Tuesday, April 28, 2015

amazing encounter





éditions du Village des Arts  
l'édition 2015 
l'Ile des Impressionnistes à Chatou le 27 et 28 Juin prochains.
Dans le cas où vous n'êtes pas encore informés, veuillez trouver ci joint le dossier d'information/inscription pour le Village des Arts 2015 et le flyer.
Le dossier devra être retourné rapidement par courrier à l'association STUDIOZERO.

  • fiche d'inscription
  • décharge de responsabilité
  • frais de participation
Je reste à votre disposition,
Clt Sandro
Sandro ZERO
Tel. +33 603685420

Saturday, April 25, 2015

Education and Public Programs Coordinator position PART TIME ,,,,OPEN until filled



Founded in 1969, the Neuberger is the premier museum of modern, African, and contemporary art in the Westchester/Fairfield County area. An outstanding arts and education institution, the Museum was conceived with the dual purpose of serving both as an important cultural resource to its regional, national, and international audiences, and as an integral part of Purchase College, SUNY. Located on Purchase's 500-acre campus, the Museum's 78,000 square foot building was designed by Philip Johnson and John Burgee, as part of a master campus plan formulated by Edward Larabee Barnes.

Reporting to the Director of Education and Public Programs and working closely with Curator of Education and Public Programs Producer, the Education and Public Programs Coordinator is responsible for managing day-to-day office administration and providing support for the team.


I. Administrative Support for Education and Public Programs Office

• Provides general administrative support for the Director of Education and Public Programs. Duties include typing, copying, filing, calendaring, ordering supplies, placing work orders and preparing requisitions and deposits.
• Stays well informed about all exhibitions and programs and general Museum operations.
• Answers and screens telephone calls for the Education and Public Programs Office.
• Greets visitors coming into the Education and Public Programs Office.
• Processes a variety of requests and inquiries related to programs and activities organized by Education and Public Programs team.
• Coordinates mailings (both physical and electronic) for the Education and Public Programs Office.
• Maintains team calendar for the Education and Public Programs Office. Proactively screens Room Book and other calendars used at the college and the museum to prevent possible clashes.
• Manages the space use for the Study, including replying to external requests submitted via Room Book.
• Maintains the shared drive for the Education and Public Programs team.
• Handles internship request for the museum. Distributes applications to relevant departments and saves them on the shard drive.
• Maintains office supplies and physical office environment. Liaises with Facilities and Janitors to make sure that the Education and Public Programs Office, the Research Room and Skylight gallery are kept tidy at all times.

II. Administrative Support for School Programs

• Assists Curator of Education in cultivating, developing and maintaining key relationships with teachers, principals and superintendents to make sure that the Museum continuously serves local schools and our offer evolves to meet their needs.
• Schedules and confirms group visits to the museum, including school tours. Liaises between teachers and the Docents.
• Manages multi-visit school programs (for example, Writing through the Arts).
• Assists Curator of Education in monitoring school programs, including collecting relevant data for reports and tracking attendance figures and tour statistics.
• Assists Curator of Education in planning and implementation of selected events for teachers (Teacher Private Views, Development Days and Conferences). Manages registration and all necessary preparations.

III. Administrative Support for Docent Program

• Prepares coffee and audio/visual set-up for volunteer meetings.
• Maintains the Tour calendar. Confirms Docent availability and assigns them with groups.
• Assists in planning and implementation of the annual Tribute Luncheon for volunteers and other special events related to the Docent Program.
• Tracks volunteer hours, Docent touring records and Docent workshop attendance.

IV. Support for Adult and Academic Programs

• Prepares coffee and audio/visual set-up for volunteer meetings.
• Aids volunteers with various daily needs.
• Assists Public Programs Producer in planning and implementation and production of selected events.
• Handles requests for class visits to the museum from Purchase College faculty.


4-year degree. Ability to communicate with clarity and tact; excellent organizational skills, attention to detail and accuracy. Capacity to prioritize, manage, and follow through on multiple tasks. Ability to write business correspondence and effectively present information. Excellent computer skills: advanced user of MS Office suite, experience of working with Raiser’s Edge and WordPress a plus.

Working hours: 25 hours per week (capped at 1250 hours per year) with the following breakdown of hours: 3 full office days (7.5 hours each) plus 2.5 hours on Wednesday evening or weekend as required by the event schedule.

Remuneration: $18 per hour.

Open until filled.

Application Instructions

To apply, please send your resume and cover letter to: NMA.learning@purchase.edu
Thank you for your interest!​

Thursday, April 23, 2015

opening soon at the Neuberger Museum of Art

Plastic: Art in an Era of Material Innovation
May 09, 2015 - July 12, 2015
In the mid-twentieth century plastic was viewed as a material of infinite possibility. Artists began incorporating plastic into their work as technological and commercial development of the material flourished. Whether encouraged by industry, responding to a society seduced by synthetics, or excited by the inherent qualities of these new materials, artist created myriad works that showcased plastic’s diverse, expressive, and complex qualities. An object in plastic could take any form: thin, malleable plastics could be stitched together or spliced, hard plastics could be glued, colored, melted, or molded, and plastic objects could even be appropriated as signifiers of an increasingly superficial and materialistic society.
Plastic: Art in an Era of Material Innovation presents a selection of more than thirty works drawn from the Neuberger Museum of Art’s permanent collection. Spanning the dominant art movements of the mid-twentieth century, this exhibition demonstrates the unique versatility, and dominance of plastic in art at its apex. Art made from plastic allowed for the possibility of creating unprecedented forms, and pushed the synthetic medium beyond material mimicry toward its status as the material of modernity.
Plastic: Art in an Era of Material Innovation is organized by the Neuberger Museum of Art, Purchase College, curated by Grace Converse, a Neuberger Curatorial Fellow and graduate student in the Purchase College MA Program in Art History, Criticism, and Theory, and is overseen by Patrice Giasson, the Alex Gordon Associate Curator of the Art of the Americas.
More information



Rêv’en pages fête la Sant Jordi
Depuis le Moyen Âge, cette offrande de la rose a été perpétuée, surtout en terre catalane. Le mouvement littéraire de la Renaissance, pendant la deuxième moitié du xixe siècle, fait de Sant Jordi le symbole de l’identité catalane. En 1926, l’écrivain et éditeur espagnol Vicent Clavel i Andrés, directeur d’Editorial Cervantes, proposa aux libraires barcelonais d’instituer une fête pour soutenir et diffuser les livres. La date retenue fut d’abord le 7 octobre, avant d’être modifiée au 23 avril, afin de rendre hommage à l’écrivain le plus célèbre du pays, inhumé le 23 avril 1616, Miguel de Cervantes. Peu à peu, il est également devenu courant d’offrir également des livres à ses proches ce jour-là.
À l’occasion de la journée mondiale du livre et du droit d’auteur, 450 libraires indépendants de France et de Belgique francophone créeront une fois de plus l’événement le samedi 27 avril prochain. En réinterprétant librement la tradition catalane de la Sant Jordi, ils offriront ce jour-là à leurs clients un livre spécialement édité pour l’occasion.
Qu’on se le lise !

Monday, April 20, 2015

save the date ..NADA

Open to the Public:
Thursday, May 14; 6pm to 8pm
Friday, May 15; 11am to 7pm
Saturday, May 16; 11am to 7pm
Sunday, May 17; 11am to 5pm

Opening Preview:
Thursday, May 14; 3pm to 6pm
By Special Invitation

Free and open to the public.

Pier 36 | Basketball City
299 South Street
At intersection of Montgomery (off the FDR Drive) just north of Manhattan Bridge

About NADA:
Founded in 2002, New Art Dealers Alliance (NADA) is a not-for-profit 501(c)(6) collective of professionals working with contemporary art. Its mission is to create an open flow of information, support, and collaboration within the arts field and to develop a stronger sense of community among its constituency. Through support and encouragement, NADA facilitates strong and meaningful relationships between its members working with new contemporary and emerging art. NADA hosts two fairs a year: New York, and Miami Beach, which are free and open to the public, and organizes the COLLABORATIONS sector at Art Cologne.

Wednesday, April 15, 2015

another clarification: "the panhandles of Texas and Oklahoma" ?

The term "panhandle" derives from the analogous part of a cooking pan, and its use is generally confined to the United States. A term used elsewhere is salient, derived from military salients. While similar to a peninsula in shape, a panhandle is not surrounded by water on three sides and connected to a geographical mainland. Instead, it is delimited by a land border on at least two sides and extends out from the larger geographical body of the administrative unit.

more to read: http://en.wikipedia.org/wiki/Panhandle

what exactly is the DUST BOWL ?

Dust Bowl
From Wikipedia, the free encyclopedia  http://en.wikipedia.org/wiki/Dust_Bowl
For other uses, see Dust Bowl (disambiguation).

The Dust Bowl, also known as the Dirty Thirties, was a period of severe dust storms that greatly damaged the ecology and agriculture of the US and Canadian prairies during the 1930s; severe drought and a failure to apply dryland farming methods to prevent wind erosion (the Aeolian processes) caused the phenomenon. The drought came in three waves, 1934, 1936, and 1939–40, but some regions of the high plains experienced drought conditions for as many as eight years.[1] With insufficient understanding of the ecology of the plains, farmers had conducted extensive deep plowing of the virgin topsoil of the Great Plains during the previous decade; this had displaced the native, deep-rooted grasses that normally trapped soil and moisture even during periods of drought and high winds. The rapid mechanization of farm equipment, especially small gasoline tractors, and widespread use of the combine harvester contributed to farmers' decisions to convert arid grassland (much of which received no more than 10 inches (250 mm) of precipitation per year) to cultivated cropland.[2]

During the drought of the 1930s, the unanchored soil turned to dust, which the prevailing winds blew away in huge clouds that sometimes blackened the sky. These choking billows of dust – named "black blizzards" or "black rollers" – traveled cross country, reaching as far as such East Coast cities as New York City and Washington, D.C. On the Plains, they often reduced visibility to 1 metre (3.3 ft) or less. Associated Press reporter Robert E. Geiger happened to be in Boise City, Oklahoma, to witness the "Black Sunday" black blizzards of April 14, 1935; Edward Stanley, Kansas City news editor of the Associated Press coined the term "Dust Bowl" while rewriting Geiger's news story.[3][4] While the term "the Dust Bowl" was originally a reference to the geographical area affected by the dust, today it is usually used to refer to the event, as in "It was during the Dust Bowl". The meaning of the term "bowl" – a hollow container – in this context is however still not quite clear.

The drought and erosion of the Dust Bowl affected 100,000,000 acres (400,000 km2) that centered on the panhandles of Texas and Oklahoma and touched adjacent sections of New Mexico, Colorado, and Kansas.[5]

The Dust Bowl forced tens of thousands of families to abandon their farms. Many of these families, who were often known as "Okies" because so many of them came from Oklahoma, migrated to California and other states to find that the Great Depression had rendered economic conditions there little better than those they had left. Author John Steinbeck, borrowing closely from field notes taken by Farm Security Administration worker and author Sanora Babb, wrote Of Mice and Men (1937) and The Grapes of Wrath (1939) about migrant workers and farm families displaced by the Dust Bowl. Babb's own novel about the lives of the migrant workers, Whose Names Are Unknown (2004), was eclipsed and shelved in response to the success of Steinbeck's works, and was finally published in 2004.

Tuesday, April 14, 2015

"Paysages" Photographies de Jean Dieuzaide du 9 avril au 19 juin 2015


    Photographies de
     Jean Dieuzaide
du 9 avril au 19 juin 2015

Espace photographique Arthur Batut,
Le Rond-Point
1 place de l'Europe
Tel : 05 63 82 10 60
Courriel : photo@espacebatut.fr

     Vernissage le jeudi 9 avril à 18h30
     en présence de Madame Jacqueline Dieuzaide
     et de Monsieur Michel Dieuzaide

Regarder  le paysage

Il ne suffit pas de faire des photographies pour être un photographe !
Ce métier, suppose avant toute technique, de savoir voir. Voir, puis regarder !
Afin de bien comprendre ce qui précisément a suscité le regard, éveillé la sensibilité, dont la restitution (par la photographie ou tout autre moyen) sera le fait de l'artiste. Il s’agit donc à l’origine d’une attitude contemplative, puis de  la pratique accomplie d'une expression artistique.


             La Dune  Sahara 1964  © Jean Dieuzaide


Ce qui différencie Jean Dieuzaide de ses confrères, c’est son insatiable curiosité et une disposition pour toutes les audaces, qui l'ont conduit à explorer une grande quantité des domaines  photographiques.
Toujours dans une extrême vigilance du regard, mais le plus souvent en « laissant la photographie venir à lui. »
Il en était ainsi, bien sûr, chaque fois qu’il abordait le thème du paysage. Avec la volonté de dire à la fois la beauté de la nature, les traces que l’homme y laisse, et le jeu infini de la lumière.
Tout ce pourquoi l’on qualifie de « beau » le paysage qui est devant nous !

Environ de Cholet 1981  ©  Jean Dieuzaide

Les images présentées ici sont issues de visions tres diverses. Le paysage y est décliné sous toutes ses formes. Depuis le ciel, en contrebas, à la lumière du levant, au ras de la plaine, ou sous un écrasant soleil d’Espagne. Mais chaque fois c’est à une célébration visuelle qu’on est convié. Elle nous parle de paysage, autant que de l’homme perdu en son milieu, ou d'un simple jeu de lumière qui le dessine...
Car le photogrphe, est celui qui écrit (graphein) avec la lumière (photôs)? et souhaite nous faire partager ce qui miraculeusement s'est offert à son regard. C’est probablement pour cette raison là que Jean Dieuzaide avait choisi ce moyen de transmettre ses joies visuelles. Car si l’on sait voir, la photographie dans sa grammaire la plus simple, sait transcrire la lumière de l’émotion reçue."

Michel Dieuzaide  CASTELVIEILH  janvier 2015



A Short History of Magic Realism

A Short History of Magic Realism
        Magic Realism developed as an art movement in the years after World War I . For many decades thereafter numerous artists throughout Europe and subsequently in the Americas crafted a representational art, mixed with elements of fantasy. This art was often typified by remarkable detail and sharp focus. Yet more importantly Magic Realism taps into emotional reservoirs within all of us. It tricks us by hiding unexpected or suggestive content in what at first might seem to be a common or ordinary scene.
This article has been revised to add information and images.  Date: January 15, 2011.
        Magic Realism evolved as a current within the Post-Expressionism movement in Weimar Germany. Related to the Return to Order movement as seen elsewhere in Europe, Post-Expressionism exhibited fewer neoclassical impulses than the parallel postwar realist trends in Italy and France. Post-Expressionism  evolved by shedding Expressionism's emotionally charged nature and abstract style. This process moved much slower than the related trends in other European countries, not fully maturing until the mid 1920s.
          The term Magic Realism was coined by the writer Franz Roh in 1925. He was referring to works within Post-Expressionistic art in which some mystery or a secret seemed to be hidden within the subject matter. This type of art differed from  19th Century Realism, which was generally naturalistic or narrative in nature. Important influences on Magic Realism  came from the naive art of Henri Rousseau and the Metaphysical works of Giorgio de Chirico.
       Magic Realism is a type of realism using contemporary subjects, often in cool detachment and sometimes injecting an eerie atmosphere. Juxtapositions of sharply rendered and detailed elements, both in the foreground and background, are used to develop an air of mystery or ambiguity. Although the paintings may incorporate everyday objects, their objective is not to appear dull or banal . Instead they attempt to show us the everyday world in new and unfamiliar ways. They remind us that there are still many mysteries in life. Magic Realism acted as a portal to Surrealism, and later also influenced Contemporary Realism .
        The potential of the new movement could be seen with the traveling exhibition titled Die Neue Sachlichkeit (The New Objectivity), which was organized by Gustav Hartlaub, and began in Mannheim during the summer of 1925. Thereafter Die Neue Sachlichkeit was to replace Post-Expressionism when referring to the dominant styles of the Weimar period. Some of the most notable artists of Neue Sachlichkeit were Max Beckmann, Otto Dix, George Grosz, Rudolf Schlichter, Christian Schad, Alexander Kanoldt and Franz Radizwill .   See Neue Sachlichkeit Gallery
         The onset of the Great Depression and subsequent rise of the Nazi party in the 1930s were to bring a halt to further development of Neue Sachlichkeit. The Nazis declared most contemporary work as "Degenerate Art". Many works were destroyed in public burnings and others in the bombings during the war. Many artists were stripped of their academic positions, while others left their homes or the country. World War II dampened the further development of Magic Realism permanently in Germany. However it would continue to surface sporadically on a worldwide basis during the decades of the 1930s, 40s and 50s.  See European Magic Realism Gallery
        Most  American artists remained isolated from the developments in Europe in the first three decades of the 20th Century. Generally, the Realism of the 1920s and 30s in the U.S. is referred to as The American Scene. This included rural art, called Regionalism, and urban art, usually referred to as Social Realism . American art had strong traditions of Realism going back to the 18th century, somewhat influenced not only by late developing Impressionism, but also by indigenous Expressionism and by naive styles.
        Within The American Scene there were many styles, some of which are closely related to the Magic Realism of Germany. Grant Wood traveled to Europe several times, where he studied the German and Flemish Masters and became acquainted with Neue Sachlichkeit. He developed a parochial naturalism with a satirical bend. Ivan Albright developed a bizarre realism with extreme detail, which eventually appeared ossified. During this same time, the Precisionists, led by Charles Sheeler, developed a detached style of art with sharp detail, sharing many characteristics with Neue Sachlichkeit .
        American Social Realists experimented with a home-grown type of Surrealism, yet, for the most part, this art remained distinct from European Surrealism .A good portion of it fit many of the criteria of Magic Realism . A major exhibition titled "American Realists and Magic Realists", was held at the Museum of Modern Art in New York during 1942. Included in the exhibit were Ivan Albright, Clarence H Carter, Peter Blume, Philip Evergood,  O Louis Guglielmi, Jared French, Paul Cadmus, Zsissly (Malvin Marr Albright), and Charles Rain . Works by Edward Hopper and young Andrew Wyeth were also included. Wyeth was soon to become the most successful American artist  associated with Magic Realism .  See American Magic Realism Gallery
        Two other artists who began painting in the 1940s became important Magic Realists. George Tooker, friend of Paul Cadmus and Jared French, working in egg tempera exclusively, consistently produced work during the next 50 years. And the Canadian Alex Colville perhaps produced a body of work over six decades that most closely fits the concepts of Magic Realism, as originally defined in Germany in the 1920s.Many other artists throughout the U.S., Canada and also in Latin America produced art related to Magic Realism . However, the rise of Abstract Expressionism in the U.S. during this period took most of the publicity away from representational art, at least during the middle portion of the century.
       Some writers argue that Magic Realism doesn't really encompasses a movement in art, but that it's simply a style. It should be noted that there is controversy about most art movements. It is true that there is no manifesto for Magic Realism, and no recognized standard bearers. These artists did not find the need to be part of the avant-garde nor were they publicity seekers. They acted instead as individuals, who often painted for a small devoted audience. Magic Realism is not Realism per se, but it is fabrications from the artist's perception and imagination masquerading as Reality. Every artist/magician uses different tricks and keeps his own secrets. Still these artists communicate amongst themselves through cool detached observations about each others works. Perhaps we should nickname Magic Realism "The Quiet Movement".
        In Andrew Wyeth's Christina's World pictured above, we first see a young girl, who is looking with us at a rural farm in the distance. As we look more closely, we notice that the girl's arms are thin and deformed. We later learn that she is not, in fact, a young woman, but Christina Olson, disabled and in her fifties, as she drags herself through the field toward her house on the skyline. Magic Realism reminds us that we don't always at first understand the true identity of objects, and also that, beyond the surface, there are many phenomena and mysteries in life that are not easily understood.
        Ten Dreams has compiled an extensive history of Magic Realism, supported by numerous galleries. We invite you to explore this movement in more detail, from its beginnings in Weimar Germany through its spread to many countries worldwide, in our more comprehensive study that follows.   See Magic Realism Spreads
Email: dreams@tendreams.org.   
SOURCE http://www.tendreams.org/magic-art.htm

Monday, April 13, 2015

libre ce week end ?...faites un stage a Barjac!


Following the lines

Stage de calligraphie animé par Massimo Polello, Birgit Nass et Mari Emily Bohley

Stage les 17, 18 et 19 avril 2015

English after the french text

Dans les locaux de l’atelier-galerie La Quincaillerie à Barjac (Gard), où se tiendra simultanément une exposition des trois artistes intervenants. Le stage, vivement recommandé par Denise Lach, est ouvert à toutes et tous, calligraphes expérimentés ou débutants : le concept du stage, structuré par le travail avec les trois artistes, permet d’accueillir chacun à son niveau.

Le stage : réalisation d’un livre d’artiste

Le stage, qui aura lieu avec traduction simultanée, comprend les parties suivantes :

1. Travail avec Birgit Naß
Techniques de collage et de coloration pour les fonds et la mise en page.
2. Travail avec Massimo Polello
Calligraphie – contraste, rythme des caractères, en utilisant différents outils (balsa, brosses et plumes), développement de formes nouvelles et écriture expérimentale à partir d'écritures historiques ou étrangères

3. Travail avec Marí Bohley
Reliure d’un livre d’artiste à partir des collages et des calligraphies

Les trois artistes intervenants

Birgit Nass
Diplômée en graphisme et design de la Kunstschule Alsterdamm, Hambourg
Formation en calligraphie à la Schule für Schrift, Hambourg ; Pentiment, Sommerakademie der Armgartstraße, FH Hambourg ; Symposium international de calligraphie à Sunderland, GB. Séminaires et master class auprès de calligraphes internationaux. Graphic-designer et calligraphe indépendante depuis 1998.
« Créer des images à partir des mots, rencontrer les textes de manière sans cesse renouvellée, laisser libre cours à l’expression artistique de ses propres ressentis. »

Massimo Polello
Massimo Polello est actuellement le calligraphe italien le plus connu au niveau internationnal. Après avoir étudié les styles classiques de la calligraphie, il s’oriente vers une expression artistique de cette discipline en créant son propre langage et une approche ontologique expressive orientée sur la transmission de la culture calligraphique dans un langage contemporain. Pour lui, le travail calligraphique n’est plus seulement une représentation, mais une interaction entre l’artiste, le temps et la mémoire.

Marí Emily Bohley
Etudes chez Ewan Clayton, Jen Lindsay et d’autres au Roehampton Institute, Londres. Bachelor of Arts in Calligraphy and Bookbinding.
Nombreuses participations au symposium international de calligraphie à Sunderland, GB
Depuis 1999, atelier de calligraphie et reliure à Dresden-Neustadt, Allemagne.
« Un travail en calligraphie ne m’intéresse que s’il contient une part de mystère, une histoire, une expérience, une ambiance - qui ne se révèle pas par le contenu
du texte, mais par le ductus, par les matériaux choisis et par le non-dit, l’espace blanc. »

Détails organisationnels

Horaires : 
9h-12h30 / 14h-17h30. Possibilité de travailler sur place au delà de 17h30

Lieu : Atelier-galerie La Quincaillerie, F-30430 Barjac (Gard) chez Florian Besset  06 11 95 31 33
florian.besset@wanadoo.fr  www.laquincaillerie.info

Coûts : 320 Euros, matériel non compris. Les 3 repas de midi (apéro, entrée, plat et dessert) pris en commun sur place ainsi que 3 collations intermédiaires sont compris dans le prix du stage.

Matériel (non compris) : Outils d’écriture : plume pointue, plumes larges et automatic pen (de différentes largeurs), outils d’écriture expérimentaux (tels que tire-ligne, cola pen), fine liner (feutre fin) à encre pigmentée et indélébile, balsa, brosse plate (5-8 cm), crayon

Encres et couleurs : encres waterproof de différentes couleurs et noir, gouache de qualité extra fine de différentes couleurs et noir et blanc, palette ou récipient en plastique pour plonger de grands outils d’écriture dans les liquides, éponge, serviettes en papier/papier ménage, tablier

Papier pour le collage : un papier lourd pour la couverture, par ex. aquarelle (environ 400 g/m², 50 x 70 cm), fait main ou non, papiers de couleur fins tels que pages de vieux livres, papier de riz, papier esquisse A3 pour exercices

Papiers pour le livre : papier de bonne qualité à surface lisse d’environ 100-120 g/ m² pour les pages (par exemple Ingres, Canson, Fabriano, Hahnemühle), vous pouvez aussi apporter des feuilles de papiers de couleur, noir et transparent (calque ou papiers japon ou de soie)

Outils de reliure : outil de pliage en os, règle métallique, sous-main de découpe (taille minimum A3), scalpel/cutter, fil de reliure, aiguille, alène/pointe

Inscription : Auprès de Florian Besset, atelier-galerie La Quincaillerie
06 11 95 31 33   florian.besset@wanadoo.fr
Envoyez votre demande d’inscription par courriel avec vos coordonnées (portable, adresse postale, adresse e-mail)

Arrhes : versement de 100 Euros sur le compte Crédit Agricole du Languedoc, Agence de Barjac
Cpte Florian Besset No. 08760098001  IBAN FR76 1350 6100 0008 7600 9800 148  SWIFT AGRIFRPP835

Nous pouvons accueillir jusqu’à 20 participants. Nous tiendrons compte des inscriptions dans l’ordre chronologique de leur réception. Nombre de participants minimum pour la réalisation du stage: 12

Hébergement : Adressez-vous à Florian Besset, qui vous proposera diverses adresses sympathiques à proximité.

Barjac et ses environs

Si vous souhaitez profiter de votre présence à Barjac, petite bourgade Renaissance belle et forte (label « Village de Caractère »), pour découvrir la région avant ou après le stage, voici quelques suggestions et sites exceptionnels à proximité :

La Grotte ornée du Pont d’Arc, dite « Grotte Chauvet » (18 km de Barjac)
Inscrite au Patrimoine Mondial de l’UNESCO. La réplique, en cours de réalisation, sera inaugurée le 25 avril prochain... juste après le stage!

Les Gorges de l’Ardèche (14 km de Barjac)

De la vallée de la Cèze aux Gorges de l’Ardèche
Très jolie région mi-sauvage, mi-viticole, avec 3 villages ayant obtenu le label
« Plus beau village de France » (Montclus, La Roque sur Cèze et Aiguèze), les Cascades du Sautadet à La Roque sur Cèze, la Chartreuse de Valbonne etc

L’Aven d’Orgnac et la Cité de la Préhistoire (8 km de Barjac)
« Grand Site de France », magnifique cathédrale souterraine et musée de la Préhistoire

Uzès, Premier Duché de France, et le Pont du GardLa ville d’Uzès (42 km de Barjac), située aux sources de l’Eure, rivière captée par les Romains pour alimenter la ville de Nîmes via le Pont du Gard, est un bijou d’architecture qui a obtenu en 2008 le label prestigieux « Ville d’Art et d’Histoire ». La cité historique a été restaurée à partir de 1965 grâce à l’une des premières créations de secteur sauvegardé (Loi Malraux de 1962).

Quant au Pont du Gard... qu’en dire que vous ne sachiez déjà?

La Bambouseraie d’Anduze (48 km de Barjac)
Créée en 1856 par Eugène Mazel, la Bambouseraie d’Anduze (ou de Prafrance) est un lieu unique en Europe. Le parc d’environ 15 hectares abrite plus de 150 variétés de bambous, et une grande diversité de plantes exotiques et d’arbres remarquables.

Et, bien entendu, de l’autre côté du Rhône :

Grignan, et la galerie Terres d’Ecritures (80 km de Barjac)
Vous connaissez toutes et tous Grignan, la galerie Terres d’écritures et sa fondatrice passionnée Christine Macé.
Christine organise du 6 avril au 31 mai 2015 une exposition de Denise Lach.

Following the lines

Special calligraphy course led by three internationally renowned calligraphers,
Birgit Naß, Massimo Polello and Marí Emily Bohley

Making an Artist Book

From Friday 17th to Sunday 19th April 2014
To be held at ‘La Quincaillerie’ workshop-gallery in Barjac (Gard), where there will be a simultaneous exhibition by the three contributing artists.
The course, highly recommended by Denise Lach, is open to all, beginners or experienced calligraphers : the concept of the course, structured by working with the three artists, will allow everyone to be taught at their own level.

The course, which will be held with simultaneous translation, will include the following sections :

1.     Working with Birgit Naß : Collage and colouring techniques for backgrounds and layout

2.     Working with Massimo Polello : Calligraphy – contrast, rhythm of characters using different tools (balsa wood, brushes and nibs), developing new forms, shapes and experimental writing based on historical or foreign scripts

3.  Working with Marí Bohley : Binding an artist book with collage and calligraphy

Organisational details

Timetable :
9h-12h30 — 14h-17h30. Possibility of continuing to
work beyond 17h30 in the workshop
Place :     
La Quincaillerie, workshop-gallery, F-30430 Barjac (Gard)
Florian Besset  06 11 95 31 33
florian.besset@wanadoo.fr  www.laquincaillerie.info
Fee :
320 Euros, materials not included. The three communal
lunches (drink, meal and dessert) and three snacks are included in the price of the course.
Materials list (not incl.) :       
Writing tools : pointed nib, broad-edged nibs (different
sizes), experimental writing tools (like Ruling Pen, Folded Pen) Fine liner (pigmented and waterproof), balsa wood, flat brush (5-8 cm), pencil
Writing Fluid : waterproof ink in different colors and black, extra-fine quality gouache in different colors and black and white, palette or plastic dish for dipping big writing tools in the colours, sponge, paper towels, apron
Papers for the collage : one handmade watercolour paper (about 400 g/m², 50 x 70 cm), thin coloured papers like old book pages, joss paper, rice paper, A3 sketching paper for exercises
Papers for the book : good quality paper for the pages with smooth surface about 100-120 g/m² (for example Ingres, Canson, Fabriano, Hahnemühle), you can bring some sheets of other coloured papers too like black or tracing paper).
Bookbinding Tools : bone folder, metal ruler, cutting mat (minimum size A3), scalpel/cutter, bookbinding thread, needle, awl/pricker
Registration :       
through Florian Besset, workshop-gallery La Quincaillerie
Send your sign-up request by e-mail with your contact details (mobile number, postal address, e-mail address)
payment of 100 Euros into this  account
              Crédit Agricole du Languedoc, Agence de Barjac
              Cpte Florian Besset No. 08760098001
              IBAN FR76 1350 6100 0008 7600 9800 148
              SWIFT AGRIFRPP835
              We can accept up to 20 participants. We will take enrolments in chronological order of receipt. Minimum number of participants for the course to run: 12

Accommodation :
inquire with Florian Besset, who will suggest various
local possibilities.

Barjac et ses environs

If you wish to make the most of your stay in Barjac, beautiful little Renaissance village (Village of Character), to discover the area before or after the course, here are some suggestions and special sites in the locality :

The cave paintings of the Pont d’Arc Cavern, called “The Chauvet  Cave”
(18 km from Barjac)
Declared a UNESCO World Heritage Site. The replica, presently under construction, will be inaugurated on 25th April next… just after the course!

The Ardèche Gorge  (14 km from Barjac)

From the valley of the Cèze to the Ardèche Gorge
Very pretty area, half wild, half vineyards, with three “Most beautiful village of France” designations - Montclus, La Roque sur Cèze and Aiguèze, the Cascades du Sautadet (waterfall site) at La Roque sur Cèze, the Chartreuse de Valbonne estate etc.
L’Aven d’Orgnac and the Cité de la Préhistoire (8 km de Barjac)
“Grand Site de France”, magnificent subterranean ‘cathedral’ cave
and museum

Uzès, first Duchy of France and the Pont du Gard
The town of Uzès (42 km from Barjac), situated at the source of the Eure, the river channelled by the  Romans to supply the town of Nîmes via the Pont du Gard, is an architectural jewel which received the prestigious designation “Town of Art and History” in 2008. The old town was restored from 1965 thanks to one of the first declarations of a safe-guarded site (Malraux Law, 1962).
As for the Pont du Gard... what is there to say that you don’t already know ?

The Bamboo Collection at Anduze (48 km de Barjac)
Created in 1856 by Eugène Mazel, The Bamboo Collection at Anduze (or Prafrance) is a unique place in Europe. The circa 15 hectare park is home to more than 150 varieties of bamboo, and a huge diversity of exotic plants and remarkable trees.

And of course : Grignan, and the gallery Terres d’Ecritures
(80 km from Barjac)
You will all know of Grignan, the Terres d’Ecritures gallery and its passionate founder Christine Macé. Christine is organising an exhibition of Denise Lach’s work from April 6th until May 31st, 2015.

Sunday, April 12, 2015

what about Andrew Wyeth?..first some pictures

dossier de participation a SLICK ART FAIR galleries Application form and save the date


and in english

save the date 21 - 25 October 2015

Pont Alexandre III - Port des Champs-Elysées - 75008 Paris

Friday, April 10, 2015

on view @ the GUGGENHEIM


From March 6 to May 13, the Solomon R. Guggenheim Museum in New York will be presenting the winner of the HUGO BOSS PRIZE 2014, Paul Chan.
The Hong Kong-born artist who lives in New York is one of the most original and versatile artists of our times. He combines the most diverse techniques in his work with the greatest of ease, working with as much virtuosity in video and installation, as in the classic arts of drawing and painting. Chan’s multilayered works succeed in continually posing topical questions in a new and provocative way.
For his exhibition at the Guggenheim Museum, Paul Chan has chosen the title of “Nonprojections for New Lovers,” and will be showing his “Nonprojections” – a work created since 2013 – for the first time in the USA. For this the 42-year-old has employed various elements including running video projectors which do not, however, project a direct image onto a surface. The artist’s idea is that the images will instead be conjured up by the power of imagination in the mind’s eye of the viewer. The exhibit “Tetra Gummi Phone” – showing a white veil swaying in the air emitted by ventilators – is described by the artist as sculptural animation. His new book series “New Lovers” will also be launched during the exhibition. In 2010, Chan founded the Badlands Unlimited publishing house as a further area of experimentation for artists and writers. In the new series he publishes the voices of young writers who have engaged with erotic literature.
HUGO BOSS has now been committed to contemporary art for twenty years. Every two years the HUGO BOSS PRIZE, awarded in conjunction with the Solomon R. Guggenheim Foundation, recognizes groundbreaking achievements of contemporary artists. Paul Chan is already the tenth recipient and his solo exhibition at the Guggenheim Museum in New York forms part of the award.

Thursday, April 9, 2015


Organiser et developper des evenements artistiques en Limousin: residence d artistes, expositions, visite d'ateliers, conferences, ateliers de creativite..
cet ete NEW SAINT HILAIRE ,,opens @ 3pm on JULY 11
check out the facebook page