this may be a detail for you …

Background noise

While waiting for the reopening of existing cultural places, why not baptize new ones? On May 6, in Romainville, Valérie Pécresse, president of the Ile-de-France region, and Roselyne Bachelot, Minister of Culture, thus inaugurated the reserves of the FRAC Île-de-France. In Seine-Saint-Denis, the regional contemporary art fund will store nearly 2,000 works, and will organize exhibitions in spaces open to the general public. From May 19. If all goes well.

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Offshore air

For this great moment of culture, Roselyne Bachelot had donned, as usual, a remarkable outfit. Thus, her powder pink pantsuit set appears here so loose that it reminds us of the zoot suits worn in the years 1930-1940 by zooter, these jazzmen and jazz lovers particularly concerned with their style. The costumes in question were even so large, and so greedy in fabric, that they ended up being banned from 1940, due to the war effort. Fortunately for Roselyne Bachelot, the current situation is complicated, but perhaps not at this point.

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Cultural adjustment

Unlike Roselyne Bachelot, Valérie Pécresse had opted for a fitted black pantsuit, much more economical in fabric and much more discreet. It allows us to remember that, if black was for a long time the only color that men had the right, according to conventions, to wear in the evening or during social events, it was in order to leave women the benefit of color. , and thus make sure to highlight them.

Black track

It should be noted that the president of the FRAC and her director also wore a black pantsuit set. Likewise, they both wore black Chelsea boots identical to those of Valérie Pécresse. Group rate? Fancy ? Want to display some form of unity? At this stage, no track can be excluded. Not even that of a common desire to leave the benefit of color to Roselyne Bachelot, the better to highlight it. Even if we have a little trouble believing it.

Dark side

Finally, at the risk of spoiling the atmosphere of this show, how can we not remember that before designating the work tool of painters, and a very practical support for commemorative plaques, the term “easel” covered a function much darker. Before the XVIIIe century, “easel” referred to the tool of torture by quartering. The accused was stretched out on a table, his feet and hands were tied to two cylinders which were slid until the body cracked … Some easels were even equipped with blades intended to slash the back of the accused. Sometimes the quartering would not have been enough.

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