2112. This is the number of initiatives labeled Cultural Olympiad, on more than 530 sites spread across France. Theatre, dance, music, circus, design, Fashion... A copious program to "bring sport and culture into dialogue". This is the mission requested by the International Olympic Committee from the host country of the Games... at the risk sometimes of an excessive profusion that is difficult to read for the public... In this abundant offer, the French Touch has selected two exhibitions for the quality of their content, but also because they show that the sport, associated with fine arts and design, is a valuable marker on many aspects of the evolution of our societies. Social, politics, feminism, inclusiveness, technological progress... For an offbeat point of view on the events, beyond the thirst for victory, two enriching and complementary exhibitions to see before the Games.

" Stake ! Artists and sport (1870-1930) »

Among the 180 paintings, sculptures, engravings, photographs collected on two floors of the mansion, from the period impressionist at the avant-garde of the first quarter of the 20th century, five paintings particularly illustrate the evolution of this view of modern sports. Visit with associate curator Aurélie Gavoille, curator at the Marmottan Monet museum.

1/ Two parallel worlds: by Edgar Degas

In England, the sports organization was already well established with places dedicated to the practice, private clubs, boxing halls... France was not there yet. Racecourses were beginning to appear. But Degas, a careful observer of the world of racing, also points out in this painting the modernity of the landscapes and this society in transformation. Very rich, this 1882 painting borrowed from the Musée d'Orsay, "Gentlemen's Race. Before the Start", shows on one side the hard-working working world, represented by the factories in the background, and on the other, the good bourgeoisie who come together for pleasure. The eye cannot help but be struck by the contrast between these two worlds and even the photographic framing. Observe the jockey and his horse cut off in the foreground. We have the impression of witnessing the scene. This intimacy is interesting: the arrival of these sports from England was done by the aristocratic or bourgeois classes. It was not until the end of the century that it began to become democratized.

2/ The sportsman, this hero: by Thomas Eakins

Another artist and another major sport: water sports, with, here, rowing. This work, from the collections of the National Gallery in Washington, represents real athletes: the Biglin brothers, icons of their time in the United States. In this painting from 1872, the American artist Thomas Eakins shows them in full race, on a river near Philadelphia, at the maximum of their muscular tension. The team will outpace its competitors whose boat can be seen in the foreground. The crowd can be seen in the background. Unlike Degas, the artist was himself invested in rowing and practiced it. He therefore understands its movements, he transcribes the undulations of the water, once again this muscular tension... It is this reality that he seeks to reproduce and clearly also the desire to highlight the sport and the athletes.

3/ Sport and art, same fight: by Jean Metzinger

The modern Paris-Roubaix race of 1912 takes place before our eyes in this painting, “At the Vélodrome”. An intriguing work by Jean Metzinger, borrowed from the Peggy Guggenheim Collection in Venice. In cut-out, with these black lines, appears the Roubais hero Charles Crupelandt, twice winner of the race. It is the man becoming one with his machine. The painter uses a mixture of techniques: the grainy effect giving relief to the composition, the cubist effect too. The mythology of cycling, one of the most popular sports of the early 20th century, is expressed through this artistic and aesthetic practice. The representation of the icon is associated with the representation of the virtuosity of the artist and of this cubism fully existing at the time. The issues are common: athletes and artists share the same quests for performance and the search for recognition. Here we truly see this representation of the man-machine launched in a quest for performance.

4/ Feminine audacity: by Gustave Courbet

Produced in 1865, “La Femme au podoscaphe” shows the audacity of a young woman experimenting with a modern sport in a society resistant to women's sporting activities. An ambitious work, firstly because of its large format, reminiscent of XNUMXth century academic history painting. The young woman rides a podoscaphe which can be described as the equivalent of today's paddle. A singular scene. Her bathing clothes offer her freedom of movement, with shoulders, neck and part of his legs visible. An outfit that could have caused a scandal at the time. This painting is not finished either. We have the impression of a collage, that Courbet worked on the patterns of the waves and their momentum before placing on the water this podoscaphe and this young model whose spirit of independence and freedom we immediately understand , hair in the wind, with this great confidence in herself to sail on this rough sea. Gustave Courbet gave this painting the name “Modern Podoscaphe or Amphitrite” (wife of Poseidon, the god of the sea). The representation of modernity through an ancient figure.

5/ Sport and universality: by George Bellows

The American George Bellows is the artist best known for his depictions of boxing matches. In "Club Night" from 1907, he depicts a ring set up without a safety rope, in the United States. Boxing was slowly becoming more democratic, and was still, at that time, like horse racing and fencing, a sport for the inner circle. The artist, who had never been to a gym, nevertheless endeavored to paint a great reality, with this chiaroscuro, this boxer with an almost bloody nose, the trainer leaning on the ring. Bellows captures the fervor, the strength of the moment that one feels as if one is experiencing in secret. The spectators have a prominent place: in the foreground, the men in suits seem to be wearing masks. They are even frightening, with exacerbated expressions worthy of the sport of boxing, in the background are the more popular classes. During the match this boundary seems to blur and disappear... The public unites in the name of the universality of sport.

Musée Marmottan Monet
Until September 1st
marmottan.fr

Date: 1924-1926, Material/Technik: Gemälde / Öl auf Leinwand, Höhe x Breite: 24 x 33 cm, Inventar-Nr.: 2460, , Artist: Robert Delaunay, Verwertung des Bildmaterials nur in Originalfassung gestattet!

Bearing and handling (such as Montage, photo processing, coloring) is on the right side of the page!, Copyright: bpk / Staatsgalerie Stuttgart

“Match. Design & sport - A story looking to the future”

This exhibition of 150 objects, from the first sports equipment to the screens of thee-sports, shows to what extent sport and design make common cause in the quest for performance. This delightful exhibition at the Musée du Luxembourg, in Paris, also takes the visitor to explore other values ​​put into practice by design, such as inclusiveness and feminism. Interview with German industrial designer Konstantin Grcic, both curator and scenographer.

The French Touch (FT): Among the 150 pieces on display, which one best defines your concept of sport?

Konstantin Grcic (KG): The video wall at the end of the exhibition, consisting of nine screens, showing 35 different videos taken from the Internet. These videos present sports in different forms and show that they can be practiced by people of all ages and backgrounds, in all corners of the world. This moment of the exhibition is important because it shows that sport is for everyone, regardless of age, gender, ability or level. It does not matter whether you are a beginner, amateur or professional, whether you practice classic sports or new independent sports, modern sports or ancient sports. Sport is practiced everywhere, in all walks of life, by everyone, at all levels.

The FT: As we prepare to experience this immense popular jubilation, the exhibition above all highlights the rise in power of AI and screens. Do you see the future of sports design in this trend?

kg: Artificial intelligence and digital technologies are the biggest assets in the development of sport. It is data, not the next hardware innovation, that will help athletes improve their performance and train for competitions. It will help coaches and teams prepare for competitions. It will help the media broadcast events in a much more interesting way, to a wider audience. It will help fans and spectators engage and participate in sporting events. It will also help make sport more inclusive. AI is already helping to develop special equipment and materials, as well as medical aids for athletes with disabilities. Data is the future of sport.

The FT: You have designed equipment for high-level sports such as the boat of Alex Thomson, the British skipper who came second in the last Vendée Globe and you recently declared that you are now addicted to offshore racing. Is it because the high seas remain the realm of the unpredictable?

kg: I became a huge fan of ocean racing. I get excited about the sport because it is extreme. That’s it. The technology that goes into designing and building these boats is extreme. It’s extreme for the sailors, both men and women, who compete on these boats, single-handed, against their rivals and the vagaries of the weather and the sea. It’s a beautiful sport, without a doubt. It’s sailing, so it’s powered by the wind, by nature. The most successful sailors are those who are in tune with nature and understand the power of the elements. They know how to use the wind and the sea to their advantage. It’s about finding the right balance with your boat, with the weather, with the sea and, in a way, with your direct competitors.

The FT: Will you be in the stadiums this summer or behind your screen to watch the Games? What does your designer eye primarily capture in these moments?

kg: I will not be able to attend any of the competitions in Paris. I was unable to get tickets. It is a shame, because it is far from the true Olympic spirit which should be inclusive, open and free for all. The Games have turned into a big business, for the privilege of a few. However, I know that the broadcast and media coverage of the 2024 Games will be even better than the previous ones, because we have new technologies that will allow visitors and fans to get closer to the action, the athletes, and even behind the scenes of the Games. So I will follow the Games at home, most likely glued to my computer screen. I expect it to be an exciting experience. In general, I am looking forward to all the unusual disciplines, those that often go unnoticed outside the quadrennial cycle. For the athletes and their disciplines, the Olympics represent the pinnacle of their careers.

Luxembourg Museum
Until August 11
museeduluxembourg.fr