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Roland selected for the CAN! If

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In a previous interview (see below), we dealt with N'dy Assembe Roland, one of our honorary members, its great benefits for the purposes of Valenciennes and his deep desire to bring bikini Green Cameroon shortly. Whatever FC NANTES did not see goalie holder will see their wishes heightened since Paul Le Guen, current coach of the Indomitable Lions, just seek to contest the Africa Cup of Nations in Angola.

"I live a dream." said Roland could even now claim to contest the World Cup in South Africa next June. "I do not want to cut corners. I have been to focus on the CAN and continue my learning of the High Level tempers this man who today asked the beautiful Valenciennes days.

Roland, all our thoughts are with you and we wish you to live an exceptional African year!

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Collect-back from Brazil! The selection

Edinho Ancenis Pele!

members of the association Collect-Yew, visiting their counterparts and friends of the Brazilian Association NSA have once again been able to measure the work with children Supported in Santos and Guarujà in the Project Integrar Arte e Vida. They have also out the investment Edinho Pele, the King's son, met him in 2008, who agreed to participate in the football game co-organized by Collect-If the Company and SR EVENT June 5, 2010 at Ancenis.
This meeting charity, a portion of the proceeds will be donated to the association AN.E http://www.integrararteevida.org.br/ , takes a real international dimension. The participation of Edinho Pele, who will give his confirmation in January, added to that of Marcel Desailly, Christian Karembeu, Stephane Ziani and their guests should bring the crowd great days at the Stadium of dAvray.
Happy to come to France, "this is the first time for me," confided Edinho Pele, the current coach goalies SANTOS, and himself a former club doorman brought to legendary heights by his father in the 60s, did not hide his satisfaction, "I am very touched by this invitation to a week's kickoff of the World Cup in South Africa. Know that the French are interested in the fate of young Brazilian touch me much. I had already had occasion in February 2007 with Marcel Desailly to play a meeting in Santos, it will be a sort of rematch. "

Since January, we will inform you on the sale of tickets to this extraordinary encounter.

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Utrillo Valadon and Exhibition at the Pinakothek

The Pinacoteca of Paris, whose Director Mr. Restellini has made a specialty of exhibiting the works of artists presented by him as cursed artists, forgotten by critics and official pariahs Museum of state, found in the couple Utrillo Valadon ideal subject.

Suzanne Valadon (1865 - 1938) is a young girl abandoned by her parents, model Renoir, Toulouse Lautrec, Degas and painter in his turn. His son Maurice Utrillo also abandoned by his mother is a painter's great. The artistic biography of the two characters is a driven cross, as his inspiration when he loses steam as his mother's hatches. It is when Utrillo, child genius, dark in alcohol, that his mother was his first agent acquires full control of his peinture.Lui painted deserts urban landscapes, she painted domestic interiors and portraits, still lifes. As if their paint both illustrated their inability to really meet each other.

cartels exposure swarm of biographical details or aesthetic bone resituent two friends in the great destiny of world painting. Maurice Utrillo, painting views of Paris on the basis of Postcards, is a precursor of Pop Art, Suzanne Valadon was the first artist truly "feminist", painting subjects formerly reserved for men. Entitled "Utrillo Valadon, at the turn of the century Montmartre", the exhibition also recounts a watershed in the history of painting, when Impressionism and artists in bourgeois rebellion ocntre their middle school was born in Paris, cursed with its artists, penniless, from the academic popular. Although exercise may turn to the learned dissertation and eventually be intellectually interesting rather than visually strong, this exposure is challenging the strength of comparisons made and built relationships.

Perhaps all of the exhibitions held since the opening of the gallery, where the taste of storytelling and biographical material is pushed to such an extent that it sometimes obscures the contact works. But the masterpieces of Valadon (especially the naked hats) and the coherence of the work of Utrillo amply justify it out, waiting for the century Gold Dutch painting, where you can not that again forgotten painters to be rehabilitated.

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Taranto Daoulas

Abbey Daoulas dedicated until January 2010 at one of the most famous cities remained of the civilization of the "Magna Grecia", these ancient settlements installed on the shores of southern Italy by the Hellenic civilization, between - 700 and - 200. Examine the history of Taranto, is to understand the transition from Greek to Roman world, trying to see who makes the rise and fall of civilizations. The story begins

the 8th century, when rogue from Sparta founded the city. A large settlement movement launched by several Greek cities changes the landscape of southern Italy to form the Magna Grecia, in immediate contact with indigenous peoples and "barbarians" (Messapians, Lucanians Brettiens, etc ...) that must then contain. The exhibits (helmets, pads, weapons, etc.) are celebrating the vigor of a young nation, conquering, sure of his strength and that some people want to imitate conquered. Greek colonies also compete with each other.

From the Archaic Age to the Classical Age (5th Century villa), objects become more refined, the ceremony of wine and sports games give sculptors and painters Owned many to express their talent. The bowls, vases, cups and jars required for the manufacture of wine show themselves only to the refinement of a culture of top-flight. Who may have lost the taste for fighting, the taste of the pleasure of the peace may finally have won over the art of war, gradually Taranto says his defense warriors mercenaries from elsewhere to counter the rise the emerging power of Rome. In the 3rd century, the fight against the Italic peoples Taranto incentive to seek relief to Condottieri from elsewhere, Alexander the Hound for the first time, Pyrrhus, then. Rome progresses inexorably toward its rival. Won first in 272, the city will want to rebel and finally razed a few decades later, in 209, for having sided with Hannibal's troops in war against Rome.

The military victory of Rome in the south of Italy is synonymous with cultural victory yet in Greece. Taranto has been a powerful vector of the Hellenization of Rome in all areas: visual arts, philosophy (Pythagorean), music ... turns dominating and dominated, conquering and conquered Taranto is a beautiful melancholy mediation on the fate of lost worlds: "The delicate and effeminate softness of its inhabitants were moved into a proverb, and the soft tarentinum gave the same time the idea of all searches and luxury all the pleasures of sensuality. Also this famous republic having lost its morals as a result of his wealth, soon lost its glory with his freedom. Already vanquished by delight, the Tarentines waited quietly deigned yoke which impose the Romans. Our designers travel in vain fields and gardens covered this proud city, they do not find any monument or vestige of its former splendor. And never, can we cry out with an English author who recently made the journey, not a city been so completely erased from the earth that the city of Taranto. "

From Greece to Rome, Taranto and the lights of the Mediterranean , 28 May 2009 to January 3, 2010, Abbey Daoulas see the site of exposure

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courses taught by Daniel Danis

From October 19 to 24 / The Fresnoy - Tourcoing - EN

projection and large format panoramic images: use of multi-projectors

By Daniel Danis (CA), Sebastien Roy (CA) and Lucie Bélanger (CA).

www.cecn.com / Training Category

From October 26 to November 7 / CIFAS - Brussels - BE
The actor and his double

From his latest text "Yukie", about a young girl cloned five times and goes in search of her sisters, Daniel Danis will explore with participants the different layers of self-concept: through the body, the mask, the filmed image and projected, the avatar, the reflection, shadow ... The work will be well on the presence and action in a scenic environment changing through real time processing of video, light and music.


The workshop is for actors, dancers, performers, musicians but also video artists, set designers, lighting engineers or computer scientists (10 to 12 participants).

Daniel Danis is without doubt the playwright living in Quebec's largest. His plays are now translated into 12 languages. Alongside his writing, he was always interested in the performing and visual arts to absorb in their research fields.

http://compagniedanieldanis.blogspot.com/

Deadline: 15/09/2009

The course will be held at Carthago delenda est.

Show: http://www.bellone.be/fr/general/cifas_suite/workshops/the_actor_and_his_her_doubles

Listings Contact: Charlotte David> cifas@bellone.be - +32 2 513 33 33

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Scriptures silent space to Louis Vuitton Beaubourg

Back on the classic theme of the print and language, aesthetic effects that emanate signs where the meaning is gone.

We do not count the exhibitions and publications around the theme of the imprint, the trace often accompanied by turgid meditations on the passing of time and persistence of the gesture. The exhibition space Louis Vuitton has the merit of addressing this issue with rigor, and deploys about a rich and delicate, served with some huge artists, including Joseph Kosuth, Sun7, and Ernesto Neto.

Exhibition "silent writes" effectively explores the various ways to writing, to be silent. There are silences forced, selected, silence born of fear to speak of the impossibility to say, oblivion. The play that opens the exhibition is an example of writing indecipherable three Rongo Rongo tablets writings of Easter Island probably made for religious ceremonies and kept in the Vatican Museum since 1925. The visitor can only assess the correctness of the abstract shapes like little drawings Aligned animated by an intention that has not yet discovered the secret.

There are also entries that have been deliberately encrypted to ensure confidentiality. This is the case of e-secret defense lawyers of Guantanamo prisoners presented by Jenny Holzer: just a few words should be removed or masked for an entire text falls into silence, and be degraded state stacking of signs without meaning. Another form of silence, not imposed by history and the passage of time (footprint) but deliberately and consciously designed by the law and regulation (Fig. Jenny Holzer / Galerie Yvon Lambert).




There are records that remain silent because the pile of things to read, the potential multiplicity of languages and our inability to master all discouraged by the company to advance reading. Silence is not absolute, it is relative: it depends on the time of each. The musical writings, the closed SBooks are about to speak, one feels that they could remain silent débaillonées but for us who do not comrpenons or do not do the effort to read. This is the case of these libraries with all these books neatly lined up on dusty shelves from floor to ceiling (see pictures of J Kosuth) or the Great Barrier books stacked by Ni Haifeng (illustration cons). The artist has superimposed the books on each other, to form a wall which is sees first that slices title. On the reverse, a hand aligns algebraic writings as signs cabalistic incomprehensible. The printed book serves as a blank surface to other records, the mathematical codes invest linguistic support.


Each piece of course is an opportunity for a shift in the normal use of signs, in the tradition of the Library of Babel by Borges or zero degree of writing of Roland Barthes, to name only the more evident. Each piece operates this slight shift in which handwriting thought to be familiar or should be, since it comes to communicating, suddenly becomes opaque as alien and a series of hieroglyphics. The mix of writing systems, Arabic, algebra, musical score, shows the diversity of the tools of human language, the arbitrary element in the heart of communication and the important work of interpretation Required for understanding the most basic.


Any language works on a collective interpretation of abstract symbols which in themselves mean nothing. It suffices that the code is missing, that interpreters are dying, and the significance disappears. It remains a complex system of notations that appear in the same bizarre ny blow in its materiality: the sounds, shapes, colors, patterns. The exhibition looks at all these phenomena of expansion and distortion of the signs and their own lives of their emancipated according to the vehicle direction.


The artists here use words and signs as a standalone graphic material. By projecting moving computer records on the walls of a room, Charles Sandison worked on the perception of writing code is no longer an inert but a living organic matter, and is no longer something posed for itself that should be read in a surrounding environment but which one bathes (Illustration: Charles Sadison / Cryptozologie). That signs no longer perceived simply as fingerprints or traces of something that should be faded back, but as living forms intensely expressive in themselves, that's very like a consecration.

See here the site of the expo. On a related topic and interest in graphic signs communication, see also this text exposure Villeglé

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Vassily Kandinsky

The magnificent retrospective at the Pompidou Centre insists first on the painter Kandinsky, sometimes obscured by the great theorist creator abstract art.

Most of the critical discourse on Kandinsky addresses the theoretical dimension of his work, including the radical decision to move into abstraction, the choice to switch from figurative painting to abstract art. It was written thousands of pages on the reasons for such a revolution, the warning signs, and the many implications of this inaugural decision. (With the black arc)

Exposure Beaubourg has the merit of one more step to provide access to the painting itself, rather than theory. It does not in fact answer the question "How did we go to abstraction?" but it must be told that "what we do once you're inside?" What happens once he crossed the Rubicon once the decision to move from side abstract painting? That's where we discovered, not without astonishment, the extraordinary richness of forms, diversity of abstract patterns painted and progressive on for decades, Russia, Germany, France.

A countdown to the naive intuition that "all resemble abstract paintings," or false intuition that "if we delete the object, there is only emptiness, or chaos, "Kandinsky's work reflects the richness of the graphical abstract universe. There are impressions, compositions and improvisations. The tables in the beginning, still imbued with Russian folk tales, and piles of colors and arches, with irregular spots. Followed by rigorous geometric compositions, the alphabet mathematical forms and biomorphic figures, small animals and hieroglyphics by which painting verges on writing (composition VIII).

The surprise - and shock - of this exhibition, beyond the chance to cross the all of the work of Kandinsky thanks to special loans from the three largest museums in the world, is undoubtedly the presentation of stunning watercolors of painter and in particular those the collection of Alexander Kojeve acquired in 2001. They are considered in their full flavor for the work on canvas, they are like a double-secret, underground, that Kandinsky has continued to compose in parallel. There's illustrations of children's stories, painting projects, small jewelry unprecedented color quality (untitled, 1915, donation from Kandinsky).

These works, which was aptly named the "secret of Kandinsky paintings" to complete this huge retrospective at the number of exposures that do not forgotten.

Centre Georges Pompidou until August 10 View as always thematic dossier prepared by the staff of the museum.

Not something posed for itself, but an environment in which one bathes

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Bled tour

Monday, May 4 to 14 h 30 - Tuesday, May 5 at 10 am and 14 pm 30

City Hall Neuilly sur Marne

Reservations: 01 43 60 07 50 (PET)

Access: RER A Marne la Vallée Case Neuilly Plaisance

then bus 113 towards City of Chelsea, off Foch de Gaulle

Tuesday, May 12 to 14 and 19 h 30 h 30 - Wednesday May 13 to 15 h - Thursday, May 14 at 10 am and 14 am-30 Friday, May 15 at 10 am and 14 pm 30

Leadership Centre Place Christmas Paris 19

Reservations: 01 43 60 07 50 (PET)

Access: line 11, direction Mairie des Lilas, off-site parties

Monday, May 18 at 15 pm - Tuesday May 19 to 14 and 19 h 30 h 30

Theatre Eastern Paris - Paris 20

Reservations: 01 43 60 07 50 (PET)

Access: line 3 towards Gallieni stop Gambetta

Bus 61, 60, 96, PC2, 69, 26, 64 and The Traverse

Velib 'Stations: 177 and 121 avenue Gambetta, 2 Haxo Street, 164 Avenue Ménilmontant

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Trilogy blurs the FactoryCo, Montreal (2008)

Examples of video projections on curved surfaces.

The "lantern" video designed by Daniel Danis and developed Sébastien Roy and his team.

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Pollock and Shamanism


On the origins of modern art How shamanism and spirituality influence the onset of abastraction and "dripping" in Pollock.

schematically There are four main sources (at least) four major accounts of the origins of modern art and abstraction.

(i) The formalism, that is to say, the renunciation of the object representation and figuration in favor of'étude pure forms, lines and dots arranged on a map: see Mondrian.

(ii) The decorativism when the ornament is so important and pervasive that eventually invade the table (all over) and remove topic See Klimt.

(iii) Scientific imaging, or how the model of the atom, the representation of sound vibrations, the graphing of waves and invisible forms disrupt traditional perceptions of the nature and influence of modern art : see Kupka.

(iv) The Spiritualism is to say, the desire to feel and express the underlying forces at work in nature or humans, whether the presence of God or the unconscious acting under the surface of things: see Kandinsky, and the influence on his painting of the art of the icon and the Russian religiosity.

These 4 stories are well obviously not exclusive of each other, and the list is not exhaustive. Pollock exhibition of the Museum of Paris illustrates the fourth lineage of abstract art. It examines the interests of Jackson Pollock for primitive religiosity of American Indians, and the importance of training for its exhibition Indian Art of the United States held at MoMA in 1941.











It shows the closeness of the themes (featuring violence, mating male / female, animal, access to THE PARALLEL worlds through dance, trance, music) and importance of rituals in genealogy of abstract expressionism, the very large size and the dripping technique, which we find beautiful examples at the end of exposure.













As always with Commissioner Marc Restellini, the idea is exciting (here based on the work of Stephen Polcari), controlled, very didactic and eventually perhaps a more "academic" than usual, with a slight imbalance in favor of prose at the expense of picture rails works. It comes out better educated, but perhaps not as affected as usual, except some fantastic pieces that are worth visiting, including those of Andre Masson, painter painter surréalliste reference.


Jackson Pollock and Shamanism, the Pinacoteca Paris. Until February 15, 2009

1) Jackson Pollock, Composition with oval shapes, 1934-1938.
2) Jackson Pollock, Number 18, 1950

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The Century of Mantegna at the Louvre


From vision (slightly) deforming an exhibition of an artist. The example of the retrospective Andrea Mantegna at the Louvre.

The Louvre is organizing a retrospective Mantegna. This term a little school, a little dry, mask what is really the cultural triumph of the autumn-winter in Paris. Present as complete a picture as possible of the work of a giant whose major works are to be so fragile that they do not travel much, either directly affixed to the walls of palaces which do not travel either.

The question is: was it possible? All the criticism seems permissible to think it does, and exposure actually accomplishes the feat promised, a few inevitable exceptions.

Indeed, as recalled by Giovanni Agosti in his beautiful book "story of Mantegna," the painter's art rests on two pillars: the ancient and illusion.

Antiquity is beautifully presented in the works exhibited in Paris. An antique marble, rough, manly, like figures made of statues, immersed in the gravity, grin a little harsh, a little frozen. They soften with time, not necessarily for the better elsewhere. But work on the illusion is much more difficult to feel, and sometimes we wonder if it has not simply been passed to the ace, then it is obviously an aspect capital. The confusion between real space and the space is painted a real problem Mategna's works, and is also specific to the whole of italy Ecle Northern Mannerism and the future. The Paris show has little railings that some trompe l'oeil marble or feigned to propose that it is understandable, but still short on comments on this aspect, what is cmprend less.

course, one must (should) run to see this exhibition, admire some masterpieces in the tryptic particuleir finally met the predella San Svevo, relations with pictorial Bellini (ah, the sweetness of Bellini!) with the Flemish school and Roger van der Weyden (ah realism oh the quaint, small rabbits players wild flowers at the feet of the martyrs), the fabled firm of Isabella d'Este and especially to see the evolution of a painter who for nearly a century has gone from being "the first painter in the world" to that of an old master always met, but exceeded by the fashion of the modern way.

The mild relief is soon preferred to the dignity of subjects and the sharpness of lines, colors spread into vapors rather than surfaces. Correggio, Leonardo da Vinci and Giorgione throw Mantegna's art style old-fashioned. All this creates a feeling of sweet melancholy after the profound admiration, and it is not the last tour de force of this exhibition to arouse feelings so intense and contrasting. As noted

admirably Philippe Dagen , the long series of prints that remind Mantegna was a contemporary of Dürer and Bosch. On the ceremonial allusions to antiquity, the intensity of passions and appetites are never far away. The monsters, the energies unleashed percent on the severity of initial contact. This force, this cruelty, soft morning Bellini and Van der Weydien picturesque building in the end of this magnificent course the image of a devilishly complex Mantegna, whom we admire illusionism situ In the rooms of the spouses of Mantua.

Mantegna, Musée du Louvre, until early January. V oir the mini-site exposure