Airport to test 'at risk' travellers for Covid

nice airport

Tests to detect Covid-19 will be performed systematically at the Nice Côte d’Azur airport for travellers from countries at risk, according to the government.
Government spokesman Gabriel Attal told BFMTV on Sunday that airports throughout the country will apply the strict controls, saying: “We are going to carry out tests at the airport on travellers who come from countries called ‘red’, that is, from the countries with the most circulation of the virus.”
The measure could involve performing up to 2,000 tests a day, which will be free for travellers.
Mr Attal said that travellers who have already been tested in their country of origin will not have to do it again when they arrive in France, however they will have to provide proof that they have done so.
Minister of Health Olivier Véran had previously indicated that work was underway to have saliva tests validated by the health authorities so they can be implemented at airports for travellers arriving from a country at risk.
 

Interview: artist Carol Bruton

Carol Bruton is an artist whose style is entirely her own and inimitable, so it makes perfect sense that this British-Canadian resides on the Riviera, its light deeply affecting and governing the greatest artists of our time from Matisse, Modigliani, Monet, and Kees Van Dongen to Picasso and Francis Bacon. 
Carol Bruton is as fascinating as her artwork. I meet her in her home in Beaulieu and giggle upon realising that she is wearing the perfect metaphor for who she is: timeless pearl earrings and necklace, adidas jogging pants and converse trainers. She is a serene, discreet, rebellious modernist doing her own thing.
Carol Bruton vigilantly guards her privacy through a wall of goodwill and kindness and I am fascinated to see how much that resonates in her work, which I would describe as a soul that meticulously asserts itself through a deep love and connection with the universe. She shares a narrative of her precious experiences with water and being in spirit. While Tracey Emin reveals herself through her crises, her grief, her abortions, the loss of her mother, all documented bravely in figurative angst, Carol Bruton’s work refuses a descent into melancholy. She is quietly rebellious (tenacious) in her painting her own inner journey and faith. Her work is devoid of trauma, is unpretentious and free of objectification. We gaze at images free from form and our everyday reality.
The theme of water and all that encumbers it permeates Carol Brutons’ work. There is a jewel like preciousness to her pieces, that give way to the feeling of being gently swathed by a giant wave.

Coral Threads Turquoise, 80cm x 80cm

Monaco Life: What quote or motto inspires you? 
Carol Bruton: My favourite quote is by the Algerian-French philosopher, author and journalist Albert Camus, who said: “I had the whole sky in my eyes and it was blue and gold”. The idea of bringing hope and richness appeals to me, as do the elements of the universe, the earth and sky of the cosmos. I love orange, blue and gold.
When did you first start to paint? 
I first started painting in the southern coast of Spain between Alicante and Costa del Sol where I grew up in a tiny fishing village. I took a kilogram of cement and started to make paintings of houses with that.
What made you go from painting everyday scenes to complete abstraction?
Instinctively, I knew I was coming to the end of the series, but I had no idea. I was living in Villefranche and I remember seeing this moon just collapse on the ocean; the ocean was black and this orb was just hovering over the horizon. I thought to myself, “How can a human produce something as magical as this?”. It took me four years to understand how to manoeuvre the paint so that it looked like it hadn’t been produced by a human hand. I started to create my first moons and suns and then the edges of the paintings became immensely important to me because I didn’t want to crowd the canvas. I don’t like things busy or enclosed, I just like these magical shapes floating on the canvas with the edges clear.
What inspiration do you draw from other artists? 
My source is through a higher power or my angels. I am deeply inspired by the colours artists use, like Anish Kapoor and his absolute simplicity when using a material like aluminium and how he curves his metallic bowls so there are reflections and light bouncing shapes naturally.
Also, Mark Rothko inspires me for his fusion of colours.
Recently I listened to a podcast by David Hockney in Normandy. He is 83 and he was asked what makes him tick. He replied “It’s always colours”.  It’s the same source for many artists.
Raindrops Gold, 130cm x 89cm

Your creative process is linked to swimming and you swim daily. How was your art affected by the lockdown?
Swimming is really my primary source. It’s not necessarily swimming, although I am a pretty strong swimmer. I go under the water, turn on my back and it’s what I see floating on the surface of the sea with the reflective elements of the surface that inspires me. Hence many of my shapes are organic, like the Coral Thread Series I exhibited at Banque Havilland in Monaco.
Right in the middle of the lockdown period there was this huge rainbow over the entire bay of Beaulieu, it was like God’s arm protecting us, and that inspired me to create a series of 10 paintings of the Rainbow.
How do you start the day?
I get up at 6am and have a coffee. I like to keep to rigid parameters, it’s like training to be an athlete. By the end of the day I am more and more human like, I become more connected to my family and their problems and I am more grounded. I am lucky I sleep really well so I can start afresh.
I love champagne and prosecco but I don’t drink because it robs me of my sharpness. I am able to start the morning listening. I work from about 7am to 3pm non-stop.
Who is your dream audience?
People who visit the Serpentine Gallery and Gagosian, and anyone who gets goosebumps when they see my work.
Protective Eye, 63cm x 40cm

What does your process entail, like in the turquoise and gold threads painting behind you? 
I painted that in October 2019 and it was a very long day. I can only do it in one session, I can’t leave it at all because it has its own way of drying. I started painting at 7am and finished at about 10pm. I start with the cream and then add a scion blue – that’s a favourite colour of mine. It has to semi dry otherwise the colours merge into each other and I don’t want that. Then I move into the centre like the centre of the universe where the energy is – that’s where the eye gets drawn and that’s where it becomes intense, where all the brush strokes start happening. By the end of the day when it’s finished, I am exhausted and feel like I have given my energy, soul and body to the painting.
What advice did you give to your three daughters who remarkably all went to Cambridge? 
I am a pretty hardcore disciplinarian, but long before my divorce I would say to my three girls: “Whatever you do, don’t just be a mother or a wife, you’ve got to have an identity”. I drilled that into them at a very early age and they took it very seriously. They themselves took responsibility for their studies.
How would you describe your work?
A journey into the cosmos – to get all the pain and suffering out from the human level into a cosmic peace.
I want to leave the human pain behind and portray that with silence and listening. Nicole Stott went to the moon twice and once told me that my work reminds her of what she saw from the space shuttle, the light, the blue, and how fragile her vision of the earth was, how fragile we look. She saw my work and it reminded her of the earth from space. That was a huge compliment.
 
Carol Bruton currently has an exhibition at Castelroc restaurant opposite the Palais de Monaco.
 
 

The Avener’s concert controversy

The Mayor of Nice and the Minister of the Interior have been forced to react following outrage at Saturday night’s The Avener concert, which saw thousands of people flock to the Promenade with complete disregard of health measures.

The weekend concert on the Promenade des Anglais has drawn fire for what is and what isn’t considered appropriate in terms of gatherings.  

The concert brought together thousands of people, most of whom were not respecting barrier distancing despite audio instructions and numerous signs in place. This kind of large event is understandably incongruous to those who have had to cancel weddings and other far smaller events due to post-Covid regulations on group meetings. 

The event was sanctioned by both the city of Nice and the State.

Nice Mayor Christian Estrosi took to social media to reprimand the public for not adhering to the rules, saying: “We regret that these instructions have not been sufficiently respected and ask the State to review the decree which governs major events in order to impose the wearing of masks, even outside. At Nice, it will now be mandatory for all our events.”

France’s new Minister of the Interior, Gerald Darmanin, has called for “greater vigilance from our fellow citizens” and made a trip to Nice on Monday to meet with Mayor Estrosi.  

In acknowledging that the concert was authorised by the State, Minister Darmanin said: “I understand the legitimate concern at the images that have been broadcast.”  

For 14th July celebrations, the city of Nice will not go ahead with its large fireworks display this year, rather the city will host a concert by the Philharmonic Orchestra of Nice at 9pm in the rotunda of the Promenade du Paillon.

Bastille Day fireworks and entertainment will still take place in Saint-Jean-Cap-Ferrat, while Beaulieu-sur-Mer will host their fireworks display on 13th July.
 
 
 

Monaco business showing slight recovery

Retail trade saw small gains according to business owners interviewed in May, though retail and auto repair is steeply down.

The official statisticians of the Principality, IMSEE, has released its report on the state of trade since the lifting of the confinement.

Monaco has 800 establishments in its retail sector which contributed about €1.5 billion in turnover in 2018, making it the 8th biggest contributor, clearly an important facet of the overall Monegasque economy.

The synthetic indicator won +3 points in April, revised from +5 points in a previous report. This slight improvement is mainly due to the general improvement in outlook for activities and expected employment.

Despite an increase in May, the balance of opinion regarding the general outlook for activity remains significantly below average. The past sales balance is comparable to that of April and remains at the lowest level ever recorded.

Sales are expected to grow strongly in the coming months but remain well below the long term average. Though order intentions remain stable, they are well below the average level.

Currently, price balances continue to fall, while that of the forecast prices shows a strong rebound which goes back above normal.

Employment improves but remains largely below normal. The forecast employment balance is growing moderately but is still below average.

The cash situation was considered particularly difficult for the month of March, and only goes on to further accentuate its decline compared to normal. 

On a better note, the number of customers, very affected in recent months by the cessation of non-essential activities and containment measures, improved in May.