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Préface de Catherine de Braekeleer&#13;
Texte de Yves Peyré :&#13;
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Alechinsky entre enluminure et recouvrement"&#13;
Reproductions en couleurs des oeuvres exposées.</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>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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        <name>Emile Salkin</name>
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                <text>les heures creuses</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>L'œuvre gravée de Mario Avati</text>
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                <text>Catalogue de l'exposition organisée au Centre de la Gravure et de l'Image Imprimée (La Louvière) du 7 juin au 7 septembre 2014.</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>&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>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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