'Grey income takes the blue from the sky': how ordinary Chinese cope with the everyday reality of corruption
The pollution that dominates the skies above the Chinese capital Beijing has been blamed on many things – too many cars, too many building sites, not enough wind. But for some locals the real cause is corruption. Payments by polluting firms ensure that the inspectors simply do not inspect them. Indeed, the issue of so-called 'grey' or undeclared income has become a huge one across the country. Anyone who is able to get involved does so; secretaries ordering takeaway meals for their bosses, minor civil servants who rent out their homes a slum landlords, even teachers at music schools. As Jordan Pouille reports from Beijing, there are now growing calls for the public to have a say in stamping out corruption.
As in many recent conflicts involving Western intervention in other countries, France’s decision to wage war against Islamist militants in Mali has been accused by some as furthering its energy interests and economic investments, a suggestion that President François Hollande has unequivocally denied. Mediapart’s international affairs specialist Thomas Cantaloube finds the truth lies in between as he examines here just what are France's interests in the region. While Mali has quasi-inexistent mineral or energy resources, in the wider Sahel area, comprising the north of Mali, the east of Mauretania, Niger and parts of Algeria and Libya, the energy issue is significant.
Nineteenth century paintings from France, including 87 works by French Naturalists, to go on display at new Shanghai art museum.
Boss of clothing firm Zadig & Voltaire had said that Chinese tourists would not be welcome at exclusive new hotel planned by the company in Paris.
Laurent Fabius wrapped up a visit to Beijing, saying he hoped for a "higher quality partnership" between France and China.
Chinese artist Liu Bolin is one of a new generation of dissident artists that have emerged in China in recent years. His art is a double play on what the visible and invisibile. The artist disappears into the scene, camouflaged by fine paintwork, an act that represents and denounces the repression of individuality under crushing state power. Earlier this spring, his works were showcased in a series of exhibitions in Moscow, Paris and New York. He granted a rare interview to Mediapart’s Hugo Vitrani, published here along with a selection of his photographic works, and video reportages.