Tag Archives: Hervé Guibert


In the art-for-art’s-sake world of Christophe Honoré and his characters—gay men in love with love and the legends of representation that give their at-risk lives sense, sensibility, and station—matters of love, life, death are navigated through a filter of literature and performance, and this combination of high art and pop sentimentality brings solace.

In PLAIRE, AIMER ET COURIR VITE / SORRY ANGEL—now playing at the Nuart—the brief 1990s encounter of Jacques (Pierre Deladonchamps) and Arthur (Vincent Lacoste) is haunted by the long shadows and quotations of some of the writers Honoré recently celebrated in his stage piece Les IdolesBernard-Marie Koltès, Hervé Guibert—supplemented by queer icons and allies Jean Genet, Isabelle Huppert, Robert Wilson, Walt Whitman, W.H. Auden, David Hockney, Andy Warhol, and Rainer Werner Fassbinder.

Jacques, not willing to undergo yet another course of AIDS treatment, is reaching the end of his story just as Arthur—like Honoré, a transplant from the provinces—is beginning his. With a little help from his idols, Jacques can put Arthur on the path to become a proper young Parisian.


Through March 21.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

From top: Pierre Deladonchamps (foreground) and Vincent Lacoste in Sorry Angel; Deladonchamps; Deladonchamps and Lacoste; Lacoste.


LES IDOLESChristopher Honoré’s new evening-length theater piece dedicated to his cultural heroes lost in the AIDS epidemic—celebrates the lives and work of Hervé Guibert, Bernard-Marie Koltès, Serge Daney, Cyril Collard, Jean-Luc Lagarce, and Jacques Demy.

The cast includes Youssouf Abi-Ayad (Koltès), Harrison Arévalo (Collard), Jean-Charles Clichet (Daney), Marina Foïs (Guibert), Julien Honoré (Lagarce), and Marlène Saldana (Demy), with the participation of Teddy Bogaert and Aurélien Gschwind (Bambi Love).


Through February 1.


Place de l’Odéon, 6th, Paris.

Les Idoles production photographs © Jean-Louis Fernandez, courtesy the photographer and the Odéon, 2018.


“In 1978, Mathieu Lindon met Michel Foucault. Lindon was twenty-three years old, part of a small group of jaded but innocent, brilliant, and sexually ambivalent friends who came to know Foucault. At first the nominal caretakers of Foucault’s apartment on rue de Vaugirard when he was away, these young friends eventually shared their time, drugs, ambitions, and writings with the older Foucault. Lindon’s friend, the late Hervé Guibert, was a key figure within this group.

“The son of Jérôme Lindon, the renowned founder of Éditions de Minuit, Lindon grew up with Marguerite Duras, Alain Robbe-Grillet, and Samuel Beckett as family friends. Much was expected of him. But, as he writes in this remarkable spiritual autobiography, it was through his friendship with Foucault—who was neither lover nor father but an older friend—that he found the direction that would influence the rest of his life.”*


The Semiotext(e) publication of Lindon’s memoir LEARNING WHAT LOVE MEANS (2017) was translated by Bruce Benderson.*

See Bookforum interview with Lindon.

See Andrew Durbin’s article in Bomb.

Above image credit: Semiotext(e).

Below: Mathieu Lindon (right) and Hervé Guibert in Balthus’ studio, Villa Medici, Rome, 1987. Photograph by Hans Georg Berger.



The fifth and final issue of ANIMAL SHELTER—edited by Hedi El Kholti, Chris Kraus, and Janique Vigier—includes a story by Colm Tóibín, poems by Ariana Reines, and essays by Bruce Hainley (on Hervé Guibert), Masha Tupitsyn (on Ingmar Bergman), Jean-Louis Schefer (on Hitchcock’s Vertigo), and Natasha Stagg (“Alone at Safeway”).


ANIMAL SHELTER 5, available at Stories in Echo Park, and Oooga Booga in Chinatown.





Image credit: Animal Shelter.



CRAZY FOR VINCENT belongs in the tradition of what you might call ‘fucked-up boy art’—not verifiably straight or gay, but just devoted to ogling the hot wreck of a handsome young thing out of his mind. Vincent [Marmousez] doesn’t call himself anything whether he’s hopping into a cerebral dude’s bed or frolicking with a babe… A history of this tradition might begin with Caravaggio’s Young Sick Bacchus, that self-portrait of the artist totally wasted with his flesh tinged green, move through Anne Carson’s verse novel Autobiography of Red (1998) and Larry Clark’s entire career, before climaxing with Ryan McGinley’s shots of the late Dash Snow. Who could resist these beautiful hoodlums, even if their company turns out to be fatal?” — Charlie Fox*



1989, reprinted by Semiotext(e) in 2017, translation by Christine Pichini, introduction by Bruce Hainley.



See Ron Slate on Guibert: ronslate.com/ghost_image_essays_herv_guibert

Bottom: Hervé Guibert (1955–1991).