سالمي مع السيد ديتش، الذي أصبح مستشارا غير رسمي ولديه الآن ترتيب رسمي. وجه السيد سلامه نحو ما يسميه السيد ديتش "الانقسام"، وهو مزيج من فن البوب ​​والفن التجريدي.

وقال السيد ديتش في جمعية الفن المتروبوليتية، وهو نادي خاص في حي بيروت الراقي، حيث يدعو السيد سلمي الفنانين الأجانب إلى أن "كان طوني في السنوات الخمس أو الست الماضية أكثر مجموعات الفن الناشط نشاطا في العالم" استضافة العروض المؤقتة مع أعمال للبيع. (السيد سلامه يدفع تكاليف الشحن ويأخذ قطع من العائدات). بالنسبة لافتتاح نهاية الأسبوع المؤسسة، خصصت مساحة لعرض الفن من جمع ايشتي برعاية السيد ديتش. ودعا "الحاضر المتطرف"، وشملت أعمال إيان تشنغ، كوراكريت أرونانوندشاي وأليكس إسرائيل.

بعض الشخصيات العالمية في عالم الفن، بما في ذلك مارك سبيغلر، مدير آرت بازل، الذي حضر عطلة نهاية الأسبوع، أشاد بالسيد سلامه للمساعدة على إثارة الاهتمام المحلي في شراء الفن. غير أن بعض صالات العرض في بيروت يعارضون أن السيد سلامة قد ساعد في تشجيع جامعي المبتدئين على إنفاق ستة أرقام عن الفن الأجنبي في مزاد في دبي بدلا من الاستثمار في أعمال أقل تكلفة من قبل الفنانين اللبنانيين الذين يكافحون من أجل العثور على جامعي مستنيرين.

وقال السيد سلامه إنه في البداية، كان بعض الغاليين يترددون في بيعه للقلق من كونه مضاربا سيشتري أعمالا لبيعها في المزاد، مما يضخم الأسعار. في نهاية المطاف، كان قادرا على شراء أعمال من قبل الرسامين مثل كريستوفر الصوف، الذي رعاة التحكم بعناية سوقه.

ويشير تجار الفن إلى حماسة السيد سلامه ودفئته واستعداده لتحمل المخاطر على الفنانين الشباب، مضيفا أنه يحب أن يشتري بأسعار أقل وأن يستثمر في مهنة الفنان. ومن المعروف عن شراء البصر العمل الغيب. عندما تم تركيب الفن قبل افتتاحه، كان السيد سلامه متحمس لرؤية بعض مشترياته للمرة الأولى.

وقال ميغيل أبريو، تاجر نيويورك، الذي اشترى من خلاله السيدة سلامه العمل للفنان باميلا روزنكرانز: "أعتقد أنه أسرع جامع في التاريخ". "سنقوم بالمرور من خلال المعرض والتحدث فقط، وبعد ذلك سوف يسير وأنت تدرك انه مجرد اشترى كل شيء."

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المهندس المعماري ديفيد أدجاي، الذي صمم المبنى الذي يضم مؤسسة إيشتي ومركز تجاري فاخر، تحية الضيوف في افتتاح المعرض. كريديان بريان دينتون لصحيفة نيويورك تايمز

ويسمى المعرض الرئيسي في المؤسسة "الجلد الجديد"، بعد عمل الفنان البريطاني أليس تشانر: سلسلة من اللون الأزرق، طبعت بواسطة نافثة للحبر على رقعة بيضاء من كريب دي تشين، علقت من السقف. وتقول السيدة شانر: "أنا في مرحلة مبكرة جدا من حياتي المهنية. واضاف "انه واثق بشكل كبير من ما يختار ويشتري".

وكان في عام 2010 عندما قرر السيد سلامة انه في حاجة الى مبنى لعرض مجموعته. بدأ مع مهندس معماري في بيروت لكنه أقنع بأن يكون أكبر. أصدقاء الاتصال المتبادل وضع له على اتصال مع السيد أدجاي، الذي كان يعيش في بيروت لعدة سنوات كطفل من الدبلوماسيين. بعد عطلة نهاية الأسبوع بجولة العمارة جيو بونتي مع السيد سالميه في إيطاليا، قدم السيد أدجاي معا اقتراحا في 10 أيام.

وقال إن السيد سلامة لم يعطه ميزانية.

وقال السيد سلامة إن المبنى تكلف 100 مليون دولار، وهو ما اقترضه من المصارف. ويقدر أنه أنفق حوالي 170 مليون دولار على الفن في السنوات ال 15 الماضية، على الرغم من أن بعض الرسامين وضعوا الرقم أعلى. وقال السيد سلامه إن العائدات السنوية لعشتي بلغت 250 مليون دولار سنويا في السنوات الأخيرة، مقابل 100 مليون دولار في عام 2006. إيشتي، التي تتولى أيضا توزيع العديد من العلامات التجارية في الشرق الأوسط، هي شركة خاصة، ولا يمكن تمويلها التحقق بشكل مستقل.

(وبالمقارنة، أفادت التقارير أن مؤسسة لويس فويتون، وهي معرض باريس وموقع ثقافي افتتح في عام 2014 في مبنى صممه فرانك جهري، بلغت تكلفته 143 مليون دولار؛ وفي العام الماضي، كانت الإيرادات السنوية للشركة الأم لوي فويتون، 30.6 مليار يورو أو 32.7 مليار دولار.)

في بيروت، استجوب الاقتصاديون لسنوات كيف يمكن لعشتي توليد مثل هذه الإيرادات العالية في بلد 4.4 مليون شخص بمتوسط ​​دخل سنوي قدره 12،000 $. ويملك لبنان سوقا فخمة ورائحة، حيث يقدر اقتصاده تحت الارض بحوالي 30٪ من اجمالي الناتج المحلي البالغ 49 مليار دولار.

وقال نسيب غبريل كبير الاقتصاديين في بنك بيبلوس في بيروت إنه يعتقد أن الإيرادات السنوية البالغة 250 مليون دولار كانت "شخصية مثيرة للإعجاب في متجر واحد، خاصة إذا كنت تتحدث عن السنوات الأربع الماضية في لبنان".

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وقال انه نموذج كريستين مكمنامي مع صديق وصديقها، تاجر الفن إيفور براكا، والحق. كريديان بريان دينتون لصحيفة نيويورك تايمز

من جهته، قال السيد غبريل: "من يأتي ويشتري من المتجر؟"، مضيفا أن النمو الاقتصادي في البلاد قد انخفض منذ عام 2011. وقال "ان الطلب على السلع الكمالية انخفض بالتأكيد في لبنان".

وقد أثارت الصحف المحلية تساؤلات حول ما إذا كانت إيشتي تقوم بغسل الأموال.

يقول السيد سلامه إن منتقديه يشعرون بالغيرة على نجاحه. وقال "انا لا غسل الأموال".

وباإلضافة إلى المبنى األساسي الجديد الذي يحتوي على مساحة بيع بالتجزئة، يوجد لدى إيشتي أيضا متجر رئيسي في وسط بيروت، ويجري العمل حاليا على إنشاء مركز تجاري فاخر جديد على الواجهة البحرية، صممه زها حديد.

في بيروت، دائما في خطر من الاضطرابات، السيد سلامة يحافظ على فنه في المخابئ آمنة. في خطوة نادرة لجامع، دعا الزوار لزيارة جرفته التخزينية خلال عطلة نهاية الأسبوع الافتتاحية، حيث قام الفنانان سهى طرابلسي ووليد رعد، الذي لديه حاليا عرض في متحف الفن الحديث، بإنشاء تركيب بارعة للفن رسمت على صناديق خشبية.

وفي حين رحب الفنانون والفنون في بيروت بشكل عام بمؤسسة إيشتي، تساءلوا أيضا عن مدى تناسبها مع النظام البيئي الثقافي الغني بالمدينة. وقال بعضهم إنهم يشعرون بالقلق لأن السيد سلمي سيوقف تمويل منظمات الفنون المحلية الآن بعد أن كان لديه متحف خاص به. (ويقر السيد سلامه بأن عمله الخيري يركز الآن على الأساس).

وكانت كريستين توهمي، مديرة أشكال علوان، وهي مؤسسة غير ربحية بارزة في بيروت، تحتفظ بعقل منفتح. وقالت "ربما ستعيش لتصبح مشروعا فنيا رائعا عظيما". ولكن حتى لو لم يحدث ذلك، فان هذا "لا يزال جيدا جدا"، مضيفا "لان ذلك يجلب الموارد للبلاد".