Exact location of new Banksy artwork revealed
The spot in Marseille is a striking one - close to the Mediterranean waters, and Marseille's Old Port, on a road that runs along the bottom of a cliff and through an open-sided tunnel.
The location is the tunnel section of Rue Felix Fregier, a back street in the Saint Lambert part of the city, just south of the port.
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On the north side of the road, the pavement is lined with simple bollards with decorative balls on the top, which cast a shadow onto the side wall of the tunnel and clearly inspired Banksy to produce his latest artwork.
Banksy continued the shadow to paint a lighthouse on the wall beyond, captioned with the words: "I want to be what you saw in me".
Bristol Live first revealed the location as Marseille yesterday (Thursday, May 29) just after Banksy posted a photo of his work on his Instagram account, but the precise spot in the French port city was not clear.
Locals in Marseille have contacted Bristol Live to reveal the exact location as the tunnel - which is already understood to have seen hundreds of visitors this morning, Friday, as word spread of the location.
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San Francisco Chronicle
15 hours ago
- San Francisco Chronicle
‘I wasn't going to show the violence': S.F.-raised Eva Victor on ‘Sorry, Baby'
Eva Victor was back in their hometown, the final stop on a press tour for their critically lauded debut feature, and they were ready to party. But first, Victor, who uses they/she pronouns, demanded perfect attendance during a Q&A on Tuesday, July 1, after a crowded screening at the Alamo Drafthouse New Mission theater of ' Sorry, Baby,' which Victor wrote, directed and stars in. 'Good night!' Victor said to laughter as a couple was walking out just as the discussion got started. 'If you leave, I will call you out, it will be horrible for you. Don't leave!' Victor, best known for a recurring role in the Showtime series ' Billions,' is trained as a comedian; they have performed at SF Sketchfest when they were with the satirical website Reductress and was very entertaining as they discussed 'Sorry, Baby.' But while the movie has sharply funny moments, it is a serious and unique drama about Agnes (Victor), a woman processing a sexual assault — called 'the bad thing' — and her life-saving friendship with Lydie (Naomi Ackie of ' Blink Twice ' and ' Mickey 17 '). While Victor insists the film, which counts Barry Jenkins (' Moonlight ') as a producer, is 'narrative fiction,' it is based on an incident they experienced and admitted to the audience, 'I made this film about a time and experience when I felt very unheard, and it means the world for you to be here and listen to what I have to say.' Hours earlier, during a Chronicle interview at the 1 Hotel, Victor said, 'I really wanted to write a film about trying to heal. … It was a real joy to fictionalize an emotional truth in my life.' Victor was born in Paris, but their family moved to San Francisco when they were 2. They went to the International School from kindergarten through 12th grade before going to theater school at Northwestern University. This conversation has been edited for length and clarity. A: When I was a kid, we lived in the Marina, and my favorite place to go was on a walk to Crissy Field, go to the Warming Hut, get a cup of cocoa. That's a nice spot. Q: Did you enjoy school? A: It broke my brain, and I still don't know if I've recovered. The best part of it was my junior year of high school. I started doing theater, and that was amazing because (Berkeley-based actor) Michelle Haner was my teacher, and I was in 'Spring Awakening,' the musical, and my director was Brad Korman. They were both incredibly supportive teachers and treated me like an adult and took me seriously. And that made me want to go to theater school as a college student. So I'm very grateful for them. Q: How in touch are you with your French heritage? A: I would love to get French citizenship. Once I got a job on a TV show, I got to have a little more money so I could go to France. I feel very, very connected to Paris. It was very fun to go to the Cannes Film Festival (in May). I think it's beautiful, and I would love to spend more time there. Q: Your previous directorial experience consists mainly of comic videos you made on social media. How did you come to direct 'Sorry, Baby'? A: It was definitely intimidating. I didn't want something to get lost in me taking on too much. I wrote this really privately, just in a house by myself with my cat, and I was desperate for someone to read it, like I didn't want to be alone with it. I really wanted to act in the role, and I thought, 'Well, we can hire someone to direct it.' Then I went to think about it for a month or so and quickly realized I desperately wanted to direct it. I just needed to figure out how. So I spent a couple of years preparing to direct in various ways. I knew how I wanted it to look and feel. I just needed to learn how to communicate that to heads of department, who will then ideally challenge you on your vision. The nice thing about directing the film is you spend a lot of time building the film with other people, and then you shoot it and direct it. It's like this really long journey of creation together. Q: A key casting choice was who would play Lydie. How did you find Naomi? A: We met, and she was just such a warm ray of light. I'd seen ' Lady Macbeth ' (2016) and the Whitney Houston movie (2022's ' Whitney Houston: I Wanna Dance With Somebody '). I was so overwhelmed by how goofy she was. The universe sent her to me, and on set, it just clicked. Q: You chose not to show 'the bad thing' but instead show her walking into the place where it happened, then later walking out. Why? A: I always knew I wasn't going to show the violence. It was for a person like I was who couldn't sit through a film like that; it would turn my body into shock mode, and I didn't want to put anyone through that. Her body goes in, but I don't think her spirit does. I think this might be more of a memory of what that experience was like. It's frozen and disconnected. So it's kind of out of body.
Yahoo
19 hours ago
- Yahoo
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Chicago Tribune
a day ago
- Chicago Tribune
Letters: Title of exhibition at the Art Institute smacks of whitewashing
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The new title not only dulls the edge of inquiry but reinforces the notion that recognition of queerness — or even ambiguity — in an artist's work must be neutralized for the comfort of a presumed audience. Equally troubling was curator Gloria Groom's response during Thursday night's member preview, in which she dismissed any exploration of Caillebotte's possible queerness by claiming she would not 'presume' his sexuality. Yet acknowledging that Caillebotte painted men — overwhelmingly, repeatedly and with intimacy — is not presumption. It's fact. What the French curators did so well was allow space for interpretation without fear, offering viewers the dignity of their own intelligence. Chicagoans deserve better. We should not shrink from critical engagement or whitewash complexity in the name of palatability. It's disappointing to see the Art Institute — once a beacon for cultural leadership — kowtow to imagined donor discomfort or a conservative fear of thought-provoking conversation. Let's trust our audiences, as the French have, to explore the fullness of an artist's world — including the people who populated constructive criticism by Edward Keegan in the Tribune ('Chicago Fire stadium plans cry out for a bit of quirkiness,' June 25) regarding the design of the new soccer stadium and the surrounding land referred to as The 78 in Chicago's South Loop prompts reflection on the many proposals for this land development, the Bears' new stadium and the possible new home for the White Sox. The design of the stadium and surrounding area offers a breath of fresh air in a city teeming with ideas but coming up short on the delivery. As a self-made man, Fire owner Joe Mansueto will fund this project with his own money as he has done with other projects mentioned by Keegan in the column. No whining. No pouting. No expectation of state funding nor Chicago resident tax dollars to build a private stadium for a soccer team. Yes, it differs from a traditional look in the stadium world. Open to criticism, the Gensler firm has presented a solid design. No political shenanigans. No groveling. A proposed start and finish date with a realistic budget. Rising above the need for a pat on the back, Mansueto has demonstrated the fortitude required to bring a solid idea to fruition with proper funding. Residents owe Mansueto our backing and a thank you for a job well has gotten a lot of bad press lately. As a lifelong Chicago-area resident, I would like to share some positives about a recent experience of mine. Last month, I walked from the West Ridge neighborhood to downtown and back — about 26.2 miles, or the distance of a marathon. I zigzagged through many neighborhoods, going through parks and streets. The street market in the Logan Square neighborhood went on for about a half mile. 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There is an abundance of neighborhood parks in which everyone can enjoy a drink from a water fountain or a splash from it to cool off.I read that Mel Brooks just turned 99 years old. Maybe laughter is the best medicine.