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                <text>Catalogue de l'exposition &lt;em&gt;Made in Japan&lt;/em&gt;. Centre de la Gravure et de l'Image imprimée (La Louvière), du 7 juin au 14 septembre 2014</text>
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                <text>L'art japonais dans les collections du Centre de la Gravure et de l'Image imprimée</text>
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                <text>Durinckx, Dominique</text>
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                <text>De Braekeleer, Catherine</text>
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                <text>Centre de la Gravure et de l'Image imprimée</text>
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                <text>Une centaine d’œuvres de 33 artistes japonais propose un panorama de l’estampe et du graphisme au pays du soleil levant depuis la 2ème moitié du XXème siècle. Œuvres de Shuzaku ARAKAWA, Kengiro AZUMA, Susumu ENDO, Kosuke KIMURA, Aki KURODA, Takesada MATSUTANI, Tetsuya NODA, Hiroko OKAMOTO, …&lt;br /&gt;&lt;br /&gt;Le Japon développe depuis toujours une puissante culture graphique et visuelle tant dans les arts traditionnels que contemporains. &lt;br /&gt;Depuis 1945, de multiples traumatismes aggravés par une urbanisation oppressante trouvent un écho dans l’art japonais. L’influence originale du mouvement d’avant garde Gutai, développé à partir de 1956, a marqué durablement la scène artistique mondiale.&lt;br /&gt;&lt;br /&gt;Dans le domaine de l’estampe, de nombreux échanges internationaux, par le biais de biennales de gravures, ont contribué à ce développement. Certains graveurs travaillent prioritairement en France, aux Etats-Unis ou en Italie comme Shuzaku ARAKAWA (1936-2010), Kengiro AZUMA (1926), Koji FURUDOÏ (1947-2008), Shoishi IDA (1941-2006), Aki KURODA (1944), Takesada MATSUTANI (1937).&lt;br /&gt;&lt;br /&gt;D’autres résident et enseignent au Japon : Ryuta ENDO (1960), Susumu ENDO (1933), Kosuke KIMURA (1936), Kunito NAGAOKA (1940), Takashi TANAKA (1948), Yoshio YOSHIMURA (1950).&lt;br /&gt;&lt;br /&gt;Tous pratiquent diverses techniques de gravure et exploitent largement les nouvelles technologies. La gravure sur bois traditionnelle, l’ukiyo-e, qui fut en vogue à Paris dès la fin du dix-neuvième siècle, impliquait une philosophie de vie et a fortement influencé les peintres européens, en particulier les impressionnistes. Il semble que le souci du détail, enrichi d’une connivence avec la nature, continue à déterminer l’art de certains graveurs japonais contemporains comme Mayumi MORINO (1941), Hiroko OKAMOTO (1957-2007), Tadayoshi NAKABAYASHI (1937) ou Tetsuya NODA (1940), à la façon du journal intime.&lt;br /&gt;&lt;br /&gt;Le graphisme sera représenté par 18 créations de 1989 à nos jours. Dès 1925, l’affiche japonaise se dissocie de la peinture traditionnelle pour révéler après la seconde Guerre mondiale une nouvelle génération de graphistes dans la lignée de Masaru Katsumi, promoteur du design graphique au Japon. Parmi ces pionniers, on compte Masuteru AOBA (1939-2011), Shigeo FUKUDA (1932-2009), Takenobu IGARASHI (1944),Yusaku KAMEKURA (1915-1997), Mitsuo KATSUI (1931), Shin MATSUNAGA (1940), Kazumasa NAGAI (1929), Makoto SAITO (1952), Koichi SATO (1944), U.G. SATO (1935), Yoshitake SUGIMOTO(1944), Ikko TANAKA (1930-2002) et Tadanori YOKOO (1936).&lt;br /&gt;&lt;br /&gt;La jeune scène graphique nippone est incarnée dans l’exposition par quatre participants au Tokyo Graphic Passport 2011 à Paris : Kazunari HATTORI (1964), Atsuki KIKUCHI (1974), Masayoshi KODAIRA(1970) et Hideki NAKAJIMA (1961).</text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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        <name>Catherine de Braekeleer</name>
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                <text>Le Musée du soir : revue internationale de littérature prolétarienne</text>
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                <text>Editions de l'A.P.L.O.</text>
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                <text>2023</text>
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                <text>1954</text>
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                <text>&lt;p&gt;&amp;nbsp;La revue "Le Musée du Soir"&amp;nbsp;a vu le jour en 1954, à Paris. Un bouquiniste des Quais, Ferdinand Teulé, sous l'impulsion d'un groupe ayant participé activement au Musée du Soir de Henry Poulaille, ce lieu de rencontre unique en son genre des années d'avant-guerre, édite une revue ayant pour but de publier des articles d'écrivains ouvriers de tous horizons. En hommage à Henry Poulaille, il nomme cette revue "Le Musée du Soir".&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; De cette première série ne paraîtra qu'un seul numéro. Le coût énorme de l'impression, sans doute aussi l'insuffisance de lecteurs, auront eu raison de cette tentative.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; Pendant ce temps, à Ressaix-les-Binche, en Belgique, Hector Clara publiait un bulletin "R'saix r'vit", ronéoté, de tirage confidentiel, et René Berteloot, à Houdain (Pas-de-Calais) publiait, lui, une petite revue "Par le Livre et la Plume" (1), avec , là aussi, les moyens du bord. Les moyens du bord, c'était un procédé de reproduction sur plaque de gélatine, le texte publié étant calligraphié au moyen d'une encre spéciale «&amp;nbsp;hectographique&amp;nbsp;», et transféré sur le support gélatine. Il est évident que le tirage, dans le meilleur des cas, ne pouvait dépasser 25 exemplaires.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; La rencontre d'amis belges (dont Constant Malva, Marcel Parfondry) et de Ferdinand Teulé, René Bonnet, Louis Lanoizelée, fit que Hector Clara fut pressenti pour substituer son "R'saix r'vit" à une seconde série, franco-belge, du "Musée du Soir"&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; Cette seconde série comporta sept numéros. Chaque comité, français et belge, transmettait des textes à Hector Clara, qui devait en assumer la mise en page et l'impression, toujours sur ronéo. Cela représentait une prouesse que bien peu pourtant mirent à l'actif d'Hector Clara. Vaincu par la maladie, incapable de tirer davantage de son moyen d'édition, Clara dût cesser la parution de la deuxième série. Il mourut peu après.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; Entre-temps, apparemment alertés par Marcel Parfondry et Constant Malva, René Bonnet et Louis Lanoizelée étaient entrés en contact avec René Berteloot. Il fut décidé que "Le Musée du Soir" d'Hector Clara et "Par le Livre et la Plume" de René Berteloot fusionneraient pour donner vie à la troisième série du "Musée du Soir". Mais René Berteloot avait atteint l'âge de la conscription, et invité à aller payer l'impôt du sang en terre algérienne. Ce n'est donc qu'en fin 1957 que put naître cette troisième série, imprimée à Lallaing (Nord), la famille ayant émigré en Douaisis pour permettre&amp;nbsp;à Paul, le frère de René, d'être embauché à la mine.&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; D'abord éditée sur gélatine (même procédé que pour "Par le Livre et la Plume") la série (13 numéros dont 2 doubles et 2 suppléments) fut continuée sur «&amp;nbsp;Pierre humide&amp;nbsp;» puis sur «&amp;nbsp;Nardigraphe&amp;nbsp;» .A partir du 3° numéro, grâce à l'entremise de Louis Lanoizelée, une presse à épreuves put être acquise ainsi que quelques casses de caractères. Certes pas de quoi composer la totalité d'un numéro avant de l'imprimer, mais cela permit de sortir la revue dans une qualité quasi professionnelle. Le Musée du Soir entrait dans la cour des grands. Le tirage s'en ressentit et nous dépassâmes bientôt les 100 exemplaires. Les frères Berteloot (Paul ayant rallié la cause du grand frère) sacrifiaient toutes leurs économies, et tout leur temps libre à l'édition. Jamais, à aucun moment, la revue ne bénéficia d'aucune subvention, de quelque nature qu'elle fût. Cahin-caha, avec parfois d'assez longs silences entre les numéros, le temps de se refaire une santé financière suffisante pour continuer, la revue atteint, en juin 1962,&amp;nbsp;le treizième et dernier numéro de la troisième série. Les difficultés financières eurent, cette fois plus durablement, raison de la volonté des frères Berteloot.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; Il faudra attendre le dernier trimestre 1966 pour que le "Musée du Soir" renaisse, cette fois à Saint-Étienne (Loire) où René Berteloot s'était marié. Cette fois, la revue est imprimée à façon, sur un mauvais papier, mais elle paraît, et c'est là l'essentiel. De cette quatrième série, six numéros paraîtront. Mais dans la fin des années soixante, le désintérêt des ouvriers - et autres - pour la littérature ouvrière s'affirme déjà. Les abonnements sont loin de suffire à couvrir les charges, et fin 1968, c'est la fin définitive de la revue.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;span&gt;Paul Berteloot, pour l' A.P.L.O.&lt;/span&gt;&lt;/p&gt;</text>
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        <name>Guy Lavaud</name>
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                <text>De Picasso à Jasper Johns : l'atelier d'Aldo Crommelynck</text>
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                <text>Chicha-Castex, Céline</text>
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                <text>Ljubanovic, Christine</text>
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                <text>&lt;span&gt;Imprimeur en taille-douce, Aldo Crommelynck (1931-2008) a magistralement contribué à l'art et à la renommée internationale de l'estampe, dans ses divers ateliers : à Mougins, près de la maison de Pablo Picasso, à Paris et à New York.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Richard Hamilton, Jasper Johns, Jim Dine, David Hockney, Peter Blake, Ed Ruscha, Chuck Close, Dan Flavin, Claes Oldenburg. : les plus grands ont travaillé en lien étroit avec l'imprimeur, qui sut mettre à la disposition de leur créativité son exceptionnel savoir-faire ? et notamment sa maîtrise de l'aquatinte. Tous furent sensibles à l'attention méticuleuse avec laquelle il accompagna leurs expérimentations de procédés adaptés à leur talent.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Plus de deux cents estampes, gravées par vingt-six artistes internationaux dans les ateliers d'Aldo Crommelynck, ont fait l'objet, en 2010, d'une donation qui représente un enrichissement considérable pour les collections patrimoniales de la Bibliothèque nationale de France.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;L'ouvrage publié à cette occasion témoigne de la prodigieuse qualité de ces ouvres et invite à découvrir les moments importants de la vie d'Aldo Crommelynck, ainsi que ses gestes d'imprimeur dans son atelier parisien. Il révèle, plus largement encore, la passion rigoureuse avec laquelle le maître-imprimeur servit, pendant plus de trente ans, non seulement l'art de l'estampe mais l'art tout entier.&lt;/span&gt;</text>
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                <text>Catalogue de l'exposition &lt;em&gt;Georges Thiry, la photographie ... et autres petites passions&lt;/em&gt; au Musée de la Photographie (Charleroi), 10 mars au 3 juin 2001</text>
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                <text>&lt;em&gt;Dans la chambre rouge poivre&lt;/em&gt; par Emmanuel d'Autreppe et Marc Vausort</text>
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        <name>Armand Vereecke</name>
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        <name>François Jacqmin</name>
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        <name>François Jacqmin  - photographie</name>
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        <name>Gabriel Piqueray</name>
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        <name>Gabriel Piqueray  - photographie</name>
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        <name>Geert Van Bruaene</name>
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        <name>Jacques Hôte</name>
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        <name>Jacques Sternberg</name>
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        <name>Jean Follain</name>
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        <name>Jean-Jacques Gailliard</name>
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        <name>Joseph Noiret</name>
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        <name>Louis Scutenaire</name>
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      <tag tagId="629">
        <name>Marcel Arnould</name>
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        <name>Marcel Béalu</name>
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        <name>Marcel Broodthaers</name>
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        <name>Marcel Lecomte</name>
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        <name>Marcel Marien</name>
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        <name>Marcel Thiry</name>
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      <tag tagId="1084">
        <name>Maurice Carême</name>
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      <tag tagId="2388">
        <name>Maurice Carême  - photographie</name>
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      <tag tagId="1574">
        <name>Michel de Ghelderode</name>
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        <name>Odette Blavier</name>
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        <name>Oscar Jespers</name>
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        <name>Paul Delvaux</name>
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        <name>Paul Desmeth</name>
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        <name>Paul Neuhuys</name>
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        <name>Pol Bury  - Photographie</name>
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        <name>René Magritte</name>
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        <name>Roger Kervyn de Marcke ten Driesche - photographie</name>
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      <tag tagId="2526">
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        <name>Tristan Tzara</name>
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        <name>Tristan Tzara - photographie</name>
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Dédicace de Riewert Ehrlich à Jacqueline et André Balthazar&#13;
Don de Riewert Ehrich</text>
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                <text>Dans les Hauts de Bourgogne circule un personnage étrange, surnommé La Gazette. On le dit fils de curé et de prostituée, sorcier, rebouteux et «trouveur d'eau». Lui prétend être un grand Initié et le pape des escargots. La Gazette va être mêlé incidemment au destin de Gilbert, un jeune paysan qui se révèle exceptionnellement doué pour la sculpture. Ensemble et à l'écart du monde moderne, le jeune homme et le vieux vont vivre les aventures singulières réservées aux inspirés et aux poètes. Mais un jour, Gilbert est «découvert» par ces aigrefins de la ville dont le métier est de vivre du talent des autres. Il part pour Paris... Saura-t-il échapper aux magies de la capitale et retrouvera-t-il son ami La Gazette qui le considère comme son fils spirituel ?&#13;
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                <text>Quelques Anarchistes, quelques Fantaisistes, et un Lettriste </text>
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                <text>Librairie du Sandre</text>
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                <text>Catalogue de vente  de 2016 édité par la Librairie du Sandre.&#13;
&#13;
Dans ce catalogue nombreuses photos d'époque et fac-similés de journaux et revues anarchistes.</text>
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                <text>http://backend.editionsdusandre.com/public/files/catalogues/pdf/quelques-anarchistes.pdf</text>
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                <text>La Voie du Sans-Sac</text>
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                <text>Croquis sur le chemin de Compostelle 2008-2011</text>
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                <text>Yu Zhao</text>
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                <text>Mocaër, François</text>
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                <text>Editions Unicité</text>
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                <text>Carnet de voyage</text>
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                <text>   24 X 17 cm                                                                     </text>
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                <text>En tournant les pages du livre, on a l’impression que rien ne lui a échappé, et qu’à chaque fois qu’elle a marché sur le chemin une grâce s’est emparée d’elle sous la forme d’une acuité et d’une énergie incroyables. Le Chemin a opéré en elle un miracle, celui d’exprimer à chaque instant son amour de la peinture tout en ayant trouvé naturellement une certaine forme de détachement. En regardant ses oeuvres et en lisant son texte on pourrait expliquer cela ainsi : « Tout apparaît en elle sans qu’elle en prenne possession. »</text>
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                <text>Klein, Yves&#13;
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                <text> Don de Catherine Valogne.&#13;
Ouvrage écrit en finnois.</text>
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                <text>        21 X 21 cm                                                                                                                                                                                     </text>
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                <text>ACDB-DES-Y-0000265</text>
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            <description>An account of the resource</description>
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                <text>Roman de Dominique Loreau.&#13;
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Dans un village, quelque part en Guinée-Bissau,&#13;
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64883">
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Galerie Bernard Cats le 8 décembre 1989.</text>
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                <text>     np                                                                                                                                                                                        </text>
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                <text>ACDB-LOR-L-0000366</text>
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        <name>Lionel Vinche - peinture</name>
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              <elementText elementTextId="64842">
                <text>Mais monsieur Marcoeur, comment se fait-il que vous ne soyez pas venu nous voir plus tôt ?!</text>
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              <elementText elementTextId="64845">
                <text>Plonk &amp; replonk éditeurs</text>
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 Images de Plonk et Replonk</text>
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            <description>The material or physical carrier of the resource.</description>
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                <text>Des textes ciselés par Albert Marcœur et «photomontagés» par Plonk &amp; Replonk sur le joyeux thème du droit d’auteur tricolore. Et c’est en couleurs! </text>
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              <elementText elementTextId="64856">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
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        <element elementId="111">
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="64827">
                <text>Freddy Plongin&#13;
Jean-Pierre Plongin</text>
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                <text>Canonne, Xavier</text>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64831">
                <text>Direction Générale des Affaires Culturelles du Hainaut</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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Présentation de Pierre Dupont&#13;
Texte de Paul Louka&#13;
Préface de Xavier Canonne</text>
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            <description>A language of the resource</description>
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            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64838">
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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              <elementText elementTextId="64839">
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>ACDB-DUP-F-0 000 099 </text>
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        <name>Pierre Dupont</name>
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          <name>Tirage</name>
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              <text>Edition tirée à 123 exemplaires numérotés et signés par l'auteur.&#13;
Exemplaire N°5/123</text>
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          <description/>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Un homme dangereux</text>
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              <elementText elementTextId="64800">
                <text>Belle est la beauté</text>
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              <elementText elementTextId="64801">
                <text>La passe de Kee</text>
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              <elementText elementTextId="64802">
                <text>Mon corps d'exil enfin offert à la science nue</text>
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              <elementText elementTextId="64803">
                <text>Radiologies</text>
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              <elementText elementTextId="64804">
                <text>Diana Rita Zunno et autres inconnues</text>
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              <elementText elementTextId="64805">
                <text>Radiologies II</text>
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              <elementText elementTextId="64806">
                <text>Bureau de tabac Carolina Pessoa</text>
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              <elementText elementTextId="64807">
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              <elementText elementTextId="64808">
                <text>Protocole du radiologue</text>
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              <elementText elementTextId="64809">
                <text>Magritte à Soignies</text>
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              <elementText elementTextId="64810">
                <text>Le geste qui sauve</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="64811">
                <text>Dapoz, Jacques</text>
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              <elementText elementTextId="64812">
                <text>Jacques Dapoz auteur éditeur</text>
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            <description>An account of the resource</description>
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                <text>Recueil de textes. Exemplaire hors-commerce signé par l'auteur  </text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="64816">
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          <element elementId="51">
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              <elementText elementTextId="64817">
                <text>Ouvrage imprimé</text>
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          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64818">
                <text>435 p.</text>
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          <element elementId="53">
            <name>Abstract</name>
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                <text>Jacques Dapoz&#13;
Ses études essentiellement centrées sur la psychologie, la pédagogie, la sociologie, la communication, et un questionnement existentiel au long cours ont permis à Jacques Dapoz de découvrir progressivement les chemins menant à un savoir-être épanoui en utilisant des connaissances diverses dont les fondements se trouvent autant dans le domaine des sciences humaines contemporaines que dans certaines grandes traditions philosophiques.</text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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              <text>D/1971/0517/2</text>
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          <element elementId="50">
            <name>Title</name>
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                <text>Liège, terre millénaire des arts</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="64787">
                <text>Philippe, Joseph </text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64788">
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              <elementText elementTextId="64789">
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          <element elementId="41">
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              <elementText elementTextId="64790">
                <text>Nombreuses photographies d'œuvres d'art</text>
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              <elementText elementTextId="64791">
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              <elementText elementTextId="64793">
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          <element elementId="79">
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              <elementText elementTextId="64795">
                <text>ACDB-PHI-L-0 000 229</text>
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          <element elementId="90">
            <name>Provenance</name>
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&#13;
« Dans L’Almanach des arbres, Louis propose 365 réflexions vulgarisées sur la place de l’arbre dans nos vies. Elles parlent de sciences, de traditions, de langues et de cultures. Et de la Vie. »&#13;
&#13;
Préface de Bertrand Piccard, président de la Fondation Solar Impulse.&#13;
&#13;
« L’idée géniale de cet Almanarbres est de taper inlassablement sur le clou, en passant d’un résultat de rechercher à l’explication d’une tradition, de l’analyse d’un toponyme à une balade instructive. »&#13;
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Postface de Georges Feterman, président de l’association Arbres.&#13;
&#13;
Dédicace de Louis Maraite à Marie Godet</text>
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                <text>Catalogue de l'exposition &lt;em&gt;Franck Bordas : un parcours imprimé&lt;/em&gt;. Centre de la Gravure et de l'image imprimée (La Louvière), du 4 octobre 2014 au 11 janvier 2015</text>
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                <text>Le présent ouvrage est le catalogue de l'exposition 'Chemin faisant' qui a été présentée durant 30 ans en divers lieux. La présente publication est le catalogue de l'exposition présentée au Centre de la Gravure du 11 juin au 18 septembre 2011 dans le cadre de la 8ème Biennale   ARTour : Art contemporain et Patrimoine - Dérivations</text>
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                <text>Henri Heerbrant ou le paradoxe multiplié</text>
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                <text>L'Ixellois Henri Heerbrant (1912-1982) fut un éclaireur à sa façon. Dessinateur d'architecture, passionné par l'art populaire, l'Antiquité classique et l'imagerie précolombienne, il combina sa vocation plastique avec des résurgences culturelles parfois paradoxales. S'il admira Klee et Brauner pour leur manière à penser ou Dix et Grosz pour leur faconde révolutionnaire, il ne permit point à ses maîtres de lui affaiblir son écriture si personnelle, sa propre révolte sourde à toute complaisance. &lt;br /&gt;&lt;br /&gt;Après la mort de l'artiste, la Communauté française bénéficia d'un legs important de sa veuve. Un millier et demi d'oeuvres très contrastées. Une exposition et un catalogue ont alors circulé. Puis, les précieux et séditieux feuillets de cet artiste du papier furent trop bien rangés. Ils disparurent des cimaises. Seule depuis, Jeannine Lenaerts, qui n'a pas connu Heerbrant vivant, n'hésite jamais à nous en raviver le bon souvenir.</text>
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                <text>ACDB-WIL-V-0 000 133</text>
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                <text>Dans ces textes, souvent inédits ou introuvables, Paul Willems évoque les moments privilégiés où s'est révélé à lui le secret "doux et terrible" de l’univers ; mais aussi le dialogue avec ses écrivains favoris, de Li Po à Apollinaire, de Schnitzler à Césaire, de Crommelynck à Sigrid. Il rend hommage a un metteur en scène complice dans un sketch burlesque, et réﬂéchit sur le langage dramatique, sur les traditions du théâtre d’Extrême-Orient ou sur la fonction religieuse de l’art comme cérémonial.</text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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        <name>Anvers</name>
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        <name>Claude Etienne</name>
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        <name>Paul Willems</name>
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              <text>2-915547-24-6</text>
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          <name>Collection de l'éditeur</name>
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              <text>Démocritique</text>
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            <description>A name given to the resource</description>
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                <text>Lire et penser ensemble</text>
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                <text>Sur l'avenir de l'édition indépendante et la publicité de la pensée critique</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Vidal, Jérôme</text>
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            <name>Publisher</name>
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                <text>Editions Amsterdam</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>18 x 13 cm</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="64634">
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="64635">
                <text>Ouvrage imprimé</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64636">
                <text>101 p.</text>
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                <text>ACDB-VID-L-0 000 151</text>
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            <description>A summary of the resource.</description>
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              <elementText elementTextId="64638">
                <text>Les processus de concentration à l’œuvre dans le monde de l’édition font à juste titre, depuis la parution de l’important livre d’André Schiffrin, L’Edition sans éditeurs (Paris, La fabrique, 1999), l’objet d’analyses et de dénonciations répétées. Lire et penser ensemble voudrait cependant mettre en évidence les points aveugles de cette focalisation presque exclusive sur les problèmes de concentration. Si la réalité menaçante de ces processus est certaine, le portrait valorisant de l’éditeur indépendant en « éditeur résistant », luttant encore et toujours contre les géants de l’oligopole de l’édition, ne risque-t-il pas de se réduire à une dénonciation incantatoire, ignorante de la complexité et des ambiguïtés des transformations en cours ? Ne faudrait-il pas souligner aussi l’ouverture de la situation présente, les possibilités encourageantes qu’elle offre ? Ne faudrait-il pas surtout mettre en évidence d’autres facteurs essentiels de la transformation du monde du livre et de la lecture, facteurs qui ne sont pas réductibles aux problèmes posés par l’économie, au sens étroit du terme, de l’édition ? Il importe au plus haut point de formuler aujourd’hui les termes d’une véritable politique démocratique des savoirs et du livre, qui s’attache en particulier aux effets de l’enseignement et des évolutions technologiques sur les pratiques intellectuelles et les pratiques de lecture, et qui, sans les négliger, ne se limite pas aux aspects plus strictement économiques des problèmes rencontrés par les éditeurs et les libraires indépendants. Pour ce faire, Lire et penser ensemble revient notamment, d’une part, sur l’affaire Google Livres et les confusions qu’elle a suscitées et, d’autre part, sur les contenus et les usages des manuels scolaires dans l’enseignement secondaire et sur la production en masse de « non-lecteurs » qui en résulte. L’enjeu de ces débats n’est rien de moins que le maintien des conditions de l’existence et du développement de la culture critique nécessaire à l’agôn démocratique.</text>
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            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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        <name>Edition</name>
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        <name>Esprit critique</name>
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      <tag tagId="11917">
        <name>Jérôme Vidal</name>
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      <tag tagId="12987">
        <name>Petites maisons d'édition</name>
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      <name>Publication</name>
      <description/>
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          <description>Collection chez l'éditeur</description>
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              <text>Arts '90+7&#13;
Monographies d'artistes</text>
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          <name>Dépôt légal</name>
          <description/>
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              <text>0957/3/1997</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Charline Mahy</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="64613">
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Désir, Georges</text>
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                <text>de Hauleville, Mélusine</text>
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              <elementText elementTextId="64616">
                <text>Wonner, Solange</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64617">
                <text>Centre Culturel de Woluwé-Saint-Lambert</text>
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            <name>Date</name>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Catalogue d'exposition à Médiatine du 7 mai au 1 juin 1997. &lt;br /&gt;Préface de Georges Désir. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Charline Mahy, la nostalgie du futur&lt;/em&gt; par Mélusine de Hauleville.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;La métamorphose du possible&lt;/em&gt; par Solange Wonner.</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="64620">
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                <text>Ouvrage imprimé</text>
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          <element elementId="79">
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            <description>The material or physical carrier of the resource.</description>
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                <text>48 p.</text>
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                <text>ACDB-MAH-C-0 000 251</text>
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            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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              <elementText elementTextId="64625">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
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        <element elementId="95">
          <name>ISBN</name>
          <description/>
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            <elementText elementTextId="64610">
              <text>2-07-071006-8</text>
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        <element elementId="111">
          <name>Dépôt légal</name>
          <description/>
          <elementTextContainer>
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        <name>Dublin Core</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="64599">
                <text>Eloge des voleurs de feu</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="64600">
                <text>de Villepin, Dominique</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64601">
                <text>Gallimard</text>
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          <element elementId="40">
            <name>Date</name>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="64603">
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          <element elementId="44">
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            <description>A language of the resource</description>
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              <elementText elementTextId="64604">
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64606">
                <text>823 p.</text>
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          <element elementId="43">
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                <text>ACDB-VIL-E-0 000 149</text>
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                <text>"Cet Éloge s'imposa il y a bien longtemps. J'avais seize ans, et toi mon frère dix-huit, quand nous marchions dans les rues de New York à l'heure où le soleil couchant éclaboussait les tours. Tu scrutais le paysage, les visages blafards à six heures, la fumée qui jaillissait partout, luttant contre les ombres. Je compris que, hors de ce quotidien aveugle et sourd, il te fallait des mots, comme des ballons de couleur, pour toucher au coeur. Des mots de ces fous, qui s'en sont allés quérir au fond du désespoir la lueur qui ouvre le chemin, la passion qui fait sauter les verrous de la langue. Des mois durant ils agrandirent la vie. Toi parti, il me restait ce devoir de l'aînesse : dire après la catastrophe, apprivoiser la parole pour les enfants de la peine. Oui, la poésie, pour vivre encore. Contre le naufrage de la mémoire, contre les forces vaines, choisissons le combat qui grandit. Et partageons les mots de Rimbaud, d'Artaud ou de Duprey, de tous ces voleurs de feu qui allumèrent les brasiers de l'âme, pour ne bâtir d'autre empire qu'à l'intérieur de soi. Tourne et craque la terre dans l'obscur mystère où se débattent voix et masques, victimes et bourreaux ! Derrière l'urgence de chaque jour, je rêve d'une parole qui défriche, d'une parole qui sauve. Alors cet ouvrage, pour refuser la fatalité et le vertige, pour exorciser la peur qui crie au fond de nous !" Dominique de Villepin.</text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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                <text>Parle-t-on de Haut Silence comme d'autres qualifient, avec Michel Leiris, le Haut Mal, l'obsession lancinante de la solitude, cet espace ineffable, mais tellement présent entre les rumeurs de la ville, le grouillement des écrans, la frénésie des publications ? Le poète se refuse à ressasser des phrases inutiles, il cherche dès lors le recueillement au-delà de quelques mots rares ou perdus. Il quitte l'agitation du monde pour des espaces blancs, des arpents invisibles, des steppes innommées. Il est en route vers ses «lointains intérieurs».&#13;
C'est à ce voyage intime que nous convie Christophe Mahy, il nous parle ici de silence, de Haut Silence, c'est-à-dire de poésie. (Alain Dantinne)</text>
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                <text>André François. Tous en scène!</text>
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                <text>Kotwika, Janine</text>
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            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64411">
                <text>Centre André François. Margny-lès-Compiègne</text>
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                <text>Catalogue publié à l'occasion de l'exposition "André François : Tous en scène ! présentée au Centre André François du 29 septembre au 28 novembre 2020.</text>
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                <text>Ouvrage imprimé</text>
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              <elementText elementTextId="64417">
                <text>104 p.</text>
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              <elementText elementTextId="64418">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
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1872 - 30 mars 1902 Mons</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="64399">
                <text>Galerie Koma. Mons</text>
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            <description>An account of the resource</description>
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l'exposition « Julius » du 17/01 au 15/02/2015 à la galerie Koma&#13;
Avec l'aide de Julie Wauters&#13;
4, rue des Gades&#13;
Mons&#13;
Dessins et photos de Edmond Jamar</text>
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            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          </text>
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            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64405">
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                <text>ACDB-JAM-J-0 000-334</text>
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                <text>Julius Koch, aussi connu sous le nom du Géant Constantin, né en 1872 et mort le 30 mars 1902 à Mons en Belgique, est l'une des dix-sept personnes de l'histoire médicale à avoir dépassé la taille de 2,44 m.&#13;
&#13;
Affecté de gigantisme, il mesurait entre 246 et 256 cm selon les sources1,2. Il a été amputé de la jambe droite vers 1901 après avoir développé une gangrène symétrique des deux pieds3.&#13;
&#13;
Il a notamment figuré dans le court métrage, The Giant Constantin sorti en 1902.&#13;
&#13;
Son squelette est conservé au Musée d'histoire naturelle de Mons.</text>
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            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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              <elementText elementTextId="64408">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
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      <tag tagId="2810">
        <name>Edmond Jamar</name>
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      <tag tagId="11899">
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        <name>Julius Koch</name>
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        <element elementId="96">
          <name>Tirage</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="64380">
                <text>Le huitième péché capital</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="64382">
                <text>Javeau, Claude</text>
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            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="64383">
                <text>Ruelle, Philippe</text>
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              <elementText elementTextId="64384">
                <text>Thys, Isabelle</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="64385">
                <text>Les éperonniers</text>
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              <elementText elementTextId="64386">
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="64387">
                <text>Maquette de Philippe Ruelle&#13;
Photo d'Isabelle Thys</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="64388">
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="64391">
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              <elementText elementTextId="64392">
                <text>ACDB-JAV-H-0 000 332</text>
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                <text>Catalogue de l'exposition &lt;em&gt;Yves Auquier&lt;/em&gt; à la Médiatine (Bruxelles), 18 janvier au 12 février 1992</text>
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                <text>Thiel, Denise</text>
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                <text>Wonner, Solange</text>
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                <text>Désir, Georges</text>
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                <text>Léonard, René</text>
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                <text>Arts 90+2&#13;
Monographies d'artistes&#13;
Woluwe-saint-Lambert</text>
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                <text>Catalogue d'exposition à Médiatine du 18 janvier au 12 février 1992.&#13;
Organisation : Wolu-Culture     Centre Culturel de Woluwé-Saint- Lambert.&#13;
texte de René Léonard.&#13;
Préface de Georges Désir</text>
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                <text>48 p.</text>
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                <text>ACDB-DES-Y-0 000 138</text>
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                <text>Le réalisme magique de la Médiatine&#13;
&#13;
Depuis 1987, Woluwe-Saint-Lambert et son centre culturel poursuivent la promotion de leurs artistes contemporains. Comment? Par le biais des Monographies d'artistes Arts'90 + 2. Cette année, le photographe Yves Auquier et le créateur d'environnements Andrzej Wisniewski sont à l'honneur (1).&#13;
&#13;
- Il faut voir, affirme Yves Auquier, fixer l'instant qui fuit, témoigner de la vérité.&#13;
&#13;
Une profession de foi qui a toujours guidé sa démarche artistique, depuis cette rencontre décisive avec le grand Charles Leirens, par un beau jour de 1959. Photographe d'atmosphère, il est proche d'André Delvaux par ses conjugaisons perpétuelles de réalisme et de poésie dans l'image.&#13;
&#13;
Professeur de photo à l'école «Le 75», Yves Auquier puise son inspiration dans le pays noir de son enfance. Dans sa vie familiale, aussi.</text>
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        <name>Yves Auquier</name>
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