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                <text>Avermaete, Roger</text>
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                <text>Hommage à Pierre-Paul Rubens à l'occasion du 4ème centenaire de sa naissance 1577-1977.&#13;
Nombreuses reproductions en couleurs de ses peintures</text>
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                <text>ACDB-AVE-R-0 000 140</text>
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                <text>Georges Grard &gt; Isette Gabriels</text>
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                <text>La naïade, un sculpteur, un modèle artiste</text>
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                <text>Boucq, Odon</text>
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                <text>Maison de la Culture de Tournai</text>
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                <text>ACDB-BOU-G-0 000 308</text>
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                <text>31 août 1950 : scandale autour de la "Naïade" de Georges Grard à Tournai Statue de bronze réalisée par le sculpteur Georges Grard, la Naïade représente une femme nue ; son installation sur le Pont-à-Pont, le 31 août 1950, suscite immédiatement de vives réactions. À la suite du Courrier de l’Escaut qui lance la polémique, l'évêque de Tournai exige son déplacement, sous peine de modifier le parcours de la Procession de Croix. Pendant de longues années, les curieux désireux de croiser la Naïade seront contraints de lui rendre visite sous le pont de la rive droite où elle avait été confinée… à l'abri des regards. Plus de trente ans plus tard, elle s’imposera à nouveau à la vue de tous en retrouvant son emplacement initial. Symbole de liberté, elle est la patronne des sociétés de carnaval de Tournai lors du mardi gras.&lt;br /&gt;&lt;br /&gt;*********************************************************&lt;br /&gt;&lt;br /&gt;"La naïade", George Grard, 1950, Pont à Pont, Tournai Classé le 01/03/2016 &lt;br /&gt;Exemplaire unique en bronze, signé et daté de 1950, la Naïade est l’une des œuvres les plus emblématiques du sculpteur tournaisien George Grard (1901–1984). Elle a été commandée par le Service des Voies hydrauliques afin d’orner le pont-à-pont reconstruit à Tournai après la Seconde Guerre mondiale. Référence à l’Escaut, la Naïade engendra des polémiques importantes, obligeant les autorités communales à déplacer la sculpture au pied du pont. Ce n’est qu’en 1983 qu’elle retrouva sa place initiale. Elle fait partie de l’imaginaire de la Cité aux cinq clochers.</text>
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                <text> Le Fée, Anne-Marie</text>
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                <text>Galerie Koma (Mons)</text>
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                <text>Maison de la Culture de Tournai</text>
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                <text>Introduction de Catherine Millet.&#13;
Traduction anglaise de Anne-Marie Le Fée&#13;
Publication éditée à l'occasion du Festival :&#13;
"Mons, Capitale Européenne de la Culture" en 2015</text>
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                <text>ACDB-AUL-D-0 000 132</text>
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                <text>Une rétrospective de l’oeuvre pensée par l’artiste. Bande dessinée ou flipbook?&#13;
&#13;
Toujours est-il que défile sous les yeux une histoire en images qui est celle de Daniel Aulagnier aux prises avec ses machines très spéciales et qui est aussi un brillant résumé des relations de l’homme et de la technique.Un petit livre destiné à devenir un collector.&#13;
&#13;
Disponible exclusivement à la galerie Koma</text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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                <text>Ce livre s’inscrit dans un projet pour lequel l’auteur a obtenu en 2008 une bourse de la Fondation Spes. Une trilogie inspirée de ses nombreux séjours dans l’île de Madagascar est née. Les autres titres de cette trilogie sont : Là où abonde le sel, Boumboumtralala, Liège, 2009 ; La déferlante, bookleg maelstrÖm, Bruxelles, 2009.&#13;
&#13;
Ben Arès est né le 28 mars 1970 à Liège, en Belgique. Il a défendu la place du poète dans sa ville pendant plusieurs années. Il fut l’éditeur responsable, avec David Besschops et Antoine Wauters, de la revue « matières à poésie » et l’organisateur des lectures publiques du même nom. Une suite d’évènements personnels l’a conduit à quitter la Belgique en 2009 et à mettre le cap sur Madagascar, l’Île rouge, à laquelle il était déjà lié. Il vit désormais dans le sud subaride, à Toliara sens dessus dessous, sous le bleu et la poussière d’un bout du monde où l’on rit bien de la belle gueule des mots. Mon nom est printemps, écrit en 2009, est né en ce temps charnière de l’abandon et du dernier saut.</text>
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                <text>Catalogue de l'exposition consacrée à Achille Chavée en 1979 à L'Institut Provincial des Arts et Métiers de La Louvière du 21 septembre au 14 octobre 1979. &lt;br /&gt;Préfacé par Maurice Herlemont.</text>
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                <text>Exposition organisée à l'occasion du dixième anniversaire de sa mort. </text>
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                <text>7 poèmes de Haute négligence</text>
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                <text>Catalogue de l'exposition &lt;em&gt;Pol Bury : deluding time&lt;/em&gt;, Galerie Patrick Derom (Bruxelles), 22 octobre au 20 décembre 2014</text>
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                <text>Marquenie, Gilles </text>
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                <text>&lt;p class="font_8"&gt;&lt;span&gt;En 2007, la Galerie Patrick Derom a organisé une exposition rétrospective de Pol Bury reprenant plus de cent oeuvres. Deux ans plus tard suit une exposition de fontaines et de sculptures en plein air au Musée et Jardins Van Buuren à Uccle. Depuis lors, la galerie a acquis un certain nombre d'oeuvres historiques de l'artiste. L'ensemble présenté dans l'exposition "Pol Bury. Deluding Time" comprend une quinzaine d'oeuvres motorisées, une collection de cinétisations originales (collages) et d'estampes que l'on n'a, jusqu'ici, jamais vu rassemblées.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;Depuis 1953, le mouvement et l'expérience du temps sont les sujets de prédilection traités par Bury. Le mouvement extrêmement lent de ses sculptures suit un schéma totalement imprévisible.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;Après ses premières expériences en peinture non-figurative, il tombe en disgrâce auprès des surréalistes. On note toutefois que dans ses oeuvres subsiste malgré tout une petite touche surréaliste. Bien que Bury tourne le dos à la figuration et se limite à la combinaison de formes mathématiques et d'espaces, il subsite dans ses constructions libres un sentiment de mystère, de surprise et même d'humour... ces mêmes qualités qui l'ont attiré dans le mouvement surréaliste.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;Avec cette exposition, la galerie veut également mettre en évidence la carrière internationale de Pol Bury. L'exposition de "10 plans mobiles" en 1953 à Bruxelles est le modeste point de départ d'une carrière qui dépassera de loin les frontières. C'est là que la galeriste parisienne Denise René découvre Bury. En 1955, elle l'intègre à son exposition "Le Mouvement". Bury expose aux côtés de Alexander Calder, Marcel Duchamp, Jean Tinguely, Yaacov Agam, Jesus-Rafael Soto et Victor Vasarely, notamment. Bien qu'elle ne remporte pas un grand succès, cette exposition aura d'importantes répercussions par la suite et sera considérée comme un moment-clé dans l'histoire de l'art d'après-guerre. "Le Mouvement" sera aussi une source d'inspiration pour le groupe d'artistes belges G58 pour leur exposition Vision in Motion / Motion in Vision, au Hessenhuis à Anvers en 1959. La participation de Bury change fondamentalement le programme de cet événement qui deviendra en réalité la première exposition internationale du groupe ZERO. Parmi les artistes invités se retrouvent Yves Klein, Heinz Mack, Otto Piene, Jesus-Rafael Soto, Daniel Spoerri, Jean Tinguely, Gunther Uecker.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;Un nouvel intérêt pour le groupe ZERO se dessine actuellement, pour preuve l'exposition en cours au Guggenheim de New York (jusqu'en janvier 2015) où Bury y est naturellement représenté.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;En 1961 Bury déménage à Paris et en 1964, il représente la Belgique à la Biennale de Venise. A cette occasion, il rencontre le galeriste new-yorkais John Lefebre qui, subjugué par les travaux de Bury, l'exposera la même année à New York. Et c'est le point de départ d'une carrière internationale. C'est également à la Galerie Lefebre qu'Aimé Maeght apprend à connaître Bury et le prend sous son aile. En résultera une longue amitié ainsi qu'une série d'expositions à Paris, Zurich et Saint-Paul de Vence.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;A partir de 1972, Bury rentre en France, ce qui n'empêche pas le Guggenheim de New York de lui consacrer, en 1980, une rétrospective lors de l'installation d'une de ses fontaines dans la rotonde. Avec ses fontaines Bury conquiert le reste du monde, allant jusqu'au Japon et à Séoul.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="font_8"&gt;&lt;span&gt;L'exposition de la Galerie Patrick Derom n'a pas pour ambition d'offrir une vue complète de l'oeuvre de Bury. Elle souhaite lui rendre hommage et montrer que Pol Bury, artiste belge, est un artiste d'envergure internationale. C'est une invitation au voyage; un voyage dans l'univers particulier de Pol Bury où le temps est constamment interrompu, retardé et trompé...&amp;nbsp;Deluding Time&lt;/span&gt;&lt;/p&gt;</text>
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              <text>le buisson ardent</text>
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                <text>les heures creuses</text>
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                <text>Abed, Joëlle</text>
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                <text>56 p.</text>
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                <text>ACDB-ABE-H-0 000 120</text>
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                <text>Si Joëlle est domiciliée et travaille à Pans, ce recueil a pour cadre un village de la province française. Ces Heures creuses sont celles du « deuil du père » quand « la mort / se met a tricoter / la première rangée du doute de la neige », des Heures creuses remplies de cette absence/présence, habitées par le village, ses gens et les chants d'oiseaux qui ne sont pas ces pigeons qui fientent sui la capitale : « Je peux alors écrire / à l'eau d'hirondelle / l'absence d'aujourd'hui / sans trou dans le temps »</text>
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              <text>sept. 1997</text>
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                <text>Emile Salkin</text>
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                <text>Monographie éditée à l'occasion de l'expo-hommage à la Maison de la Culture à Tournai du 5 octobre au 16 novembre 1997.&#13;
Différents textes : &#13;
Frédéric Altman : "Emile Salkin, une locomotive de la peinture belge"&#13;
&#13;
Une lettre de Paul Delvaux.&#13;
&#13;
Hubert Nyssen : "La genèse d'un tango"&#13;
&#13;
Jacqueline Chardon-Lejeune :"Visite d'atelier"&#13;
&#13;
Jacky Legge et Marc Secret :"Biobibliographie d'Emile Salkin"&#13;
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                <text>Vingt ans après le décès du peintre, un hommage légitime lui est rendu dans la ville où il enseigna.&#13;
&#13;
L'exposition que la Maison de la Culture de Tournai consacre au peintre Emile Salkin peut d'ores et déjà prétendre au titre d'événement. Notamment parce que c'est la première fois qu'une rétrospective donne un aperçu aussi exhaustif de l'oeuvre de l'artiste bruxellois. Qu'elle intervienne vingt ans après le décès d'Emile Salkin peut être interprété comme le signe avant-coureur de cette consécration artistique revendiquée bien avant sa mort par les amis du peintre, mortifiés à l'idée de voir son génie croupir plus longtemps au purgatoire : Il faut absolument, martèle l'éditeur Hubert Nyssen (« Actes Sud»), zélateur enthousiaste de la peinture de Salkin, qu'une oeuvre aussi aboutie que «Le Tango de l'Antigenèse» trouve sa place dans un grand musée d'art contemporain d'ici l'an 2000».&#13;
&#13;
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                <text>Catalogue de l'exposition "Pierre Alechinsky Les Palimpsestes" présentée au Centre de la Gravure et de l'Image imprimée à La Louvière du 3 juin au 5 novembre 2017.&#13;
Préface de Catherine de Braekeleer&#13;
Texte de Yves Peyré :&#13;
 "Le rêve et son préalable&#13;
Alechinsky entre enluminure et recouvrement"&#13;
Reproductions en couleurs des oeuvres exposées.</text>
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                <text>ACDB-ALE-P-0 000 126</text>
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                <text>Pierre Alechinsky, né à Bruxelles en 1927, est un passionné du monde de l'imprimé. Depuis plus de 60 ans, il cueille et recueille toutes sortes de papiers aux passés les plus divers. Ecumant les puces et les fonds d'archives, l'artiste détourne de leur usage initial de vieux courriers manuscrits, lettres commerciales à en-tête, factures, anciennes cartes de géographie et plans de villes pour les intégrer avec une extraordinaire liberté dans ses propres créations. Par estampage de plaques d'égout dites "tampons de regard " dans les rues d'Arles, Bruxelles, Liège, New York, Pékin, Rome ou Salzbourg, il a également redonné vie à un mobilier urbain des plus modestes. Au fil de 280 notices, ce catalogue publié à l'occasion de l'exposition Pierre Alechinsky. Les palimpsestes présentée au Centre de la Gravure et de l'Image imprimée à La Louvière (Belgique) correspond à un inventaire détaillé ― et largement annoté par l'artiste ― de tous les types de palimpsestes qu'il a expérimentés depuis la fin des années '40. Un texte inédit d'Yves Peyré éclaire cette démarche si particulière.</text>
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                <text>Un coup de coeur du Carnet&#13;
Pierre MALHERBE&#13;
calonne_malherbeOutre une délicate pièce pour piano de Maurice Ravel, dédiée à Léon-Paul Fargue, il existe une myriade de noctuelles, près de vingt-cinq mille espèces à la surface de la terre, semble-t-il, et qu’on appelle un peu plus anonymement des papillons de nuit. Les chenilles de noctuelles sont la terreur des agriculteurs et des passionnés des jardins, car, polyphages, elles se nourrissent de tout ce qui leur passe sous le nez, et uniquement la nuit bien sûr – la journée, elles digèrent leur festin et se reposent avec nonchalance. Jacques Calonne, né en 1930 à Mons, fait partie de cette grande famille des noctuelles, à ceci près qu’il n’est la terreur de personne ayant les doigts verts.&#13;
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Au contraire, ce rejeton de Cobra dont il fut l’un des plus jeunes membres, à 19 ans, n’a aucune peine à rassembler autour de sa personne de touche-à-tout, de ses partitions musicales, écrits poétiques, peintures, compositions calligraphiques et joyeuses extravagances artistiques, une imposante myriade d’amis et de connaissances. Composé avec soin et enthousiasme durant plusieurs années par Sylvie Van Hiel Broodthaers, voici que paraît à L’Âge d’Homme un de ces livres-monstres qui font le bonheur des fureteurs d’encyclopédies, et de tous ceux qui souhaiteront découvrir ou approcher de plus près ce lépidoptère lettré et curieux qu’est Jacques Calonne, également connu sous le nom du « Ténor mondain »  – l’une de ses innombrables activités de soirée.&#13;
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Souris, Boulez et Plastic Bertrand&#13;
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Qui est réellement Jacques Calonne ? Près de six cent pages fourmillantes de témoignages, de textes, d’entretiens, de conversations improvisées, de documents, ne permettent évidemment pas de saisir l’insaisissable. Car, fidèle à sa réputation – « personne n’a vécu, ne vit comme lui l’antispécialisme de Cobra », écrivait son ami Dotremont en 1970 – Calonne s’est démultiplié dans le temps, l’espace et les disciplines. La musique y tient une grande place, lui qui, formé/déformé au conservatoire de Bruxelles, et ensuite à l’académie des beaux-arts, rencontra le dodécaphonisme grâce à André Souris. Dès le milieu des années 50, il fréquente durant quinze ans l’école de Darmstadt (Stockhausen, Maderna, Boulez…) puis, plus tard, Bartholomée, Foccroulle, et même Plastic Bertrand. Entre la carrière de compositeur-théoricien d’avant-garde et celle de chanteur de mélodies de salon ou de cabaret, Calonne n’a pas choisi, embrassant les deux. Ce qui donne ce compliment expert du musicologue Harry Halbreich : « Une œuvre de Jacques, c’est comme un diamant. Il aurait pu être le plus grand compositeur du pays. C’est un marginal irrécupérable. »&#13;
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Le goût de l’inachèvement&#13;
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La littérature et les arts plastiques n’en ont pas moins attiré dans leurs filets – à moins que ce ne soit l’inverse ? – l’auteur de Belle que jamais, un roman (et le seul), publié par Dotremont dans sa revue « Strates ». Par Cobra, ce collectionneur de pommes de terre en germes, de boîtes d’allumettes et de disques 78T se lie avec les acteurs de la « Belgique sauvage », le futur créateur des logogrammes, Pierre et Micky Alechinsky, Asger Jorn, mais également Appel, Bury, Reinhoud, André Balthazar ou encore les frères Piqueray. Assez désinvolte pour ne pas vouloir faire œuvre achevée, synonyme de pierre tombale, il laisse s’accumuler de petites choses, objets divers, brèves de comptoir, aphorismes, pastiches poétiques, bêtises entendues, notations légères et mignardises drôles, qui se dégustent ici comme des œufs d’esturgeon : « Dans le bottin de Berlin, en 1972, on trouvait seize Richard Wagner. » Ou : « Lorsqu’un Français tombe sur un mot français qu’il ne connaît pas, il croit que c’est un belgicisme. » Et encore: « Lu sur une affiche. La Tempête de William Shakespeare, spectacle en plein air. »&#13;
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Pas franchement attiré par les surréalistes, il lorgne volontiers du côté des lexico-linguistes. Peut-être pas Hanse ou Grevisse, mais plutôt Schleyer, assez oublié aujourd’hui, créateur du volapük, un langage artificiel cousin de l’esperanto. La version de Calonne du « Corbeau et du Renard » en cet idiome est un chef-d’œuvre d’oralité, tout comme son Petit lexique picard belge qui n’eût pas déplu à Scutenaire. Calonne personnage a encore promené sa silhouette de dandy dégingandé dans des films de Luc de Heusch, Boris Lehman, Jan Bucquoy, Fred Van Besien, Claude François, Noël Godin, et déambulé nocturnement en maints estaminets, en compagnie d’amies et d’amis, connus ou inconnus. Pour un grand nombre d’entre eux, dont Edouard Baer, ils se trouvent en assez bonne situation dans cet ouvrage imparable, aussi inclassable que le reste son sujet. A vos filets !&#13;
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Jacques CALONNE, Noctuelles, orchestré par Sylvie Van Hiel Broodthaers, Lausanne, L’Âge d’Homme, 592 p., 35 €</text>
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&lt;p&gt;Catalogue de l'exposition visible du 15 octobre 2017 au 14 janvier 2018&lt;/p&gt;&#13;
&lt;p&gt;Originaire d'Avallon, en Bourgogne, Gaston Chaissac (1910-1964) est issu d'un milieu modeste. Il découvre l'art à Paris en 1937 grâce à sa rencontre avec Jeanne Kosnick-Kloss et Otto Freundlich qui l'encouragent à peindre. Sa première exposition personnelle a lieu à Paris, galerie Gerbo, dès 1938. Durant la guerre, à Saint-Rémy de Provence, il rencontre chez Albert Gleizes quelques grands noms du monde de l'art, André Bloc notamment, qui le soutiennent à distance. Chaissac pose les fondements de son engagement artistique dès la fin des années 1930. Il arrive à Vix, en Vendée, en août 1942, puis suit sa femme Camille, institutrice laïque, lors de ses changements d'affectation, à Boulogne tout d'abord (1943-1948), puis à Sainte-Florence de l'Oie (1948-1961) et de nouveau à Vix à partir de juillet 1961.&lt;/p&gt;&#13;
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&lt;p&gt;Gaston Chaissac croise dans son environnement immédiat, son « champ visuel », les matériaux et les personnages bien ordinaires qui sous sa houlette deviennent motifs artistiques. En chroniqueur de l'Oie, il raconte dans son abondante correspondance les menus événements et les rencontres qui rythment son quotidien. En inventeur de la «&amp;nbsp;peinture rustique moderne&amp;nbsp;», il fait des chemins, des bois, des chantiers ou des décharges de la Vendée ses terrains de jeu et y collecte tout un attirail d'objets, quotidiens ou usagés, qu'il métamorphose par ses talents de coloriste hors-pair.&lt;/p&gt;&#13;
&lt;p&gt;Le Musée de l'Abbaye Sainte-Croix conserve la plus importante collection publique consacrée à l'œuvre de Gaston Chaissac. Cette rétrospective, qui accompagne un nouveau dépôt d'une centaine d'œuvres de l'artiste, revient sur l'ensemble de son travail, depuis ses débuts, méconnus, à la fin des années 1930 jusqu'à ses dernières œuvres qui, au début des années 1960, le révélèrent au grand public. Elle en explore toutes les facettes, dessins, peintures, objets, correspondance, en les plaçant sous le signe d'une expérimentation et d'un renouvellement artistique constants.&lt;/p&gt;&#13;
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                <text>L'ouvrage est composé de 16 estampes individuelles présentées sous enveloppe cartonnée. &lt;br /&gt;Il s'agit de ramollissements titrés comme suit :&lt;br /&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Ministre des utopies définitives&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état à la connotation&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état au commerce temporaire&lt;/li&gt;&#13;
&lt;li&gt;Premier ministre de la Belgique surnuméraire&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état aux anciens gardes-barrières des langues&lt;/li&gt;&#13;
&lt;li&gt;Sous-secrétaire d'état au niveau&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état aux utopies temporaires&lt;/li&gt;&#13;
&lt;li&gt;Ministre des organes culturels&lt;/li&gt;&#13;
&lt;li&gt;Ministre aux régions subalternes&lt;/li&gt;&#13;
&lt;li&gt;Secrétaire d'état à la diphtongue&lt;/li&gt;&#13;
&lt;li&gt;Ministre du calembour territorial&lt;/li&gt;&#13;
&lt;li&gt;Ministre aux intempéries régionales&lt;/li&gt;&#13;
&lt;li&gt;Sous-secrétaire d'état à la hiérarchie culturelle&lt;/li&gt;&#13;
&lt;li&gt;Ministre des mesures transitoires&lt;/li&gt;&#13;
&lt;li&gt;Ministre des querelles intestines&lt;/li&gt;&#13;
&lt;li&gt;Ministre des anciens combattants culturels&lt;/li&gt;&#13;
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