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Home , Andy Warhol, Barbara Rubin, Doug Yule, Gerard Malanga, John Cale, Joy Division

THE VELVET UNDERGROUND EXHIBITION + CONCERT SERIES + EVENTS EXPERIENCE APRIL 1 - JUNE 30, 2018 The first ever global exhibition dedicated to and its influence on modern , & popular culture.

The Velvet Underground and Andy became one Music-related art exhibitions see growing success—the of the most iconic artistic collaborations of all time, exhibit saw 1.1 million visitors to date. merging counter-culture and the mainstream in one Thus, this exhibition is preparing to expand beyond the gigantic creative explosion and bringing the world of 100,000 visitors mark. and communication into the modern era.

The first show to ever receive the official support and exclusive contributions of the ’s three surviving members - , and - as well as the official representatives THE VELVET of Velvet Underground Estate. UNDERGROUND EXPERIENCE It all started in in the early , with an improbable encounter between born singer/songwriter and Welsh avant-garde musician John Cale.

Lou and John soon were joined by —a literature student and rock-and-roll fan—and Moe Tucker—an androgynous- looking drummer from the suburbs driven by tribal rhythms.

In 1965, became the Released in band’s manager, offering them shelter in his famous silver Factory. and recorded 1960s New York City, Music, in 1966 during Warhol brought in , a blonde Andy Warhol’s Andy and Pop Culture fashion model, actress and “Exploding chanteuse, as the fifth member of P l a s t i c . Inevitable” multimedia The Velvet Underground embraced event tour, “The Velvet Underground & Nico” the avant-garde, the arts, music, (aka “ ”, designed and , poetry, literature, fashion, and produced by Andy Warhol) was their debut multimedia early on by attempting album. Though it was a commercial failure the most diverse experimentations. upon release, the record has since become HOW Pop Culture was born. one of the most influential and critically acclaimed in history.

In 1982, famously stated that, while The Velvet Underground & Nico initially only sold 30,000 copies: “everyone A BANANA who bought one of those 30,000 copies started a band”.

The Velvet Underground is a monument; Lou Reed’s archives now belongs to the , sitting near Arturo Toscanini’s papers and a lock of Beethoven’s INVENTED . MODERNITY MUSIC: THE David Bowie, LCD Soundsystem, , Nirvana, , VISUAL ARTS & Strokes, , REM, PHOTOGRAPHY: , Jack White, , Jean- Brian Eno, , Michel Basquiat, Robert , , Mapplethorpe, VELVET (her book “I’ll be your mirror”), Stefan Sagmeister… and power-house contemporary UNDER art collectors CINEMA: , John Waters, Gus Van Sant, Larry FASHION: GROUND Clark, Tim Saint-Laurent, Burton POLITICS: , Agnes , b., Marc Jacobs, The Václav Havel Kooples, Isabel and the “Velvet Marant, Valentino, LEGACY Revolution” Calvin Klein

Starting with David Bowie, many contemporary artists claimed a direct affiliation and legacy to the Velvet Underground.

From only two years after the band’s split in This exhibition offers a platform for the newer 1970 to Andy Warhol and the maelstrom of generation–heirs or rather, orphans, of the Contemporary Art to the edge of today’s band–to celebrate the Velvet Underground as contemporary culture, artists have the ultimate influencers. demonstrated the band’s impact.

With time and the aid of prestigious admirers (David Bowie, , among others), the band’s legacy continued to grow. MUSIC: THE David Bowie, LCD Soundsystem, New York Dolls, Nirvana, Patti Smith, VISUAL ARTS & Strokes, Ramones, REM, PHOTOGRAPHY: Talking Heads, Jack White, Douglas Gordon, Jean- Brian Eno, Joy Division, Michel Basquiat, Robert Nick Cave, Sonic Youth, Mapplethorpe, Nan Goldin VELVET (her book “I’ll be your mirror”), Radiohead Stefan Sagmeister… and power-house contemporary UNDER art collectors CINEMA: Todd Haynes, John Waters, Gus Van Sant, Larry FASHION: GROUND Clark, Tim Saint-Laurent, Burton POLITICS: Hedi Slimane, Agnes Czechoslovakia, b., Marc Jacobs, The Václav Havel Kooples, Isabel and the “Velvet Marant, Valentino, LEGACY Revolution” Calvin Klein

Starting with David Bowie, many contemporary artists claimed a direct affiliation and legacy to the Velvet Underground.

From only two years after the band’s split in This exhibition offers a platform for the newer 1970 to Andy Warhol and the maelstrom of generation–heirs or rather, orphans, of the Contemporary Art to the edge of today’s band–to celebrate the Velvet Underground as contemporary culture, artists have the ultimate influencers. demonstrated the band’s impact.

With time and the aid of prestigious admirers (David Bowie, Robert Mapplethorpe, Kurt Cobain among others), the band’s legacy continued to grow. 2016 FIRST LEG OF

John Cale & Lou Reed’s sister, WORLD Merrill Reed Weiner, at the opening The first leg of the exhibition’s world tour The press coverage was extensive: opened in Paris in April 2016 at la Philharmonie de Paris, the largest Music & Art museum in . It was a public and critical success - over 65,000 visitors attended the exhibition.

WIDE In an exceptional concert (April 2016) with Sponsors & Partners for the exhibition: Velvet Underground founding member John Cale & special guests (, Animal Collective, …), fans enjoyed the famous “Banana album” in an TOUR entirely new way. Opening April 2018 After the success of Paris, the exhibition will take over NYC, opening in March 2018 for a full 3 months of cultural NEW extravaganza (April 1 - June 30, 2018).

The exhibition will take place at the Skylight Modern, located in the heart of Chelsea Gallery District, across the street from the “Sleep No More” blockbuster immersive theatrical experience.

Design and scenography evoke New York city’s verticality and create a dialog between urban architecture and underground atmosphere through iconic imagery. YORK New York City as canvas For 3 months, culture enthusiasts can participate in a series of unique and extraordinary experiences all around the city, from art galleries on the , to key emblematic movie theaters.

Concerts, special events, lectures, pop-up installations, fashion collaborations, art exhibitions, screenings, performances, projections … CITY EXHIBITION UNIQUE & EXCLUSIVE CONTENT

Delivering a unique emotional Six main sections: experience, based on never- 1. America at the dawn before-seen, immersive and of the 60’s: culture and interactive content. counter-cultures

Structured around six main sections, the visitor follows a 2. Lou Reed and John Cale chronological tour, from Lou Reed and John Cale’s before the first spark, two childhoods to the band’s influences on contemporary opposite paths art. 3. The Birth of the Velvets: Six have been produced and directed specifically empirical alchemy for the exhibition. A VR greenhouse with film projections recreates the atmosphere of Andy Warhol’s Factory. 4. The Velvets and Warhol at , exhibition features: banana LP Multi-format portraits of the band members and iconic contributors who made the New York underground: Allen 5. Implosion and reinventions Ginsberg, , Andy Warhol, Thurston Moore, of the Velvets , Robert Frank ... 6. Posterity and influence, A curated and immersive music selection. parodies & hijackings

Special live music spaces energized with exclusive live concerts and performances. The show in Paris scored a large and highly qualified market EXHIBITION segment. Targeted audience for the New York exhibition expected to be similar:

Working professionals AUDIENCE +$100k High net-worth income earners (Household income of +$100k)

55% Male / 45% Female

PROFILE (Baby Boomers) and Emerging (Millennials) mix of age groups; 30-65 year olds Predominantly 18-30 year olds Secondary

National / international appeal in urban markets, and more specifically from Paris, New York,

Well-networked individuals trend setters, music lovers

Strong interest in high-end and immersive cultural experiences

Brand loyal regular travelers (work & leisure)

Fashion conscious high end cosmetic users

Tech & home entertainment consumers MARKETING OVERALL

The marketing plan REACH: will focus around 3 elements: exhibition100,000+ visitors A strong digital component

Exclusive partnership with Bandsintown concert30,000+ series ticket buyers “ marketing” relay within contemporary influences 20MM+ database TicketMaster, Bandsintown

broadcast10MM+ and reach

social1.5MM+ media Owned: website, blog, social media channels, MARKETING: newsletter Extensive social media push across all channels

Website (launch October 17) designed A STRONG to become a unique platform for both content and e-commerce, in connection to the 1.7M Velvet Underground fan base.

Activations and fan engagement DIGITAL opportunities via social media, newsletter, live broadcasts…

E-commerce store for exclusive and rare official Velvet Underground COMPONENT memorabilia, catalogue, publications, signed objects, rare editions…

“Club”: subscription-based fan zone for exclusive content and access to special events, pre-sale, concerts, VIP access, exclusive content.

Commitment from Lou Reed / and all official channels

Earned: Brand content and partnerships

SEO/SEM activation Strategic alliances Online PR Paid:

Campaigns via Facebook, Google AdWords/ display

Retargeting / remarketing initiatives BANDSINTOWN EXCLUSIVE PARTNERSHIP A DEDICATED PARTNERSHIP WITH: ACTIVATIONS: ACCESS TO:

Editorial coverage and article

Pre-Sale Announcement + On-Sale #1 $1MM+ 40MM Announcement + Opening Night Pre- concert marketing plan Access to the largest Sale + Merchandise campaign + Back- discovery app non-streaming music end reminder campaign = 800,000 property in the US impressions + email sent. 20MM Bandsintown Amplified Media = #1 impressions e-mail 17,333,330 impressions + email sent. self-serve email campaign marketing platform 60MM Bandsintown Promoter email campaign = 165,000 all US (core fans) used by 15,000 engaged music fans / up to 4.6M for + Affinity 2 level. event promoters 32MM on social media and registered digital platforms Leveraging existing Bandsintown partnerships with: Ticketmaster, concert-goers TicketFly, StubHub, Spotify, Apple 400K Music / Beats, Amazon, Google Play, Shazam. touring artists Relay within contemporary influences Street/guerilla marketing Social media: SXSW 2018: Jack White in NYC area: windows and “Instagramable” moments Record Booth on site, tbd pop-up locations (Whitney (example: Warhol screen Museum, Union Square), tests, “I’ll be your mirror” Media partnerships: art poster operation, selfie opps), Facebook currently in conversation dedicated OOH campaign, (groups, relay, marketing), with: stencils portraits in strategic Snapchat, forums / fan locations groups / message boards

NYC metro: opportunity to PR: media plan to start at “skin” the 23 St. metro launch of pre-sale in station next to the venue October 2017

Influencers: activation of Charity: events at a Chelsea the “Velvet circle” - art and location museum executives, fashion, music, design, literature, Hand-picked retail locations: universities … collectible / special edition at “boutique” locations

The young Velvet Underground filmed by CBS TV crew APPROPRIATION MARKETING GENERAL TIMELINE

Set up Announcements / production Pre-sales / Campaigns On view Post Exhibition May - Oct 2017 Oct- Nov 2017 Nov 2017 - Feb 2018 Mar- June 2018 July 2018 - onwards

Exhibition preparation Exhibition production Exhibition LIVE

NYC activations preparation (series, events, screenings) NYC activations

Website production Website active, including e-commerce functionalities

Marketing strategy Marketing prep & production Marketing / PR activations Post-campaign

Partnerships strategy Partnerships activations

LA, SF, Chicago, - strategy for 2018/19 Los Angeles - prep 2018/19 Los Angeles - production PARTNERSHIP OPPORTUNITY PACKAGES 6 main categories of rights granted to partners

Brand/image rights Media integration On site activation Events, tickets & hospitality Content Opportunities for brand customization

Cost of each level

Platinium: $150k Gold: $75k Silver: from $10k to $50k PARTNERSHIPS / OVERALL BENEFITS

Benefits PLATINUM GOLD SILVER Benefits PLATINUM GOLD SILVER

Brand/image rights Events, tickets & hospitality

Official partner, logo presence Number of tickets for staff or clients 200 100 50

Use of marks pre, during & post Right to host # private events and/or Category exclusivity private visits over the 3 months period

Media integration Access to the Exhibition’s private events (lectures, screening, masterclass series) Brand integration in media campaigns/partnerships Access to events linked to the Exhibition (concerts series or screenings in other Digital & social presence on the venues, etc) Exhibition’s platforms (website, social media, emails, newsletters) Access to the Exhibition’s curators Presence at press conference & creative team

Bandsintown Exclusive meet & greet/Q&A with On site activation artists, VU

Brand presence on site : logo, product Content display, giveaways / gift bag product inclusion, sweepstake Access to content from the Exhibition

Brand presence during official events: Content creation or curation inauguration, closing ceremony, special events Customization

Opportunity to customize/create a dedicated space/event/content

Content creation or curation PARTNERSHIPS CUSTOMIZATION IDEAS Opportunity to create and/or simply brand the following customizable items

Video booth similar to Andy Warhol’s ‘’, visitors can create their own silent film with Velvet .

Photo booth visitors get their own back & white picture with Velvet Underground background (and branded item from partner if relevant)

Lounge section key section of the exhibition towards the end where visitors relax and enjoy music

Juke box mix music and videos of the best Velvet Underground cover songs by major artists from the 70’s, 80’s and 90’s PARTNERSHIPS CUSTOMIZATION IDEAS Opportunity to create and/or simply brand the following customizable items

Recording booth visitors record their own version of a Velvet Underground song and get the recording on vinyl and digital formats.

Create your own version and record your voice over the original instrumental tracks. Bring the vinyl home with you. Five more cities are currently being discussed:

Los Angeles Fall 2018 Chicago Spring 2019 Fall 2019 Seattle Seattle Spring 2020 Spring 2020 Toronto Fall 2020

Toronto Fall 2020

New York Spring 2018 Chicago Spring 2019 San Francisco Fall 2019

Los Angeles Fall 2018 NORTH AMERICAN TOUR 2018-2020 THANK YOU APPENDIX EXHIBITION VENUE: THE SKYLIGHT

MODERN 537 W 27th St, New York, NY 10001 The exhibition takes place at the Skylight Modern. Located in the heart of Chelsea Gallery District, across the street from the “Sleep No More” blockbuster immersive theatrical experience. A virtually column-free space, the venue serves as the perfect blank canvas for activations:

15,000 square feet of high-ceilinged space No restriction to third-party branding and activations

Virtually column-free venue Rigging points throughout offering maximum flexibility and creative options Moments of exposed concrete lend it an edge Reception is flooded with natural light and can be used Windowed reception area for high-visibility branding, as standalone cocktail area - seats 500 for dinner, 800 street presence, or pop-ups for cocktails

Its storefront presence in the Chelsea Gallery district First Floor will become a “community area”, offering provides a unique experience to the exhibition visitors visitors a high-end coffee shop, open space store, audio/ video entertainment and special events Private and exclusive to the exhibition LAYOUT & SCENOGRAPHY

MATALI CRASSET, designer and set designer, collaborator of Denis Santachiara, Philippe Starck. Her works are now part of museum collections such as the , MoMA, Art Institute Chicago. For the exhibition, Matali uses iconic symbols and visual cues, from urban architecture to Andy Warhol’s Factory. Crasset successfully draws visitors into a vital, living space and invites us all to reflect upon the contemporary spirit of the Velvet Underground. CURATORIAL & PRODUCTION TEAM

A unique creative team has worked for many years to offer an in-depth exploration of the Velvet Underground work and enduring influence.

CHRISTIAN FEVRET founder and Chief Editor CAROLE MIRABELLO, art director, hard- of the magazine “Les Inrockuptibles”. This is hitting documentary and film producer. Carole the first time a world-class expert and curator shares a passion for arts, music and pop has offered intimate knowledge from his 25- culture, and successfully lead the production year relationship with the band. of the 6 films, the main pillars of the exhibition. Date : 29 MAR 16 Page de l'article : p.29-30 Pays : Journaliste : Olivier Nuc Périodicité : Quotidien Paris PRESS COVERAGEOJD : 314312

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DOMINGO, 3A BRIL 2016

de los hoteles en que CULTURA cuchitril de dormían sea la Edith Grove yel dondevivían de Chel­ plo,sino ycomenzó queademás superi­ DISEÑO ellos, se“ ATRACTIVO tengan sientan” La escenografía LA sus la impresión en de VANGUARDIA ídolos han de que la exposición 61 momento estado allí responsabilidades Pays : France yacaban hace un Que huelan de apagar diseñadora de Périodicité : Quotidien pollo acurry, la luz. 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B. número su vídeos, En cualquier el Tea Party. grande Además contemporáneo. estime pendant ses quèlques sai- Seul u Pagea parutiou group 1/2e n d é par 21 août, auront droit à plus d uno carátulas, caso, con de los OJD : 56950 n costumEe e este país en camisas, incluye la velada os le, Sterling Velvet pas une epoque, de Morrison satisfert parviena les amateurs dte reliquesà montre. r beaucoup partir d'un sujet finalemente Paris jusqu'a, préu- (Honky listas aEtienne que in Warhol Morrison, (Reed, Ca­ l'accrochage David Bowie Is circonscrit a insiste- n velvet («velours»n instrument) vert. e son premier album. laire. D Women), Tonk canciones de del rock Daho, yD Moe sons d'activité a la fin des annees rabilia e e 1965 à 1970, l e subtilité - à que ovídeos francés, referencia oug Yule), Tucker Tous droits réservés à l'éditeur t les clientà partis de Reed (chant, guitare), John Cale (alto, basse, Date : JUIN 16 nada se remonta Doherty , bros padrinos Consacrer une exposition de la t-il Cet esprit, des personnes comme e groupe fondpeu éspectacu par Lo - más ynada &C Pete del primer ymiem­ 1960, le Velvet Underground est s Hardr Roc d'unk Cafee memo-e. trajectoir piano), Sterling Morrison (guitare, basse 1969, menos agua arl Barat, círculo, Maureen Tucker (batterie los elepés, que a bautismal sirve u Page de l'article : p.110-111 las al de como même ampleur a ces pionniers Bowie ou Etienne Doha s'en sont tou- Quatr BiggerBang,e giras (como segúnChristian amuestra considère, depuis le début de la e météoriqu e album en ntreel A rio, Fevret, que, ments filmés d s enregistrés) a, étpeé confidentielu d ) e. la que 2005ye quiere sucomisa­ le t Journaliste : Thierry Taittinger Page 1/1 más de cuatro l2007, demostrar qu'a leur plus fameux disciple jours réclamées Et les générations s ignore - o e leur medio de millones existía antes que el décennie 1980, comme une des e d'une apparition npeu dant voiss uconcertsr quèlques. L secondee docu- personas y de Warhol Velvet a télévision da, ylos ingresos pagaron su existencia ycontinuó constitue un pari En terme de no- successives sont toutes vernies au1 AOÛT nutes su ascendieronentra­ más formations les plus influentes du 3 r le cinéma expérimentaln sujet d, diffusé l millones Warhol? tarde”. 1 décembre 1965 s de dólares). a600 Porque ¿Por qué L e deux mi- La tano esun toriété, le Velvet Underground est VelvetE PARIUndergroundS / JUSQU'A » U 2 MUSIQUE3 1928547400505 a majorité des suphotographier s connues voz de Richards con el que iconoelplá­ rock anglo-saxon « Peu de gens vient d CBS. tantes guía disco ilustró e la période durant laquelle l e por las alos visi­ de Velvet ese primer est proch chi, nueve salas nómeno Underground, loin de rivaliser avec la rock star Fondateur et ancien directeur men e de l contando de la Saat­ cultural ont acheté leur premier album maîs EXPOSITION / PHILHARMONIE D t pour les spectaclea Factorsy multimédia d l AIN E viaje anécdotas música: que trasciendefe­ ding Plastic Inévitable, e e Warhol,e notam group-e para grabar del primer necesitó anglaise, qui n'a jamais manque de de la redaction des Inrockuptibles, musiciens n E V de la en Los vender cinco la chacun d'entre eux a forme un Pays : France S DIRECT MATIN vez que Ángeles, escasas años para Page 5/7 fantaisistes d'ue portenn Flower Powen 196r 6qu'il e s abhors Explo-- sión casi queman o embargo 30.000 t pas le t 1967. Les UNE de la man­ fijó copias ys citer le tournant qu'avait constitue Fevret a largement contribue a la Périodicité : Mensuel rent. S s tenues d das las en Chicago 30.000 el canon. in groupe », dit la fameuse citation, culte, i i le Velvet est l'archétype d e scène E CINEMA Pays : France chicas dentro con to­ compradores “Sólo l ne prête pas à l'exhibition d EXPRESS STYLES D pio narrador (1972). frase – pour lui l'écoute de l'album dit « a reconnaissance post-mortem du Peu d'objets personnels, aucu Page 1/2 El pro­ atribuida una vraisemblablement due au musi- OJD : 56950 Seul u u groupe americano yelsaxofonista Eno– aB n costume e SAATCHI ,pero rian de Morrison satisfera les amateurs de reliques. DE MUSIQLFS, Périodicité : Quotidien Booby norte­ GALLERY cada M la banane », produit par Warhol et groupe En 1990, sa revue est n velvet («velours»n instrument) vert. Pays : France gira con Keys, que prador fundó com­ ÁSQUE MÚSICOS cien britannique Brian Eno N'est- rabilia e ellos, se iba de un La Tous droits réservés à l'éditeur t les clients de OJD : 528018 cuarto de encerraron de rock”. grupo muestra subraya choisie pour rédiger le catalogue Périodicité : Hebdomadaire Paris D'EXPOSITIONS, baño para en el el carácter finalement paru en 1967 s Hard Rock Cafee memo-. dón con las buscar un El disco totémi- ce pas la definition parfaite du del medicinas subi­ como del plátano, co de los actores 9 DE SCENES médico del botiquín le llamaban del de l'exposition Andy Warhol de la OJD : 451713 proceso que tenían, fruto, fenómeno groupe culte L'influence de cette de yenp salió por el Velvet ron experimentación leno nanciadoDateen 1966. : 29 MARS 16 de un contable Fondation Cartier, qui verra la las Fue fi­ IAN LANGSDON alarmas oye­ por se de cla­ / aventure musicale sur la culture de que ysedieron no sólo Warhol, media de Allen EFE había un cuenta pagó quien producía Brooklyn, Ginsberg, premiere reformation du groupe 1 AOÛT “Parece incendio. ademásLESPagela grabación de ECHOS l'article : p.22 músicaWEEKJonas LaENDMonte W Nous avons voulu increíble impuso sino compilaciones Mekas, Young, contemporaine est aussi inestima- sado que musa aNico, que ro, para luetas. aparecen cincuenta hayan pop. Velvet cantante fascinado baratas. Fevret como Philippe Azoury et Joseph Ghosn E PARIMUSIQUE3S / JUSQU'A 1928547400505 U 2 pezamos, años desde pa­ Nueva será y con por Pe­ papel insiste si­ ble que les chiffres de vente de montrer que le Velvet yl que York el sonido un rock Dylan, soñaba de Warhol, en limitar exposición omaravilloso em­ solutamente ydelaC de de adulto. Cale, dido mecenas el (auteurs de The Velvet Under- Date : 01/02 AVRIL 16 de osta Este, discípulo por el disua­ EXPOSITION / PHILHARMONIE D atrás, es poder esta surgía diferenciado ab­ ung, ydeL por escaso éxito leurs disques ont ete faibles a leur alprincipio echar la vista Paysen San : delFranceintroduce aMonte el carácter del disco avait existé avant E VELVET de Francisco, que en Yo­ de y ground,L chez Actes Sud), qui pas- ras, nuestras una sación el dos Lou yvivir de carre­ estética gracias ydisonancia. rock improvi­ modos, Reed. De sortie, entre 1966 et 1970 Apres pos nuevo aquellos rante que posibilitó a deos la sala que to­ mágicos tiem­ medio que Fevret tiene ysus famosos proyecta Andy Warhol et qu'il a sent alors leur bac, ne s'en sont ja- Page de l'article : p.40-41 pezó ylamanera siglo du­ tablas: vi­ todo”, en que gía un grupo “en cuanto exdirector fundador dos, en pantalla screen test avoir ete un sérieux handicap, la dice Ronnie em­ Périodicitéespecial, sur­ : deHebdomadairelarevista y grande, mu­ bres Giorgione Wood. Nueva York, sexy, bles,desde Inrockupti­ juvenil belleza aporta mais remis, comme tant d'autres tienen yB Po­ heredero se lo consideraba en mantener la que co, de Reed, la singularité même du groupe a continue après 99 nada otticelli. yu contribuyó junto ao Cale s que hacer. No ncontinuador”. un suelto, la llama a dos tros rostros oNi­ Avant d'être accroche dans le Journaliste : C. E. c LadeVelvet en 1990 del grupo por Stephen fotografia­ CHRISTIAN FEVRET u repa Scenes teórica fueuna de redacta di­ 1966– Shore constitue un impressionnant pas- CYCLE MANGEe d R from the Ve –cuatro carrera la exposición el catálogo yG –17 años lvet Underground discos me­ Andy erard Malanga, en COMMISSAIRE DF I EXPOSITION beTOUJOURl espace de la Philharmonie, le S ye la de media exhibition multi- scasamente hasta 1970– fundación Warhol la Factory. un seport pour la postérité Le thèm at the Philharmonie eso, documentada. cia Cartier. de pilar CLOCKWISE is focusing de Par- el recorrido la primera Y, allí, El final FROM ABOVE, on the band Por auspi­ del destin du Velvet se confond avec e doc ERIC FEFERBERG/AGENCE and the 1960 de la vet. refundación impregnaciónrecorrido dans les filmts lavec FRANCE-PRESSE; York art, music s New exposición Según de sufre a Culture IAN LANGSDON/EUROPEAN and film wo como los expertos, Vel­ éxito de la de la PRESSPHO rlds. John tozuda TO AGENCY; FRANCOIS above, a Cale, la primera fundida, deVelvet, falta GUILLOT co-founder Page 1/1 el de notammen /AGENCE FRANCE-PRESSE; of the band with vez, por aCale, sabotaje IAN LANGSDON/EUROPEAN Reed, performing Lou la vani­ las sucesivas deReed L PRESSPHO at a sus e TO AGENCY concert to mark miembros. renuncias LAmourfoode Moretti 50th annivers the Culture c de ary of the band’s Tous droits réservés à l'éditeur MUSIQUE3 6484347400503 Bianca d a first album. UNDERGROUND The u cinem rootune conference sur l T tions E VELVET with, once L s again, EXPOSITIO végétarisme a Mr. E LOU REED E others dancing Malangaand before them. E LA BANDE D Styles Forum des images Paris ThePhilharmonie N ftVELVET UNDERGROUND» CINQ ANS D'EXISTENCE POUR UNAE CARRIÈR POIGNÉE D'ALBUMD S VOUÉS À MARQUER re exhibition seek , FUT AUSSI FOU- create at least part sto Jusquau 14 avnl Document of that experience. U ROCK À JAMAIS: L E WARHOL ary footage of LHISTOIRE D A FACTORY D of and Ne the Factory E L the wYork City is pr Ve canvas ojected on the lv walls of a tentlik JOHN CALE, PUR PRODUIT D e TOUJOURS et structur is lined e that with mattresses N PLEINE LUMIÈRE. can lie so that visitors down and wa above tch the display DROYANTE QUE SON INFLUENCE, EXTRAORDINAIRE. RADICAL, EXTRAVAGANT them, set to as E VELVET S'AFFICHE AUJOURD'HUI E vet oundtrack of Ve Underground songs. l- Page 1/1 Th L ET TOUJOURS ACTUEL, L Underground e band ’s care E MYTHE ES er after ‘‘ Underground The Velvet & Nico’’ is lar PAR over. Rather gely glossed PAR THIERRY TAITTINGER IS ,the focus of UNDERGROUND Au is a the exhibition g. 21, kicked off specific context, SEQUENCwithE aDANSconcertE on atime and ap daynight at the e festival Sun- in which art, music lace, T VIVACE T Phil and Paris exhibition Cale harmonie by Mr gether. film came to- E LOU REED E traces and Danguests musiciansc e corp. s ‘‘banana’’ playing the The band E LA BANDE D history of rock aldebum chorégraphiand other e ’s synergy was CINQ ANS D'EXISTENCE POUR UNE POIGNÉE D'ALBUMS VOUÉS À MARQUER band and derground Velvet Un- Nico wa a fragile one: A CARRIÈRE D songs. Associated snot asked to sing its 1960s New clude a concertcontemporainu evfatigueents l ein- vets’second on the Vel- U ROCK À JAMAIS: L E WARHOL, FUT AUSSI FOU- Yo rk scene series, symposiums,e album. Mr.Cale, sical workshops, mu- and his signatur his LHISTOIRE D E LA FACTORY D magnifiand filmse noand mondvideos. e droning rhythms BY YANNICK Rather than e pas before the third, left SLADE CAFF trying to present and Mr. Reed AREL haustive chr reflète u e A nan ex- before production departed JOHN CALE, PUR PRODUIT D Th onology of the band, finished N PLEINE LUMIÈRE. e Velvet Under hibition focuses the ex- r fourth. on the ground perhaps ona lademthe context have come together could lowed that al- ‘‘Ther only in 1960 the Velvet Under ewas aspirit DROYANTE QUE SON INFLUENCE, EXTRAORDINAIRE. RADICAL, EXTRAVAGANT York, wher sNew Ne manquegroundi Milleto exist: Batailles Malang in the air,’’ M E VELVET S'AFFICHE AUJOURD'HUI E e artists, musicians w York City and a said of the r. makers and film- its artists, freewheeling scene mingled in a freewheeling makers and musiciansde Louise Lecavahefilm- around the Velv T TOUJOURS ACTUEL, L that scene in the mid- et Underground E went largely unnoticed ‘‘Without ’60s. Factory. And and the str by main- NewYJusquauork, the 13 avril ‘‘my gut feeling eam pop culture. would not Velvets saw the sho when I have existed,’’ said w was, ‘This is PAR THIERRY TAITTINGER Now, 50 years after Fevret, the Le Centquatre,Christian Paris (XK) was.’ ’’ the way it recording its exhibition’s main album, the Ve first ‘‘It wast curator. The concert lvet Underground he only place on Sundayi whose original — differ wherepeople as the Ve magined how CULTURE member ent as lvet Sterling s were Lou Reed, Lou Reed and Underground might Morrison, would have John Cale sounded had have Maureen Tucker been able to meet. Mr.Cale been John Cale —ist and ‘‘New ’’ leader. Th the sole he subject of York was an Malanga, an Americ eshow opened dia exhibition, ultime- said, El Dorado,’’ he an poet and ing dr with abow be- not in New York ‘‘and in the exhibition grapher who photo- Th awn overthe strings Philharmonie but at the do Iwanted wasWarhol’s ey went to the Café tar, of a bassgui- de Paris concert morethan just to and screen-printer assistant Th Bizarre on We and the resulting That hall. mention the . In addition ird Street in st he underw back drone formed firstalbum, ‘‘Th artists that surr other viding to pro- Greenwich Vil ent as ateenager drop for the a ground e Velvet Under- ounded the Ve his own archi wherethe Ve lage, against areset next two hour & Nico,’’ is people like lvets — Ma valmaterial, Mr lvet Undergr Mr. Cale’s Mr.Cale stood s. still arguably Barbara Rubin, langa put Mr. Fe . playing to ound was nings successful begin- behind a ke known for its co best kas, Pier Jonas Me- vret in contact an emptydance in classical a laptop, yboardand ver, a banana signed oHeliczer —Iw others from the with Malang floor.Mr. music, first in accompanied the band’s patr by to disco anted visitor time. a, encouraged and then his and as by a fullband on, Andy Wa ver their wo s Mr. Malang up by Ms.Rubin, got involvement with tring quartet. one simple rhol, with context rk to understand a, in Paris for and gyrated with ant-garde the av- guests Neither songs instruction: Pe out of which the opening the show’s a whip. Ther scene in NewY —including nor see. el slowly and the Velvets ,described how the room quickly est of met Mr ork, wherehe Pete Doherty, ‘‘The Velv grew.’’ Reed, the band —Mr. joined in. . Reed. Lanegan and Mark et Underground Sterling Morrison, ‘‘Lou and Photogr Lou Doillon —w As it turns out, ‘‘s passion of has been a Ma Mr.Cale John were really aphs of duced. Th ere intro- lowly’’ was the mine for av ureen Tucker and said come excited and prominent figur eguitars of Mr. word to describe right over 30 ery long time,ELEPHANT —connected and dance the band’s history es in Morrison Reed and Mr. the Velvet years,’’ added Warhol in late with Malang again,’’ Mr. , including Nico, were replaced ground’s impact. Under- co-founded Mr. Fevret, whoTouche coule, deuxiem1965. e a said. ‘‘A couple German model the soundsc by adissonant In the early the French ‘‘Itu almostduo français, we of days later we whom Warhol ape. Images champions , magazine Les never happened, re at the Factory with the band; had sing Wa of the Velvets LA REDECOUVERTE ro and of the band lik ckuptibles in 1986. In- Malangas ’’ Mr. Andy and we coer La Monte rhol, warping set it on e David Bowie ‘‘I wanted to album d s paroleaid lasts week to come do ced Sedgwick; Young; Edie and wobbling a path to be that with as man share Flore at the Café de wn and meet the Allen Ginsber masses of shapes into cove continually redis- y people as pos in Paris. The story The Philharmonie band.’’ Darling g; and Candy and colors, we redbynew gener Over sev sible.’’ posbare de goes that Bar- exhibition gaze down ected onto a re proj- ations of eral years, Mr. a Rubin, a filmmak by explaining begins the overthe rooms large screen. cians and fans. musi- out people Fevret sought er,came to the fortuitous exhibition. of The concert who had known minimalehol’s creatis vesuhub,r une pop War- stances circum- concluded The exhibition of the the members the Factory under which These divers Ray,’’ with ‘‘Sister here, ‘‘The Velvet Under York one afternoon ,in New Americ Mr.Reed, an e artistic elements a song of which derground: Velvet Un- could ground and who legere Parfois naïfbut nobody an, and Mr.C among those were died Mr. Reed, who New York Extr accurately there except was born ale, who is We that coalesced in 2013, once which avaganza,’’ recount the er for Mr. Ma aweek apart lsh, ously in most fam- said, ‘‘When it opened March New York Cit aand knewet souvent inégal langa. ‘‘She on either side Warhol’s multimedia that’s when it ends. ends, 30 and runs until y as it was then. I liked to dance Atlantic, came of the ‘‘Exploding show, the ’’ Among this and said, ‘Ther to meet. Afilm Plastic On Sunda his sources band I want e is the exhibition made for Inevitable.’’ Origi- y, after ‘‘Sister was Gerard (Columbia) youto hear,’ ’’ presents, nally planned as fact, end, Ray’’ did, in L'EXTRAVAGANT VELVET À LA PHILHARMONIE called. he re- biogr in parallel, their aretrospecti Mr. Cale said aphies: Mr.R starring Ms ve of films the his only words is eed’s mental health . Sedgwick, it ev crowd: ‘‘Paris, to sues and the electr performance olved into a don’t forget oshock treatment with the youtaught the what ground Velvet Under- rest of us: If youk I playing in fr open heart eep an A CULTURE STYLES ont of film projec- it will beat for Holocaust L E RE \LISEE night.’’ ever. Good- sur A ET vivor R GILLES MhDION MADRID recalls ‘BPA r AVLC uCHRISTOPHndiEbar,’achildren La Philharmonie d BARBIER JULIEN BORDIER Tous droits réservés à l'éditeur EXPOSITION Replongeons-nous il y a Teatro Real revives u a H AHINE ’s opera e Paris retrace l'histoire d UN GROUP work Th CHRIST OFHE CARRIERE e fact that the br performed wo oader program Mary WoronovE ,SAN Lou SReed PAREIL. D in a Nazi e vendu q NATHALIE C rks created during has u groupe produi e pense que tous pertinent, the Holocaust is The Maureen uTuckenr demi-siècle e . Le Velvet Underground concentration Mr. Mata of ‘‘ Th t par Andy Warhol (e.), avec Nic THIERRY CHEZE ca bosch added, Brundibar’’ eTeatro Real Considéré comme l'un e g à d Sterling Mornson, John Cale use ‘‘you can almost be- also died presents Brundibar d , Andy Warhol, Nico, Gerard Malanga e EXPOSITION FRANC OIS REGIS GAUDRY say that Schoen- at Auschwitz. as a ‘‘TV showman u premier album, l a phrase est signée berg’s operais ’’ who deceive o (g. n 1956, à Los Angeles 2 BY RAPHAEL n grande pompe ashocked response dren, said Jord s chil- ) et Lou Reed. Warhol réalisant les sérigraphies d MINDER FRIC LIB1OT BAPTISTtheE spiral of anti-Semitism. to greedy iFrancés, the cles fondateurs, aujourd'hui, vient de sortir des chansons qui u Velvet Underground n a et ’’ organ grinder musical director opera’s The Velvet Underground & Nico - a peau d m Dagmard LICER MAR! \NNEPAiOAnotherT tual ,Brundibar. Even- . Mr.Francés e VelvetLieblo UNDERGROUNva n groupe ' L D work in the series ly, with the help wanted ‘‘to said he 4. Le groupe, e e banane cache une pulpe ros , was 14 in is of thr turn the . Su sang in 1943 whenè Parishe s célèbre e r le rock t ET DELPHINE FERASEmperor of Atlantis’’ ‘‘The the siblings ee animals, page’’ and separ du rock moderne, d r la pochette originale Th the children’s oper t John Cale qui depuis 1965 by Viktor and the town ‘‘Brundibar’’ fr ate ou «l'album à l t om n 1968, avec Deug Yule qui a remplacé John Cale at the a ‘‘Brundibar’’ mann, with a Ull- dren defeat ’s other chil- the tragic cir rock, l contrastent résolument avec l'époque. e premier albu nTh oneresienstt fonde u new orchestr Brundibar stances in which cum- u mouvement a banane». S a scénographie d e l « L ca adt concentration Pedro Half ation by . it wasfirst a banane à l mp. Theperformance u Reed e fter. Ullman wr Ms. Lieblova said Madrid, the staged. In punk e waspart Theresienst ote it while in in an interview character Brundibar t du , The Velvet l'origine d i à e la desi- e 3. Andy Nazi effortato Philharmonipr e d of a s Philippe Azoury e adt, but the singing ‘‘Brundibar that an Elvis sports u Velvet, i gner Matali Grasset, résolument a Factory, fin 1966 30 DOO exemplairen ont achets dané us ses esentcinqthe premierecamp , ns anneea cesses dJ influence its performance Nazis banned ’’ in the camp Presley-style el ghetto ra eas »a mod- and being exempted —and we haircut and l y a la rencon- ther than a tr MUSIQUE3 6199447400505tual Ullmann was ev by the arsaglittery blue Underground n'a pas toujours All Tomorrow's Parties, III Be Your Auschwitz ansit pointsto journaliste ly killed in Au en- wearing Nazis from suit with matching tre entre Lou Reed e ceux qui e and its gaas bananchamber schwitz. the star of Da boots. tournée vers l On s. The composer forming vid while per- Sunday, Ms. of ‘‘Brundibar, it —amounted After the re possédé cett t l'homme a a ville d du gourou Brianwa Eno L Lieblova,now Krasa, also ’’ Hans ment to a ‘‘special mo- hearsal, Ms. Lieblo violon, John Cale, une fine équipe e New York, MUSIQUE3 3102147400501 MUSIQUE3 2079108400508 tched as anothere penchent le86, died at Auschwitz, in which we that it had va said e aura u saura intéresser les férus d'archi- group of most of alongside didn’t have to been ‘‘very special . Preuve e Mirror, Sunday Morning ou Femme a formation eiconoclast sosingern vinyls weent fondé« a l e par Lo young A scene those who performed about allour pr think such to see it in l through a rehear from ‘‘Brundibar, esienst it in Ther- oblems but could a huge opera house, leur carrière discographiqun eset ‘‘Brundibar, sal for ’’ with Jo JAVIER DEL adt. Ms instead think ’’ compare d rge Ma REAL/TEA . Lieblo that with e fans d a sortie d ’’ which rín Rodrí TRO REAL vá lost one dayw the smal d t l n ouvragopense erudion Saturt (The Velvet Underground, Actes Sud J Bguez playing the ents and her par- home, ewould return ler theaters and e rock e tecture tout comme les amateur e at the Teatro Real day title character. sister at the to our school, ues in which other ven- t d opera house her camp, extermination and nothing ‘‘Brundibar e nouveaux told them about e. She progr but wasspared bad could ever else been ’’ has normally éclair, e rythme Fatale ne s'intègrent pas dans Un phénomène sur lequelher s own performances, am of music, mostly sent when she wa happen to us.’’ staged. t les quèlque s les entoure, d d s noting that Je composed to Hamburg as s Ms. Lieblo As s milliers d'al- e contre-culture. Films d'art un- h Ghosn dans u ‘‘our chorus ws in the 1930 by late May, of part of a contingent va said she could to what it could newed had to be re- s and 1940s, that ‘‘needs the proper workers assigned stand wh under- mean for Spanish bums vendus entre 1967 e e Sterling Tous droits réservés à l'éditeur Josep allthe time as childr Teatro Real has the be under context to to help clear y Brundibar children not acquainted Morrison à Mc take en would be organized ar stood, also so ins of the bombed the ru- sometimes wasnowadays with the derground, archives télévisuelles, n away.’’ Madrid premier ound the can that the audience city. portrayed caust, she said: Holo- e Tucker e l'hédonisme . Pas plus que * The Vchet Underground Neu York Extravaganza Philharmoniee of Arnold deSchoenber Pans Jusquau 21lose aoutits fear bec ‘‘Brundibar the as Hitler but ‘‘at ‘‘At the time we t 1970, ‘‘Brundibar’’ is landmark g’s seen ause it is normal ’’ tells the story time we didn’t we didn’t sang it, constitués d n pas- part of athree-month opera ‘‘Moses und as a complic ly siblings of young feel this.’’ She added: see it as a project sant par Nico, qui deviendra l ‘‘Moses Aron.’’ ated opera,’’ said looking for mil ‘‘We just saw that ture, but for the fu- e pépites comm œuvres d'artistes contemporain und Aron,’’ Matabosch, the Joan mother kfor their sick Brundibar wa ‘Brundibar’can which will open artistic director .They hit body very bad, s some- remember now be used to in Teatro Real. of the singing upon the idea not nice to childr the past Sunday Morning o e dans la quête d'un ailleurs, forcément to raise of the boyw en, but in away that chanteuse d a cash to buy mil ho sang Brundibar dren can under chil- et espaces d s that spark k, but case wasinany stand. It cana u Who Loves u groupe sous l'im- sthe wrath of such a nice per warning for lso be a e musique live ren- the town’s nev son that we could the future.’’ the Sun. L er see Hitler in ‘‘But firs a Philharmonie d pulsion d'Andy Warhol. dent hommage a him.’’ t of all, the music meilleur, à la manière d'un Jack and let is good — us not forget that, les remet à leur juste place Paris u groupe culte. ’’ she said. Des concerts e MUSIQUE3 2079108400508 leu e en t rencontres Tous droits réservés à l'éditeur r consacrant une superbe Le culte de tamment avec John Cale, jalon, no-- Kerouac, même si les membres du exposition, revenant su Le Velvet Underground représente r l'histoire neront les prochains mois. • groupe new-yorkais partagent avec du groupe new-yorkais emmené aussi le New York interlope d The Velvet Underground - Tous droits réservés à l'éditeur un temps par Andy Warhol, qui début des sixties o u ce dernier la recherche de quèlques ù tout est per- New York Extravaganza, produisit leur premier disque, mis. Si l'exposition n jusqu'au 2 Tous droits réservés à l'éditeur e manquera 1 août, plaisirs artificiels. Le Velvet puise pas de passionne Philharmonie d r les fans d e e Paris, Paris e 19 , philarmoniedeparis.fr dans la marginalité citadine et Le Veluet Underground (ici Lou Reed et John Cale), en 1966. l'avant-garde artistique une force MUSIQUE3 0544347400524 exceptionnelle. Une radicalité stylistique même rares voire inédits, archives audiovisuelles que soulignent des photos, montrant une bande invisible depuis longtemps et œuvres d'artistes déjeunes gens rebelles portant toujours des contemporains spécialement réalisées pour ce lunettes noires. D'emblée, c'est plus qu'un simple rendez-vous. L'histoire du Velvet Underground groupe de rock, c'est un choix de vie, que est intimement liée à celle de New York, c'est décrypte l'exposition «The Velvet Underground pour cette raison que l'on croisera dans cette - New York Extravaganza », à la Philharmonie exposition le pionnier du cinéma expérimental de Paris. Emmené par Lou Reed et John Cale , l'un de ses héritiers, Jonathan (qui donnera un concert exceptionnel en marge Caouette, des figures incontournables de de l'exposition le 3 avril), le groupe est Greenwich Village tels ou Parti immédiatement considéré comme le chantre Smith. La promenade passe forcément par d'une poésie urbaine et décadente. Son premier la mythique Factory, le loft-atelier imaginé album, auquel participent la diaphane Nico par Andy Warhol, qui fut le théâtre de très (dont une bio détaillée est publiée en parallèle) nombreuses expérimentations et accessoirement et le fulgurant artiste pop Andy Warhol, sort la salle de répétition du groupe. Un héritage est en 1967. Il se vend très peu, mais devient vite toujours difficile à saisir, mais celui du Velvet une légende... On accordera au Velvet la Underground sautera aux yeux des visiteurs. paternité du punk-rock. Joy Division, R.E.M., Il ne s'agit pas d'une énième rétrospective Sonic Youth ou encore Etienne Daho y puiseront qui verse dans la nostalgie, mais d'une mise leur inspiration. Il n'y a guère de formation aussi en relief éclatante d'un phénomène musical culte dans toute l'histoire du rock. La banane et existentiel qui défie le temps. C. E. qui ornait la pochette de ce premier disque s'est «The Veluet Underground - New York depuis déclinée en badges, boîtes à bonbons, Eitrauaganza», Philharmonie de Paris, coussins, chaussettes et bien sûr tee-shirts. jusqu'au 21 août, philharmoniedeparis.fr L'exposition présentée à la Philarmonie de A lire: «The Veluet Underground», Paris revient sur cet incroyable parcours. Grâce par Philippe Azoury et Joseph Ghosn, à des centaines de documents, clichés d'époque Actes Sud, 175 pages, 15 euros.

Tous droits réservés à l'éditeur MUSIQUE3 5914747400502 .... 12 | THURSDAY,APRIL 7, 2016 INTERNATIONAL NEW YORK TIMES Culture music

Scenes from the Velvet Underground multi- media exhibition at the Philharmonie de Par- is focusing on the band and the 1960s New York art, music and film worlds. John Cale, above, a co-founder of the band with Lou Reed, performing at a concert to mark the CLOCKWISE FROM ABOVE, ERIC FEFERBERG/AGENCE FRANCE-PRESSE; IAN LANGSDON/EUROPEAN PRESSPHOTO AGENCY; FRANCOIS GUILLOT/AGENCE FRANCE-PRESSE; IAN LANGSDON/EUROPEAN PRESSPHOTO AGENCY 50th anniversary of the band’s first album.

tions with, once again, Mr. Malangaand others dancing before them. ThePhilharmonie exhibition seeksto recreate at least part of that experience. Documentary footage of the Factory The roots and NewYork City is projected on the canvas walls of a tentlike structure that is lined with mattresses so that visitors can lie down and watch the display above them, set to asoundtrack of Vel- vet Underground songs. of the Velvet The band’s career after ‘‘The Velvet Underground & Nico’’ is largely glossed over. Rather,the focus of the exhibition is a specific context, atime and aplace, in which art, music and film came to- gether. Underground The band’s synergy was a fragile one: Nico wasnot asked to sing on the Vel- PARIS Aug. 21, kicked off with a concert on Sun- vets’second album. Mr.Cale, his viola daynight at the Philharmonie by Mr. and his signature droning rhythms left Cale and guest musicians playing the before the third, and Mr. Reed departed Paris exhibition traces ‘‘banana’’ album and other Velvet Un- before production finished on the history of rock band and derground songs. Associated events in- fourth. clude a concert series, symposiums, mu- ‘‘Therewas aspirit in the air,’’ Mr. its 1960s New Yo rk scene sical workshops, and films and videos. Malanga said of the freewheeling scene Rather than trying to present an ex- around the Velvet Underground and the BY YANNICK SLADE CAFFAREL haustive chronology of the band, the ex- Factory. And ‘‘my gut feeling when I hibition focuses on the context that al- saw the show was, ‘This is the way it The Velvet Underground perhaps could lowed the Velvet Underground to exist: was.’ ’’ have come together only in 1960sNew New York City and its artists, film- The concert on Sundayimagined how York, where artists, musicians and film- makers and musicians in the mid-’60s. the Velvet Underground might have makers mingled in a freewheeling scene ‘‘Without NewYork, the Velvets sounded had Mr.Cale been the sole that went largely unnoticed by main- would not have existed,’’ said Christian leader. Theshow opened with abow be- stream pop culture. Fevret, the exhibition’s main curator. ing drawn overthe strings of a bassgui- Now, 50 years after recording its first ‘‘It wasthe only place wherepeople as tar, and the resulting drone formed a album, the Velvet Underground — different as Lou Reed and John Cale backdrop for the next two hours. whose original members were Lou Reed, would have been able to meet.’’ Malanga, an American poet and photo- They went to the Café Bizarre on West he underwent as ateenager areset Mr.Cale stood behind a keyboardand Sterling Morrison, Maureen Tucker and ‘‘New York was an El Dorado,’’ he grapher who wasWarhol’s assistant Third Street in Greenwich Village, against Mr. Cale’s successful begin- a laptop, accompanied by a fullband John Cale —isthe subject of amultime- said, ‘‘and in the exhibition Iwanted to and screen-printer. In addition to pro- wherethe Velvet Underground was nings in , first in London and astring quartet. Neither songs nor dia exhibition, not in New York but at the do morethan just mention the other viding his own archivalmaterial, Mr. playing to an emptydance floor.Mr. and then his involvement with the av- guests —including Pete Doherty, Mark Philharmonie de Paris concert hall. artists that surrounded the Velvets — Malanga put Mr. Fevret in contact with Malanga, encouraged by Ms.Rubin, got ant-garde scene in NewYork, wherehe Lanegan and Lou Doillon —were intro- That firstalbum, ‘‘The Velvet Under- people like Barbara Rubin, Jonas Me- others from the time. up and gyrated with a whip. Therest of met Mr. Reed. duced. Theguitars of Mr. Reed and Mr. ground & Nico,’’ is still arguably best kas, PieroHeliczer —Iwanted visitors Mr. Malanga, in Paris for the show’s the room quickly joined in. Photographs of prominent figures in Morrison were replaced by adissonant known for its cover, a banana signed by to discover their work to understand the opening,described how the band —Mr. ‘‘Lou and John were really excited and the band’s history, including Nico, the soundscape. Images of the Velvets and the band’s patron, Andy Warhol, with context out of which the Velvets grew.’’ Reed, Sterling Morrison, Mr.Cale and said come and dance again,’’ Mr. German model whom Warhol had sing Warhol, warping and wobbling into one simple instruction: Peel slowly and ‘‘The Velvet Underground has been a Maureen Tucker —connected with Malanga said. ‘‘A couple of days later we with the band; ; Edie masses of shapes and colors, were proj- see. passion of mine for avery long time, Warhol in late 1965. were at the Factory and we coerced Sedgwick; Allen Ginsberg; and Candy ected onto a large screen. As it turns out, ‘‘slowly’’ was the right over 30 years,’’ added Mr. Fevret, who ‘‘It almost never happened,’’ Mr. Andy to come down and meet the band.’’ Darling gaze down overthe rooms of The concert concluded with ‘‘Sister word to describe the Velvet Under- co-founded the French magazine Les In- Malangasaid last week at the Café de The Philharmonie exhibition begins the exhibition. Ray,’’ a song of which Mr. Reed, who ground’s impact. In the early 1970s, rockuptibles in 1986. ‘‘I wanted to share Flore in Paris. The story goes that Bar- by explaining the fortuitous circum- These diverse artistic elements were died in 2013, once said, ‘‘When it ends, champions of the band like David Bowie that with as many people as possible.’’ bara Rubin, a filmmaker,came to War- stances under which Mr.Reed, an among those that coalesced most fam- that’s when it ends.’’ set it on a path to be continually redis- Over several years, Mr. Fevret sought hol’s creative hub, the Factory,in New American, and Mr.Cale, who is Welsh, ously in Warhol’s multimedia show, the On Sunday, after ‘‘’’ did, in coveredbynew generations of musi- out people who had known the members York one afternoon but nobody was born aweek apart on either side of the ‘‘Exploding Plastic Inevitable.’’ Origi- fact, end, Mr. Cale said his only words to cians and fans. of the Velvet Underground and who there except for Mr. Malanga. ‘‘She Atlantic, came to meet. Afilm made for nally planned as aretrospective of films the crowd: ‘‘Paris, don’t forget what The exhibition here, ‘‘The Velvet Un- could accurately recount the eraand knew I liked to dance and said, ‘There is the exhibition presents, in parallel, their starring Ms. Sedgwick, it evolved into a youtaught the rest of us: If youkeep an derground: New York Extravaganza,’’ New York City as it was then. this band I want youto hear,’ ’’ he re- biographies: Mr.Reed’s mental health performance with the Velvet Under- open heart it will beat forever. Good- which opened March 30 and runs until Among his sources was Gerard called. issues and the electroshock treatment ground playing in front of film projec- night.’’ Holocaust survivor recalls ‘Brundibar,’achildren’s opera

MADRID The fact that the broader program has TheTeatro Real presents Brundibar works created during the Holocaust is The composer of ‘‘Brundibar’’ as a ‘‘TV showman’’ who deceives chil- pertinent, Mr. Matabosch added, be- also died at Auschwitz. dren, said JordiFrancés, the opera’s Teatro Real revives work cause ‘‘you can almost say that Schoen- musical director. Mr.Francés said he performed in a Nazi berg’s operais ashocked response to greedy organ grinder,Brundibar. Even- wanted ‘‘to turn the page’’ and separate the spiral of anti-Semitism.’’ tually, with the help of three animals, ‘‘Brundibar’’ from the tragic circum- concentration camp Another work in the series is ‘‘The the siblings and the town’s other chil- stances in which it wasfirst staged. In Emperor of Atlantis’’ by Viktor Ull- dren defeat Brundibar. Madrid, the character Brundibar sports BY RAPHAEL MINDER mann, with a new orchestration by Ms. Lieblova said in an interview that an -style haircut and Pedro Halffter. Ullman wrote it while in singing ‘‘Brundibar’’ in the camp —and wearsaglittery blue suit with matching Dagmar Lieblova was 14 in 1943 when she Theresienstadt, but the Nazis banned being exempted by the Nazis from boots. sang in the children’s opera ‘‘Brundibar’’ its performance and Ullmann was even- wearing the star of David while per- After the rehearsal, Ms. Lieblova said at the Theresienstadt concentration tually killed in Auschwitz. forming it —amounted to a ‘‘special mo- that it had been ‘‘very special to see it in camp. Theperformance waspart of a The composer of ‘‘Brundibar,’’ Hans ment in which we didn’t have to think such a huge opera house,’’ compared Nazi effort to present the camp as a mod- Krasa, also died at Auschwitz, alongside about allour problems but could think with the smaller theaters and other ven- el ghetto rather than a transit point to most of those who performed it in Ther- instead that one daywewould return ues in which ‘‘Brundibar’’ has normally Auschwitz and its gas chambers. esienstadt. Ms. Lieblová lost her par- home, to our school, and nothing else been staged. On Sunday, Ms. Lieblova,now 86, JAVIER DEL REAL/TEATRO REAL ents and sister at the extermination bad could ever happen to us.’’ As to what it could mean for Spanish watched as another group of young A scene from ‘‘Brundibar,’’ with Jorge Marín Rodríguez playing the title character. camp, but wasspared when she was Ms. Lieblova said she could under- children not acquainted with the Holo- singers went through a rehearsal for sent to Hamburg as part of a contingent stand why Brundibar wasnowadays caust, she said: ‘‘At the time we sang it, ‘‘Brundibar,’’ which opens on Saturday of workers assigned to help clear the ru- sometimes portrayed as Hitler but ‘‘at we didn’t see it as a project for the fu- at the Teatro Real opera house here. She program of music, mostly composed by late May, ‘‘needs the proper context to ins of the bombed city. the time we didn’t feel this.’’ She added: ture, but ‘Brundibar’can now be used to told them about her own performances, in the 1930s and 1940s, that the be understood, also so that the audience ‘‘Brundibar’’ tells the story of young ‘‘We just saw that Brundibar was some- remember the past in away that chil- noting that ‘‘our chorus had to be re- Teatro Real has organized around the can lose its fear because it is normally siblings looking for milkfor their sick body very bad, not nice to children, but dren can understand. It canalso be a newed allthe time as children would be Madrid premiere of Arnold Schoenberg’s seen as a complicated opera,’’ said Joan mother.They hit upon the idea of the boywho sang Brundibar wasinany warning for the future.’’ taken away.’’ landmark opera ‘‘Moses und Aron.’’ Matabosch, the artistic director of the singing to raise cash to buy milk, but case such a nice person that we could ‘‘But first of all, the music is good — ‘‘Brundibar’’ is part of athree-month ‘‘Moses und Aron,’’ which will open in Teatro Real. that sparksthe wrath of the town’s never see Hitler in him.’’ and let us not forget that,’’ she said. VIRTUAL REALITY INDEX FOR A TRIP Index For A Trip est une expérience de réalité virtuelle proposée dans le cadre de l’exposition THE VELVET UNDERGROUND NEW YORK EXTRAVAGANZA qui se tiendra au Skylight à New York courant 2018. Interprétation et mise en scène du pop-up book Andy Warhol’s Index paru en 1967, l’expérience téléporte dans l’univers halluciné de la Factory. Les voix de Nico, Andy Warhol, Lou Reed, enregistrées lors de la première lecture du livre, ponctuent le trip du spectateur. L’expérience prend place dans une zone dédiée de l’espace d’exposition. La scénographie est composée d’un canapé et d’une table basse, sur laquelle est disposée une maquette en blanc de l’Index. Le spectateur, assis sur le canapé et équipé du casque, se retrouve dans l’espace virtuel et l’ambiance sonore de la Factory. Le spectateur peut alors tourner (physiquement) les pages du livre placé devant lui, découvrant dans son casque les pop-up qui rythment le livre.

À chaque fois que le spectateur tourne une page, le décor de la Factory se transforme également à la façon d’un pop-up, recréant des univers tridimensionnels géants s’inspirant de l’univers graphique de chacune des pages du livre. Le spectateur a ainsi la sensation d’accomplir un voyage dans le livre. moodboards

CONTACTS

Christian Fevret, [email protected]

Carole Mirabello, [email protected]

Jérôme De Chaunac, [email protected]