Based on the archaeological excavation of the Rhone river, this exhibition brings the rich past of Roman Arles (Arelate) to life: from the imposing architecture of the city to its vibrant trade activity, not to mention the daily lives and practices of the people who lived there.

A number of rare artifacts, particularly bronzes, are on display: architectural fragments, magnificent examples of Roman statuary and silverwork, votive offerings, amphorae, lamps, bronze helmets, and jewelry.

Works from the Musée d’Arles will be joined by works from the Louvre, the Musée Calvet d’Avignon and the Museo di Antichità in Turin, which will loan the only bust identified as Julius Caesar prior to the 2007 discovery in Arles.

The World Wide Web has gone from being a new, utopian space of exchange to a laboratory for the commodification of social relations. The industrial, academic, political and artistic worlds have all experienced this transition and each has reacted in its own way. Jeu de Paume’s virtual space is hosting three exhibitions questioning strategies, devices and formats, closely linked to the practices that played an essential role in the short  history of the Internet.

The question of anonymity and identity is the theme of the first session, which takes the form of a group show featuring 16 artists and 19 projects: Eva and Franco Mattes aka 0100101110101101.ORG; Iocose; Les Liens Invisibles; Moddr; Aram Bartholl; Julien Levesque; La Barbe; Yes Men; Dick head man Records; Anonymous; Michael Mandiberg; Cornelia Sollfrank; Heath Bunting; Mouchette; Etoy; Luther Blissett.

Identités précaires (Precarious Identities) is curated by Christophe Bruno.

Malia: A Tribute to Nina Simone

Malia, vocals

Alexandre Saada, piano
Jean-Daniel Botta, bass
Laurent Seriès, drums

Kyle Eastwood Quintet

Yes. Kyle Eastwood is the son of Hollywood film star and director Clint Eastwood whose interest in jazz has been well-documented.

Hippolyte et Aricie (1733)
Tragedy in Five Acts and a Prologue
By Jean-Philippe Rameau
Words by L'Abbé Simon Joseph Pellegrin
Performed in French

On 1 October 1733, Rameau made his operatic debut at the Royal Academy of Music. Aged 50, the composer already had a great career as a musician and theorist behind him. Now it was time for the man of the theatre to establish himself and this was precisely what he would do for the next 25 years. All of a sudden, tragic opera took on new tones, colours and subjects.

The staggering contrast between the severe and classical Racinian tragedy and the heady enchantments of baroque opera makes Rameau's first opera utterly unique and fascinating. A founding work in the history of opera.

Emmanuelle Haïm, conductor
Ivan Alexandre: Stage director 
Antoine Fontaine: Sets
Jean-Daniel Vuillermoz: Costumes
Hervé Gary: Lighting
Natalie Van Parys: Choreography

Sarah Connolly: Phèdre
Anne-Catherine Gillet: Aricie
Andrea Hill: Diane
Jaël Azzaretti L’Amour / Une Prêtresse / Une Matelote
Salomé Haller: Oenone
Marc Mauillon: Tisiphone
Aurélia Legay: La Grande Prêtresse de Diane / Une Chasseresse / Une Prêtresse
Topi Lehtipuu: Hippolyte
Stéphane Degout: Thésée
François Lis: Pluton / Jupiter
Aimery Lefèvre: Arcas / Deuxième Parque
Manuel Nuñez Camelino: Un Suivant / Mercure
Jérôme Varnier: Neptune / Troisième Parque

Orchestre et choeur du Concert d’Astrée

Sir William Schwenck Gilbert and Arthur Sullivan: Le Mikado

David Stern, conductor

Staging: Véronique Samakh

Solists of l’Atelier Lyrique d’Opera Fuoco
un chœur d’enfants d’écoles primaires et de collèges, et
les chanteurs de l’Ensemble Vocal de Saint-Quentin-en-Yvelines.

Ensemble instrumental Opera Fuoco
David Stern, conductor