Among the 44 paintings, sculptures, and photographs recently donated by local collectors Stefan Edlis and Gael Neeson to — and now on view at — the Art Institute of Chicago is, above: Andy Warhol’s “Mona Lisa Four Times,” 1978. The Art Institute of Chicago, Gift of Edlis/Neeson Collection. © 2015 the Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.
By Gus Solomons jr
Copyright 2004 Gus Solomons jr
First published on the DI on January 14, 2004. Republication sponsored by Freespace Dance and Slippery Rock University Dance. Linked sponsorships on the Dance Insider & Arts Voyager start at $49. For more information, e-mail email@example.com.
NEW YORK — Playing two weekends, January 8-11 and 15-18, at Danspace Project at St. Mark’s Church, David Gordon’s new “Dancing Henry Five: a Pre-emptive (Postmodern) Strike & Spin” condenses Shakespeare’s five-act, four-hour epic into a concise, hour long… epic, cutting out the boring dialog and spicing up highlights with dancing.
Gordon can make a silk purse out of a sow’s ear, and the presence of his wife and muse Valda Setterfield adds custom details. He has a flawless knack for elegant staging. And here, with a cast of seven stellar dancers (Karen Graham, Tadej Brdnik, Tricia Brouk, Todd Allen, Christopher Morgan, Daniel Smith, and Luis de Robles Tentindo), Setterfield, and the Bard as collaborators, Gordon has created a handsome handbag indeed.
Setterfield, standing atop a rolling library ladder, announces with her reassuring British voice that as narrator/chorus, she will “fill in, fill up, and fill out” Shakespeare’s tale and act as mouthpiece for Gordon’s opinions. King Henry V’s war against France is Gordon’s vehicle to rail against war in general and draw parallels — without naming names — to the imperialism of Big Brother Bush’s current administration.
The performers parade around the spacious sanctuary floor, bathed in Jennifer Tipton’s luscious light, carrying signs: “Dancing,” “Henry,” “Five,” and others, identifying themselves. They’re dressed like rugby players in striped jerseys and mismatched knee socks with dark shorts and stocking caps. Later, they don elaborate ponchos made of similar shirts sewn together a-jumble that double for battle armor and, tied around waists, courtly gowns.
Snippets of dialog from the play and from writings about it, heard on tape by such theatrical luminaries as Christopher Plummer and Laurence Olivier, weave through musical passages from William Walton’s “Henry V: Suite” and “The Wise Virgins.” Production stage manager Ed Fitzgerald controls things from his seat on the altar. The audience sits on opposite sides of the space, facing each other and the action.
Carousing at the Boar’s Head pub, the dancers play a game of catch with two red balls. The irony of the light-hearted game turns dark, when Gordon observes — through his surrogate Setterfield — that people who go to war always say God is on their side, and that if they win, that proves it, but wonders what the losers say.
With skill and imagination Gordon — a veteran of the ’60s Judson Group, which rebelled against the costumes, sets, steps, and artifice of modern dance — mines a minimal movement vocabulary and finds infinite variations in simple phrases: lunges: turned out, in, and to the side; arm gestures and simple physical shapes; pedestrian walking in intricate patterns. The simple movement always serves as metaphor for literary ideas; it never calls attention to virtuosity, although its rhythmic precision is technically rigorous.
Setterfield impersonates a dying Falstaff, while his lover, Mistress Quickly (Brouk), dances a sweet, mournful solo. Henry and his army sail for France, standing on lengths of red-striped, black fabric that get dragged across the floor. In a stately minuet Setterfield teaches English to Katherine of France (Graham), in preparation for her potential alliance with King Henry (Brdnik); with the same motif she abets their courtship.
In battle with the French, the woefully outnumbered British soldiers play a kind of musical chairs: they line up folding chairs and advance them, one by one, and run in circles; they pound their spears (wooden poles) on the ground in a brisk rhythmic tattoo, tossing dummies through the air in Tipton’s mysterious, shadowy light. Setterfield opines that the British won because the French may have decimated themselves with “friendly fire.”
The dancers lay a carpet, made of those ubiquitous striped fabric pieces, for the stately wedding procession of King Henry and Princess Katherine, and finally, the cast says a cheery “goodnight,” and we go happily into the freezing New York night.
Left and Right: From Lot 1 of the Collection Hugo auction at Christie’s Paris, April 4: Atelier Hugo-Vacquerie (Charles Hugo or Auguste Vacquerie), “Portraits of Victor Hugo, 1853-55.” Four salt prints representing Victor Hugo in Jersey, the first of the Channel Islands where he took refuge with his family in 1852; in 1855 they’d move to Guernesey. Est. pre-sale: 4,000-6,000 Euros. ©Christie’s Images Ltd. 2012.
Text by and copyright 2012 Paul Ben-Itzak (revised, with a new ending)
Images Copyright 2012 Christie’s
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“I dedicate this book to this mountain of hospitality and liberty, to this corner of the old Normandy terrain where the noble humble people of the sea live, on the Ile of Guernesey, severe and gentle, my current refuge, my probable tomb.”
— Victor Hugo, “Les Travailleurs de la Mer,” introduction to Book 1, “L’Archipel de la Manche.”
First published by our sister magazine Art Investment News on April 4, 2012, the day that Christie’s Paris auctioned off 500 lots of art, correspondence, books, photographs, and other mementos and memorabilia belonging to the descendants of Victor, Jean, Valentine, and succeeding generations of Hugos. Two days after another legacy was dispersersed – with 90% of the 20 million pieces of artifacts and documentation collected over 200 years perishing when Brazil’s National Museum, the largest institution of natural history in South America, went up in flames, not helped by the neglect of the federal and state governments – it seems appropriate to celebrate another national and international cultural legacy. Particularly one that demonstrates – the Brazilian catastrophe comes at a time when the most popular candidate in the imminent presidential election, convicted of corruption, has been ruled ineligible by the courts – the intimate connection between cultural and political heritages, between a Democratic civilization’s record and its perseverance. Former Brazilian environmental minister Marina Silva, cited in the Guardian, likened the catastrophe to “a lobotomy of the Brazilian memory.” If it is a lobotomy, it’s a conscious one, the consequence of en epoch which prizes commodities which don’t produce anything — e.g., Facebook — over substance, and where faceless entities impose fiscal ‘austerity’ at the expense of national treasures.
What happened when that most celebrated exponent of French Letters and values, Victor Hugo, went into exile on an island — part of France until nature detached it from Normandy – under British sovereignty, where residents had to pay a yearly tribute to the Crown of two chickens and were taxed not on their income, but on their fortune? He fell in love with the place. Choosing exile after Napoleon III’s 1852 coupe, Hugo stopped over first in Brussels, then shortly afterwards landed in the Channel Island of Jersey and, evicted from there after criticizing Queen Victoria, settled in Guernesey (as he spelled it) in 1855, refusing a general amnesty offered by Napoleon in 1859 and not returning to France until the regime abdicated after the Prussian War debacle of 1870. Compared to France under Napoleon III (whom Hugo dubbed “Napoleon le petit,” enthroning a soubriquet that stuck), he discovered in Guernesey a cradle of liberty, regaling at its four newspapers. “Imagine a deserted isle,” he wrote in his introduction to “Les Travailleurs de la Mer,” the Workers of the Sea (1866). “The day after his arrival, Robinson creates a newspaper, and Friday subscribes…. Arrive, live, exist. Go where you want to go, do what you want to do, be who you want to be. No one has the right to know your name. Do you have your own god? Preach him. Do you have your own flag? Fly it. Where? In the street. It’s white? Fine. It’s blue? Very good. It’s red? Red is a color. Does it please you to denounce the government? Get up on the podium and speak…. Think, speak, write, print, harangue — it’s your own business.” (By way of testifying to the importance of institutions of cultural preservation: I only know about Hugo’s two-volume work because I was able to score a 1900-vintage edition at a sale proposed by the Upper West Side branch of the New York Public Library.)
Left: Lot 19: By Charles Hugo (1826-1871) or Auguste Vacquerie (1819 -1895), “Portrait of Adele Hugo as a young woman,” circa 1856. Set of eight prints, one salt print mounted on card, seven collotypes mounted on cards. Pre-sale estimate for the Christies auction: 9,000-12,000 Euros. Few photographs from this period exist of Adele Hugo, the artist’s daughter, whose tragic story is recounted in Francois Truffaut’s 1975 film “The Story of Adele H..” A copy of Grove Press’s complete script of the film is also on auction (est. 180 – 200 Euros), complete with a note from Truffaut to Jean Hugo: “For Jean Hugo, another screen between the reality and the fiction of today, with my gratitude and my loyalty.” Right: Lot 68: Edmond Bacot, “Les Misérables,” 1878. 10 large albumen prints mounted on cards of Cécile Daubray in the role of Cosette and Dumaine in the role of Jean Valjean, seven signed in red ink ‘Edouard Bacot’ (on the image); one signed and dated ‘Manday1878’ (on the image) and one titled and dated on the card. Env. 30.5 x 26 cm. Est. 3,000-5,000 Euros. ©Christie’s Images Ltd. 2012.
Convictions are fine, but what enabled Hugo to endure his exile from the soil which made him and the country in whose liberties he remained invested and so readily adapt to his new terrain was the family that surrounded him — initially at Marine Terrace in Jersey, then at Hauteville House in Guernesey. And whose members in their turn instantly took to the islands, notably Hugo’s son Charles, who, with August Vacquerie, set up a photographer’s studio in a side room at Marine Terrace in 1852. He had the eager backing of his father, who arranged to have the pioneering photographer Edmond Bacot send over books so that Charles could instruct himself. In Guernesey, on the third floor of Hauteville House, the room which Hugo called his ‘look-out’ was consecrated to a library. When Victor Hugo died in Paris in 1885 — a death so monumental that French officials didn’t just put the author in the Pantheon, they *moved* the Pantheon — if he left his oeuvre to France and the world, he left Hauteville House to his grandchildren Georges and Jeanne, all his immediate scions having preceded their father to the grave. When Georges died in 1925, Jean — Victor’s great-grandson, by then already an established artist and a cohort of Jean Cocteau — decided to give the bulk of Hauteville House’s remnants to the city of Paris. But he hung on to some of the furniture, objects, books, and photographs, including the armoire in which Hugo stored his manuscripts as well as 50 original drawings by the author, who might have found full-time work as a caricaturist, draftsman, or painter had he not been so busy writing poems, plays, treatises (against the death penalty, to recall one of his most celebrated causes), appeals (famously, a plea for mercy for the American abolitionist John Brown), novels (“Les Miserables” was finished at Guernesey) and serving in national assemblies and local governments. (Hugo would later campaign for amnesty for the Communards of 1871, shortly after his return to France.) These sundry artifacts eventually made their way to Jean Hugo’s family home in Mas de Fourques, Lunel, near Montpellier, a dilapidated farmhouse — or so Marie-Jacqueline Lancaster, sister of Jean’s widow Lauretta, recalled in Lauretta’s 2005 London Independent obituary — where peacocks were known to fall out of the trees and Lauretta produced a local victual called Muscat de Lunel. There she and her husband entertained the likes of Dali, Picasso, and Cocteau who, besides the peacocks, were likely to hear sheep being quartered outside their windows. (Also among the treasures were sketches by Jean’s first wife Valentine of Ballets Russes legends Tamara Karsavina and Vaslav Nijinsky.)
Lot 179: Victor-Marie Hugo (1802-1885), “Souvenir de Belgique.” Charcoal, brush, and black ink, grey and brown wash heightened with white, on brown paper, in a painted frame, also made by Hugo. 157 x 594 mm. Est. 50,000-80,000 Euros. ©Christie’s Images Ltd. 2012.
After Lauretta died, the seven children she’d had with Jean were confronted with a choice. “Raised among all these family souvenirs in the house of our father …, Jean Hugo, great-grandson of the poet,” they write in the Christie’s Paris catalog for today’s auction, “it was only after the death of our mother Lauretta that we heard the word ‘partage’ (in French, this can mean ‘divide’ but also ‘share’), which entrained the word ‘dispersion,’ which in turn made us pronounce the word ‘sale’ because, in effect: how to cut up into seven pieces the crown of Leopoldine?,” this last being one of Victor Hugo’s two, short-lived daughters, the other being Adele, immortalized by Isabel Adjani in Francois Truffaut’s 1975 film “The story of Adele H.”
Lot 25: Thomas Singleton, “Views of Guernesey,” circa 1870. Set of 12 prints: Eight large albumen prints mounted on cards; four unframed prints. Various dimensions, from 13 x 20 cm. to 27.5 x 39 cm. ©Christie’s Images Ltd. 2012.
I like this term ‘dispersion.’ (Hugo’s descendents have apparently also inherited his knack for the well-chosen verb.) At first I found it depressing to conceive of this concentrated trove of Hugo memorabilia – not just the artifacts of the writer and his descendants, but the reflections of his intelligence and culture represented by the books he collected and prized – being dispersed to disparate coins of the globe in all the 500 parts on auction today. Then I recalled that there are still places to find concentrated Hugo cachets – notably the Victor Hugo House in Paris and the Bibliotheque National Française. (For a sampling – here of Victor Hugo’s artworks — check the BNF’s virtual exposition, Victor Hugo, l’homme ocean.) And then I considered that word dispersion, as well as the verb partage, in its meaning share. When I lived in France from 2001 to 2010, every weekend I’d scour the vide greniers (essentially neighborhood-wide garage sales: vide = empty; grenier = attic) for French memorabilia. The vintage carafes and ashtrays I amassed (I probably had the most ashtrays of any non-smoker in France), promoting various marks of pastis and regional aperitifs, were not just meaningless societal detritus but conduits into a cultural past I hadn’t grown up with but that I hoped to adapt and assimilate. And those were only carafes and ashtrays — repositories of popular culture, not high culture. (For the Frenchmen and women disposing of these quotidian objects, elevated in this culture and thus immune to their inherent charm for the budding Francophile, they were just junk cluttering up the attic.) Today at Christie’s, at estimated prices some of which are not much higher than what I paid for those carafes, one can acquire a morsel of the most important literary legacy in modern French history.
Lot 26: “Jersey & Guernesey.” Two private albums with views of Guernesey and Jersey, and one on Venice. Est. 2,000-3,000 Euros. ©Christie’s Images Ltd. 2012.
Lot 174: Left: Victor Hugo (1802-1885), “Project for a chimney in the dining room at Hauteville House.” Brown wash. 278 x 228 mm. Est. 8,000-12,000 Euros. Right: Lot 161: Victor-Marie Hugo, “Portrait of Léopoldine, profile, or Fracta Juventus.” Pencil. 122 x 70 mm. Hugo’s daughter was just 19 years old when she passed away in 1843. Est. 2,000-3,000 Euros. ©Christie’s Images Ltd. 2012.
But before they’re dispersed, let’s return these souvenirs one last time to the hearth of Jean and Lauretta Hugo in Mas de Fourques, as recalled and evoked by their children (in an introduction to the Christie’s catalog for this sale), the great-great-grandchildren of the Great Man:
“On winter nights, our father would get a book from the shelves and, seated near the chimney of the large library, a monocle fixed under his eyebrow, read us poems. We’d listen without budging, our large children’s eyes posed on him. The verses transported us to shipwrecks, skies, pits, valleys filled up with the songs of birds: ‘Oceano Nox,’ ‘Stella,’ ‘Booz asleep.’
“At the end of the evening, we’d leave the library to return to our rooms, but not before pausing for a long while before Saint Antoine, a painting previously stowed in the black cabinet of Hauteville House. This painting, close to the universe of Bosch, fascinated us. Naked bodies, buttocks in the air, suspended from tree branches, a character emerging from an earthenware jar, a bird with a long beak, a big fish with an arm running on muscled legs, a sort of inverted siren…. Alone in our rooms, our imaginations took flight in our dreams.
“Today, at the dawn of the millennium, the sale dispersing the souvenirs conserved in the family for so many years opens to present generations a day newly illuminated by this past.”
The idea could apply to the writings of Victor Hugo themselves. In “La vie devant soi” (All of Life Before You; Editions Mercure de France, Paris, 1975), written by Romain Gary under the pen name Emile Ajar, the adolescent narrator befriends an old man who sits in front of his Belleville apartment building every day. Even as the man starts to lose his memory, he clings to two books, his guides in life: In the one hand, the Koran; in the other, “Monsieur Hugo.”
Left: Lot 166: Victor-Marie Hugo (1802-1885), “Veiled profile.” Brown wash. 315 x 206 mm. Est. 3,000-5,000 Euros. Right: Lot 159: Victor-Marie Hugo, “Caricature of a Judge Wearing a Hat.” Brown wash. Est. 1,500 – 2,000 Euros. ©Christie’s Images Ltd. 2012.
Lot 170: Victor-Marie Hugo (1802-1885), “Caricatures: Two visages of women.” Pen and ink and brown wash. Est. 2,500-3,500 Euros. ©Christie’s Images Ltd. 2012.
Lot 175: Victor-Marie Hugo (1802-1885), “Celui-ci pleurait toujours” (This one is always crying or is still crying). Brush, brown wash. Est. 8,000-12,000 Euros. ©Christie’s Images Ltd. 2012.
Lot 359: Jean Hugo (1894-1984), “Faust Magicien,” 1929. 31 painted glass plaques for a magic lantern by Jean Hugo, eight other glass plaques by Jean Hugo, and one other plaque showing the reproduction of a Diane Chasseresse painting. Est. 10,000-15,000 Euros. ©Christie’s Images Ltd. 2012.
Lot 359: Jean Hugo (1894-1984), “Faust Magicien,” 1929. 31 painted glass plaques for a magic lantern by Jean Hugo, eight other glass plaques by Jean Hugo, and one other plaque showing the reproduction of a Diane Chasseresse painting. Est. 10,000 – 15,000 Euros. ©Christie’s Images Ltd. 2012.
Lot 389: Jean Hugo (1894-1984), “Mosquito Men,” circa 1937. Gouache and watercolor on paper. 1 & 2: 8.2 x 13 cm. 3: 11.8 x 15 cm. Est. 1,000-1,500 Euros. ©Christie’s Images Ltd. 2012.
Lot 369: Felix Vallotton (1865-1925), “L’Anarchiste” and “La charge” (pictured above). (Vallotton/Goerg 104; 128.) A set of two woodcuts on wove paper, 1892 and 1893, years when anarchism was in vogue in some sectors in France. As with all pieces described in this article/gallery, interested parties should read full lot descriptions and any condition report. Est. 800-1200 Euros. ©Christie’s Images Ltd. 2012.
Lot 371: Henri Riviere (1864-1951), “Le Lavoir au Haut-Trestraou,” 1891. Woodcut in colors with hand-coloring. 24 x 35.6 cm. Like some other Impressionists and post-Impressionists, Riviere was known for emulating the style of Japanese prints of the epoch. Est. 500-700 Euros. ©Christie’s Images Ltd. 2012.
Lot 372 Felix Vallotton (1865-1925), “La Mer,” 1893. (Vallotton Goerg 112.) Woodcut, signed in pencil. Est. 800-1,200. ©Christie’s Images Ltd. 2012.
Left: Lot 315: Valentine Hugo (1890-1968), Tamara Karsavina in “The Fire Bird.” Pastel on blue paper. 24.6 x 13 cm. Est. 1,500-2,000 Euros. Right: Lot 311 Valentine Hugo (1890-1968), Tamara Karsavina in “The Golden Rooster.” Charcoal on tracing paper. 31 x 22 cm. Est. 300 – 500 Euros. Both images ©Christie’s Images Ltd. 2012.
Left: Lot 307: Valentine Hugo (1890-1968), “Nine studies of dancers for Karsavina and Nijinsky.” Pencil on tracing paper. 38 x 27 cm. Est. 600-800 Euros. Right: Lot 306: Valentine Hugo (1890-1968), “Four studies for Nijinsky.” Pencil and colored crayon on paper. Largest piece 27 x 21 cm. Est. 600-800 Euros. Both images ©Christie’s Images Ltd. 2012.
Lot 309: Valentine Hugo (1890-1968). Study for “Les Sylphides.” Pencil on tracing paper. Jean Hugo’s first wife, Valentine was renowned for her sketches of Tamara Karsavina, Vaslav Nijinsky, and the Ballets Russes. Est. 300-500 Euros. ©Christie’s Images Ltd. 2012.
Left: Lot 338: Jean Cocteau (1889-1963), “Portrait of Georges Auric.” Pen, India Ink, and watercolor on paper. 16 x 11 cm. Never mind the impression you might have that one has to be a big spender to collect art by masters; this one is estimated pre-sale at just 100-150 Euros. Imagine! To be able to own for that little a Cocteau, and one depicting Georges Auric, who composed the music for Cocteau’s signature films “The Blood of a Poet,” “Beauty and the Beast,” and “Orpheus,” as well as John Huston’s “Moulin Rouge,” Max Ophuls’s “Lola Montes,” and Jean Delannoy’s “Notre-Dame de Paris.” Right: Lot 334: Jean Cocteau (1889-1963), “Le Centaure et les femmes.” Pencil on paper. 29 x 23 cm. Est. 1,000-1,500 Euros. Both images ©Christie’s Images Ltd. 2012.
Lot 332: Jean Cocteau (1889-1963), “The Chess Match, Jean Hugo and Pierre Colle.” India ink on paper. 32 x 21 cm. Est. 2,000-3,000 Euros. ©Christie’s Images Ltd. 2012.
Left: Lot 357: Jean Hugo (1894-1984), “Study for a tapestry intended for a fire screen for the Vicount de Noailles,” dated and inscribed on the reverse, 1929. Gouache on paper. 20.5 x 18 cm. Right: Lot 388A: Jean Hugo (1894-1984), “Three characters for ‘Les Maries de la Tour Eiffel,’ play by Jean Cocteau.” Three pieces. Above piece titled ‘A Director’ at lower right. Gouache on paper. 29.5 x 22 cm. Est. 5,000-7.000 Euros. ©Christie’s Images Ltd. 2012.
Photo by Julie Lemberger.
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Screen capture (from Liberation article) of Oksana Shachko’s final Instagram post.
PARIS – The body of Oksana Shachko, co-founder of the artistic political action group the Femens — which group has been the bane of everyone from Vladimir Putin to the priests of Notre Dame over the past several years — was found hung in her spartan apartment in the gritty Paris suburb of Montrouge Monday, members of the group confirmed Tuesday after multiple news reports of the artist’s suicide. The Ukranian native was just 31 years old.
“She was not the most mediatized of the Femen,” the art critic Quentin Girard wrote in today’s editions of the Paris daily Liberation. “But she was the most brilliant – artist, atypical, radical, anarchist…. She left a political letter denouncing, simply, the hypocrisy of society and men….” Shachko was ousted from the Femen group — known for its political protests, sometimes topless, outside locations like Notre Dame — in 2014 after disputes with a later arrival, Inna Schevchenko. “For Inna Schevchenko,” wrote Girard, “the media glory and the recompenses. For Oksana Shachko, the instability, the squats, the problems renewing her papers (to stay in France), the constant crises. ‘Her life in Paris was very complicated,’ her friend, the artist Apoonia Breuil, recounted by telephone, in tears. ‘We lived in the same bed from squat to squat for five years,’ said Breuil, who welcomed political refugees in her alternative theater in the 17th arrondissement of Paris, the Lavoir Moderne. ‘She finally found a little place in Montrouge, with nothing, no decoration, apart from the closet in which she hung herself. It’s very hard. Life was hard.’”
“People don’t understand what she went through,” Breuil told Girard. “Being arrested in Ukraine by the police or in Bellarussia by the political police, being betrayed by her friends.” In 2014, Girard reports, while the two were watching a performance at the Lavoir moderne in Paris, a man who looked like a skinhead stabbed two members of the audience, leaving them in critical states. His apparent target was the Femen, who no longer lived there. “This was before the 2015 terrorist attacks,” Breuil added. “The support” after the assault at her theater “was just not there. We returned to the Lavoir and had to mop up the blood on the floor, all alone.” Lavoir is the French word for communal laundering pond. “This affected us a lot. Oksana said that these people were attacked because of her.”
Screen capture (from Liberation article) from Oksana Shachko’s Instagram account. The top line reads: “Masochist, martyr, icon, iconoclast, jesus, art.”
After enrolling in the fabled Paris Beaux Arts School, Shachko, who sometimes riffed on Orthodox iconography, most recently participated in the collective exhibition Talking About a Revolution at the Galerie 22 Visconti, in Saint-Germain-des-Pres.
“Of all of them,” wrote Girard, “it was she who remained the closest to the original purity of the Femen project, which is to say a movement of guerilla communication, anarcho-feminist and atheist, familiar with the idea of activists” formulated by Luther Blissett, “where the militant must remain anonymous, not looking for her own glory. ‘Everybody should declare themselves Femen,’ she explained to me one day. She was a major contributor to the popularity of this activism which, beyond the media madness, had the merit of placing feminist and political combats, forgotten and repressed in Eastern Europe but also here in France, at the heart of the actuality.”