After a successful first edition in 2019, the"Trésors de Banlieues" exhibition announces its return to the Hauts-de-Seine region the event took over the Halle des Grésillons attracting 22,000 visitors and 250 works on display For this new, second edition, entitled"Trésors de Banlieues : Couronnes d'Humanité", the exhibition moves to theUsine Chanteraines in Gennevilliers this 1,200 m² industrial site has been transformed for the occasion and enhanced by murals by street artist Kanos coloring the exterior walls as well as the factory's interior annex But urban art isn't the only artistic discipline featured at this surprisingly rich exhibition 70 Île-de-France partner communities (up from 53 in 2019) are taking part in the event drawn from rarely unveiled public collections and local funds La Courneuve and Nanterre are among those taking part in this cultural event which honors the artistic and human wealth of the suburbs such as"childhood in the suburbs" or"bestiary in the suburbs"; each theme illustrating the diversity of local stories and heritages Among the works on display this year are Boldi's " Le Trotiniste ",Auguste Rodin's bronze bust of " La France " Ferdinand Gueldry's painting " Scène de canotage " Pierre-André Dalpayrat's vase with a female subject a work by C215 and Guillaume Werle's statue " À Coluche " It is this statue that greets visitors at the factory entrance who opened the first Restos du Cœur center in Gennevilliers almost 40 years ago Several of the works on display are equally original and imposing including Gustave Caillebotte's "Roastbeef" sailboat a prototype of an element of the spire of Notre-Dame de Paris cathedral a VéloSoleX by Société Goudard et Mennesson manufactured in 1957 at the SOFAC factory in Courbevoie and fivesound structures from the Baschet educational instrumentarium While it is forbidden to touch any of the works presented in the factory visitors are invited to try out the various sound structures "Trésors de Banlieues : Couronnes d'Humanité" also features a number of models whose monumental two-metre version can be seen at Gif-sur-Yvette in Essonne The exhibition presented in Gennevilliers is thus an opportunity to better reveal the wealth of Ile-de-France's heritage and to set out soon on the trail of some of these treasures scattered throughout the region The"Trésors de Banlieues : Couronnes d'Humanité" exhibition is on view free of charge from February 15 to April 13, 2025 at theUsine Chanteraines in Gennevilliers The exhibition is open from Tuesday to Sunday Refer your establishment, click herePromote your event, click here NATO Secretary General Mark Rutte visited the Thales campus in Gennevilliers where he was received by Thales Chairman and CEO Patrice Caine The visit focused on discussions around defence industry cooperation and emerging technological solutions relevant to NATO’s mission According to a statement shared by Caine on social media the visit included presentations of Thales’ recent innovations in defence technology and discussions about the longstanding partnership between Thales and NATO Thales has been a provider of various defence solutions aligning with NATO’s current goals for rapid coordinated responses to security challenges Thales demonstrated a range of its advanced technologies In addition to these core defence technologies Thales presented developments in artificial intelligence which are designed to support NATO’s objective of maintaining information superiority Thales has indicated its commitment to continuing investment and innovation in support of NATO’s collective defence needs The company stated its intention to remain a key partner in NATO’s digital transformation and resilience through state-of-the-art technological solutions Cookie Policy Copyright © 2025 Defence Industry Europe | mady by: geekon.eu We use cookies to enhance your browsing experience We use cookies to help you navigate efficiently and perform certain functions 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cookies help provide information on metrics such as the number of visitors Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page jardin du petit Genevilliers by Gustave Caillebotte acquired by dation en paiement (exceptional payment of inheritance or transfer taxes by handing over to the State cultural property of high artistic or historical value) This work has recently taken its rightful place in the Impressionist gallery of the Musée d'Orsay in a presentation redesigned around the painting.  To find out more about the methods and process of acquisition, consult the "Acquisitions" section.  Gustave Caillebotte (French, 1848–1894). Chrysanthemums in the Garden at Petit-Gennevilliers not only is the painting the Met's first work by the artist but it encapsulates a fresh approach to still life unseen before its time.» Caillebotte completed this highly unusual floral still life in 1893 while living in Petit-Gennevilliers a suburb of Paris on the banks of the Seine near Argenteuil The Impressionist painter had moved there to recapture the country life along the river he had cherished at his family home in Yerres which had been sold off following his mother's death He cultivated several types of flowers on the property at Petit-Gennevilliers and what might seem plebeian flowers to our contemporary eye but were actually prized at the time as an exotic reference to all things Japanese and Chinese The moment captured is filled with sunlight that falls from the left of the flowers casting a shadow on the green stalks at right and a glow of light that particularly kisses the white Our viewpoint in relationship to the flowers is from above as if we have arrived upon a thicket of the blooms growing wild in the garden or where he cultivated many different flowers This viewpoint might well have been seen as shocking to Caillebotte's contemporaries who were used to encountering floral still lifes either in the form of cut flowers in a vase seen from close up in an interior scene or flowers in garden landscapes as seen from a distance (then typically classified as landscapes the artist renders the chrysanthemums with the close study one might give to a cut-flower piece while clearly revealing the flowers as still growing The composition is cropped at lower left and upper right to emphasize the abundant It is as if our vision has been momentarily subsumed by the ripe fullness of the blossoms as we pass Where could such a painting be placed, I wondered? It was only when I considered it as an unframed composition, in light of having come from the current exhibition Discovering the Impressionists: Paul Durand-Ruel and the New Painting at the Philadelphia Museum of Art In that exhibition one can see Claude Monet's painted panels for the doors to Paul Durand-Ruel's living room a group of floral- and fruit-covered painted canvases from 1883 In some of the smaller canvases on the lower door panels we see Monet taking a viewpoint from above the fruits as if they were encountered from above when approaching the door Caillebotte intended this panel to be seen from above I would say that the Met's canvas was intended to be approached from the left with the sun-kissed flowers looming up to our right and a bit below eye level While the dimensions of the work are a bit larger than some of the door panels from Caillebotte's dining room we can wonder if the work was intended as an accompanying decorative panel perhaps intended to be set into a wall panel framed quite differently in the department's galleries for nineteenth-century art it is hard to regain this original viewpoint and you may find Caillebotte's probable original intent for this piece come alive for you as it has for me Gustave Caillebotte (New Haven: Yale University Press Related LinkNow at the Met: "New Arrivals in the European Paintings Galleries" (July 1, 2015) This website is using a security service to protect itself from online attacks. 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Global Lead Partner Altens is the leading French supplier of a complete range of alternative non-fossil fuels for the transport sector flexible solutions to help transport companies and their customers make the transition to energy Pro-Palestinian demonstrators in a banned demonstration in Republic Square in Paris A 32-year-old Jewish woman in the Paris suburb of Gennevilliers was allegedly the victim of a horrific antisemitic crime this week and threatened with murder by a man seeking revenge against her for Palestinians was arrested on Tuesday and charged with religiously-motivated death threats and drug offenses Prosecutors believe the kidnapping charge is warranted though the rape allegation is still under investigation The victim told police she met the perpetrator on a dating app in 2023 She says he held her against her will in his apartment The suspect allegedly sent disturbing texts to the woman's mother saying he would "prostitute" her daughter to "avenge Palestine." The shocking case has drawn outrage across the political spectrum in France Politicians from both the Left and Right condemned the attack and expressed solidarity with the Jewish community Marine Le Pen of the National Rally party blamed "far-left" inaction for allowing an environment of antisemitism to fester The government's anti-racism delegation called the importation of the Israeli-Palestinian conflict to France unacceptable You think I'm gonna put up with this sh*t at my bar A group called "Youth Demand" called on protesters to come to the site The cartoon depicts delegation members returning from a "fact-finding mission" with their eyes covered by Israeli flags Analysis  Archaeology Blogpost Business & Finance Culture Exclusive Explainer Environment Features Health In Brief Jewish World Judea and Samaria Lifestyle Cyber & Internet Sports Diplomacy  Iran & The Gulf Gaza Strip Politics Shopping Terms of use Privacy Policy Submissions Contact Us The first issue of Israel Hayom appeared on July 30, 2007. Israel Hayom was founded on the belief that the Israeli public deserves better, more balanced and more accurate journalism. Journalism that speaks, not shouts. Journalism of a different kind. And free of charge. [contact-form-7 id=”508379″ html_id=”isrh_form_Newsletter_en” title=”newsletter_subscribe”] Jardin du Petit Gennevilliers (around 1892) at the Art Gallery of Ontario Art Gallery of Ontario/Purchased with the assistance of a Moveable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act; Acheté avec l'aide d'un subvention des biens culturels mobiliers accordée par le Ministère du Patrimoine canadien en vertu de la loi sur l'exportation et l'importation des biens culturels the focus of a long legal battle between an auction house and a consortium of Canadian art museums over the definition of art of “national importance” has been acquired by the Art Gallery of Ontario (AGO) and will be unveiled to the public at the museum on 24 August was acquired with the aid of a federal Moveable Cultural Property Grant an emergency government funding mechanism that assists museums in purchasing works that might otherwise leave the country The CBC reported that the grant totaled $540,000 and that the AGO acknowledged that it was almost half of the purchase price Fraser Elliott estate and a bequest from F.W.G The tussle over the painting dates to November 2016 when it was purchased by the Richard Green Gallery of London for $678,500 at Heffel’s Toronto auction house The painting, which had been blocked from export to the purchaser in London last year by a federal court “allows us to tell a more comprehensive story of 19th-century art in Paris and to showcase one of the great Impressionists,” says Julian Cox the museum’s deputy director and chief curator Cox says that the painting is an experimental one that reflects a “shift from Post-Impressionism into early abstract forms of rendering”. Caillebotte executed this transitional work, he says, when he had just moved to the Paris suburb of Petit Gennevilliers, planted a garden with his own irrigation system and dedicated himself to his twin passions of painting and gardening. As revealed in his exchanges with Monet, Cox adds, “he was doing work in his own back garden” instead of heading to the woods of Fontainebleau like many of his artistic contemporaries. During the lengthy legal battle to keep the painting in Canada, the country’s Federal Court of Appeal ruled in April that a work by an international artist could be deemed to be of "national importance" to Canadian heritage. But “we decided to drop the definition of national importance (as defined by the Canadian Cultural Property Export Review Board) and just argue for ‘artistic significance,’” Cox says. “Because Canada is an open and multicultural nation” with a diverse population such as Toronto’s, “for us it’s important to have international works of art that reference a breadth of different cultures and styles,” he says. As the review board noted, “Gustave Caillebotte's work has been reassessed over the last 20 years and there is now substantial interest in it.” In the last five years, several major museums have acquired garden-related canvases by Caillebotte that date to within a year of Iris Bleus. The Musée des Impressionnismes Giverny acquired Parterre de Marguerites (1892-93) in 2016, the Metropolitan Museum of Art acquired Chrysanthemums in the Garden at Petit-Gennevilliers (1893) in 2014, and the National Gallery of Art acquired Dahlias, Garden at Petit Gennevilliers (1893) in 2016. preview17 September 2021Picasso Blue Period blockbuster to finally open in Toronto early OctoberThe show focuses on three works painted by the “insanely ambitious” artist during a low point in his early career news15 March 2023Emily Carr painting, unseen for more than a half-century, acquired by Canada’s Audain Art MuseumThe painting was one of four Carr works featured in the first Canadian presentation at the Venice Biennale You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed Holcim’s Innovation Center developed the world’s first fully recycled concrete project in which different components such as cement and aggregates are made of recycled materials a social housing provider in France for building the Recygénie project Built with this unique recycled concrete solution the Recygénie project represents a breakthrough in circular construction The Recygénie project is part of a renewal program launched by the City of Gennevilliers The project will offer new and diversified housing including both social and private housing as part of a redevelopment of the entire district The building will be a 220-unit housing complex This unique recycled concrete to be used in the project was produced using ECOCycle Holcim’s proprietary circular technology platform to recycle construction and demolition waste (CDW) into new building solutions Amid rising population growth and urbanization circular solutions are essential for keeping materials in use to stay within our planet’s boundaries while we improve living standards for all Holcim will use a concrete it has developed in which all components -cement and water – are made of recycled materials The organization says its recycled cement has saved about 3,000 tons of natural resources that would have been extracted from quarries Holcim’s concrete – made with recycled aggregates from construction and demolition waste and rainwater — has saved more than 6,000 tons of natural resources “We need to shift gears: from a linear “take-make-waste” economy to a circular one while staying within our planet’s limits The development of the world’s first fully recycled concrete in this social housing project marks a major milestone for us as we want to make circular construction accessible to all I am proud to put this innovation to work in the Recygénie project making sustainable housing accessible to all.” The Recygénie project builds on another world first: A 100% recycled clinker produced by Holcim in June 2022 This clinker was used to produce fully recycled cement for use in the custom concrete saving approximately 3,000 tons of natural resources that would have been extracted from quarries The concrete was made exclusively with aggregates from recycled CDW and with recycled wastewater and rainwater The fully recycled concrete developed for the Recygénie project contains the highest level of recycled material in Holcim’s range of circular solutions Because French building standards limited the use of recycled material in new construction Holcim engaged in a special monitoring program of the French national organization for R&D in the construction industry (CSTB) to make Recygénie with this first-of-its-kind concrete possible Holcim is ready to deploy circular solutions at scale with ECOCycle Mansha Group share the factors how women homebuyers are claiming their space in the market with confidence an exchange4media group publication is one of the most respected real estate magazines in India with offices in Delhi tripti@exchange4media.comrealtyplus@exchange4media.com This article was published more than 5 years ago The French irises are here to stay: After three years of delays and disputes the Art Gallery of Ontario has acquired Iris Bleus Jardin du Petit Gennevilliers by Gustave Caillebotte for a price tag of more than $1-million The prized French Impressionist painting from 1892 was at the centre of a recent fight over export permits for significant works after it was sold to a British art dealer at a Toronto auction in 2016 but blocked from leaving the country Under a system designed to help keep such works in Canada the AGO is receiving a $540,000 grant from the federal government toward the purchase AGO chief curator Julian Cox would not disclose the full price but said the grant covered slightly less than 50 per cent A $1-million-plus figure would represent a significant profit for the unnamed British seller Cox said the painting marks an important addition to the AGO’s collection and is the only example of Caillebotte’s rare but increasingly prized work in a large Canadian museum The 1892 Gustav Caillebotte painting Iris bleus jardin du Petit Gennevilliers./The Canadian Press “It does so many things for us in terms of the story of 19th-century art: It expands the discussion around Impressionism in particular,” Cox said of the work by an artist who both supported the Impressionists and painted with them “Caillebotte funded the Impressionism exhibitions of the era; he was independently wealthy which shows stems of pale blue irises against a backdrop of greenery in the artist’s suburban garden will go on public display at the AGO on Saturday It was executed two years before the artist’s premature death at the age of 45 during a period when he was working closely with Claude Monet who was also painting flowers The one other notable example of a Caillebotte in Canada is a scene of sailboats on the Seine dating to 1883 that belongs to the McMaster Art Gallery at McMaster University in Hamilton known for a crisper style that his Impressionist contemporaries highly realistic city scenes before he moved to Gennevilliers began to foreshadow the development of abstraction His art is increasingly sought after by museums: Cox pointed to recent acquisitions of other garden paintings by New York’s Metropolitan Museum and the National Gallery of Art in Washington Iris Bleus was originally purchased by the British dealer at a sale held by the Heffel Fine Art Auction House in November but the Canadian Cultural Property Export Review Board (CCPERB) judged it too significant to leave Canada and subjected it to an export delay The AGO has been negotiating to buy it ever since but the British buyer refused a first offer CCPERB can delay the departure of art considered of “outstanding significance and national importance,” but the rules do not define what that means and whether it can be applied to both foreign and Canada art That issue was at the crux of a legal battle over the Caillebotte launched when Heffel sued the federal government arguing the interpretation of national importance was far too broad a federal court agreed: In a 2018 decision Judge Michael Mason argued that foreign art could not be considered central to Canadian cultural heritage Purchases such as the one the AGO is now unveiling – using both the government grant and funds from two private bequests from the estates R Fitzgerald – are rare: The Caillebotte was one of only seven objects delayed that year and sometimes no museum comes forward to purchase blocked items the same criteria of outstanding significance and national importance are used by CCPERB to decide whether art that collectors want to donate qualifies for special tax credits enabling Canadian museums to acquire much of their art Fearing that these incentives for donations had been sideswiped by the judge’s decision museums across the country joined the federal government in a successful appeal – but not before Ottawa had also removed the words “national importance” from the rule book in the 2019 budget The appeal judge ruled that is up to CCPERB experts to rule on art’s importance the system has reverted to one in which collectors can still count on tax credits for donated art while the exceptional export delay may give museums opportunities to buy works as rare as the painting of blue irises Report an editorial error Report a technical issue Editorial code of conduct Authors and topics you follow will be added to your personal news feed in Following Welcome to The Globe and Mail’s comment community. This is a space where subscribers can engage with each other and Globe staff. Non-subscribers can read and sort comments but will not be able to engage with them in any way. Click here to subscribe If you would like to write a letter to the editor, please forward it to letters@globeandmail.com. Readers can also interact with The Globe on Facebook and Twitter Welcome to The Globe and Mail’s comment community This is a space where subscribers can engage with each other and Globe staff We aim to create a safe and valuable space for discussion and debate If you do not see your comment posted immediately it is being reviewed by the moderation team and may appear shortly We aim to have all comments reviewed in a timely manner Comments that violate our community guidelines will not be posted UPDATED: Read our community guidelines here We have closed comments on this story for legal reasons or for abuse. For more information on our commenting policies and how our community-based moderation works, please read our Community Guidelines and our Terms and Conditions Petroleum products management company SOGEPP (Société de Gestion de Produits Pétroliers) has collaborated with HAROPA PORT, France’s leading port to boost river traffic to and from its facilities in Gennevilliers SOGEPP operates a storage depot for liquid energy products on six hectares in Gennevilliers’ port area which plays an important link in the Greater Paris fuel distribution chain distributes mainly to service stations in Greater Paris and neighbouring regions SOGEPP’s site at Gennevilliers is the first Paris area depot to invest in river logistics for the development of biobased sustainable liquid energy products and is said to be in line with the energy transition that has begun along the Seine Axis as a whole SOGEPP approached HAROPA PORT to boost river traffic to and from its facilities in Gennevilliers with the goal to develop this traffic between Normandy’s seaports and the Paris area HAROPA’s Paris office proposed to the firm that it would build a transhipment facility as a practical solution for the desired traffic HARPOA PORT delivered this facility in June 2022 SOGEPP obtained its regulatory permits and set up transhipment infrastructure on the jetty for discharging and loading liquid energy products The operating permit for the jetty and the commissioning of the tanks to hold massive quantities of ethanol were obtained in November 2022 after the completion of the work for the petroleum product installations the project will reduce the carbon footprint of Gennevilliers supply flows and support the company in the further development of biobased energy products such as HVO hydrotreated vegetable oil (HVO) as well as B100 a biofuel 100% composed of fatty acid methyl ester (FAME) This river logistics project has also received funding from France’s Waterways Authority (VNF) for the modernisation of the barge discharging installations Management of the construction of the required river infrastructure was entrusted to HAROPA PORT which provided €1.1 million in funding to build the jetty and €2.65 million for modification of the riverbanks in its vicinity The cost of the jetty superstructure required for operations is borne by SOGEPP assisted by teams from Raffinerie du Midi where the engineering and administrative formalities are concerned enabled the validation of jetty placement and connections the SOGEPP depot received its first barge carrying ethanol on 16 January barges have been calling the facility on a regular basis Daily news and in-depth stories in your inbox The companies awarded by MEA get the opportunity to work closely together with a transnational team of Marine Energy experts on both the technical advancement of their technology as well as the development of their commercial strategy and business plans Each service offer is intended to put the company’s technology and business firmly on the […] Today HAROPA PORT announces the creation of a major river and sea port complex and the outcome of a call for logistics projects initiated for the port of Gennevilliers (French département 92) Goodman has been selected for the development of a 90,000 sqm multimodal logistics platform – unique in Europe the platform will be structured over four levels linked directly to the Seine and intended for the development of river transport and urban distribution for the Greater Paris region The project is a perfect illustration of the new river and sea port’s positioning and ambitions for the development of decarbonised logistics Facts at a glance + 90,000 sqm of logistics space including 10,000 sqm of offices + 16 units of 5,000 sqm + Four levels accessible to all types of vehicles + 11,000 sqm solar PV + 17,000 sqm rooftop urban farm of which 7,000 sqm is greenhouse space + BREEAM Outstanding certification BiodiverCity and Low-Carbon labels + One river transhipment dock this cutting-edge logistics program will be ideally located in the port of Gennevilliers the leading port facility for the Greater Paris area by size and activity and only five kilometres from Paris and 20 minutes from Roissy – Charles de Gaulle airport 250 companies from a diverse range of sectors have already chosen the area due to the port location and multi modal offerings GREEN DOCK will allow urban distribution businesses to provide “final-kilometre” delivery and to develop river-based transport deep into the French capital The vision of river transport is becoming increasingly important for many operators DB SCHENKER and CEVA Logistics have already expressed interest in GREEN DOCK Goodman’s approach utilised a multi-disciplinary team to conceptualise this prime multimodal site combining modularity and a contemporary eco-design modern architectural lines of its facade will be constructed in natural recycled materials including wood and concrete to integrate the site into its Seine riverbank surroundings The building’s structure has been conceived for total flexibility and will allow its working areas to evolve in line with the needs of the occupants its roofing will be home to the largest urban farm in Europe run by Cultivate it will cover 17,000 sqm. GREEN DOCK also sets out to be a model of economic land use and sustainable development aiming for BREEAM certification at Outstanding level plus the BiodiverCity and low-carbon labels supplemented by an access zone and underground parking the project will have a density four times higher than standard Energy management on the site will also benefit from innovations unparalleled in terms of scale: a solar PV plant covering 11,000 sqm of roof area intended for the site’s own supply a heat exchanger connected to the Seine for heating and cooling the building and a geothermal plant a key component of the site’s multimodality provides a direct link between the project and the river “We are honoured to have been awarded the project initiated by HAROPA PORT for the Gennevilliers flagship site is the outcome of a year of studies and discussion and embodies the firm belief that river transport will be central to tomorrow’s urban distribution Its vertical design is inspired by our completed projects in Asia but its functional architectural quality and environmental performance make Green Dock unique It exemplifies the level of excellence we aim for in each of our developments.” says Philippe Arfi “It is with pleasure that we sign this commitment to working with Goodman on this highly auspicious day on which HAROPA PORT comes officially into being This project for a multimodal platform is an innovation for Europe and confirms the role of the new HAROPA PORT in ambitious This agreement is a perfect illustration of our ability to offer end-to-end logistics solutions right from the maritime terminals of Le Havre and Rouen up to the final kilometre and to pursue alongside our partners projects on a scale and of a quality never before seen in our ports” confirms Stéphane Raison XFASTINDEX The complex will span four levels and be linked directly to the River Seine, allowing for river transport and urban distribution in the Greater Paris region. It will also incorporate sustainability features including a 11,000m2 solar PV rooftop plant and a 17,000 m2 urban farm Haropa Port is developing the Port of Gennevilliers which is the largest port in the Ile-de-France and the largest French river port The plan is to create a major river and seaport complex following a call for projects initiated by the Port of Gennevilliers Goodman has been selected for the 90,000m2 multi-modal logistics development which will be constructed over four levels and linked directly to the Seine It will target the development of river transport and urban distribution for the Greater Paris region The port where the Green Dock logistics project will be located is 5km from Paris and 20 minutes from Roissy - Charles de Gaulle airport Goodman said that 250 companies from a diverse range of sectors have already chosen the area due to the port’s location and multi-modal capacity Green Dock will allow urban distribution businesses to provide “final-kilometre” delivery and to develop river-based transport deep into the French capital The aim is for to achieve BREEAM certification at ‘Outstanding’ level plus the BiodiverCity and low-carbon labels “We are honoured to have been awarded the project initiated by Haropa Port for the Gennevilliers flagship site,” said Philippe Arfi our multimodal project design is the outcome of a year of studies and discussion and embodies the firm belief that river transport will be central to tomorrow’s urban distribution It exemplifies the level of excellence we aim for in each of our developments.”    said: “It is with pleasure that we sign this commitment to working with Goodman on this highly auspicious day on which Haropa Port comes officially into being This project for a multimodal platform is an innovation for Europe and confirms the role of the new Haropa Port in ambitious This agreement is a perfect illustration of our ability to offer end-to-end logistics solutions right from the maritime terminals of Le Havre and Rouen up to the final kilometre and to pursue alongside our partners projects on a scale and of a quality never before seen in our ports.” Got a story? Email news@theconstructionindex.co.uk 9 hours Following a recent expansion into North America, Murphy Group has now entered Australia. 3 days A Devon housing development has emerged as the centre of a web of corruption. 9 hours Controversial government plans to allow developers to pay into a central nature levy to offset local environmental harms are generating increasing opposition. 3 days Dolphin Living has appointed The Hill Group to deliver the redevelopment of the New Era housing estate in Hackney. 3 days Tilbury Douglas continues to progress after collapse of parent company 3 days John Sisk & Son has started work on a £65m refurbishment of Haringey Civic Centre in London. © 2025 The Construction Index [Company No ' + response[i].created_nice + ' ' + response[i].description + ' The president of a French mosque which was threatened with closure by the authorities has warned that every French mosque should be worried about its future was speaking after the Minister of the Interior threatened the mosque with closure unless it sacked an imam who gave a sermon there on June 4 which was considered to be contrary to “Republican values.” is alleged to have said that women lacked modesty and some of them were being “inhabited by the demon” and “share makeup lessons or outfits on social networks that showcase the shapes of their bodies.” This sermon led to the imam being summoned to the Hauts-de-Seine authorities on July 8 “as part of the fight against separatism and radicalisation.” Commenting on the developments Mohamed Benali said: “I’m really sorry that the public authorities have behaved in this way but I have no choice but to suffer this unjust pressure on all the community… The separatism law which is being voted on seems to target Islam in France in its entirety If Gennevilliers Mosque is threatened with closure every mosque should be worried.” Mr Benali said Imam Mehdi was not an employee of the mosque and has left the country for Tunisia He added that he has made a complaint against Mr Darmanin for abuse of power Benali concluded by saying that Gennevilliers Mosque has a reputation for tolerance and interfaith dialogue as well as integration into French society and respect for Republican values and secularism Subscribe to our newsletter and stay updated on the latest news and updates from around the Muslim world “A priest told me that if they close the Gennevilliers Mosque for these remarks they should close 70 percent of churches because even priests preach about modesty,” he said The news comes a few weeks after the imam of another mosque in France was sacked at the behest of Interior Minister Gerald Darmanin after he recited a verse from the Quran and a hadith which were deemed “derogatory to women.” the imam of the Great Mosque of Saint-Chamond will also now face being deported as authorities are working on not renewing his French residency permit Quoting from Surah al Ahzab and a hadith addressing the wives of the Prophet (pbuh) Ahamada told a congregation at Eid prayers last month: “Stay in your homes and do not show off like women before Islam… obey your husbands” and “Do not be too complacent in your language with the one whose heart is sick Five months ago a global coalition of 25 civil society organisations and NGOs from 11 countries submitted a letter to the President of the European Commission urging immediate action against France for its “state-sponsored Islamophobia.” The complaint says that France has implemented numerous laws designed to limit freedom of belief and punish the manifestation of religion and you understand its importance in today’s climate then please support us for as little as £5 a month Subscribe to our newsletter and stay updated on the latest news and updates By providing us with your information you are consenting to the collection and use of your information in accordance with our Terms of Service and Privacy Policy selects her favourite stories in this weekly newsletter As art history’s highways broaden and dissolve in 21st-century revisions contests a straightforward definition of Impressionism Caillebotte certainly defies one in the galloping Hothouse orange orchids in “Orchidées” (1893) are cropped monstrously enlarged fragments whose weird toxic beauty calls to mind Luc Tuymans A diver in body-hugging stripes about to plunge into still bord de l’Yerres” (1878) balances detachment and erotic frisson in ways reminiscent of David Hockney’s swimming pool pictures is painted with the cruel precision of Lucian Freud Nothing in Caillebotte’s biography predicted this alienated stance he grew up in a luxurious Haussmann hôtel particulier then entered the conservative École des Beaux-Arts Extensive crayon and oil sketches for his Paris works — the silver-coated man slumped over railings for “Le Pont de l’Europe” languorous workmen on trestle ladders in a bleak newly built street in “Les peintres en bâtiment” (1877) — demonstrate the careful drawing modelling and tonal values acquired from his academic training which differed crucially from Impressionist spontaneity Caillebotte painted for himself alone at Petit Gennevilliers sinewy floor scrapers on hands and knees at work in his Paris studio their naked torsos flooded with light from a window whose curving railings rhyme with their arched backs and with the curling wood shavings on the parquet Caillebotte bought his first Impressionist pictures that year “Les Raboteurs” was shown at the 1876 Impressionist exhibition but for the next century Caillebotte was known as patron rather than painter That was how he saw himself: in “Autoportrait au chevalet” (1879-80) the lovely awkward self-portrait opening this show he frames himself not by one of his own works but by Renoir’s flashy “Bal du Moulin de la Galette” which was among scores of masterpieces that Caillebotte later bequeathed to France creating the nucleus of the nation’s Impressionist holdings Caillebotte had no need to sell and even now Only in recent decades has he garnered attention his hybridity is fashionable: he combines Salon meticulousness with Impressionist concerns for light and everyday motifs cinematic zoom-ins and an obsession with the male figure each suggesting an uneasy relationship with the world around him At his family estate at Yerres in 1877-78 he tried out Monet’s short broken brushstrokes and Renoir’s heightened palette to create disconcerting snapshots of canoeists: a top-hatted oarsman whose knees hit the picture’s edge in “Canotier au chapeau haut de forme”; identically dressed rowers zigzagging in sharp diagonal rhythm golden oars clashing amid myriad reflections in “Périssoires sur l’Yerres” Yerres was sold in 1879; Caillebotte purchased instead a house with extensive grounds bordering the Seine at Petit Genevilliers installed automatic watering systems and vast greenhouses telling Monet that the retreat “is my only home” Photographs comparing the two artists’ garden-empires “I am growing a stanhopea aurea which has been in flower since this morning,” Caillebotte writes to cancel lunch in November 1890 These flamboyant/delicate orchids appear in condensed still life canvases — “Orchidées jaunes” “Orchidées dans la serre du Petit Gennevilliers” — as well as tumbling down door panels giving the trompe l’oeil appearance in Caillebotte’s dining room of a greenhouse’s frame overflowing with flowers This “Cattleya et Anthurium” decorative scheme remained unfinished at Caillebotte’s death in 1894; it predates Monet’s immersive “Nymphéas” in some ways Caillebotte’s career resembles a less resolved speeded-up version of that of the illustrious friend whom he supported with loans and purchases and at times kept literally afloat — he even sent boats downstream for Monet to use as bateaux-ateliers he painted for himself alone at Petit Gennevilliers heralding painterly and geometric abstraction chrysanthemums and daisies are flattened into all-over compositions without beginning or end while patterns of strictly rectangular empty fields such as “Les champs étude en jaune et rose” recall early Mondrian cursory slabs of white paint thick or loose overwhelming a tiny house and fields beneath sensuous: the revelatory vision of the solitude of a painter who found and gave joy cultivating his garden one of the two brothers who killed 12 people in an attack on the French satirical magazine Charlie Hebdo has been buried in an unmarked grave near Paris under tight security Kouachi was buried late on Saturday at a cemetery in Gennevilliers No relatives attended the funeral and the grave was unmarked to avoid it becoming “a pilgrimage site” for Islamist militants “His wife did not wish to take part in the funeral It was extremely calm,” the official added Chérif Kouachi’s widow had asked for both brothers to be buried in the cemetery at Gennevilliers about five miles northwest of central Paris but the local mayor Patrice Leclerc blocked the request since Saïd Leclerc said he had “no legal choice but to allow the burial of Chérif Kouachi to go ahead” Saïd Kouachi was buried the previous night in the north-eastern town of Reims His funeral was held under heavy police protection and with a handful of family members present His widow decided not to attend the burial in order to keep it secret “She is now relieved that her husband has been buried with discretion and dignity,” the lawyer said relatives must request permission for a burial from the local town hall which has to be granted if the individual lived or died in the area as the Parc des Chanteraines also includes a large After your visit to the farm, discover the nearby children's playgrounds, the turtle pond, the magnificent light and shade garden or the large Lac des Tilliers and its rich biodiversity! You can also opt for a complete tour of the park on a vintage train, pulled by historic steam or diesel locomotives, aboard the Chemin de Fer des Chanteraines (for a fee) whose main station is located at the entrance to the farm that there is no service to the Farm station due to track work until 2024 Come on, let's take the kids, the snack and the Navigo pass and head for the educational farm and the Parc des Chanteraines this weekend GENNEVILLIERS, France — The camps weren’t much to begin with: They had no electricity or running water. Grocery carts served as makeshift grills. Rats ran rampant, and fleas gnawed on young and old alike. But they were home — and they were better than the new reality for thousands of Gypsies who have been forced into hiding after France launched its latest campaign to drive them from their camps. The last big sweep came in 2010, when France expelled Gypsies to Romania and Bulgaria. Then the European Commission imposed sanctions, and thousands of French protested in sympathy for the Gypsies, also known as the Roma. This time, the Gypsies left quietly — gathering their belongings and heading into the woods — with plans to reemerge when the coast is clear. “Why did God even create us, if Gypsies are to live like this?” said Babica, 35, as bulldozers moved in to tear down the camp in Gennevilliers, on the outskirts of Paris. He did not give his last name in fear of arrest or deportation. Most of the Gypsies have no plans to return to Romania, where their citizenship would at least allow them to educate their children and treat their illnesses. Amid a dismal economic environment across Europe, they say, begging in France is still more lucrative than trying to find work where there is none. France has cast the most recent demolitions as necessary for public health and safety. It is hard to pinpoint how many camps were taken down. At least five around Paris were demolished, and several hundred of their residents were ordered out; others came down in Lille and Lyon. This time, France’s Interior Ministry said, the camps were demolished in accordance with legal guidelines agreed upon with the European Union. “Respect for human dignity is a constant imperative of all public action, but the difficulties and local health risks posed by the unsanitary camps needed to be addressed,” the Interior Ministry said. In no case, the government said, “did the removals take the form of collective expulsion, which is forbidden by law.” Mina Andreeva, spokeswoman for the European Commission, said the executive body is studying the situation. The Roma Forum, which has ties to the 47-member Council of Europe, condemned the evictions, saying they contradict “President [Francois] Hollande’s commitment from his election campaign to not expel Roma families without proposing alternative accommodation.” It is not clear whether France consulted any Roma before moving in on the camps. Human Rights Watch said 240 Romanian Gypsies evicted from camps around Lyon in southern France left on a charter flight to Romania after accepting 300 euros for a “voluntary return.” The French government has offered no hard numbers on how many Roma camps have come down, or how many Roma have been evicted. Home Delivery Gift Subscriptions Log In Manage My Account Customer Service Delivery Issues Feedback News Tips Help & FAQs Staff List Advertise Newsletters View the ePaper Order Back Issues News in Education Search the Archives Privacy Policy Terms of Service Terms of Purchase Work at Boston Globe Media Internship Program Co-op Program Do Not Sell My Personal Information Fraser Elliott Estate and the Bequest of F.W.G legislative changes have been enacted in Canada that clear up uncertainty regarding gifts of cultural property and their qualification for tax incentives Donations that qualify as gifts of Canadian cultural property can claim exemption from income tax for any capital gains arising on the disposition of the property These changes arose from a 2018 Federal Court decision regarding the sale and export of a French Impressionist painting and that decision’s reversal by the Federal Court of Appeal The ruling by the Federal Court of Appeal restored the decision of the Canadian Cultural Property Export Review Board (CCPERB) to delay the issue of an export permit for a painting sold by Heffel Gallery to a U.K on the basis that the painting was of “national importance.” The painting jardin du Petit Gennevilliers (1892) by Gustave Caillebotte had been in a private Canadian collection for 50 years the Cultural Property Export and Import Act (CPEIA) is intended to restrict exports of works of “outstanding significance” and “national importance.” These terms are also used in the definition of “total cultural gifts” in the Income Tax Act (ITA) to determine whether a particular gift is eligible for the enhanced tax benefits of a gift of cultural property The initial Federal Court decision restricted the application of the criterion of “national importance” to works with “such a degree of national importance that its loss to Canada would significantly diminish the national heritage.” As a result CCPERB required applications for certification of cultural property to demonstrate a direct connection with the cultural heritage that is particular to Canada including the extent to which the object had an influence on the Canadian public or the practices of Canadian creators or Canadians working in a particular field of work or study This interpretation created uncertainty in the cultural community and would likely have negatively affected the quantity and quality of donations made to Canadian cultural institutions particularly with respect to major works with tenuous connections to Canada And contrary to the original intent of the provision this would have reduced the transfer of cultural property from private to public collections the federal government enacted changes to the ITA and CPEIA to remove the requirement that property be of “national importance” in order to qualify for the enhanced tax incentives for donations of cultural property a gift of cultural property for the purposes of the ITA will only have to be a work of outstanding significance because of its close association with Canadian history or national life or its value in the study of the arts or sciences the Federal Court of Appeal overturned the lower court’s decision and confirmed that objects may still form part of Canada’s national heritage even if the object or its creator do not have a direct connection to Canada Canada provides enhanced tax incentives to encourage donations of cultural property to certain cultural institutions in Canada The Heffel case had raised concerns that some donations of artwork that are of outstanding significance may not qualify for these enhanced tax incentives Significant cultural objects that originate outside Canada do not require a direct connection to Canadian cultural heritage to qualify for these enhanced tax incentives they should be included in any comprehensive philanthropic gift planning Karen Cooper is a member of the Queen’s University Gift Planning Advisory Committee She is a partner at Drache Aptowitzer LLP in Ottawa where she practises charity and not-for-profit law with an emphasis on corporate and tax issues Caillebotte’s painting was purchased by the Art Gallery of Ontario Learn more about the painting. who was born with a partially paralysed right arm and has dyslexia was also featured on the local TV as the relay passed through the French town Tilotama studied till Class 7 at Pallikoodam in Kottayam Her father Joe Ikareth is a noted fashion designer and hails from Kottayam while her French mother Murielle is a creative movement therapist Tilotama carried the Olympic torch along with 23 other para-taekwondo athletes "I finished my Class 10 through homeschooling and after the Covid-19 pandemic we decided to move to France to have new opportunities I visited INSEP (The National Institute of Sport Expertise and Performance in Paris) and tried my hand at para-taekwondo The coach of the French team had encouraging words for me and I have been pursuing the sport ever since I aim to make it to the French para-taekwondo team and compete in the 2028 Paralympics (in Los Angeles) I also want to become a physical education teacher," Tilotama had told Onmanorama in an earlier interview who is an alumnus of the National Institute of Fashion Technology started the Move Ability Clothing line that provides clothing solutions for the differently-abled in 2016 who was running an Ayurvedic centre at Kalathipady during her stay in Kottayam is now the director of a music school in Bellot Rwandan delegation received in Gennevilliers A delegation of Rwandan survivors of genocide against Tutsi are in France giving testimonies that directly show how the French government was involved Six members of the alumni of survivors of genocide against Tutsi students’ association (GAERG) are conducting seminars in France schools on the role of foreign actors in the Genocide in charge Communication at GAERG told KT Press “The visit – ‘Tour de France Imbere Heza’ emphasizes the relationship between Rwanda and French youth giving them an insight into the role their country played in the Genocide.” the delegation will for two weeks teach the history of Genocide in secondary schools They will also share Rwanda’s journey of unity and reconciliation and how the country is rebuilding economically Testimonies will include the role French officials played in planning and executing a tragedy that cost the country over 1 million people of ethnic Tutsi in just a hundred days This trip was organized in partnership with the European Grassroots Antiracist Movement (EGAM) which brings together 35 main anti-racist organizations from 29 European countries committed to fight racism and anti-Semitism the Mayor of Gennevillier City told the visitors that they are very supportive of AERG initiative that strives to tell the truth making sure that genocide victims are remembered and perpetrators not to pretend to be innocent “We have already denounced the silence of France during the 20th commemoration of the Genocide against Tutsi and their absence during the commemoration that took place in Kigali,” he said It requires courage to denounce the violence like the one the Tutsi experienced but it is also requires courage to assume responsibility of our mistakes and errors when you are a big state like France.” Rwanda published a list of 22 senior French officers who played important role in training and arming Interahamwe militia that carried out the 1994 Genocide against Tutsi The list followed another of diplomats and political officials who also played a crucial role in the Genocide France refused to acknowledge their government’s role in the Genocide despite undisputable evidences AERG delegation will also attend the trial of Genocide perpetrator Pascal Simbikangwa who appealed to the French court against the 25-year prison sentence for Genocide offenses a delegation of more than 10 leaders in EGAM visited Rwanda to learn more about the Genocide Our goal is to establish links between the new French and the Rwandan generations,” adding that “Their new and committed generation rejects the poisoned heritage of the collaboration and questions the older generation’s silence as well as inability to stop the Genocide.” This Rwandan youth delegation will have an opportunity to attend Pascal Simbikangwa who is accused of genocide and complicity in genocide and crimes against humanity during the 1994 Rwandan genocide they hope the world to understand the Rwanda genocide and also be able to arrest all those who played in a role more especially those on the Europe continent