2112. That's the number of initiatives awarded the Cultural Olympiad label, across more than 530 sites throughout France. Theater, dance, music, circus, design, fashion ... A rich program to "create a dialogue between sport and culture." This is the mission set by the International Olympic Committee for the host country of the Games... sometimes at the risk of an excessive abundance that is difficult for the public to grasp. From this abundant offering, French Touch has selected two exhibitions for the quality of their content, but also because they demonstrate that sport, combined with fine arts and design , is a valuable indicator of many aspects of the evolution of our societies. Social issues , politics, feminism, inclusivity, technological progress... For a fresh perspective on the competitions, 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, and photographs gathered on two floors of the mansion, spanning from the Impressionist period to the avant-garde movements of the first quarter of the 20th century, five canvases particularly illustrate the evolution of this perspective on modern sports . A visit with associate curator Aurélie Gavoille, curatorial assistant 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

Painted in 1865, "Woman on a Podoscaphe" showcases the audacity of a young woman experimenting with a modern sport in a society resistant to women's participation in athletic activities. An ambitious work, first and foremost because of its large format, reminiscent of 19th-century academic history painting. The young woman rides a podoscaphe, which can be described as the equivalent of today's paddleboard. A unique scene. Her bathing clothes allow her freedom of movement , with her shoulders, neck, and part of her legs visible—an outfit that could have caused a scandal at the time. The canvas is also unfinished. It has the impression of a collage, as if Courbet worked on the patterns of the waves and their momentum before placing the podoscaphe and the young model on the water. We immediately grasp her spirit of independence and freedom, her hair blowing in the wind, with her great self-confidence as she navigates the choppy sea. Gustave Courbet had given this painting the name "Podoscaphe or Modern 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, ranging from early sports equipment to esports screens , demonstrates how sport and design work together in the pursuit of performance. This delightful exhibition at the Musée du Luxembourg in Paris also invites visitors to explore other values ​​embodied by design, such as inclusivity and feminism. An interview with German industrial designer Konstantin Grcic, curator and exhibition designer, follows.

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, composed of nine screens, displays 35 different videos from the internet. These videos showcase sports in various forms and demonstrate that they can be practiced by people of all ages and backgrounds, all over the world. This part of the exhibition is important because it shows that sport is for everyone, regardless of age, gender, ability, or skill level. It doesn't matter if you're a beginner, an amateur, or a professional; whether you practice traditional sports or new, independent sports; modern 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 celebration, the exhibition primarily showcases the rise of AI and screens. Do you see this trend as the future of sports design?

KG: Artificial intelligence and digital technologies are the greatest 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 those competitions. It will help the media broadcast events in a much more engaging way, for a wider audience. It will help fans and spectators engage with and participate in sporting events. It will also help make sport more inclusive. AI is already contributing to the development of special equipment and materials, as well as medical aids for athletes with disabilities. Data is the future of sport.

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

KG: I've become a huge fan of offshore racing. I'm thrilled by the sport because it's extreme. That's all. The technology involved in designing and building these sailboats is extreme. It's extreme for the sailors, men and women alike, who compete on these boats, alone, against their rivals and the vagaries of the weather and the sea. It's undoubtedly a magnificent sport. 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 is your designer's eye that primarily captures during these moments?

KG: I won't be able to attend any of the competitions in Paris. I couldn't get tickets. It's a shame, because it goes against the true Olympic spirit, which should be inclusive, open, and free for everyone. The Games have turned into big business, benefiting only a few. However, I know that the broadcast and media coverage of the 2024 Games will be even better than 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. So I'll be following the Games from home, most likely glued to my computer screen. I expect it to be a thrilling experience. In general, I'm looking forward to all the less common disciplines, those that often go unnoticed outside the quadrennial cycle. For athletes and their disciplines, the Olympics represent the pinnacle of their careers.

Luxembourg Museum
Until August 11
museeduluxembourg.fr