France 24’s Culture Editor Eve Jackson is an award winning journalist specialising in film, music, literature, theatre, art and everything in between in the world of culture. She’s reported from all over the world but in this blog she gives you a glimpse of what she sees here in the city of light – on and off the radar in Paris.

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France rediscover their Monet

The biggest Monet retrospective in 30 years comes to Paris
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The bad boy of the photo world asks Eve Jackson if girls from Birmingham are good in bed.


At 82 can you still call someone as a ‘bad boy?’ I’m not sure. ‘Bad’ might be a bit strong but William Klein, without doubt, still has a definite glint in his eye. The artist, film-maker, and fashion photographer is best-known for his strange, exhilarating images of Fifties New York that have influenced generations of photographers. 60 years on his unique vision hasn’t faded. He’s this year’s guest of honour at the Visa Pour l’Image photojournalism festival in Perpignan in the south of France. When we meet he pretends to be unimpressed by the event and the work that he’s seen– it’s only later he confesses to finding it interesting and says it’s a delight to be there. (Something he’d probably deny if you asked him.) His work is startlingly different to all the other work on show.


An Interview with Thomas Vinterberg



The Waterproof Bible


What Warhol was to New York, Ed Ruscha is to LA

(A slight deviation for a moment from Paris and to a fabulous exhibition at the ‘Moderna museet’ – Stockholm’s mode

William Kentridge’s First Retrospective in France Mesmerises….



Invisible Mending 2003



Anna & Bernhard Blume “SX 70/Polaroids 1975-2000”


Anna and Bernhard Blume have been making art together for nearly four decades. Their extensive collaborative body of work primarily focuses on large format black and white photographic series of domestic scenes and ordinary objects, altered by paranormal chaos. The couple are based in Cologne, Germany and their work has been exhibited and critically lauded in their own country and abroad.


The Polaroid exhibit at the Musée Européenne de la Photographie spans a quarter of a century and is a sort of “behind the scenes” of the artists’ lives and works. The photographs, organized chronologically, starts a bit like a new relationship, awkward, novel, with a good deal of nudity and playful romping about with vegetables. They also feature neat parlor tricks with light and post-production on the stills to create simple illusions. The result is ludic, banal and vulnerable.

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