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                <text>Il créait des choses désagréables</text>
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                <text>Marcel Mariën et l'activité surréaliste</text>
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                <text>Dohmen, Léo</text>
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                <text>ENSA Limoges</text>
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                <text>Ouvrage composé de plusieurs textes&#13;
+ Introduction de François Coadou&#13;
+ Marcel Mariën, le passager clandestin de Xavier Canonne&#13;
+ Marcel Mariën, éditeur, archiviste, complice, ami et héritier de Paul Nougé de Geneviève Michel&#13;
+ "L'art n'est pas immortel" Marcel Mariën et l'héritage surréaliste de Marie Godet&#13;
+ Politique de Marcel Mariën de François Coadou&#13;
+ Marcel Mariën's Woman Ajar. Acase of minor photography? de Mieke Bleyen&#13;
+ Marcel Mariën et l'objet surréaliste de Augustin Nounckele&#13;
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                <text>Marcel Mariën n'est guère connu hors de Belgique, où il passe – ce qui ne vaut guère mieux – pour l'un des « seconds couteaux » d'un mouvement, le surréalisme, depuis longtemps digéré par l'histoire et le marché de l'art. Pourtant, à mettre de côté ce qu'on croit savoir du surréalisme en question, et les hiérarchies qui ont cours dans une histoire de l'art trop souvent soucieuse d'édifier – et de vendre – des monuments, ce qu'on découvre ne manque pas d'intérêt. Poète, collagiste, créateur d'assemblages, éditeur, photographe, cinéaste, penseur politique, moraliste surtout, de ceux qui pourfendent toute forme d'illusion, Marcel Mariën est l'auteur d'une œuvre dont on ne sait exactement dans quelle mesure il convient de la qualifier d'artistique, mais qui peut toujours – et c'est bien là ce qu'il voulait – produire quelqu'effet : perturber le cours normal, trop normal, des pensées, des sentiments, de la vie. </text>
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                <text>Fonds Centre Daily-Bul &amp; C°</text>
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                <text>Collectionneurs &amp; Psychè</text>
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                <text>Ce que collectionner veut dire</text>
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                <text>David, Géraldine</text>
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                <text>Mairesse, François</text>
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                <text>Allard, Dominique</text>
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                <text>De Callataÿ, François</text>
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                <text>De Graeve, Jan</text>
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                <text>Gross, Sylvain</text>
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                <text>Timmermans, Jean-Marc</text>
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                <text>Bibliotheca Wittockiana</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>Suite de différents textes écrits par les auteurs et contributeurs.&#13;
Réflexions sur les collections et collectionneurs.</text>
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                <text>Qui sont les collectionneurs ? Pourquoi et comment se met-on à collectionner ? Lubie, passion, marotte ?&#13;
La Bibliotheca Wittockiana, dont l'existence est directement liée à la thématique, vous propose un cycle de journées d'étude autour du « collectionnisme » !&#13;
La première, « Collectionneurs et psyché », se focalisera sur les motivations psychiques des collectionneurs d'art et aura lieu le 15 mars.&#13;
&#13;
Figure fascinante, le collectionneur interpelle. Son image est auréolée de clichés : il apparaît souvent fortuné, dévoué entièrement à sa collection. Parfois considéré comme un peu fou, il est présenté sacrifiant, dans l'exercice de sa passion, ses ressources et celles de son foyer. Mais qui est-il vraiment ? Quel portrait peut-on dresser de cette figure ambivalente, parfois encensée, parfois caricaturée ?&#13;
&#13;
À travers « Ce que collectionner veut dire », la Bibliotheca Wittockiana se propose d'interroger ces clichés, par le biais de journées d'étude centrées autour du thème de la collection et du collectionnisme. Ces journées sont ouvertes à tous les publics : collectionneurs, bien sûr, mais aussi scientifiques, responsables institutionnels, artistes, étudiants et tous autres curieux.</text>
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        <name>Sylvain Gross</name>
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        <name>Wittockiana (Woluwe-Saint-Pierre)</name>
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        <name>Yvette Dardenne</name>
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                <text>Publication réalisée pour le Musée des Beaux-Arts de Mons (BAM) dans le cadre de l'exposition Anto-Carte - De terre et de ciel du 19 mars au 21 août 2022&#13;
Reproductions des oeuvres exposées</text>
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                <text>Un joli petit ouvrage bien agréable qui m'a permis de replonger dans l'ambiance de l'exposition Anto-Carte qui occupe pour l'instant les cimaises du BAM à Mons (Belgique).&#13;
Caroline Lamarche imagine, au départ d'un poème d'Apolinaire, la présentation du tableau le Retour du Fils Prodigue par un instituteur vieillissant. L'analyse de cette oeuvre permet à l'enseignant de faire découvrir la neige à ses élèves mais également le pardon et l'amour.&#13;
L'opuscule est illustré des oeuvres d'une jeune collagiste qui, hors livre, m'avaient semblées un peu fades mais qui, en contexte, prennent tout leur sens.</text>
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                <text>Moins connu que Les Saisons ou Le Livre de la neige, longtemps réservé aux amateurs de l'oeuvre de François Jacqmin, Le Domino gris (1984) est son recueil le plus âpre, le plus réflexif aussi : le poète y enregistre les échecs de l'interrogation métaphysique, mais aussi les arrêts que le temps impose à la pensée, au langage, à la vie même. Art poétique à rebours, ce livre matriciel de l'oeuvre postérieure mène un travail de sape de la prétention à dire et à faire oeuvre.&#13;
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                <text>Les cimetières ruraux de Tournai</text>
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                <text> Maison de la Culture de Tournai</text>
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                <text>Introduction de Xavier Deflorenne&#13;
Photos de Frédéric Galliez</text>
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                <text>Cet ouvrage - itinéraire désire démontrer que le patrimoine funéraire n’est pas l’apanage des villes. Chaque commune dispose de son espace du souvenir avec ses propres caractéristiques. Elles sont à découvrir, à lire.&#13;
&#13;
Conservateur des cimetières de Tournai et spécialiste du symbolisme funéraire, Jacky Legge a associé des artistes à sa démarche d’observation et d’étude. Ainsi, le photographe Frédéric Galliez a porté son propre regard sur les sépultures sélectionnées dans les trente et une (!) nécropoles rurales de la cité scaldienne. Six écrivaines ont été invitées à interpréter librement l’atmos-phères des ces lieux particuliers qui ceinturent les églises ou qui s’isolent du tissu vivant de la communauté locale : Eugénie De Keyser, Marianne Kirsch, Françoise Lison-Leroy, Colette Nys-Mazure, Régine Vandamme et Michèle Vilet. Eintroduction a été confiée à Xavier Deflorenne, « Monsieur Cimetières » de la Région wallonne.&#13;
&#13;
Pénétrez dans ces univers faits de vanité et de simplicité en quête d’une éternité toute relative.&#13;
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              <text>D/2007/6190/3</text>
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                <text>Didier Devillez</text>
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                <text>Publication éditée à l'occasion de l'exposition du 20 septembre au 20 octobre 2007 à la Galerie Didier Devillez&#13;
Texte de Michel Baudson</text>
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                <text>ACDB-LAM-A-0 000 342</text>
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                <text>Le compositeur György Ligeti disait, à propos des chants pygmées qui le fascinaient : "Chaque moment est un hasard mais la totalité qui en résulte n’a rien à voir avec le hasard".&#13;
&#13;
J’ai le sentiment qu’il en est souvent ainsi de mes travaux : une accumulation obstinée et complexe de microstructures juxtaposées, superposées, décalées, de nature et de tonalités différentes ou très légèrement nuancées qu’oblitère, in fine, une infinité de minuscules signes d’encre. Peut-être cela explique-t-il aussi que j’aimerais que l’on appréhende ce travail, dans sa temporalité, comme on écoute de la musique ...&#13;
A.L. (2008)</text>
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            <description>An account of the resource</description>
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                <text>Photographies de Alain Breyer et Frédéric Galliez&#13;
Incises littéraires de Christoph Bruneel, André Chabot, Jean-Pierre Denefve, Otto Ganz, Stéphane Gossiau et Anne Letoré</text>
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                <text>ACDB-LEG-D-0 000 343</text>
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                <text>L’ouvrage désire être un regard rigoureux sur un objet du quotidien : le décrottoir ou gratte-pied. Souvent banal, il épouse des formes très diversifiées.&#13;
&#13;
Tournai a servi de laboratoire d’observation et de cadre d’analyse. Tout en sachant que rien n’est transposable, les grilles qui ont été utilisées et les conclusions peuvent servir à de nouvelles études dans d’autres cités.&#13;
&#13;
Des gratte-pied sont à cheval sur deux façades, d’autres sont peints aux couleurs de la ville, sans oublier ceux confectionnés pour les bottes de sept lieues ou pour géant(e)s.&#13;
&#13;
Des photographes, Alain Breyer et Frédéric Galliez, ont porté leur regard et leur objectif sur des décrottoirs de Mons et de Tournai.&#13;
&#13;
Christoph Bruneel, André Chabot, Jean-Pierre Denefve, Otto Ganz et Anne Letoré ont bénéficié d’une carte blanche pour des incises littéraires. Elles intensifient l’imaginaire qu’engendrent déjà simplement les mots : décrottoir et gratte-pied.&#13;
&#13;
L’imaginaire ne nuit pas au sérieux ; ils se veulent, ici, complémentaires. »&#13;
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        <name>Tournai</name>
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                <text>Des géographies bousculées</text>
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                <text>Bruneau, Jean-François</text>
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                <text>Cardon, Coralie</text>
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                <text>Maison de la Culture de Tournai</text>
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                <text>Galerie Koma (Mons)</text>
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                <text>Carré Noir</text>
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                <text>Incises littéraires de Jean-François Bruneau et Jean-Pierre Denefve&#13;
Reportage photographique de Coralie Cardon&#13;
Reproductions de peinture de Virginie Stricanne</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="61708">
                <text>17 X 17 cm</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="61709">
                <text>fr</text>
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                <text>Ouvrage imprimé</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="61711">
                <text>60 p.</text>
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          <element elementId="43">
            <name>Identifier</name>
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              <elementText elementTextId="61712">
                <text>ACDB-LEG-V-0 000 344</text>
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              <elementText elementTextId="61713">
                <text>ACDB-LEG-V-0 000 345</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
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              <elementText elementTextId="61714">
                <text>Qu’elles soient petites ou grandes, il faut explorer les compositions de Virginie Stricanne, s’aventurer dans ses paysages escarpés, tumultueux. Ils accumulent falaises, gorges, brèches, gouffres,… Vous fixez un point de repère et vous avancez du regard.&#13;
A chacun de s’inventer son échelle de grandeur ; le cours d’eau deviendra fleuve, le monticule, montagne, le sentier, route sauvage. Vous risquez de vous égarer, de glisser, de tomber. Il faut s’accrocher, éviter les éboulements et cheminer.&#13;
Si le ciel apparait, il est souvent lourd, chargé.&#13;
Vous pouvez aussi pénétrer dans les entrailles de la terre.&#13;
Les tableaux de Virginie sont des géographies bousculées. Ils sont comme une carte chiffonnée, sans noms pour se repérer et reconnaitre des paysages déjà visités.</text>
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          <element elementId="90">
            <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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              <elementText elementTextId="61715">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
              </elementText>
            </elementTextContainer>
          </element>
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    <tagContainer>
      <tag tagId="11241">
        <name>Coralie Cardon</name>
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      <tag tagId="743">
        <name>Galerie Koma (Mons)</name>
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      <tag tagId="9140">
        <name>Hugues Robaye</name>
      </tag>
      <tag tagId="8256">
        <name>Jacky Legge</name>
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      <tag tagId="11240">
        <name>Jean-François Bruneau</name>
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      <tag tagId="156">
        <name>Jean-Pierre Denefve</name>
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      <tag tagId="11239">
        <name>Virginie Stricanne</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="14">
                  <text>Bibliothèque Centre Daily-Bul &amp; C°</text>
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              </elementTextContainer>
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          <name>ISBN</name>
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            <elementText elementTextId="61729">
              <text>979-10-94008-15-7</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="61718">
                <text>André François : estampes</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="61719">
                <text>Kotwica, Janine</text>
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            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="61720">
                <text>Centre André François </text>
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            <name>Date</name>
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                <text>2022</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="61722">
                <text>Catalogue de l'exposition &lt;strong&gt;&lt;em&gt;André François&lt;/em&gt;&lt;/strong&gt; à Margny-lés-Compiègne, du 8 janvier au 16 avril 2022</text>
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              <elementText elementTextId="61723">
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="61724">
                <text>fr</text>
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            <name>Type</name>
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                <text>Ouvrage imprimé</text>
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              <elementText elementTextId="61726">
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              <elementText elementTextId="61727">
                <text>Après avoir fêté ses 10 ans l’année dernière, le Centre André François propose cet hiver un nouvel opus, non des moindres : une exposition consacrée aux &lt;strong&gt;estampes d’André François&lt;/strong&gt;. Gravures, sérigraphies, lithographies… &lt;br /&gt;&lt;br /&gt;La lumière sera ainsi faite sur cette production conséquente, sur cette variété de techniques requérant à la fois un sens de l’esthétisme et une réelle virtuosité, ainsi que sur les liens qu’André François a tissés avec de grands noms de l’imprimerie et de l’édition. Le Centre a souhaité collaborer une nouvelle fois avec Janine Kotwica, spécialiste de l’œuvre de l’artiste, afin de donner à voir au public le rythme et la poésie qui se dégagent de ces sublimes Estampes. André François nous a livré une œuvre riche, inépuisable, peuplée de créatures que nous avons orchestrées pour le plaisir de tous. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Pascale Rousseau&lt;/strong&gt; 2022/01/03 &lt;br /&gt;Actualités, L’œil averti</text>
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              <elementText elementTextId="61728">
                <text>Fonds Centre Daily-Bul &amp; C°</text>
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              <elementText elementTextId="61768">
                <text>ACDB-L-KOT-A-0 000 393</text>
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                  <text>Bibliothèque Centre Daily-Bul &amp; C°</text>
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              <text>978-0-300-25770-0 (Yale university)</text>
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            <name>Title</name>
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                <text>The ultimate kiss</text>
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                <text>Bayar, Devrim</text>
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                <text>Desorgues, Juliette</text>
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                <text>Karskens, Xander</text>
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                <text>Ténèze, Annabelle</text>
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                <text>Gingeras, Alison M.</text>
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              <elementText elementTextId="61740">
                <text>Catalogue d'exposition présentée dans 4 villes européennes, dont Bruxelles, au WIELS du 01/05/2021 AU 15/08/2021. &lt;br /&gt;&lt;br /&gt;Textes de Devrim Bayar, Juliette Desorgues, Xander Karskens, Annabelle Télèze et Nina Weijers. Conversation avec Alison M.Gingeras</text>
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                <text>Je n’ai vu l’œuvre de Jacqueline de Jong pour la première fois qu’il y a environ un an, dans une galerie bruxelloise. Je ne connaissais de son travail que quelques images, et son nom uniquement par sa réputation et son héritage. Cobra était toujours mentionné, ainsi qu’Asger Jorn, son partenaire pendant 10 ans, et seulement ensuite le mouvement situationniste. Dans cet ordre. Ça fait un peu mal. Parce que ce n’est qu’une partie de son étonnante carrière. Il est vrai que j’avais manqué son exposition au Stedelijk Museum d’Amsterdam. J’ai été ravie d’en apprendre plus sur elle en lisant &lt;em&gt;Handboek voor de vagebond&lt;/em&gt;. &lt;em&gt;In de voetsporen van vrije denkers&lt;/em&gt; (2020, Querido) du professeur néerlandais Léon Hanssen. Dans cet essai il explique, entre autres, comment de Jong, qui vivait à l’époque tantôt à Amsterdam, tantôt en France, créait des bijoux de pommes de terre germées. Lors de l’entretien que j’ai eu avec elle, un magnifique spécimen pendait à son cou. Il comprenait un diamant, m’a-t-elle dit, venant de sa grand-mère. Son travail, exposé au Wiels, est vraiment étonnant. J’ai pu me retirer avec Jacqueline de Jong pendant une heure dans l’auditorium du Wiels pour parler de sa carrière, de son éducation, de son travail sur le &lt;em&gt;The Situationist Times&lt;/em&gt;… Je garde un beau souvenir de cette rencontre spéciale avec une artiste exceptionnelle et de surcroît avec une personnalité très dynamique, vive et honnête. L’avantage de cet entretien était aussi que de Jong a pu corriger sur le champ notre vision tronquée de l’histoire de l’art. Le catalogue de l’exposition &lt;em&gt;The Ultimate Kiss&lt;/em&gt; est un excellent guide pour comprendre son œuvre fascinante. &lt;br /&gt;&lt;br /&gt;L’intégralité de l’entretien est disponible sur www.wiels.org. &lt;br /&gt;&lt;br /&gt;Chantal Pattyn Activement impliquée dans les réseaux d’avant-garde européens des années 1960, et bien connue comme ancienne membre de l’&lt;em&gt;Internationale Situationniste&lt;/em&gt; et éditrice du &lt;em&gt;The Situationist Times&lt;/em&gt;, Jacqueline de Jong a maintenu une pratique d’atelier au cœur de ses multiples activités pendant plus de six décennies. Ce bel ouvrage présente l’envergure de la production artistique de Jacqueline de Jong : des premières abstractions expressionnistes à ses récentes réflexions picturales sur la migration et la crise des réfugiés ; de ses travaux graphiques et imprimés à ses expériences avec les pommes de terre comme matériau sculptural. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;The Ultimate Kiss&lt;/em&gt; propose une réévaluation complète d’une œuvre artistique restée longtemps méconnue et vise à positionner De Jong comme l’une des artistes les plus ingénieuse de notre temps. L’importance artistique, culturelle et intellectuelle de l’art de De Jong est retracée dans cinq essais accompagnés d’une conversation avec l’artiste.</text>
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        <name>A table - Jacqueline De Jong</name>
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                <text>t'Kint de Roodenbeke, Harold</text>
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                <text>Surprise chez ‘t Kint de Roodenbeke avec un Calonne resplendissant. Survivant de CoBrA, Jacques Calonne poète de la ligne enjouée…&#13;
ON ENTRE ET ON CROIT RÊVER : les murs à l’entour chantent, psalmodient ou entonnent des partitions qui vous font aussitôt prendre l’air. Et c’est beau, c’est noble, c’est envoûtant, c’est magique !&#13;
&#13;
&#13;
Marchand d’art plus réputé pour un classicisme défendu avec talent et doigté, Harold ‘t Kint de Roodenbeke surprend, avec une légèreté juvénile et tonique, teintée de l’effervescence qui fait aussitôt voir des étoiles quand, accrochant Calonne à des cimaises plus habituées aux Delvaux ou Bertrand, il met le doigt sur un art dessiné, franc-tireur, qui est poésie, musique, vivace spiritualité.&#13;
&#13;
Un art visuel et sonore, silencieux comme un pape, c’est-à-dire volubile quand il sied.&#13;
&#13;
Jacques Calonne, un nom qui respire les effluves de la nuit, des compositions musicales d’avant-garde que dégrisaient parfois des chants pour midinettes du XIXe, quand, splendide, inattendu, ténor mondain ressuscité des combles d’un passé gaillard, pianiste et chanteur, il enchantait ses cénacles d’amis venus le retrouver en quelque café littéraire hélas passé de mode.&#13;
&#13;
Sagacité, virtuosité&#13;
&#13;
Virtuose de l’inattendu, il interpréta, entre autres galipettes, quelque savoureux "Chant du cycliste", composition de feu notre arrière-grand-père Victor, retrouvée dans un curieux feuillet officiel intitulé "La Pédale militaire". C’est dire que rien, jamais, n’échappa à la sagacité d’un Calonne épris de coups dans les gencives de toute bienséance. C’était hier…&#13;
&#13;
Aujourd’hui, assagi mais à jamais oiseau de la nuit, Calonne, 87 ans, a remisé ses instruments artistiques. Sans doute éprouve-t-il le temps qui passe en se souvenant des éclairs qui parsemèrent sa vie d’élans autant que de doutes, de fêtes sans fin autant que de longs retraits sur soi.&#13;
&#13;
Harold ‘t Kint a eu le bon goût de réunir, pour un avenir qui ne l’oubliera pas, le solde de tout ce que Jacques Calonne a pu dessiner et colorer de 1969 à 2008. La moisson est époustouflante, enchanteresse et nul poète ne nous contesterait.&#13;
&#13;
Face à la cinquantaine de feuillets, colorés ou de noir et de blanc vêtus, d’un Calonne resplendissant à travers le temps de ses cogitations graphiques, on se retrouve gamin heureux de tant de vivacité, de tant de spontanéité, de tant de jubilation sans frontières.&#13;
&#13;
Saveurs printanières&#13;
&#13;
Nous revenions de la rétrospective de Rik Wouters aux Musées royaux quand nous sommes entrés, sans coup férir, en Calonne. Tous deux sont nés ici, nourris davantage au jus de houblon qu’à celui de la treille, sous ces ciels bas qui écrasent, font davantage entrevoir des orages que des plénitudes, et pourtant…&#13;
&#13;
Et pourtant tous deux ont flambé, preuve que les lumières de l’âme sont, davantage, intérieures que météorologiques. Epastrouillée par la luminosité incendiée des Wouters, une amie marseillaise s’étonnait, à tort : les couleurs, les rouges, les verts, les bleus, les transparences sont des visions du cœur à son corps défendant.&#13;
&#13;
Entrez en Calonne, vous verrez ! Héritier de Dotremont, il n’en fit pourtant qu’à sa guise et si ses lignes racontent aussi des histoires, des émotions, du plain-chant et du silence, c’est sans l’écrire avec des lettres, fussent-elles en goguette graphique. Ses titres, énigmatiques, souriants, s’en sont venus après coup.&#13;
&#13;
Il faut entrer en Calonne comme on se réjouit devant un corps nu, beau d’être là, vivant, vibrant, entre ciel et terre. Comme on se réjouit devant un chant d’homme qui répand ses charmes en courant sur la feuille, tous feux allumés.&#13;
&#13;
Roger Pierre Turine</text>
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                  <text>Activités et événements de Bernard Josse - 2010 à 2019</text>
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                <text>Une exposition au Palais des Beaux-Arts de Bruxelles : quel artiste n'en rêve pas ? La Collection RTBF / De Canvascollectie offre cette opportunité, aussi bien à de nouveaux talents artistiques qu'à des artistes expérimentés. </text>
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