• Women In Motion 2022 Award Goes to Viola Davis

    Written by Yasmine Mubarak

    From May 17th-28th, 2022, Kering's present Women In Motion live from the 75th Festival de Cannes. Conversations that celebrate achievements for women in cinema, but also beyond the film industry. Kering’s programme celebrates the progress of women in society and beyond. 

    This year Kering and the Festival de Cannes will present the 2022 Women In Motion Award to Viola Davis

    In 2015, Kering became an official partner of the Festival de Cannes and launched the Women In Motion program with the aim of shining a light on women’s contributions to filmmaking, both before and behind the camera. Since then, the program has become a platform of choice for helping to change mindsets and leading conversations about the status of women in the arts and culture. Through its Awards, the program recognizes inspirational figures and young talents, while its Talks provide an opportunity for leading personalities to share views about women's representation in their chosen professions.

    Luckily you can follow the events as if you were there, from live Talks webcasts to prize ceremonies and new podcast episodes. On Kering's Instagram, and YouTube, you can follow the conversations and listen to inspiring talks. Hosting is the producer and journalist Géraldine Sarratia live from the Kering suite at the 75th Festival de Cannes. 

    First out on 19th of May Kering and Women In Motion welcomed the one and only Viola Davis. Viola Davis is one of the few Hollywood personalities to have won a Golden Globe, a BAFTA, four SAG Awards, and what Hollywood calls the Triple Crown of Acting: two Tony Awards, an Oscar and an Emmy, for her roles in the stage play King Hedley II, Fences and its remarkable film adaptation, and the TV series How to Get Away with Murder. This astonishing record also makes her the only African American actress to have received so many nominations and awards for her roles in theater, television and film. 

    Elizabeth WAGMEISTERSo, Viola just had a memoir that was published. What was that process like: writing, for you?

    Viola DAVIS: That process was very cathartic. You know, I started writing the book during the pandemic, when I felt like I was having a really existential crisis of meaning: you know, BlackLivesMatters was happening, of course Covid over it all, and the LGBTQ community fighting for their rights, we had a very sort of contentious election, and all of the sudden, I am starting to look at my neighbours different, I am starting to look at my white counterparts different – I’m sure they’re not looking at me differently, not negative or positive, but just in a way that is more “woke”. And with all of that, questioning connection, questioning what am I doing, what is all of that? And whenever you have an existential crisis, I always say, it’s time to press the reset button, right? Like, when your cell phone is messing up, they tell you to turn it off, right? Then, turn back on? And so that’s what I did: I went back to the beginning, with my book, to Viola as a little girl.

    Elizabeth WAGMEISTER : Where do you think that come from: that belief in yourself? Even during the tough times, you knew that your deserved more and have bigger things ahead of you.

    Viola DAVIS: I have absolutely no idea where it came from. I’m sure that when my life is over and – for me, my belief – and I meet God, he will explain that to me. “Why did you inject that in me?”, you know? All I know is that I have it. Just like if you did a DNA profile, you don’t know what is going on in you, you really don’t. And then you get your DNA, and you are like, “you’ve got to be kidding me”. But what I know that I know that I know is that there is something about getting your heart broken a lot – and it breaks, and it breaks, because you know, especially if you are living a life, you are going to get heartbreak, so you hit the bottom, you get the heartbreak, and then you have the choice to just sort of wallow in it, and stay there, or it gives you clarity of what life is really about.

    You know, I was watching a programme where this guy was driving home. It was sort of a little tragic. He was driving home because something had happened to his daughter. He was absolutely beside himself.
    But he made an observation, as he was driving back to his house to see what was going on with this daughter. He saw everything with such clear clarity: the trees, the birds on the side of the road, you know, the water. All of the sudden, he was like, “Wow, this is a route that I take every single day, and all of the sudden, I am seeing it with a totally different vision, like an X-ray vision”.
    And I think this is what happens, even when you get your heart broken a lot in life. You then appreciate life. Like, I’m telling you right now: I appreciate a good meal. I appreciate a full refrigerator. I appreciate clean sheets. I appreciate going to a furniture store and buying a new bed. I do. I appreciate soap and water, because I never had it. And I think that is what I got from my life. I appreciate things that other people take for granted.

    Elizabeth WAGMEISTERRight. Right. You are talking about heartbreak and how those moments can really end up resulting in the best – it depends what you do with it. Acting: this whole industry is an industry where you hear the word “No” a lot.

    Viola DAVIS: You hear a lot of words a lot.

    Elizabeth WAGMEISTER:  But a lot of words a lot, especially the word “no”, when you are coming up through auditions, and they don’t see that you are the right fit. Is there a moment in your mind that sticks out as a moment of heartbreak or rejection, through your career, that really was a moment for you, where you were able to see the positive, and grow from it?

    Viola DAVISWell, let me tell you something. I could point to those moments, but I will say this: seeing the positive of it takes time. 

    Listen to the entire conversation in the video above or here

  • Trophée Chopard

    Written by Yasmine Mubarak

    Julia Roberts wore a tuxedo jacket and tulle skirt with Chopard jewellery to present this year's Trophée Chopard winners with their award. One of the winners where actor Sheila Atim, she wore a burnt orange Prada dress with Chopard jewellery to accept her award.

    Since 1998, Chopard has formed a glittering duo with the Cannes International Film Festival to which it serves as official partner. In addition to crafting the legendary Palme d’or in its workshops along with all the trophies to be distributed at the closing prize-giving ceremony, and adorning the stars for the traditional “Montée des Marches” ritual thanks to the magnificent Red Carpet Collection, the Maison also awards rising talents with the Trophée Chopard as well as organising unforgettable annual parties. This year, Chopard is once again, set to dazzle and while bringing its own inimitable sparkle to the legendary Croisette.

    Over the past few decades, Chopard has expressed the quintessence of glamour through the creation of unique Haute Joaillerie items adorning the greatest film stars. Charlize Theron, Cate Blanchett, Julianne Moore, Sharon Stone, Gwyneth Paltrow, Hilary Swank, Marion Cotillard, Léa Seydoux, Penelope Cruz, Scarlett Johansson, Lupita Nyong’o, Freida Pinto, Fan Bing Bing, Zhang Ziyi, Isabelle Huppert, Catherine Deneuve and Jane Fonda, to mention but a few, have all dazzled on the red carpet wearing Haute Joaillerie treasures crafted by Chopard.

    Certain images remain etched in collective memory. Many will notably recall Angelina Jolie in 2007, resplendent on the red carpet in a yellow gown enhanced with daffodil diamonds. And how could one forget the natural and disarming beauty of Julia Roberts, on her first appearance at the 2016 Cannes Festival, strolling around barefoot with her decolletage illuminated by a necklace set with a magnificent emeralds?

  • Moley Talhaoui, 2022, © Jimmy Backius


    Written by Lina Aastrup

    Moley Talhaoui

    ”Retrointrospective” at Ganymede, Hjärnegatan 3, Stockholm

    May 19-22, 2022

    Moley Talhaoui is a brilliant artist who Odalisque has been following ever since our very first print issue. We met up with him for a chat about the upcoming show – “Retrointrospective” – his first in Stockholm in ten years. Make sure not to miss the opportunity to see his works live at Ganymede, this week only.

    Lina Aastrup: This is your first show in Sweden in a long time, how come you so rarely exhibit here, even though you are based in Stockholm?

    Moley Talhaoui: I have mainly worked with galleries in London and the US for many years now, so it just so happens that this is where my focus is normally. There is also something different about showing here – I wouldn’t call it difficult, but it feels special and important somehow.

    LA: Could you tell us about your new exhibition?

    MT: I was actually supposed to exhibit in Stockholm in 2020 already, but it was right when the pandemic hit, and everything was cancelled. “Retrointrospective” is comprised of large scale paintings created on site in Stockholm from 2017 until very recently, including three entirely new works that have never been shown before.

    LA: Why this particular series of work?

    MT: From 2017 and onwards, my artistic practice has expanded in width. I never work on specific themes for my exhibitions, every work I create is part of the same narrative. They build on each other, which is why organizing the exhibition chronologically makes sense.

    LA: And this narrative is?

    MT: In my work, I am constantly searching for the true, universal self that we are all part of, that predate the individual selves that make up Moley or Lina for example. The way I see it, we are all connected. I feel there is a certain expectation from society that coming from my perspective, I would have to focus on topics like precarity, inequality or being a racialised body. These are of course really important topics to deal with in art, but I never considered life to be that divided. When you see everyone as part of the same soul, it becomes clear that the differences between us are really just different contexts or different parts of the same journey in life.

    LA: When looking at your paintings, I cannot help but noticing some recurring motifs, like the apparently skin-less body. What does this particular iconography mean to you?

    MT: Everything I do, all the symbols and motifs, have a specific meaning in my world. But the beautiful thing is that they also function like a Rorschach test. The viewer brings their own references to the art experience, making their own reflections and assumptions about what they mean. Ultimately, what they see is more about them than about me. And that is something I would never want to deprive the audience of by sharing what I thought about when making them.

    Regarding the bodies, I never aimed to make them look “skinless”, but I have heard that particular interpretation many times before. If you look back in time, to around 2008-2014, I made a lot of skeletons. After that I had a period of obsessing about Santería and conceptual spirituality. I think all spirituality is a reflection on what we all feel, it is just the conceptual framing that differs, be it Islam, Christianity or voodoo. These bodies I have been working on for a while now could be seen as a way to connect the skeleton, the spirit and the body. Either way, I feel like as if I have reached a point where I am connecting the dots and completing this whole narrative in a holistic way which is also why it felt so right to share my work through an exhibition at this moment in time.

    Moley Talhaoui, 2022, © Jimmy Backius
    Moley Talhaoui, “Sensithief”, 2020. Oil on canvas, 200x150cm. Photo by Dimitris ’Dimman’ Vulalas.
    Moley Talhaoui, “Mindcraft”, 2021. Oil on canvas, 140x140cm. Photo by Dimitris ’Dimman’ Vulalas.