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Comissaire à Contretype  -&gt; Danielle Leenaerts&#13;
Commissaire Douchy-Les-Mines -&gt; Muriel Enjalran&#13;
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&#13;
Thierry Genicot, pour cette nouvelle livraison du Monde Invisible, s’est rendu au Musée L, micro ouvert,  auprès de Anne Querinjean sa directrice et d’Elisa de Jacquier…&#13;
&#13;
Autre rencontre, celle du donateur, Serge Goyens de Heusch. Ensuite visite chez l’artiste Jacques Lacomblez dont des œuvres figurent parmi celles de la collection nouvellement transmise au Musée…Une donation d’importance puisqu’elle comporte depuis 1986, quelques 2000 œuvres d’art moderne d’artistes belges.</text>
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&#13;
Ca va vite, ça laisse une trace dans l’espace. ». Comme Pierre Alechinsky, Jephan esquisse parfois le signe dans l’air avant de la poser sur le papier.&#13;
&#13;
« Parfois j’écris sur fond de vide » dit-il. Thierry Genicot s’est entretenu avec l’artiste sur la question de cette écriture en invoquant le voix d’un écrivain récemment disparu : Michel Butor. L’artiste et l’écrivain ont écrit plusieurs livres ensemble sans jamais s’être rencontrés…Rencontre désormais impossible mais que par magie des voix enregistrées, ils se parlent encore dans ce monde invisible.</text>
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                <text>À La Louvière au Centre&amp;nbsp;Keramis&amp;nbsp;(Centre de la Céramique de la Fédération Wallonie-Bruxelles) jusqu’au 2 septembre 2018. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Gisèle Buthod-Garçon&lt;/strong&gt; (Céramiste), « la terre simplement » Voyage radiophonique avec la céramiste sa commissaire, Stéphanie Le Follic-Hadida (commissaire de l'exposition) et Ludovic Recchia, directeur de l’institution. &lt;br /&gt;Sera invoqué également dans cette émission la voix de Daniel de Montmollin… &lt;br /&gt;&lt;br /&gt;Si le communiqué de presse nous indique : « Avec près de 85 pièces issues de collections publiques et privées, cette exposition est la plus importante jamais dédiée à cette artiste de renom international. Trente-cinq ans de carrière sont ainsi relatés. Trente-cinq ans d’un cheminement incroyablement sincère et d’une implication totale. » &lt;br /&gt;&lt;br /&gt;Thierry Genicot tentera de découvrir l’alliance entre mains et feu qu’il y a derrière le mystère de la cuisson…</text>
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Emission avec les voix de Michel de Visscher et Marc Dubois</text>
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Thuin, ancienne cité médiévale aux Jardins suspendus et lieux de patrimoine multiples, est devenue un vrai musée à ciel ouvert.  Aux treize oeuvres pérennes de l'édition 2015 viennent s'ajouter neuf contributions d'artistes.&#13;
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ARTISTES : Charlotte BEAUDRY, Cathy COËZ, Pauline DEBRICHY, Daniel FAUVILLE, Mario FERRETTI, GRRIZ (Luigi GRECO et Mattia PACO RIZZI), Serigne MBAYE CAMARA, Lola MEOTTI, Mostafa SAIFI RAHMOUNI.&#13;
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Au BAM à Mons qui expose justement cette artiste…&#13;
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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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                <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>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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