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Une fois n’est pas coutume, Le Monde Invisible traite d’une pratique artistique non plastique. Une pratique titillant les cinq sens, à commencer par le goût. Ainsi, sous l’impulsion de la Ministre de la Culture en FWB, Alda Greoli, la gastronomie justifie aujourd’hui plus que jamais, son statut d’Art à part entière.&#13;
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                <text>Cette exposition trouve son origine dans l’acquisition par la Ville de La Louvière pour la collection du Centre de la Gravure d’un portfolio de Roman Opałka comprenant cinquante autoportraits de l’artiste réalisés selon un protocole immuable depuis 1965 jusqu’à son décès. Ce protocole visait à inscrire la trace d’un temps irréversible.&#13;
&#13;
Très vite, il est apparu que cette thématique du passage du temps était fort présente dans les œuvres de nos collections - les raisons en résident, peut-être, dans certaines spécificités de l’estampe : par nature, la gravure se prête à la série, à la séquence, à la déclinaison au sein desquelles chaque œuvre existe à la fois pour elle-même et comme fragment d’un déroulement temporel. Par ailleurs, le processus technique de mise en œuvre de l’estampe, qui comprend de multiples étapes et passe par un transfert, induit naturellement une forme de lenteur et de délitement du temps.&#13;
&#13;
Suspendu, perdu, dissimulé, brouillé, effacé, écoulé, digéré, caviardé, capturé, maitrisé, fixé, combattu, instrumentalisé, figé, altéré, métamorphosé…, le concept du temps et de sa trace est abordé au travers de multiples points de vue au fil d’une lente déambulation parmi les œuvres, bien souvent sérielles, des collections du Centre de la Gravure et de l’Image imprimée.&#13;
&#13;
Artistes exposés :&#13;
Christiane Baumgartner, Carole Benzaken, Edouard Boyer, Kévin Britte, Pierre Buraglio, Balthasar Burkhard, Sophie Calle, Sylvie Canonne, Christian Carez, Jean Clareboudt, Kikie Crêvecœur, Anne De Gelas, David De Tscharner, Jean Dubuffet, Susumu Endo, Michel François, Carsten Höller, Christian Jaccard, Ingrid Ledent, Urs Lüthi, Takesada Matsutani, Agathe May, Muriel Moreau, Tetsuya Noda, Marc Octave, Roman Opałka, Anne-Emilie Philippe, Sandra Plantiveau, José Maria Sicilia, Maja Spasova, Luc Tuymans, Thierry Wesel.</text>
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                <text>En juin, alors que la fin d'année scolaire approche, Thierry Genicot a prêté son micro aux concepteurs de deux projets de construction ou transformation d'écoles, particulièrement attentifs aux liens à établir avec les pédagogies qui y sont développées. &lt;br /&gt;&lt;br /&gt;À Woluwe-Saint-Lambert, l'architecte Inès Camacho et Dominique Paquot, directeur de l'école, reviennent sur le projet d'agrandissement de Singelijn, un établissement de pédagogie active, alternative et d'intégration (enseignement libre subventionné non confessionnel), dont le marché d'architecture a été acompagné par la Cellule architecture.&lt;br /&gt;&lt;br /&gt;À Erpent (Namur), c'est l'architecte Pascal Rahier (LRArchitectes) qui avait fixé rendez-vous sur le chantier de l'agrandissement du Collège Notre-Dame de la Paix, un établissement de pédagogie ignatienne (enseignement libre confessionnel). &lt;br /&gt;&lt;br /&gt;Une émission avec une archive : la voix de Lucien Kroll, sur le site de la Mémé à Woluwe-Saint-Lambert.</text>
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Aux confins de l’art conceptuel et de l’art concret, Peter Downsbrough développe depuis ses débuts, dans les années 1960, un vocabulaire plastique précis, épuré et sans concession, composé de figures géométriques simples, de lignes et de mots.&#13;
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Exposition du 6 juin au 11 août 2019. Museum, Galerie et hall d’accueil. Accessible du mercredi au dimanche, de 12h à 20h.</text>
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Les expositions sont organisées en milieu rural, dans des lieux charmants sur le plan architectural, patrimonial et paysager et pour la plupart installées chez l’habitant.</text>
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Le Monde Invisible est allé à leur rencontre micro ouvert. Les artistes mais aussi leur commissaire…</text>
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                <text>À l’Association du patrimoine artistique (Bruxelles) Bruxelles Autrefois: &lt;em&gt;Les églises, chapelles et couvents disparus&lt;/em&gt; avec Pierre Loze. &lt;br /&gt;-&amp;gt;jusqu’au 26 octobre 2019.&lt;br /&gt;&lt;br /&gt;Aux Archives de la Ville de Bruxelles Q&lt;em&gt;uelque chose du temps&lt;/em&gt;, installations de et avec Myriam Louyest.&lt;br /&gt;-&amp;gt; jusqu’au 13 décembre 2019.</text>
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                <text>&lt;p&gt;Avant que les musées n’existent, avant que la notion d’art ne soit devenue aussi explicite qu’elle l’est aujourd’hui, les églises étaient autrefois des lieux privilégiés de rencontre du public avec l’œuvre d’art. Elles constituaient en quelque sorte les musées de la société de l’ancien régime, avant que ceux-ci ne voient le jour à la fin du 18&lt;sup&gt;e&lt;/sup&gt;siècle et au début du 19&lt;sup&gt;e&lt;/sup&gt;siècle. Plusieurs guides de Bruxelles ou des Pays-Bas furent d’ailleurs publiés dans les décennies qui ont précédé la Révolution française, permettant aux visiteurs amateurs d’art de faire le tour des églises et couvents qui possédaient des œuvres remarquables.&lt;/p&gt;&#13;
&lt;p&gt;Avec cette exposition et la publication qui l’accompagne, l’Association du Patrimoine artistique rappelle cette réalité historique et offre une réponse à la thématique&lt;em&gt;Un lieu pour l’art&lt;/em&gt;proposée par les Journées du patrimoine en 2019. Elle célèbre en même temps ses quarante années d’existence, en renouant avec les préoccupations qui sont à l’origine de sa création en 1979. C’est en effet par des publications sur le patrimoine des églises bruxelloises que l’Association a commencé à se faire connaître. En collaboration avec la Société royale d’Archéologie de Bruxelles, elle avait conçu pour les célébrations du millénaire de la fondation de notre capitale une exposition réunissant dans l’église Notre-Dame-de-la-Chapelle les œuvres les plus remarquables conservées dans les églises de la région bruxelloise. Il s’agissait aussi d’attirer l’attention sur un patrimoine d’art religieux parfois négligé et par là même menacé dans sa conservation. Dans la foulée de sa création et de cette activité éditoriale et de sensibilisation, l’association avait obtenu les fonds pour faire réaliser, par des restaurateurs agréés par l’institut du Patrimoine artistique (IRPA), les indispensables soins de conservation que réclamaient une série de tableaux de Théodore Van Loon et ceux des paysagistes brabançons conservés dans des églises bruxelloises. Une récente exposition consacrée à ce peintre a permis de réunir et d’admirer ces tableaux, dont certains, en particulier le&lt;em&gt;Martyre de saint Lambert&lt;/em&gt;, furent sauvés alors par ces restaurations.&lt;/p&gt;&#13;
&lt;p&gt;À l’origine de ce mouvement se trouvait un jeune fonctionnaire de l’IRPA, Denis Coekelberghs, chargé alors de l’inventaire photographique du mobilier des églises du Brabant. C’est lui qui, alertant le bourgmestre de Woluwé-Saint-Lambert, François Persoons, sur l’état du tableau conservé dans sa commune, trouva en lui un Secrétaire d’État à la culture attentif au sort du patrimoine d’art religieux, qui déclencha la création d’une a.s.b.l. capable de prendre des initiatives dans ce domaine. Malheureusement François Persoons dut quitter le gouvernement, dès l’année suivante, et l’Association se retrouva bientôt orpheline de son parrain providentiel.&lt;/p&gt;&#13;
&lt;p&gt;Qu’à cela ne tienne, on nous avait mis un outil extraordinaire en main. Une équipe interuniversitaire enthousiaste s’était formée et les occasions de publications et d’expositions de sensibilisation sur les domaines méconnus ou négligés de l’histoire de l’art ne manquaient pas. Paul Philippot, directeur honoraire de l’institut de Restauration à Rome et professeur à l’ULB, avait accepté d’être notre président et René Sneyers, directeur de l’IRPA, le conseiller technique en matière de restauration et conservation. L’engagement de jeunes historiennes et historiens de l’art sous contrat annuel, puis la constitution d’une équipe de permanents, ont permis d’aborder au fil de ces quarante ans, toutes sortes de sujets dont l’énumération dépasse le cadre de cette modeste publication. Parmi les nombreux collaborateurs passés par l’Association qui se sont formés en son sein, certains ont poursuivi leur carrière dans des institutions de conservation ou au service du patrimoine. Parmi les publications sur la peinture, l’architecture ou la sculpture des 17&lt;sup&gt;e&lt;/sup&gt;, 18&lt;sup&gt;e&lt;/sup&gt;et 19&lt;sup&gt;e&lt;/sup&gt;siècles, plusieurs sont devenues des ouvrages de référence, indispensables pour la connaissance dans ces domaines; des monographies très complètes ont pu voir le jour, et parallèlement, des guides, des publications destinées à un plus large public, ont entretenu l’intérêt et l’attention pour ce que l’on appelait autrefois l’art national. Certaines de ces publications ont passé les frontières et figurent dans les bibliothèques étrangères, et ont fait et font encore découvrir la fécondité de l’art aux Pays-Bas espagnols, autrichiens et en Belgique, bien au-delà des noms connus.&lt;/p&gt;&#13;
&lt;p&gt;Depuis l’étude que nous avions consacrée aux&lt;em&gt;Trésors d’art des églises de Bruxelles&lt;/em&gt;, s’était formé le projet d’aborder le patrimoine disparu ou dispersé des églises et couvents supprimés et démolis par Joseph II, puis par la Révolution française. De même, parlions-nous déjà alors d’aborder un inventaire systématique et une mise en valeur du patrimoine des édifices civils. La décennie prochaine qui mènera, nous l’espérons,l’association à ses cinquante ans d’existence, sera consacrée à des publications et expositions sur ces matières: un ouvrage beaucoup plus complet sur le mobilier des églises et couvents disparus est en préparation ainsi qu’une étude et la localisation des demeures nobiliaires de Bruxelles du 15&lt;sup&gt;e&lt;/sup&gt;au 18&lt;sup&gt;e&lt;/sup&gt;siècle et un projet d’exposition sur les sculpteurs flamands de la Renaissance en Italie. Après les monographies sur Laurent Delvaux et François-Joseph Navez, c’est vers Gilles-Lambert Godecharle et Jean-François Portaels que se dirige notre attention, à côté de celle que nous apportons toujours, par des expositions régulières, à la peinture des années 1840 à 1914, sans oublier un regard attentif et bienveillant à l’égard des expressions originales de l’art actuel.&lt;/p&gt;&#13;
&lt;p&gt;Qu’il nous soit permis de remercier ici les ministres et les chefs d’Administration tant régionale que communautaire qui, sensibles à la continuité et à la qualité scientifique de nos publications en ont soutenu l’édition, et ont ainsi encouragé notre action. De même notre gratitude va-t-elle au Fonds national de la Recherche scientifique ainsi qu’à nos présidents et membres du conseil d’Administration qui ont suivi chaque année l’évolution de nos travaux, ainsi que nos nombreux membres et visiteurs qui par leurs dons rendent possible l’existence de petites expositions, qui sont pour nous une sorte de laboratoire de nos explorations de l’univers de la création artistique.&lt;/p&gt;</text>
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