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                <text>&lt;p align="justify"&gt;Né en 1913,&lt;strong&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;Franz MOREAU&lt;/strong&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;a promené son âme en quête d’amour et d’engagement entre Binche, sa région natale, et Mons où il a enseigné. Ami d’Armand Simon, il a participé aux activités du groupe surréaliste Haute Nuit où son premier recueil, Silex, est publié. Il fréquente Pol Bury et ses complices tant de Phantomas que du Daily- Bul qui édite «&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;naturelle&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/em&gt;» et&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;Ithaque&lt;/em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;sous l’étiquette Montbliart. Ses écrits faits de métaphores nourries de la nature révèlent une écriture fluide et délicate, une langue épurée, ciselée comme un diamant. En 1953, il rencontre une jeune poétesse, Madeleine Biefnot. Ils vivent une relation poétique passionnelle quand, en décembre 62, il est foudroyé par un infarctus.&lt;/p&gt;&#13;
&lt;p align="justify"&gt;Née en 1930,&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;strong&gt;Madeleine BIEFNOT&lt;/strong&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;exprime ses révoltes dans des textes puissants, sauvages. Sa poésie est fracture et harmonie avec la nature, source inépuisable de renaissance, d’apaisement, bouleversante au point que Bury et ses amis l’ont éditée chez Montbliart et Phantomas. Après le décès de Franz, des poètes comme François Jacqmin, Jacques Izoard ou Marc Imberechts l’ont intégrée dans leurs cercles littéraires.&lt;/p&gt;&#13;
&lt;div align="center"&gt;&lt;img src="http://www.dailybulandco.be/images/image-site-livre.jpg" width="250" height="209" class="boitephoto" /&gt;&lt;/div&gt;&#13;
&lt;p align="justify"&gt;L’exposition évoque la vie et l’oeuvre des auteurs au moyen de panneaux didactiques et de documents authentiques puisés dans les archives de diverses institutions (dont le Centre Daily-Bul &amp;amp; C°) et des filles de Franz Moreau. Une abondante correspondance avec les acteurs surréalistes et post-surréalistes de l’époque (Simon, Chavée, Bury, Parfondry, Havrenne, Piqueray, Koenig, Jacqmin, …) côtoie des oeuvres plastiques (Simon, Locoge, Duez, Assez, Lejeune, …).&lt;/p&gt;</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>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>Georges Grard &gt; Isette Gabriels</text>
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                <text>La naïade, un sculpteur, un modèle artiste</text>
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                <text>Maison de la Culture de Tournai</text>
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                <text>Ouvrage imprimé</text>
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                <text>148 p.</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>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>Fonds Centre Daily-Bul &amp; C°</text>
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        <name>Pierre-Paul Rubens</name>
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        <name>Roger Avermaete</name>
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            <elementText elementTextId="58461">
              <text>978-2-9601110-6-4</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Antonio Segui</text>
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                <text>Segui en sa cour des miracles</text>
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                <text>Angelroth, Stéphanie</text>
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                <text>Turine, Roger Pierre</text>
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                <text>Hall, Jacqueline</text>
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                <text>Fondation Folon</text>
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                <text>Le salon d'art</text>
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                <text>Catalogue d'exposition Antonio Segui à la Fondation Folon du 14/10/2017  au 04/02/2018.&#13;
Introduction de Stéphanie Angelroth, directrice de la Fondation Folon.&#13;
Texte de Roger Pierre Turine : "Segui en sa cour des miracles." &#13;
Traductions anglaises de Jacqueline Hall.&#13;
Reproductions en couleurs des oeuvres exposées.</text>
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                <text>Antonio Segui est un grand artiste d’origine argentine, né à Cordoba en 1934. Après de nombreux voyages, il s’installe à Paris en 1963.&#13;
&#13;
La Fondation Folon à La Hulpe et le Salon d’Art à Bruxelles mettent à l’honneur le travail du peintre et du sculpteur. Antonio Segui a créé un petit personnage qui porte un chapeau et qui traîne un chien. Il traverse des villes surpeuplées de gens bizarres, des hommes qui courent en tous sens et des femmes parfois amputées, parfois écartelées. Elles ne leur emboîtent le pas. Elles semblent plantées dans le capharnaüm des villes, traversées par le mouvement incessant des hommes.&#13;
&#13;
Antonio Segui ne raconte pas des histoires, mais il plante ses personnages dans des situations incongrues et absurdes. Associé au mouvement de la figuration narrative, sans y adhérer, Antonio Segui fait surgir des images qui mêlent les réminiscences de l’enfance à la caricature sociale. Les arts précolombiens ont sans doute influencé le dessinateur, même si l’Argentin qui a vécu un temps au Mexique s’en défend aujourd’hui. Les personnages d’Antonio Segui, aux articulations anguleuses et aux mouvements mécaniques figés, pourraient être sortis d’un codex maya plus rigolo que sanguinaire, car l’humour du maître adoucit le tragique de notre monde de fous.</text>
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                <text>« Le mot “surréalisme” ne signifie rien pour moi », déclarait Magritte, alors que son ami Nougé acceptait l’étiquette « pour les commodités de la conversation ». Le surréalisme belge s’est distingué du surréalisme français par un certain nombre d’écarts : mise en cause de l’automatisme, reven-dication d’une musique surréaliste, humour et dérision sont ses marques de fabrique. D’André Souris à Tom Gutt, de Camille Goemans à Achille Chavée, la plupart des forces vives du mouvement sont rassemblées ici en des textes pour la plupart complets (et non des extraits). Y sont associés des auteurs qui n’ont pas nécessairement été surréalistes, mais sont témoins de la fécondité du mouvement, de Christian Dotremont aux ani-mateurs du Daily-Bul</text>
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Textes de Dominique Forest, Brigitte Fitoussi, Lamya Ben Djaffar, Ludovic Recchia.&#13;
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Nicolas Bovesse avec Lamya Ben Djaffar&#13;
Ronan Bouroullec, Florence Doléac, Mathieu Lehanneur avec Brigitte Fitoussi&#13;
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                <text>Claude Aïello provient d’une famille de céramistes d’origine italienne. Né, en 1951, il a suivi son père à Vallauris en 1964. L’année suivante, il entame un apprentissage au sein de la faïencerie traditionnelle Saltamacchia. Au fil des années, il se perfectionne auprès de maîtres tourneurs de Vallauris. En 1974, Claude Aïello s’installe à son compte et se spécialise, dès les années 1980, dans la réalisation de pièces uniques ou de petites séries, notamment en collaboration avec Jacques-Fernand Orsini (meilleur ouvrier de France).&#13;
&#13;
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&#13;
En 2008, avec Mathieu Lehanneur, Claude Aïello entame L’âge du monde, une série de pièces modélisant en trois dimensions les pyramides des âges de différents pays. Pour cette collaboration, en 2010, ils reçoivent le « Prix Liliane Bettencourt pour l’Intelligence de la Main », catégorie « Dialogues ».&#13;
&#13;
Textes français : Dominique Forest, Brigitte Fitoussi, Lamya Ben Djaffar, Ludovic Recchia, Ronan Bouroullec, Florence Doléac, Christian Ghion, Mathieu Lehanneur.&#13;
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            <name>Identifier</name>
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                <text>© Fonds Jean Pol Stercq - Centre Daily-Bul &amp; C°</text>
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            <description>A name given to the resource</description>
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                <text>Photographie de Armand Simon par Jean Pol Stercq</text>
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              <elementText elementTextId="59814">
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Fonds Jean Pol Stercq</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                  <text>Stercq, Jean-Pol</text>
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      <name>Images imprimées</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FJPS-KIR-0 000 025</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Kirkpatrick, Claire</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>sd</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>30,4 x 23,7 cm</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 Jean-Pol Stercq</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Photographie</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>© Fonds Jean Pol Stercq - Centre Daily-Bul &amp; C°</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Photographie de Claire Kirkpatrick par Jean Pol Stercq</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Stercq, Jean Pol</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Photographie en noir et blanc, orientation paysage, de Claire Kirkpatrick par Jean Pol Stercq. </text>
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        <name>Claire Kirkpatrick</name>
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      <tag tagId="10982">
        <name>Jean Pol Stercq</name>
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</itemContainer>
