foreign rights A R T S october 2017 to november 2018 N A T U R E & S O C I E T Y
ACTES SUD A R T S N A T U R E & ARTS Graphic S 28. Continuons le combat, Les affiches de Mai 68. Photography The Michel Dixmier collection, texts by Michel 4. Que faites-vous de vos morts ? Sophie Calle Dixmier and Bernadette Caille. Preface by Sam O 6. North End. Géraldine Lay. Text by Robert Stourdzé McLiam Wilson 7. L’Académie équestre de Versailles. Text by Cinema C Bartabas. Photography by Koto Bolofo 29. Claude Autant-Lara. Jean-Pierre Bleys. 12. La Photographie mexicaine. Introduction Preface by Bertrand Tavernier I by Alfonso Morales Carrillo. Commentary by Gina Rodriguez and Alfonso Morales Carrillo Performing arts Postscript, research and choice of photography by 30. L’Intégrale des ombres, La Scala Paris. E Michel Frizot Olivier Schmitt. Preface by Antoine de Galbert 13. Eikoh Hosoe. Introduction by Jean-Kenta 31. Olivier Py, Planches de salut. Timothée Picard Gauthier 32. Faire vivre l’opéra. Un art qui donne sens au T 14. Richard Kalvar. Introduction by Hervé Le Goff monde. Bernard Foccroulle 15. Peter Beard. Introduction by Christian Caujolle 33. L’Opéra miroir du monde, Festival d’Aix- Y 16. Gustave Le Gray. Introduction by Catherine en-Provence 2007-2018. Bernard Foccroulle Riboud Dance Arts 34. Nacera Belaza, Entre deux rives. Frédérique 17. Kim Tschang-Yeul, L’événement de la nuit. Villemur Edited by Michel Enrici 18. Faussaires illustres. Harry Bellet 19. Le Capital de Van Gogh, Ou comment les NATURE frères Van Gogh ont fait mieux que Warren Buffet. 35. La Marche des géants, L’histoire de la Wouter van der Veen Caravane des éléphants. Text by Sébastien Dufillot. 20. Louise, sauvez-moi ! Conversations avec Photography by Patrice Terraz and Albert Louise Bourgeois, 1988-2009. Mâkhi Xenakis Leeflang 21. Djamel Tatah. Texts by Emmanuelle 36. Le Goût retrouvé du vin de Bordeaux. Brugerolles, Éric de Chassey, Danièle Cohn and Jacky Rigaux and Jean Rosen Éric Mézil 37. Le Goût des pesticides dans le vin. 22. Alfred Latour, Les Gestes d’un homme libre. Jérôme Douzelet and Gilles-Éric Séralini Collective work 38. Jardin & Eau, Des idées pour économiser la 23. Leïla Menchari, La Reine Mage. Text by ressource. Edited by Bruno Marmiroli and Mireille Michèle Gazier Guignard 39. La Méditerranée dans votre jardin, Architecture Une inspiration pour le futur. Olivier Filippi 24. Patrick Bouchain, L’architecture comme relation. Texts by Abdelkader Damani and Pierre Frey Gastronomy 25. Gion A. Caminada. S’approcher au plus près des 40. Le Goût silencieux, La pratique zen de la choses. Émeline Curien nourriture. Valérie Duvauchelle
Architecture/egyptology Mondes sauvages 26. La Chambre de Khephren, Analyse 42. Sur la piste animale. Baptiste Morizot. architecturale. Gilles Dormion, Jean-Yves Verd’hurt. Preface by Vinciane Despret Preface by Shawki Nakhla 43. L’Ours, L’autre de l’homme. Remy Marion. 27. La Chambre de Snefrou, Analyse architecturale Preface by Lambert Wilson de la pyramide “rhomboïdale”. Gilles Dormion, 44. 20 000 ans, Ou la grande histoire de la nature. Jean-Yves Verd’hurt. Preface by Michel Vallogia Stéphane Durand SOCIETY ÉDITIONS ERRANCE Domaine du possible 68. Le Génie civil de l’armée romaine. Text 47. Petit manuel de résistance contemporaine. by Gérard Coulon. Watercolors by Jean-Claude Cyril Dion Golvin 48. Le Cercle vertueux, Réconcilier 69. Babylone, Carthage et Rome, Dans les environnement, solidarité et économie. Vandana Shiva cuisines et les langues du Maghreb. Emma Léon and Nicolas Hulot. Interviews with Lionel Astruc 70. Les Paysages gravés du Haut-Atlas 49. Artemisia, Une plante pour éradiquer le marocain. Laurent Auclair, Abdelhadi Ewague, paludisme. Lucile Cornet-Vernet and Laurence Benoît Hoarau Couquiaud 71. L’Enfant et la Mort dans l’Occident 50. Pourquoi j’ai créé une école où les néolithique. Alain Beyneix enfants font ce qu’ils veulent. Ramïn Farhangi 51. Bougez, faites confiance à votre dos ! Marc Picard ÉDITIONS PICARD 52. À mon allure, Faire de ses différences une 72. Les Ivoires d’Arslan Tash. Décor d’un ressource inépuisable. William Kriegel mobilier syrien (ixe-viiie siècles av. J.-C.). Edited by 53. Le Maire qui aimait les arbres. Jean Élisabeth Fontan and Giorgio Affanni. Chalendas 73. L’Armée romaine sous le Haut-Empire. 54. Le Chant des colibris. Cyril and Fanny Dion Yann Le Bohec 74. Architecture d’Orient en France, Villas, folies et palais d’ailleurs. Text by Nabila Oulebsir Je passe à l’acte and Bernard Toulier. Photography by Jean-Christophe 56. Faire progresser son potager en Dartoux permaculture. Xavier Mathias. Illustrated by Cécilia Pepper 57. Composer sa pharmacie naturelle ÉDITIONS ROUERGUE maison. Sylvie Hampikian. Illustrated by 75. Nuits des Cévennes. Collective work Valentina Principe 76. Voyages avec un âne dans les Cévennes. 58. Devenir consom’acteur, L’huile de palme. Robert Louis Stevenson. Photography by Nils Emmanuelle Grundmann. Illustrated by Adrienne Warolin. Translated by Fanny W. Laparra Barman 77. Les Petits des forêts. Arnaud Ville 59. Choisir des vacances solidaires. Véronique 78. Le Potager naturel à hauteur d’enfant. Bury. Illustrated by Philomène Longchamps Jean-Marie Lespinasse 60. Découvrir les vins bio et nature. Olivier 79. La Biodiversité, amie du verger. Évelyne Le Naire. Illustrated by Zoé Thournon Leterme 61. Réenchanter la mort. Youki Vattier. 80. La Chaux naturelle, Décorer, restaurer et Illustrated by Marie Belorgey construire. Julien 1 62. Montessori à la maison. 9-12 ans. Nathalie Fouin Petit. Illustrated by Pauline Amelin 81. Quand la diététique chinoise prend soin de ma santé. Josselyne Lukas 82. Affaires de goût, 80 recettes-mémoire. GRAPHIC NOVEL Camille Labro. Photography by Julie Balagué 63. Les Rigoles. Brecht Evens 83. Desserts. Michel and Sébastien Bras 64. Ecolila. François Olislaeger 65. Istrati ! Vol. 1 Le Vagabond and vol. 2 L’Écrivain. Golo 66. Vies parallèles. Olivier Schrauwen 67. Gilgamesh. Jens Harder. Translated from the German by Stéphanie Lux 19.6 × 25.5 cm 272 pages QUE FAITES-VOUS DE VOS MORTS ? hardback 90 black and white illustrations WHAT DO YOU DO WITH YOUR DEAD? february 2018 retail price: 32 € Sophie Calle
Sophie Calle is the n her exhibition, Beau Doublé, Mon- name? Do you use Whiteout? Do you author, narrator and main sieur le Marquis at Paris’s Musée de la leave it as is? Do you have some other protagonist of her stories and Chasse et de la Nature in 2017, in line method all your own? In a digital phone photographic works. Today withI her very personal approach, Sophie book, do you delete the contact? Right she is considered as a key figure of the 21st century art Calle spoke of the recent death of her away? Only when you’re no longer think scene. She has published a father and invited visitors to reflect upon ing about the person? Or when you’re number of works with Actes their nearest and dearest. thinking about them too much? Do you Sud. delete an acquaintance’s name but keep From the exhibition guest book, she took your mother’s? What do you feel when various entries and used them as a source you hit Delete contact? for a new project which asks the ques tions: How do you deal with your dead? In her latest work “What do you do with In your phonebook, do you write, your dead?” Sophie Calle presents a series “deceased” next to their name? Do you of photos taken in cemeteries around the draw a cross? A grave? Do you add the world accompanied with visitors’ guest date of death? Do you cross out the book messages.
Que faites-vous de vos morts ?
Que faites-vous de vos morts ?
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MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 20-21 MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 10-11 20/08/2018 17:12 20/08/2018 17:12 4 - arts > photography MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 60-61 MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 64-65 20/08/2018 17:12 20/08/2018 17:12
Que faites-vous de vos morts ?
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MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 66-67 MEP QUE FAITES VOUS DE VOS MORTS DEF4.indd 68-69 20/08/2018 17:12 20/08/2018 17:12 5 - arts > photography NORTH END
Géraldine Lay Text by Robert McLiam Wilson
fter Failles Ordinaires (2012) which light and atmosphere, immersing herself revealed Géraldine Lay’s keen eye in a setting rather than reconnoitering, and original talent, the photo an approach that brings intimacy to the grapherA here continues her urban explo heart of anonymity. rations of humanity in a city setting in Some critics have rightly highlighted the Great Britain. cinematographic dimension of the artist’s Faithful to her precise, detailed method work but such an interpretation over and ever attentive to the potential for sur looks the essentially photographic nature 24 × 31.7 cm 96 pages prise and chance in any setting, Géraldine of her pursuit and, in each of her “photo 60 color photographs Lay mentally apprehends her territories grammes”, her exacting work reminds us hardback before photographing them. She senses the how photography was invented before bilingual french/english edition coedition actes sud/maison cinema, and had a special ability to cap européenne de la photographie ture and hold the delicately ephemeral. september 2018 In doing so, she creates a new aesthetic retail price: 32 € unique to the photographic craft, an aes thetic that imbues all of her work. As we traverse suburban streets and Born in 1972, Géraldine squares, lives are captured in the mystery Lay graduated from the of their daily existence. As the Irish writer, ENSP in 1997. She has been Robert McLiam Wilson writes, “People represented by Le Réverbère walk and wait. They talk, drink coffee. Gallery in Lyon since 2005. She lives in Arles and works They cross streets. They work. They move for Actes Sud. about. Citizens busy with citizen things. Like all citizens everywhere, they are Born in Belfast in 1964, multiple, varied, various. Men, women, Robert McLiam Wilson has written three novels: Ripley children. They are also British. Incred Bogle (1989), Manfred’s Pain ibly British. They couldn’t come from (1992) and Eureka Street anywhere else.” In an age of irremedia (1996) published by Picador. ble exponential standardized universality, Géraldine Lay’s photography reaffirms both the permanence of unusual indi vidualities and the resistance of collective identities.
6 - arts > photography L’ACADÉMIE ÉQUESTRE DE VERSAILLES THE EQUESTRIAN ACADEMY OF VERSAILLES Text by Bartabas Photography by Koto Bolofo
he refinement of equestrian art such as fencing, legends, dance and sing meets Koto Bolofo’s photogra ing offered the photographer an excep phy to create a rare work of tional chance to capture some invaluable majesticT grace. In a similar fashion to moments of the equestrian arts. His black his Hermès project, Koto Bolofo moved and white prints, his work on matter and in backstage at the Versailles Equestrian texture, such as leather, wood and horse Academy where Bartabas introduced him hair, on the architectural lines of the 24 × 32 cm to exceptional riders of the royal stables. majestic setting, on costumes and the spe 256 pages To witness at close quarters the trans cial attention paid to portraiture, create hardback 200 color illustrations mission of unique riding techniques as timeless images of an ancestral quest for coedition académie équestre well as the teaching of other disciplines perfection. de versailles/actes sud october 2018 retail price: 39 €
Koto Bolofo was born in South Africa in 1959, but lived in exile in Great Britain until the abolition of apartheid in 1991, when he returned to his homeland. Today, Koto Bolofo is a rising star on the international photography scene. Bartabas is the innovator of a new form of performance art: equestrian theater, which incorporates the equestrian arts, music, dance and drama. Eager to pass on his equestrian skills and knowledge, in 2003 he founded the Versailles Equestrian Academy. His work has featured in a number of Actes Sud publications including La Voie de l’écuyer (2008) and Zingaro… 25 ans (2009).
7 - arts > photography Paolo Roversi 133 Paolo Roversi
PHOTO POCHE HISTOIRE “La photographie, ce n’est pas une reproduction, Photo Poche : cette collection a l’ambition d’offrir des livres de photographies soigneusement imprimés, maniables par leur H 1. Che Guevara. Photographies de René Burri, texte de François Maspero H 2. La Com- mais une révélation”, précise mune. Paris, 1871, texte de Bernard Noël H 3. Mao. Texte de Caroline Puel H 4. J. F. Kennedy. Paolo Roversi, natif de Ravenne mais parisien d’adoption, format, accessibles par leur prix, à tous ceux que pas sionne un Texte de Jean Lacouture H 5. Gandhi. Texte de Catherine Clément H 6. Jean Jaurès. Texte internationalement reconnu comme un des plus subtils moyen d’expression dont on reconnaît l’importance. Si l’on de Jean-Noël Jeanneney H 7. Haines. Irlande, Balkans, Rwanda. Textes et photographies de veut en couvrir tous les champs, la photographie offre une Gilles Peress H 8. Le Front populaire. Textes de Jean Lacouture H 9. François Arago. Textes photographes de mode. Pudique et réservé, Roversi de Monique Sicard H 10. Sarajevo, ma ville, mon destin. Photographies de Milomir Kovacˇevi ’c, matière inépuisable. Monographies, sujets historiques, théma- textes de François Maspero, Andrea Lesˇi ’c et Milomir Kovacˇevi ’c H 11. La Guerre : 14-18. Texte développe depuis plus de quarante ans une œuvre tiques ou techniques varient à l’infini une iconographie qui
de Christian Joschke H 12. Chiapas. Photographies de Mat Jacob, textes de Jérôme Baschet et de qui semble hantée par la fragilité de toute forme de beauté ROVERSI PAOLO Christopher Yggdre est restée jusqu’à présent inédite en livres de poche. et par la délicatesse que requiert sa conception de l’élégance. En 1980, il découvre le film Polaroid associé à une chambre grand format ; ce “coup de foudre” lui ouvre de nouveaux champs PHOTO POCHE de recherches esthétiques, renouvelle sa relation PHOTO POCHE SOCIÉTÉ au modèle photographié et signe magistralement 1. Nadar 2. Henri Cartier-Bresson 3. Jacques Henri Lartigue 4. Amérique. Les années noires 5. Robert S 1. “Mes Parisiens”. Photographies de Robert Doisneau S 2. “Cette Afrique-là”. Photographies la quintessence de son style. Doisneau 6. Camera Work 7. W. Eugene Smith 8. Nicéphore Niépce 9. L’Amérique au fil des jours de Roger Ballen S 3. “Extérieur nuit”. Photographies de Jane Evelyn Atwood S 4. “Serra Pelada”. 10. Robert Frank 11. Le Grand Œuvre 12. Duane Michals 13. Étienne-Jules Marey 14. Bruce Davidson Photographies de Sebastião Salgado S 5. “Etats d’enfances”. Photographies de Francesco 15. Josef Koudelka 16. Eugène Atget 17. André Kertész 18. L’Opéra de Paris 19. Mario Giacomelli Zizola S 6. ”Carnet de visites”. Photographies de Hien Lam Duc S 7. ”Place de la Réunion”. Introduction de Gilles de Bure 20. William Klein 21. Weegee 22. Autochromes 23. Alexandre Rodtchenko 24. Le Nu 25. Werner Photographies du collectif de Mulhouse S 8. ”Les noires vallées du repentir”. Photographies Bischof 26. Helmut Newton 27. Du bon usage de la photographie 28. Brassaï 29. Lee Friedlander d’André Martin S 9. ”Extrême Asie”. Photographies de Philip Blenkinsop S 10. ”Les enfants 64 photographies reproduites en couleurs 30. Le temps des pionniers 31. Photomontages 32. Édouard Boubat 33. Man Ray 34. La photogra- du diable”. Photographies de Jean-Louis Courtinat S 11. ”Aveuglément”. Photographies de phie britannique 35. Elliott Erwitt 36. Robert Capa 37. Marc Riboud 38. De la photographie comme Gaël Turine S 12. ”Entre parenthèses”. Photographies de Klavdij Sluban S 13. ”Un chameau pour Notices biographique et bibliographique un des beaux-arts 39. Étranges Étrangers 40. 41. 42. Histoire de voir : Coffret de 3 volumes - 1839/1880 le fils”. Photographies de Fazal Sheikh S 14. ”Les yeux brûlants”. Photographies d’Antoine - 1880/1939 - 1930/1970 43. Edward S. Curtis 44. Josef Sudek 45. Walker Evans 46. Willy Ronis 47. Images Agoudjian S 15. ”Aux marches de la Chine”. Photographies de Wu Jialin S 16. “Mineurs en d’un autre monde. La photographie scientifique 48. Norbert Ghisoland 49. Joel-Peter Witkin 50. Lewis peines”. Photographies de Lizzie Sadin S 17. “Sertão”. Photographies de Tiago Santana S 18. “Droits W. Hine 51. Louis Faurer 52. Agustín V. Casasola 53. Don McCullin 54. Dieter Appelt 55. Sebastião de regards”. 1961-2011 : Amnesty International et les photographes S 19. “Le mur et la peur”. Salgado 56. Edward Steichen 57. Felice Beato 58. L’Orientalisme 59. Izis 60. Bill Brandt 61. Berenice Photographies de Gaël Turine Abbott 62. Alain Fleischer 63. Seydou Keïta 64. August Sander 65. Charles Marville 66. Umbo 67. Peter Beard 68. Eugene Richards 69. Magnum Photos 70. Dmitri Baltermants 71. Robert Demachy 72. Jacob A. Riis 73. Gilles Caron 74. Photogrammes 75. Lewis Carroll 76. Louis Stettner 77. László Moholy- Nagy 78. Sarah Moon 79. René Burri 80. La nature morte 81. Raymond Depardon 82. Albert Londe 83. L’homme transparent. L’imagerie biomédicale contemporaine 84. Bruno Barbey 85. Claude Cahun PHOTO NOTES 86. Araki 87. Ralph Eugene Meatyard 88. Frank Horvat 89. Renger Patzsch 90. Leonard Freed 91. Hippolyte Bayard 92. Frantisekˇ Drtikol 93. Maurice Tabard 94. Alvin Langdon Coburn 95. Martín Chambi L’autre Chine. Photographies d’Henri Cartier-Bresson Chroniques siciliennes. Photogra- 96. Mary Ellen Mark 97. La photographie astronomique 98. Anders Petersen 99. La nature dans l’art phies de Letizia Battaglia et Franco Zecchin Prague, 1968. Photographies de Josef Koudelka PHOTO POCHE • ACTES SUD 100. Je ne suis pas photographe… 101. (à paraître) 102. Gianni Berengo Gardin 103. Pentti Sammallahti New York Police. Photographies de Leonard Freed Minamata. Photographies de W. Eugene 104. Les Krims 105. Séeberger Frères 106. Christer Strömholm 107. agence VU’ galerie 108. Harry Smith Autoportrait. Photographies de Lee Friedlander Réfugiés. Photographies de John Vink Dépôt légal : juillet 2011 Gruyaert 109. Guy Bourdin 110. Michel Vanden Eeckhoudt 111. Martine Franck 112. Post mortem Les damnés de Nanterre. Photographies de Jean-Louis Courtinat Pauvres de nous. Images ISBN : 978-2-7427-9784-4 113. Saul Leiter 114. Le sténopé 115. Ferdinando Scianna 116. La photographie surréaliste 117. Shoji de l’exclusion 13 e TTC France - www.actes-sud.fr Ueda 118. Stanley Greene 119. Autoportraits de photographes 120. Joan Fontcuberta 121. Patrick Zachmann 122. Mike Disfarmer 123. Georges Rousse 124. Julia Margaret Cameron 125. Jane Evelyn Atwood 126. La photographie sociale 127. Ernst Haas 128. Jean Gaumy 129. Paul Starosta 130. Paolo Pellegrin 131. Paul Strand 132. Tendance Floue 133. Paolo Roversi 134. L’objet photographique 135. (à paraître) 136. Graciela Iturbide 137. Manuel Álvarez Bravo 138. David Seymour 139. Lucien Hervé 140. Roger Ballen 141. Daido Moriyama 142. Françoise Huguier 143. Anon. Photographies 9:HSMHOC=\^\]YY: anonymes 144. Ragnar Axelsson 145. Malick Sidibé 146. L’un par l’autre 147. Gordon Parks 148. Bruce Gilden 149. Henri Huet 150. Jean-Louis Courtinat 151. David Goldblatt 152. Gabriele Basilico PHOTO POCHE PHOTO POCHE 153. Roman Vishniac 154. (à paraître) 155. Flor Garduño 156. Lucien Clergue 157. Gilbert Garcin
Couv Paolo Roversi BAT.indd 1 19/07/2017 10:04
PHOTO POCHE ENGLISH VERSION FOTOFILE BY THAMES AND HUDSON A HISTORY OF PHOTOGRAPHY IN POCKET BOOKS ITALIAN VERSION FOTONOTE BY CONTRASTO EDITORE he Photo Poche series was created in 1982 by Robert Delpire. Containing more than 180 published titles, it has sold three million copies worldwide. It is both a publishing phenomenon and a major reference of photographic history. The 12.5 × 19 cm Tmonographs feature the most important artists of international photography as well as 144 pages cover: paper board 250g with flaps the most relevant themes, subjects or trends that have acted as landmarks in the history 115 mm, gloss laminating of the medium. Each title comprises 144 pages and includes an introduction by the binding: paperback, sewn, best specialists, a selection of 65 emblematic photographs by the artist or on the subject coated-double, scaring joints, glued inside paper: 135g paper coated treated, and a set of notes (biography, bibliography, exhibitions) regularly updated. Fab cover paper: glossy ricated according to high quality standards (paper, engraving process, duotone or five photographs: approximately color printing), Photo Poche publishes eight new titles per year and republishes a large 65 printing duotone part of its backlist with updates. Sold at an affordable price, the titles of the series target or five-color binding/cover: paperback format – a wide readership and constitute the best initiation possible to the art of photography illustrated and its history. Published in Italian since 2004 (Fotonote) by Contrasto publishers and cover - black cover with fillet in English by Thames and Hudson (United Kingdom), the Photo Poche series can be preface/introduction (approximately 20 typed pages) adapted in different languages and represents a firstclass opportunity for any publisher notes: approximately 5 typed pages willing to step into or confirm its presence in the photography book market.
8 - arts > photography 9 - arts > photography LIST OF TITLES 50. Lewis W. Hine 102. Gianni Berengo Gardin 51. Louis Faurer 103. Pentti Sammallahti 1. Nadar 52. Agustín V. Casasola 104. Les Krims 2. Henri Cartier-Bresson 53. Don McCullin 105. Séeberger Frères 3. Jacques Henri Lartigue 54. Dieter Appelt 106. Christer Strömholm 4. Amérique. Les années noires 55. Sebastião Salgado 107. agence VU’ galerie 5. Robert Doisneau 56. Edward Steichen 108. Harry Gruyaert 6. Camera Work 57. Felice Beato 109. Guy Bourdin 7. W. Eugene Smith 58. L’Orientalisme 110. Michel Vanden Eeckhoudt 8. Nicéphore Niépce 59. Izis 111. Martine Franck 9. L’ Amérique au fil des jours 60. Bill Brandt 112. Post mortem 10. Robert Frank 61. Berenice Abbott 113. Saul Leiter 11. Le Grand Œuvre 62. Alain Fleischer 114. Le sténopé 12. Duane Michals 63. Seydou Keïta 115. Ferdinando Scianna 13. Étienne-Jules Marey 64. August Sander 116. La photographie surréaliste 14. Bruce Davidson 65. Charles Marville 117. Shoji Ueda 15. Josef Koudelka 66. Umbo 118. Stanley Greene 16. Eugène Atget 67. Peter Beard 119. Autoportraits de photographes 17. André Kertész 68. Eugene Richards 120. Joan Fontcuberta 18. L’Opéra de Paris 69. Magnum Photos 121. Patrick Zachmann 19. Mario Giacomelli 70. Dmitri Baltermants 122. Mike Disfarmer 20. William Klein 71. Robert Demachy 123. Georges Rousse 21. Weegee 72. Jacob A. Riis 124. Julia Margaret Cameron 22. Autochromes 73. Gilles Caron 125. Jane Evelyn Atwood 23. Alexandre Rodtchenko 74. Photogrammes 126. La photographie sociale 24. Le Nu 75. Lewis Carroll 127. Ernst Haas 25. Werner Bischof 76. Louis Stettner 128. Jean Gaumy 26. Helmut Newton 77. László Moholy-Nagy 129. Paul Starosta 27. Du bon usage de la photographie 78. Sarah Moon 130. Paolo Pellegrin 28. Brassaï 79. René Burri 131. Paul Strand 29. Lee Friedlander 80. La nature morte 132. Tendance Floue 30. Le temps des pionniers 81. Raymond Depardon 133. Paolo Roversi 31. Photomontages 82. Albert Londe 134. L’objet photographique 32. Édouard Boubat 83. L’homme transparent. 135. La photographie mexicaine 33. Man Ray L’imagerie biomédicale contemporaine 136. Graciela Iturbide 34. La photographie britannique 84. Bruno Barbey 137. Manuel Álvarez Bravo 35. Elliott Erwitt 85. Claude Cahun 138. David Seymour 36. Robert Capa 86. Araki 139. Lucien Hervé 37. Marc Riboud 87. Ralph Eugene Meatyard 140. Roger Ballen 38. De la photographie comme 88. Frank Horvat 141. Daido Moriyama un des beaux-arts 89. Renger Patzsch (not available) 142. Françoise Huguier 39. Étranges étrangers 90. Leonard Freed 143. Anon. Photographies anonymes 40. 41. 42. Histoire de voir : 91. Hippolyte Bayard 144. Ragnar Axelsson Coffret de 3 volumes - 1839/1880 - 92. FrantiŠek Drtikol 145. Malick Sidibé 1880/1939 - 1930/1970 93. Maurice Tabard 146. L’un par l’autre 43. Edward S. Curtis 94. Alvin Langdon Coburn 147. Gordon Parks 44. Josef Sudek 95. Martín Chambi 148. Bruce Gilden 45. Walker Evans 96. Mary Ellen Mark 149. Henri Huet 46. Willy Ronis 97. La photographie astronomique 150. Jean-Louis Courtinat 47. Images d’un autre monde. 98. Anders Petersen 151. David Goldblatt La photographie scientifique 99. La nature dans l’art 152. Gabriele Basilico 48. Norbert Ghisoland 100. Je ne suis pas photographe… 153. Roman Vishniac 49. Joel-Peter Witkin 101. (to be published) 154. Eikoh Hosoe
10 - arts > photography 155. Flor Garduño PHOTO POCHE SOCIÉTÉ S 16. “Mineurs en peines”. 156. Lucien Clergue S 1. “Mes Parisiens”. Photographs by Lizzie Sadin 157. Gilbert Garcin Photographs by Robert Doisneau S 17. “Sertão”. 158. Richard Kalvar S 2. “Cette Afrique-là”. Photographs by Tiago Santana 159. Gustave Le Gray Photographs by Roger Ballen S 18. “Droits de regards”. 1961-2011 : S 3. “Extérieur nuit”. Amnesty International et les photographes PHOTO POCHE HISTOIRE Photographs by Jane Evelyn Atwood S 19. “Le mur et la peur”. H 1. Che Guevara. S 4. “Serra Pelada”. Photographs by Gaël Turine Photographs by René Burri, Photographs by Sebastião Salgado text by François Maspero S 5. “États d’enfances”. H 2. La Commune. Paris 1871. Photographs by Francesco Zizola Text by Bernard Noël S 6. “Carnet de visite”. H 3. Mao. Text by Caroline Puel Photographs by Hien Lam Duc H 4. J. F. Kennedy. Text by Jean Lacouture S 7. “Place de la Réunion”. H 5. Gandhi. Text by Catherine Clément Photographs by the Collectif H 6. Jean Jaurès. de Mulhouse Text by Jean-Noël Jeanneney S 8. “Les noires vallées du repentir”. H 7. Haines. Irlande, Balkans, Rwanda. Photographs by André Martin Text and photographs by Gilles Peress S 9. “Extrême Asie”. H 8. Le Front populaire. Photographs by Philip Blenkinsop Texts by Jean Lacouture S 10. “Les enfants du diable”. H 9. François Arago. Photographs by Jean-Louis Courtinat Texts by Monique Siccard S 11. “Aveuglément”. H 10. Sarajevo, ma ville, mon destin. Photographs by Gaël Turine Photographs by Milomir Kovačevíc, S 12. “Entre parenthèses”. texts by François Maspero, Andrea Lešić Photographs by Klavdij Sluban et Milomir Kovačevíc S 13. “Un chameau pour le fils”. H 11. La guerre 14-18. Photographs by Fazal Sheikh Texts by Christian Joschke S 14. “Les yeux brûlants”. H 12. Chiapas. Photographs by Antoine Agoudjian Photographs by Mat Jacob, texts by Jérôme S 15. “Aux marches de la Chine”. Photographs Baschet and Christopher Yggdre by Wu Jialin
11 - arts > photography LA PHOTOGRAPHIE MEXICAINE THE MEXICAN PHOTOGRAPHY Introduction by Alfonso Morales Carrillo Commentary by Gina Rodriguez and Alfonso Morales Carrillo Postscript, research and choice of photography by Michel Frizot
hotography has always been an The Mexican people in countryside and especially vibrant art form in city alike have always been fond of record Mexico since its inception 180 ing their social lives and political events in yearsP ago. Photographic practices have photography (as the vast array of photo developed their own signature, enhanced postcards show). From this body of work by exterior influence from the US, France, it is possible to form a perspective of the and European immigration. history of Mexican photography. Local 12.5 × 19 cm studios (such as Romualdo Garcia’s in 208 pages 104 black and white photographs In the absence of any Guanajuaro, 1887) and agencies flour photo poche n°135 ished around the revolution (such as softback overview of Mexican Casasola’s in Mexico, 1912) giving a pop january 2018 ular base to photography which expanded retail price: 14.90 € photography, this “Photo with the burgeoning media’s needs for Poche” provides an photography. The German Hugo Bre hme promoted the systematic documen appraisal of scant but tation of the country and its traditions, revealing publications on which was followed by Manuel Alvarez’s more poetic approach and Tina Modotti’s the subject and draws committed photography, which cohabited on a number of author with the uniquely rich and flourishing art scene championed by Frida Kahlo, Diego archive collections. Rivera and the French surrealists. Photo journalism found its own local transla tion which benefited from the support of the media and, since the 1960s, female photographers have played an important role in the development of a less sensa tional, poetic form of photography more capable of relating the country’s syncretic imaginary worlds (Lola Alvarez Bravo, Kati Horna, Mariana Yampolsky, Graciela Iturbide, Flor Garduño, etc). Amid this heterogeneous uniquely Mexican context, other influences also emerge: the dispa rate indigenous traditions discovered by
© INAH archaeology (e.g. the Mayas and Aztecs, etc), colonial imperatives (e.g. Catholi cism), revolutionary elements (e.g. the creation of the military and police force) and social customs (such as the death cults and lucha libre). The work brings together over 100 photos demonstrating the exquisite aesthetics of Mexican photo
Above – Miguel Casasola, Execution of the graphy as well as a rich national imagi Forgers, Mexico City, 1st October 1915. nation more extrovert than other Latin
Below – Lázaro Blanco, Hollow Heads 1975 Fuentes collection Blanco © Family American countries.
12 - arts > photography EIKOH HOSOE Eikoh Hosoe Introduction by Jean-Kenta Gauthier
ikoh Hosoe is a key figure in Japa that marked his life and inspired the nese photography in the same vein young artist in new ways: Tatsumi Hijik as Nobuyoshi Araki, Daido Mori ata, the inventor of butô, and the writer yamaE and Shoji Ueda, who have already Yukio Mishima, of whom his iconoclas been published in the Photo Poche collec tic, provocative portraits were published tion. Now in his eighties, his influence has around the world. These encounters led never waned and work still asks probing to solid friendships, and changed the way
PHOTO POCHE questions of the soul of Japanese culture. he researched and experimented with his Born in 1933 in Yonezawa in the Yamagata medium. Their collective output deeply prefecture, Eikoh Hosoe learned photogra transformed Japanese culture of the age. 12.5 × 19 cm phy from his father. His youth was deeply 144 pages marked by war and, during the inten 63 black and white photographs photo poche n°154 sive bombardment of Tokyo, his family Eikoh Hosoe went onto softback was forced to flee. He graduated from explore the body and in july 2018 Tokyo College of Photography in 1954 retail price: 13 € and began photographing the war rav particular nudity, a great aged landscape, a humiliated population and military occupation. After An Amer- taboo in Japanese society. ican Girl in Tokyo, published and exhib ited in 1956, Eikoh Hosoe turned his “I tried to address the issue of identity back on the documentary style. In 1959, and the self and to make them commune with Ikko Narahara and Shomei Tomatsu, in abstract forms.” Eikoh Hosoe’s photo he founded the Vivo agency, a laboratory graphic language, the innovative grain of his for avant-garde photographic creation images, his staging, use of contrast and his deploying new radical perspectives. In almost baroque aesthetics brought a revolu the 1960s he had two decisive encounters tionary new perspective on the world. © Eikoh Hosoe © Eikoh
13 - arts > photography RICHARD KALVAR
Introduction by Hervé Le Goff
s a member of the Magnum Agency, With his urban landscapes, street scenes, over the last four decades, Richard and command of black and white, many Kalvar has developed a flourishing hailed him as one of the masters of the Awork characterized by an innate sense of Street Photography movement. This is observation of the physicality and moral an epithet that Kalvar refutes however; to sense of the world, in both his practice him, it is too restrictive to relate the diver and subject matter. sity and subtlety of his ethical and aes Born in Brooklyn, New York in 1944, thetic approach. His work is sometimes he studied English Literature at Cornell funny, sometimes imbued with gravitas. University. In search of a job, he encoun It is mischievous, poetic and absurd. His tered the fashion photographer Jérôme photographic eye never ceases questioning 12.5 × 19 cm 144 pages Ducrot and became his assistant. With the fundamental issues of how to repre 64 black and white photographs no particular aim in mind, he set out for sent reality and appearance. It contains a softback Europe where he produced his first pho form of fascinating ambiguity that plays photo poche n°158 july 2018 tographs. Back in New York, he became with some of the standards of humanism. retail price: 13 € aware that photography was his vocation. Richard Kalvar is above all always on the “I realized that, through photography, look out for the event in his encoun I could express a way of seeing and a way ters with fellow humans. He is only too of being.” Like many American photogra aware that openness is essential to grasp phers, he decided to settle in Paris where the distorting effects of reality in photo worked with the VU’ agency. In 1972, he graphic art. helped found the Viva agency before join ing the Magnum Photos Agency in 1975, becoming a member in 1977. © Richard Kalvar © Richard
14 - arts > photography PETER BEARD
Introduction by Christian Caujolle
orn in New York in 1938, Peter Beard, a literature graduate from Peter Beard’s visionary Yale University, is an exception in work depicts a desperate Bthe history of contemporary photography. Fascinated by Africa and by the work of portrait of an apparently Karen Blixen whom he met in 1961, at foundering continent, the age of 24, Beard decided to settle on a farm in Kenya. suffering irremediable A friend of Francis Bacon, a habitué of Andy Warhol’s Factory and a friend damage to its ecosystems 12.5 × 19 cm of Truman Capote and of the Rolling and chains of life. 144 pages Stones, a talented fashion photographer, 64 photographs in color Peter Beard actively cultivated a differ The two strands to his work – his photo and in black and white graphs of big cats, crocodiles and elephants softback ent approach to the aesthetics of photo photo poche n°67 graphy to create a thoroughly original portraying a country whose tragedies he july 2018 shares day-by-day in all its purity and sav retail price: 13 € body of work. In 1965, his ground-breaking book The agery, as well as his journal charting his End of the Game documented his vision of life from the age of 9 and containing rem an endangered Africa symbolized by the nants of his “African-ness” and memories massacre of elephants in a incomparable of “civilization” on which he has never graphic style. turned his back – make Peter Beard an unclassifiable artist. © Peter Beard © Peter
15 - arts > photography GUSTAVE LE GRAY
Introduction by Catherine Riboud
ustave Le Gray was one of the maritime portraits from Normandy to most prolific photographers of southern France considered as one of the 19th century. His work is a the masterpieces of photographic history. Gperfect example of the nobility of the pho Ships Leaving the Port of Le Havre, 1856 tographic art. “It is my opinion that the was auctioned in 2011 for 900,000 euros, photographer, instead of turning to indus becoming the most expensive 19th cen try and commerce should devote himself tury photograph ever. In the creation of to art. This is his true vocation,” he wrote his sublime seascapes with their scintillat in 1852. ing light and movement at a time before Painter, photographer, teacher and inven the invention of the instant camera, he 12.5 × 19 cm tor of techniques (especially collodion on deployed a daring and complex technique, 144 pages glass), Gustave Le Gray was remarkably involving multiple focusing with innova 64 black and white photographs intransigent in his approach to the art. His tive development techniques. softback photo poche n°159 trees in Fontainebleau forest, his views of Gustave Le Gray’s life changed in 1859. october 2018 military maneuvers at the Châlons-sur- Heavily in debt, he sold his Parisian work retail price: 13 € Marne barracks, his portrayal of the Sicil shop and set sail for the east. He lived in ian uprising, his views of the obelisk of Egypt until the end of his life where, dur Assouan, his nudes and portraits, all met ing 20 years of exile, he continued his pio with exceptional success in England and neering photography work. Despite being France in the early 2nd Empire. widely overlooked, Gustave Le Gray’s In 1851, the Commission for Historical work was an important inspiration in the Monuments, governed by the writer Pros Impressionist revolution. per Mérimée, appointed him as one of the five official photographers charged with creating an inventory of French monu ments. In the course of his peregrinations, he developed his famous series of French
16 - arts > photography KIM TSCHANG-YEUL L’événement de la nuit KIM TSCHANG-YEUL Event of the Night Edited by Michel Enrici
im Tschang-Yeul is a product of and op-art and they began to influence a special generation, which was his work. raised in the values of a traditional The final part catalogues Kim Tschang- 27 × 31 cm Kculture, while suffering the cruel violence Yeul’s international success story. In 1970, 220 pages 200 color illustrations of particular period of Korean history. he settled in France, where in Palaiseau in hardback This three-part work first looks at the art 1973, he produced his first “Water Drop” april 2018 ist’s backstory – how he learned his art. painting, Event of the Night, and in the retail price: 35 € At the time there was no art school struc process discovered a valuable motif, which ture, no formal training. He had no other he still explores today. choice but teach himself drawing, read Kim Tschang-Yeul is ing and Chinese calligraphy, developing The symbol of the drop one of the most famous a curiosity for the signs and symbols of Korean painters and has of water, this enigma been one of the pioneers Western art. This handicap turned into of contemporary art in his an important advantage. In 1955, the cre embodied in the concept country. Today he divides ation of the Hyundai association (“Hyun his time between France and dai means “contemporary” in Korean) of “difference and Korea. provided a foundation for his desire to repetition” has traveled share and, from it, a group of artists began to organize their first independent the world and saw the exhibitions. artist’s work return to a The second part looks at the artist’s work after he first arrived in the West in 1965 new revived Korea as well for a series of collective exhibitions, in London and Paris before heading to New as influence a flourishing York to take up his Rockfeller Founda Japanese artistic scene. tion grant. Here, he discovered pop-art His work has since been a feature of the world’s most important international exhibitions and, in 2016, the “Water Drop” painter opened his own museum on Jeju Island in the south of Korea. Here the artist’s life and work are discussed by the historian and art critic Michel Enrici, the writer Bernard Raison and the curator Michelle Yun. The work also presents an exclusive interview between Kim Tschang- Yeul and Michel Enrici. © Kim Tschang-Yeul
17 - arts 11.5 × 21.7 cm 180 pages FAUSSAIRES ILLUSTRES october 2018 retail price: 19 € ILLUSTRIOUS FORGERS Harry Bellet
Born in 1960, Harry Bellet while in his prison cell… Eight notori studied art history before 40% of the works ous scandals – the most recent being the working at the Centre at the Metropolitan ‘Beltracchi Affair’, in which the German Pompidou in Paris and forger managed to sell dozens of forgeries the Fondation Maeght Museum of Art of à Saint-Paul-de- Vence. between 1990 and 2010 – are recounted Since 1998, he has written New York are forgeries, in this delightful book. Some are comi on cultural affairs for Le cal, many are sad (America’s oldest gallery, Monde. In addition to at least according to its Knoedler, closed down after fifty years in exhibition catalogues, he has the business after falling victim to an art published a variety of works, former director, Thomas fraud), and there is the occasional tragedy: including three detective Hoving. After further the killers of the British forger Eric Heb novels and two historical born, who was murdered by a hammer novels centred around the investigation, it seems blow in 1996 in a seedy street in Rome, painter Hans Holbein: Les Aventures extravagantes de that this may be an have never been found. Out of these sto Jean Jambecreuse, artiste et ries, two truths emerge: no, there is no bourgeois de Bâle and Les underestimate. such thing as a ‘genius’ forger (except for Aventures extravagantes de those who have never been caught), and Jean Jambecreuse, au temps de yes, fakes are everywhere, and they are la révolte des rustauds (Actes his practice dates back to Anti very difficult to detect. Sud, 2012 and 2018). quity: a century before the com mon era, the Greek Pasiteles used toT sell statues to the Romans that he claimed were four hundred years old, but which he had in fact just sculpted… In his youth, Michelanglelo was not averse to engaging in similarly dubious practices. Dubious, but at the same time admira ble: the failed artist but ‘genius’ forger who manages to fool academics and con noisseurs is hailed as a hero in the vein of Arsène Lupin. Indeed, the gentleman thief owned the actual Tiara of Saitferne, a gold crown purportedly belonging to a possi bly mythical Scythian king which turned out to have been manufactured at the end of the 19th century by a goldsmith from Odessa and which made fools of the cura tors at the Louvre who had acquired it. The story is akin to the fake Vermeers created by Han Van Meegeren, who was prosecuted after the Second World War for selling a masterpiece by the Dutch painter to Hermann Goring. He pleaded in his defence that he had himself forged the painting in question, and to gen eral disbelief, he produced another one
18 - arts LE CAPITAL DE VAN GOGH Ou comment les frères Van Gogh ont fait mieux que Warren Buffet VAN GOGH’S CAPITAL Or how the Van Gogh brothers did one better than Warren Buffet Wouter van der Veen
This book is an unexpected demon a few years, I can see the possibility that stration of a disturbing truth: the Van the capital laid out will come back into Gogh brothers, better known in the our hands, if not in cash, then in value.” history of art for their famous act of In the work we encounter dialogues at La sacrificial mutilation, were in fact bril Nouvelle Athènes, a Mecca for Parisian liant and highly opportunistic entre counterculture in the late 19th century, preneurs. Via the acquisition of works we follow Vincent to a meal in Auvers- by Gauguin, Degas, Monet and many sur-Oise and we follow the author’s other artists besides, as well as through reflections on politics and art. This icon the output of Vincent Van Gogh, the oclastic work with hidden depths ques
10 × 19 cm two brothers patiently built up a price tions the mechanisms of contemporary 182 pages less collection. In the process, they gave artistic production and offers an auda 8 pages of color illustrations birth to an enterprise of unrivalled suc cious theory on the motivations of the softback cess to this very day, an enterprise which master’s suicide. march 2018 retail price: 20 € employs thousands around the world involving billions of euros, dollars and yen tied up in secure investments. The Refreshing and spiritual, The author, Wouter van der work provides evidence from Van Gogh’s this work provides a Veen, general secretary and correspondence, evidence that has lain academic director of the dormant for over a century without any succession of inspiring Van-Gogh Institute is a body thinking to look at it for what it is: renowned world specialist in an almost prophetic vision of the evolu chapters in various the life and work of the Dutch tion of the art market and an account master. Le Capital de Van forms, explaining how of astounding business acumen. In one Gogh is his sixth work on the subject after La Chambre de letter, for example, dated 1st May 1888, Van Gogh came to be Vincent (2004), Van Gogh, A Vincent writes to Théo, “If we dare believed as the archetype Literary Mind (2009), Van Gogh believe, and I’m sure of it, that Impres à Auvers and Van Gogh. Écrits sionist paintings will go up in value, of misunderstood et pensées (2013). He is also the we’ve got to do lots of them and keep the author of the application “Van prices up. All the more reason why we genius, when he was in Gogh’s Dream”, as well as a should calmly take care of the quality of fact quite the opposite. great many articles published in the thing and not waste time. And after a wide range of academic and mainstream journals.
rights already sold in brazil and china
(simplified characters) © Arthénon
19 - arts LOUISE, SAUVEZ-MOI ! Conversations avec Louise Bourgeois, 1988-2009 SAVE ME, LOUISE! Conversations with Louise Bourgeois, 1988-2009 Mâkhi Xenakis
“I gradually felt myself projected not only into the memory of Louise but into the very heart of her work and the complexity and mysteries of the process of creation.” Mâkhi Xenakis, Louise Bourgeois, l’aveugle guidant l’aveugle [The Blind Leading the Blind]
n this work, Mâkhi Xenakis pays fresh ideas, “her feather thoughts”, her produc homage to the work of Louise Bour tion secrets. Between 1988 and 2009, after 15 × 20.5 cm geois (1911-2010), one of the major many eventful, sometimes abrupt, often 288 pages artistsI of the late 20th century and early frustrating but always enriching encoun 138 black and white illustrations softback 21st century, whose lifetime spanned sur ters, like a chrysalis, she was finally released may 2018 realism, abstract expressionism and mini from her cocoon. The artist was born, the retail price: 27 € malism. Mâkhi Xenakis met Louise Mâkhi Xenakis we know today, the crea Bourgeois in New York, where the artist tor of the Mad Women of Hell and the had been living since 1938. Mâkhi’s own Arachnes. A study in admiration, this Mâkhi Xenakis studied dilemma at the time, the big painful ques immersion into Louise Bourgeois’ world architecture, then created sets and costumes for theatre. tion in her life was: how to become an artist also features a number of emblematic In 1987, she settled in New when your own father is one of the great works illustrating the author’s point of York where she met Louise est musicians in the 20th century and your view. Based on memory, emotion, and Bourgeois, a meeting that mother is a renowned writer and critic? the reactivation of childhood memories, changed her life. She has since There is something maieutic in their Louise Bourgeois’ work obeys a logic returned to Paris and divides encounter, with Louise Bourgeois play that “oscillates between abstract geom her time between sculpture, ing the role of the priestess Diotima to the etry and organic reality”, the personal, drawing and writing. Her first then-set-designer, who here provides a fas autobiographical language of which feeds work, Louise Bourgeois, l’Aveugle guidant l’aveugle (1998), was cinating reconstitution of the atmosphere into other contemporary practices like the republished by Actes Sud in at the artist’s home, her daily life, her fam work of Sophie Calle, and has had a huge 2008. She has also published ily, her reflections, her anger, her fleeting influence on many artists. with Actes Sud Parfois seule (1999), Laisser venir les fantômes 54 55 271
(2001) Les Folles d’enfer de la photographie gardée par Sophie. naître. Ce masque que l’on retrouve sur le visage de ceux qui Louise dans nos conversations, abordait souvent le thème de la sont en train de partir recouvrait déjà le sien. Il y avait un silence peur. Un jour je lui demandais : inhabituel dans sa maison. Salpêtrière (2004), Laissez venir — Avez-vous peur lorsque vous commencez un dessin ou une sculpture ? Après cette visite, un texte de Platon me revint fréquemment — Ah, pas du tout ! Ça, c’est mon affaire, je n’ai jamais peur en mémoire. Un ami de mon père l’avait prononcé lors de la cé- les secrets (2008), La Pompadour dans mon travail. J’ai peur pour d’autres choses. rémonie funéraire qui eut lieu pour lui en 2001. Mes échanges fréquents avec Louise pendant toute cette pé- “Aussitôt que son âme était sortie de son corps, riode me permirent de me plonger pleinement dans mon travail. elle avait cheminé avec beaucoup d’autres et elles Du moment qu’il lui plaisait à elle, je me fichais de plus en plus étaient arrivées en un lieu divin où se voyaient (2011), Iannis Xenakis, un père du jugement “des autres”. Je dessinais pour Louise. Il fallait dans la terre deux ouvertures situées côte à côte comme elle me l’avait dit à plusieurs reprises “qu’elle ait un et, dans le ciel, deux autres qui leur faisaient choc”. C’était ça mon but. face… Une lumière droite comme une colonne fort semblable à l’arc en ciel mais plus brillante bouleversant (2015). À la fin de l’année 1988, après beaucoup d’hésitations, nous et plus pure…” 10 avons finalement décidé avec David de rentrer à Paris. Malgré le fait qu’il aurait pu trouver un poste intéressant de chercheur à Doucement, insidieusement, des gouffres, des vides de lumières New York et qu’en plus de ma relation privilégiée avec Louise je apparurent dans mes nouveaux dessins. commençais à me sentir bien dans cette ville, nous nous sommes dit qu’il fallait croire en l’Europe qui était en train de se créer et Louise mourut en mai 2010, quelques mois avant d’atteindre que nous serions mieux en France près de nos familles pour faire ses cent ans. nos enfants. Lorsque je téléphonai à Louise pour lui annoncer cette nouvelle, elle entra dans une grande colère et me dit que je Quelque temps plus tard, la Manufacture des Gobelins m’invi- ne pensais qu’à moi, que j’étais une enfant gâtée plus d’autres ta à réaliser un projet de broderie à partir de l’un de mes dessins. choses très blessantes que je n’ai miraculeusement pas retrans- De nouveau, mes pensées revinrent vers Louise qui m’avait si crites et que j’ai maintenant oubliées. souvent parlé de la Manufacture des Gobelins et de la Bièvre, dans laquelle, elle et ses parents venaient nettoyer leurs tapisse- Le lendemain matin elle me téléphona, s’excusa et me demanda ries anciennes.
Mes Tatas, Mardi gras, 1960. 10. Extrait de la légende d’Eer Platon, La république, livre X, paragraphe 613c-621d.
Conversation, résine, plume, huile. 12 cm, 2006.
40 41 240
mes parents m’avaient inculqué. m’émerveillaient à chaque instant. Pendant cette période, j’avais tellement perdu confiance en moi et je me sentais si vulnérable face au monde extérieur que j’avais Un soir de mars, mes parents vinrent dîner à la maison. Tout peur, en entrant réellement dans mon propre univers artistique était serein, mes parents étaient heureux de voir nos enfants. Je de sombrer complètement. Je me disais que si des artistes aussi discutais avec mon père qui était plus doux que d’habitude avec puissants que Van Gogh ou Rothko avaient fini par se suicider moi, j’avais l’impression qu’il s’intéressait à ce que je devenais, ou tomber dans la folie, un petit bout de femme comme moi je me sentais bien. Je m’étais même surprise à penser que peut- n’y résisterait pas. Je lui en parlais souvent, elle me répondait être j’allais pouvoir lui dire enfin combien je l’aimais et combien chaque fois : je cherchais dans mon travail à lui plaire, combien j’attendais — Mais non, mais non. depuis longtemps une reconnaissance de sa part. Mais je n’entendais pas ses arguments. Alors un jour, elle me dit : Puis, il me questionna sur ce que je faisais en ce moment, je — Écoutez Mâkhi, je vais vous écrire quelque chose que vous lui répondis que je préparais une exposition de sculptures pour allez garder avec vous. la rentrée. Elle trouva une petite fiche déjà annotée à l’en-tête tout à fait — Je peux voir ce que tu fais ? approprié et écrivit en silence ces mots : Hésitante je l’emmenais dans mon atelier. Peut-être allait-il enfin aimer mon nouveau travail, être fier de moi ? art is a garanty of Sanity. Il circula longtemps en silence devant mes sculptures. Il me art will keep you sane. demanda : art is truth because it is éternel. — Et tu perds combien de temps à faire tout ça ? Je le repris, le cœur noué : Puis elle me la tendit et me dit qu’il fallait maintenant que je — Tu veux dire : “Tu passes combien de temps à faire tout ça ?” rentre chez moi. — Non me dit-il, me regardant droit dans les yeux, tu perds Le simple fait de posséder ce “sésame” de Louise me permit de combien de temps à faire tout ça ? me libérer petit à petit de cette angoisse. Elle avait écrit ces mots Ma mère, curieuse, nous rejoignit et se mit à rire aux éclats. pour moi, je lui faisais confiance. À force de lire ces phrases ré- Comme si mon travail était conçu pour provoquer l’amusement. gulièrement je me mis à les entendre, à les comprendre, à croire Les expositions eurent lieu, je rencontrai des nouvelles per- en elles. sonnes qui s’intéressèrent à mon travail et qui me proposèrent de participer à d’autres expositions. Mon nouveau livre que j’in- Avant d’écrire ses mots précieux sur cette fiche, Louise m’avait dictée la référence d’un livre titulais “Parfois seule” reçut un joli accueil. J’envoyai le livre à Elle me parlait souvent de son désir d’avoir un enfant lors- qu’elle aurait aimé que je lui trouve à Paris.
Sans titre, plâtre, métal plue pigment, 3 x 3 m,1999.
20 - arts DJAMEL TATAH
Texts by Emmanuelle Brugerolles, Éric de Chassey, Danièle Cohn and Éric Mézil
2nd December 2017, the Lambert Col lection inaugurated an exhibition devoted “My experience of to Djamel Tatah, based on a dialogue painting tries to be an between the works of the painter and minimalist artists of the collection (Robert experience of sharing. Barry, Robert Ryman, Robert Man One vision encountering gold, Richard Serra, Sol LeWitt and Brice Marden, etc). another. That is perhaps 22 × 28 cm 176 pages Djamel Tatah’s sober refined painting hardback stages figures on a body-scale suspended the grace of art – to create coedition collection lambert/ in time and apparently belonging to actes sud something accessible to january 2018 nowhere. They are inspired by very ordi retail price: 35 € nary situations and contemporary events. somebody else.” Through them, the artist offers a meta physical representation of contemporary Djamel Tatah Born in 1959, man, expressing through color, light and Djamel Tatah studied at lines, his feeling of being in the world. the Saint-Étienne school While the work of Djamel Tatah demon of fine arts. While living strates a clear connection with modernist in Marseille, 1989-1995, monochrome painting, it is also part of a he laid down the essential more classical tradition. Exceptionally, the foundations of his creations Paris School of Fine Arts ( ) where and started working in large ENSBA formats and producing Djamel Tatah has been teaching since polyptychs. His first personal 2008, has loaned some fifty work from exhibition was held at the its illustration collection (featuring works Galerie Lilian and Michel by Delacroix, Matisse, Corneille de Lyon, Durand-Dessert in Paris in among others) providing a special dia 1999. Since he has regularly logue with the artist’s work. presented works in various places in France and abroad.
7 40 4 Épiphanies du crépuscule. peinturesdedjameltatah traversespardesclassiquesduxxesicle etdesdessinsanciensoucontemporains Éric Mézil
Depuis longtemps, je me vantais de posséder tous les paysages possibles, et trouvais dérisoires les célébrités de la peinture et de la poésie moderne. J’aimais les peintures idiotes, dessus de portes, décors, toiles de saltimbanques, enseignes, enluminures populaires ; la littérature démodée, latin d’église, livres érotiques sans orthographe, romans de nos aïeules, contes de fées, petits livres de l’enfance, opéras vieux, refrains niais, rhythmes (sic) naïfs. Je rêvais croisades, voyages de découvertes dont on n’a pas de relations, républiques sans histoires, guerres de religion étouffées, révolutions de mœurs, déplacements de races et de continents : je croyais à tous les enchantements. J’inventai la couleur des voyelles ! – A noir, E blanc, I rouge, O bleu, U vert. – Je réglai la forme et le mouvement de chaque consonne et, avec des rhythmes instinctifs, je me flattai d’inventer un verbe poétique accessible, un jour ou l’autre, à tous les sens. Je réservais la traduction. Ce fut d’abord une étude. J’écrivais des silences, des nuits, je notais l’inexprimable. Je fixais des vertiges. Arthur Rimbaud, Une saison en enfer, 1873.
Si Rimbaud finit en Abyssinie sans avoir écrit une seule ligne, ce n’est pas par goût de l’aventure, ni renoncement d’écrivain. C’est “parce que c’est comme ça” et qu’à une certaine pointe de la conscience, on finit par admettre ce que nous nous efforçons tous ne de pas comprendre, selon notre vocation. On sent bien qu’il s’agit ici d’entreprendre la géographie d’un certain désert. (p. 11) Albert Camus, Le Désert, 1939.
“Fixer les vertiges” et “entreprendre la géographie d’un certain désert”, n’est-ce pas la plus douce et délicate mission offerte aux peintres par les Muses de l’Antiquité, leur permettant de répondre en images au poème d’Aragon :
Est-ce ainsi que les hommes vivent Et leurs baisers au loin les suivent Comme des soleils révolus1. 1. Louis Aragon, “Est-ce ainsi que les hommes vivent”, Le Roman inachevé, Gallimard, Paris, Comme des “épiphanies du crépuscule” que Djamel Tatah a l’art de peindre : c’est 1956. tout l’enjeu de cette exposition où les peintures de Djamel Tatah sont entourées de chefs-d’œuvre du xxe siècle et de somptueux dessins anciens prêtés par le Cabinet des dessins de l’École des beaux-arts de Paris, et d’autres “pépites” prêtées par Yvon Lambert qui aime autant l’art ancien que l’art contemporain, comme il le démontre avec son Ariane endormie ou l’autoportrait de Matisse (p. 29). Nous avons préparé cette exposition comme si c’était la dernière, pour la faire la plus belle et la plus Corneille de Lyon, emblématique pour notre musée qui va bientôt fêter ses vingt ans. Portrait de gentilhomme au béret, 1561.
Sans titre, 2017.
62 63 94 9
peine esquissées, on distingue leurs costumes composés LESUEUR ENGLISH Nicolas Lancret d’un justaucorps, de culottes, de bas et d’un tricorne. Paris 1690 – Paris 1743 Ce procédé rapide de notations, où domine une facture Étude de deux personnages masculins anguleuse des contours, semble caractéristique de l’artiste qui fit sans doute appel à des modèles saisis sur le vif dans Très apprécié de son vivant pour ses peintures de genre, leur posture pleine de vie et d’instantané. dont il s’est fait une spécialité, Nicolas Lancret est ensuite considéré comme un simple suiveur de Watteau et, à ce 1. Toile conservée au musée des Beaux-Arts de Tours, inv. no D. 1956-13-1. titre, peu à peu délaissé et incompris. Formé par Claude Gillot, il marche en effet sur les traces du peintre des fêtes galantes, répondant aux nombreuses commandes d’amateurs, dont Louis XV qui lui confie plusieurs décors de résidences royales. Son approche du dessin est également similaire dans sa technique, privilégiant la sanguine et les études de figures, ce qui explique l’ancienne attribution de cette feuille au maître. Ces deux personnages sont à mettre en relation avec une composition peinte par Lancret illustrant “Les Rémois 1”, un des Contes et nouvelles de La Fontaine, dans lesquels les peintres de scènes galantes puisèrent souvent leurs sources d’inspiration. La scène illustre deux Rémois venus séduire l’épouse d’un peintre. À la suite de l’arrivée inopinée du mari, ils sont contraints de se réfugier dans un cabinet dérobé et assistent, médusés, à l’entreprise de séduction du peintre auprès d’une de leurs épouses invitées à la hâte. Notre feuille correspond au groupe des deux Rémois situés à l’arrière-plan de la composition et cachés derrière une porte laissée entrouverte. Le motif fait l’objet de deux études à la sanguine, celle de droite étant retravaillée à la pierre noire. L’artiste rend compte à la fois de l’espace restreint dans lequel les deux personnages se sont réfugiés, délimité par une grande verticale, mais aussi de leur attitude : légèrement penchés en avant et serrés l’un contre l’autre, ils sont à l’écoute des propos tenus par le peintre, tendant l’oreille tandis que leurs visages traduisent l’étonnement et la surprise. Bien que les figures soient à
Sans titre, 2011. Sans titre, 2011.
21 - arts ALFRED LATOUR Les Gestes d’un homme libre ALFRED LATOUR The Gestures of a free man Collective work
lfred Latour’s career began in Paris items. In the early 1930s, he produced in the 1910s. The young Latour photo stories for the Meurisse press agency was always drawn to painting and in Paris and his work was published in the hadA a penchant for engraving in which daily press. From 1929, he started work 24 × 30 cm he achieved a degree of virtuosity rarely ing with the famous Lyon-based fabric 256 pages 266 color illustrations matched by others. He also worked with manufacturer Bianchini-Férier and devel hardback watercolors and developed a technique oped motifs for haute couture and fur march 2018 that got him recognized by critics and nishing. He designed clothing using the retail price: 39 € collectors alike. Alfred Latour trained in new pleated and crushed fabrics, creating decorative arts at Paris’s École des arts chromatic ranges of breath-taking moder décoratifs. He emerged with a sharpened nity. In 1937, Alfred Latour met Pierre vision and an artistic vocabulary that led Aynard, who produced silks for the great him into fashion design, the graphic arts, Parisian couturiers and who invited him advertising and photography. In all these to produce series of fabrics for his own fields of expression, he strove to inno estate at Fontenay Abbey. Latour duly cre vate. In forms and supports he sought out ated “Les Toiles de Fontenay”, inspired by relationships that would create dialogues stained window motifs and architectural between the media he employed. features of the monument. In his retire He excelled in graphic design and adver ment in his home village of Eygalières, tising and developed the communication south-east France, he produced figurative strategy for the Nicolas wine merchants. He abstract works of the foothills of the Alps. branched out into book-binding and cre This book is the first to analyze the full ated quill illustrations and engravings for range of his artistic production. sumptuous works that became collector’s
Ornements pour Frontispice pour Charles Baudelaire : Charles Baudelaire : Les bouchons Champagne Doyen Les fleurs du mal Les fleurs du mal Toile de Fontenay « Orient » Toile de Fontenay « Croisade » 1936 1936 1928 1928 1948 1948 Encart publicitaire Encart publicitaire Livre illustré, gravure sur bois Livre illustré, gravure sur bois Tissu Tissu 30 × 23 cm 30 × 23 cm 132 133 2 × 8 cm 12 × 8 cm 150 151 188 × 124cm 178 179 220 × 140 cm
Mas au pied des Alpilles Eygalières aux nuages blancs 1936 1962 Aquarelle Huile sur toile 48 49 29 × 43 cm 60 × 92 cm 106 107
22 - arts LEÏLA MENCHARI, LA REINE MAGE LEÏLA MENCHARI, THE QUEEN OF ENCHANTMENT Text by Michèle Gazier
here are artists whose work is modernity, the young Leïla discovered the deeply rooted in places and excep American Jean Henson’s magnificent gar tional encounters. There are writ den in Hammamet. Having befriended the ersT who know how to capture the charm couple, she went onto train at Tunis School and plenitude of lives, as Michèle Gazier of Fine Arts then at the Paris School of Fine does here in “Leïla’s tale”. Arts where her life as an artist began before Leïla Menchari is a woman in love with the doors of the Hermès establishment beauty. From 1978-2013, she presided opened on rue Faubourg-Saint-Honoré. over the decoration of the Hermès store Alongside the decorator Annie Beaumel, window displays on the rue du Faubourg- her Tunisian and French cultures combined 22 × 28 cm Saint-Honoré. Her creations, her talent magnificently and from 1978, she under 408 pages 147 color illustrations in combining the shimmering colors of took decoration herself. hardback silk and leather were the apogee of a Prefaced by Axel Dumas, this extensively coedition hermès/actes sud career begun in the suburbs of Tunis in illustrated work is an unforgettable jour separated french and english versions november 2017 the 1930s. ney through the 137 Hermès window dis retail price: 39 € First there were the places she encoun plays designed by Leïla Menchari from tered. Born into a family who embraced 1978-2013.
Michèle Gazier is a writer who has published over twenty works – novels, short stories and literary essays on art. As a translator she introduced France to authors such as Manuel Vasquez Montalban and Juan Marsé. Alongside co-director Marie-Claude Char, she is at the helm of the Editions des Busclats publishing house. Her last novel, Silencieuse, was published by Seuil in spring 2017. © Archives Hermès, photo G. de Laubier Hermès, © Archives photo G. de Laubier Hermès, © Archives © Archives Hermès, photo J.-L. Feith Hermès, © Archives photo J.-L. Feith Hermès, © Archives
23 - arts 24 × 28 cm 160 pages PATRICK BOUCHAIN softback L’architecture comme relation 400 color illustrations november 2018 retail price: 35 € PATRICK BOUCHAIN Architecture as Relation Texts by Abdelkader Damani and Pierre Frey
Abdelkader Damani is the atrick Bouchain is a past master in director of the FRAC the art of capturing and combining Patrick Bouchain’s Centre-Val de Loire. knowledge and technique to find drawings, collages, A graduate in architecture, waysP to inhabit the world differently. art history and philosophy, writings and meanderings he created the Orléans This work provides a retrospective of five Architecture Biennial. decades of creation, cataloguing the archi reveal an architectural tects 150 projects between 1967-2017. Pierre Frey is a doctor in technical sciences at the École The work coincides with the architect’s mind in process and its Polytechnique Fédérale in donation of his archives to the FRAC Lausanne. He has written a Centre-Val de Loire; the center has one of dialogue with the society number of monographs on the largest collections of experimental and in which we live. Swiss architects, as well as utopian projects in the world. Learning From Vernacular (Actes Sud, 2010) and Simon Vélez Architecte. La Maîtrise This book draws on an du Bambou (Actes Sud, 2013). exceptional corpus of resources, composed of notebooks and models which reveal the architect’s modus operandi and approach. Collection Frac-Val de Loire, Orléans / Donation Patrick Bouchain Patrick / Donation Orléans de Loire, Collection Frac-Val
24 - arts > architecture GION A. CAMINADA S’approcher au plus près des choses GION A. CAMINADA Getting Closer to Things Émeline Curien
he work of the Swiss architect, work focuses on the future needs of areas Gion A. Caminada, effectively largely cut off from the major economic acts on space to positively trans and decision-making centers. formT the social fabric and its environ ment. Since the early 1990s, Caminada 19.6 × 25.5 cm 176 pages has constantly questioned architectural Caminada’s approach softback forms and the processes necessary for allies a vision of the way 100 color illustrations their implementation and has grappled october 2018 retail price: 35 € with questions of a symbolic and eco society works with a nomic nature. His vision seeks to open up the otherwise narrow scope within which radical desire for cultural Émeline Curien trained as architecture can work. It also provides a transformation, reaching an architect and produced an critique of societies created by hyperin art history thesis looking at dustrial capitalism and the architecture it beyond the usual scope Alemmanic Swiss architecture has produced. from the 1980s to the present for rural territories. His day. She teaches at the Caminada essentially builds in Les Grisons, work reminds us of the Ecole National Supérieure a distinctly rural canton in the mountains. d’Architecture in Nancy and Life is tough there, but paradoxically this essential foundations of is a researcher at the LHAC laboratory where she herself helps produce quality architecture. His building in society. continues her research into practice frequently inspires other archi contemporary architecture tects interested in rural buildings and his This work introduces us to Caminada’s practices. opus, his reflections on contemporary architecture and his critique of nor mative modes of architectural produc tion. His approach encourages designers, inhabitants, artisans and contractors to take responsibility for their vital spaces. Caminada shows us how to “get closer to things”, a vision that brings life back to architecture through a therapeutic reflec tion of the contemporary space. © Émeline Curien © Émeline
25 - arts > architecture LA CHAMBRE DE KHEPHREN Analyse architecturale THE CHAMBER OF KHAFRA An architectural analysis Gilles Dormion, Jean-Yves Verd’hurt Preface by Shawki Nakhla
ike La Chambre de Snefrou, this hypothesis and verification is a fascinating work studies the chamber of Kha read. fra from a purely architectural perspective.L This study provides The work first looks at the principles fundamental data on of pyramid building in the 3rd and 4th dynasties, the framework for their analy pyramid construction and 14.5 × 24.5 cm sis which enables to chart the architectural 192 pages leads to the conclusion 80 illustrations and drawings evolutions, trends and norms for archi in black and white tecture at the time. The work then moves that concealed funerary the complete works onto the problem of construction of the september 2018 Khafra pyramid. The authors sidestep chambers are likely to retail price: 26 € the major theories and instead provide a exist in other pyramid. detailed description of how the pyramids were created in several phases. Gilles Dormion and Watch this hidden space! Jean-Yves Verd’hurt are French Throughout this captivating investiga architects who have studied tion, the authors accumulate clues as to pyramid construction for the purpose of the pyramid’s chambers. over twenty years. They have Their work leads to a surprising discov already published La Chambre ery: that the main feature which has clas de Chéops (Fayard, 2004), La sically defined the upper chamber as have Chambre de Meidoum (Cahiers a funerary role is in fact a red herring. The de la Société d’égyptologie de authors were then focused to think later Genève, 2013) and La Chambre de Snefrou (Actes Sud, 2018). ally and compare the structure with simi lar cases, which helped them identify the missing pieces of the puzzle. As a result they were able to hypothesize the possible existence of an unknown, hidden cham ber and determine its access position. The authors then used microgravimetrics and geological radar to verify their con clusions. The microgravimetric measures revealed a significant deficit in mass com patible with a hidden chamber and revealed collection Gaddis Beato, Antonio an anomaly at the same level as the possi ble entrance. Geological radar meanwhile recorded echoes in the same concealed space. Both methods produced results to corroborate each other, validating the con clusions of their architectural analysis. Despite its technical character, the work is widely accessible to a general reader ship. Its exemplary rigorous methodology combining observation, analysis, synthesis,
26 - arts > architecture > egyptology LA CHAMBRE DE SNEFROU Analyse architecturale de la pyramide “rhomboïdale” THE CHAMBER OF SNEFERU An architectural analysis of the rhomboid pyramid Gilles Dormion, Jean-Yves Verd’hurt Preface by Michel Valloggia
rom the creation of the Djo the order of construction of the Sneferu ser funerary complex in the 3rd edifice and the pyramid in which he was Dynasty (c. 2600 BC), the Egyp entombed. With the southern Dahchur tiansF started creating large-scale stone pyramid at the heart of the problem, they masonry constructions by assembling developed the subject. square blocks in horizontal lines. The The work is divided into three parts chart technique has already been used for gen ing their deductions. The first part ana 14.5 × 24.5 cm erations in brick constructions and over lyzes available general information. This 280 pages the centuries became more sophisticated, irrefutable technical data reveals a series 100 illustrations and drawings in black and white reaching the peak of perfection with the of important elements which question the complete works Khufu pyramid in the 4th Dynasty. the chronology of construction and pre september 2018 Under the reign of his father, Sneferu, pyr dominating interpretations of their role. retail price: 28 € amid architecture developed so quickly The second part is entirely devoted to that in the space of a few creations the size the superstructure of the Sneferu tetrahe Gilles Dormion and of chambers tripled from 4 cubits (Sneferu dral, its various construction phases and Jean-Yves Verd’hurt are French and Meidum) to 12 cubits (Khufu and its unorthodox techniques. The final part architects who have studied Giza). Observing this type of variation examines the interior design, chambers pyramid construction for enables us to situate certain creations and gallery system. over twenty years. They have within a coherent progression. The clear already published La Chambre progress made between constructions led de Chéops (Fayard, 2004), the authors of this work to reconsider La Chambre de Meidoum (Cahiers de la Société d’égyptologie de Genève, 2013). Snefrou et une représentation de ce dernier assis sur son trône [fig. 17]. On ne peut alors manquer de relever une incohérence flagrante dans la Illustrations Page en regard, On retrouve de surcroît ces mêmes détails sur des fragments de stèles chronologie officielle. D’après celle-ci, à la suite du sinistre de Dahchour- de haut en bas- (© G. Dormion et J.-Y. Verd’hurt) La pyramide de Djoser and La Chambre de Khephren appartenant au temple funéraire et au temple de la vallée. Ce sont donc Sud, Snefrou aurait décidé de se faire construire une pyramide plus “sûre” à Saqqarah. là plusieurs attestations irrécusables. Il apparaît donc hautement probable à Dahchour-Nord. Admettons. Il apparaît toutefois totalement absurde La pyramide de Meïdoum. que Snefrou ait été inhumé à Dahchour-Sud. qu’après avoir réalisé à Dahchour-Nord une sépulture parfaitement saine, La pyramide de il ait pourtant été inhumé dans celle de Dahchour-Sud qui était endom- Dahchour-Sud. (Actes Sud, 2018). magée. À cet égard, la chronologie modifiée s’avère plus cohérente, dans la Fig. 17- La stèle de Snefrou. Ci-contre, de haut en bas- mesure où c’est finalement dans la dernière pyramide érigée qu’aurait été Les pyramides de Giza. inhumé Snefrou. Cependant, quelle que soit la chronologie considérée, le Deux des pyramides choix de Dahchour-Sud comme lieu d’inhumation demeure absurde car, satellites de Mykerinos. Les degrés. dès lors qu’il disposait de deux sépultures, c’est évidemment celle qui ne Les degrés de la pyramide risquait pas de s’effondrer, c’est-à-dire celle de Dahchour-Nord, qu’aurait de Neferirkarâ à Abousir. dû choisir Snefrou. Par conséquent, si l’on ne remet pas en cause le fait que Snefrou a été inhumé à Dahchour-Sud – et nous n’avons aucune rai- son de le faire –, il faut s’interroger sur les raisons d’un choix apparemment insensé. Or, l’explication la plus logique serait que, justement, Snefrou n’avait pas le choix car il ne disposait que de la pyramide de Dahchour-Sud.
Le problème de Dahchour-Nord
On peut considérer la question sous tous les angles et recourir aux argu- ties les plus conjecturales, il n’en demeure pas moins que, si Snefrou a été inhumé à Dahchour-Sud, c’est vraisemblablement qu’il ne pouvait pas l’être à Dahchour-Nord. Ne perdons pas de vue ici que ces pyramides ont été bâties en plu- sieurs phases. Pourquoi celle de Dahchour-Nord constituerait-elle une exception ? Sa constitution est donc vraisemblablement, elle aussi, dicho- tomique : un monument à degrés initial (DN1) recouvert d’un enro- bage maçonné (DN2). Or, cette pyramide n’est attribuée à Snefrou qu’en raison de marques de chantier relevées sur sa maçonnerie externe. Cela signifie que l’enrobage est “certifié” Snefrou, mais pas le monument à degrés enrobé. Le cas pourrait être identique à celui de Meïdoum. Autre- ment dit, artisan des ajouts sur les monuments à degrés préexistants de Meïdoum et de Dahchour-Nord, Snefrou ne serait l’auteur et le proprié- taire que de la pyramide de Dahchour-Sud. Cette conclusion n’a, tout compte fait, rien d’extravagant, dans la mesure où elle rétablit de la vrai- semblance dans un scénario jusqu’ici truffé d’incohérences. Tout d’abord, Snefrou n’aurait édifié, comme il se doit, qu’un seul complexe funéraire, où il aurait été inhumé.
46 47
sur toutes les faces ? Ce serait un peu surprenant ; l’explication est plus - Largeur de la base : 157,05 m = 300 coudées vraisemblablement la suivante. - Hauteur : 125,64 m = 240 coudées L’épaisseur de l’accrétion étant respectivement de 12,60 m à 6 m d’al- - Angle de pente : 58° = tg 8/5 titude au nord et de 10,63 m à 28 m d’altitude à l’ouest, il apparaît que la Quelles auraient été les dimensions de la pyramide définitive DS3 si variation joue verticalement : l’accrétion, plus épaisse à la base, s’amenuise l’extension avait été menée à terme normalement, sans diminution de vers le haut, c’est-à-dire que la pyramide finale DS3 est un peu moins pente de la partie supérieure ? Avec 188,60 m (360 coudées) de largeur pentue que la pyramide enrobée DS2. Finalement, les positions respec- à la base et un angle de pente constant de 54°31’13’’ (tg 7/5), le monu- tives des joints-ceinture permettent de reconstituer géométriquement les ment aurait atteint la hauteur de 131,92 m (252 coudées) et un volume dimensions théoriques de la pyramide enrobée DS2 [fig. 23-1]. de 1 564 130 m3 représentant 60 % de celui de la pyramide ce Kheops [fig. 23-2]. Du fait de l’épaisseur décroissante de l’enrobage, la pente défini- tive (54°31’13’’) n’est pas parallèle à la pente initiale (58°), de sorte que la pyramide originelle (h = 240 coudées) n’aurait été surélevée que de 6,28 m (12 coudées) si l’extension prévue (h = 252 coudées) avait été menée à terme sans incident [fig. 23].
L’accident
En adossant une accrétion sur une pyramide lisse, les Égyptiens ont com- mis une monumentale erreur, dans la mesure où la tranche de maçon- nerie ajoutée a une propension à glisser le long du flanc incliné qu’elle recouvre : une pyramide lisse n’est pas un monument à degrés. Les forces induites varient sensiblement selon l’inclinaison des faces, de telle sorte que la base d’une accrétion sera plus ou moins poussée à riper sur ses appuis. L’exemple, bien connu, d’une échelle, illustre parfaitement le phé- nomène : peu inclinée, celle-ci est stable, trop inclinée, les pieds ripent et entraînent sa chute. Comparons donc la situation d’une accrétion ados- sée au flanc d’un monument à degrés ou à celui d’une pyramide lisse. A- Monument à degrés [fig. 24A] Les faces d’un monument à degrés tel que celui de Meïdoum ont une inclinaison de 75° environ. Une tranche de maçonnerie de 1 000 t, adossée à une face aussi abrupte, aura tendance à glisser en exerçant sur ses appuis une poussée oblique théorique (sans tenir compte des frottements) de 966 t : il en résulte une force verticale de 933 t et une force horizontale de 250 t. B- Pyramide lisse [fig. 24B] Les faces d’une pyramide lisse comme celle de Dahchour-Sud DS3 sont inclinées de 55° environ. Une tranche de maçonnerie de 1 000 t Fig. 23- L’accrétion. également, adossée à une face aussi inclinée, aura tendance à glisser
Fig. 33- L’appartement inférieur. Fig. 34- Le prolongement de l’escalier (selon M. et R.). Fig. 36- Le mur nord de la chambre inférieure. Fig. 37- Le mur sud de la chambre inférieure. 62 63
27 - arts > architecture > egyptology CONTINUONS LE COMBAT Les affiches de Mai 68 NEVER GIVE UP THE FIGHT! Posters of May 68 The Michel Dixmier collection, texts by Michel Dixmier and Bernadette Caille Preface by Sam Stourdzé
his work presents a selection of fifty of the most emblematic post The posters were ers from the May 68 protests produced at the Fine Arts’ inT France. Students at Paris’s School of Fine Arts joined the student demon School workshops and strations in support of striking workers reveal the hopes and fears 13 × 21 cm around France. When they took over the 80 pages school’s workshop, their collective adven of students, artists and 60 color illustrations ture began in earnest, producing post softback workers, who united in september 2018 ers and wall journals. The group’s tongue retail price: 15 € in cheek creation captured the zeitgeist the vast May 68 protest perfectly and they took great pleasure in freeing themselves from the shackles of movement against the academic codes to create their own revo lutionary world criticizing cynicism and established order and the allying observation and action. “Bourgeois State”. May 68 posters have their own instantly recognizable identity. They are strikingly PAR brazen and iconoclastic and they trans SAM STOURDZÉ formed political communication and LIBERTÉ, deeply influenced the late-60s avant- es affiches présentées dans ce livre et dans l’ex- 5 position “1968, quelle histoire !”, à l’occasion des SOLIDARITÉ, Rencontres d’Arles 2018, ont, pour la plupart, été garde. Their trademarks were the use of Lproduites à l’atelier des Beaux-Arts de Paris, pendant les POING LEVÉ Événements qui ont secoué l’ensemble du pays. Depuis 1965, en Europe comme aux États-Unis, un vaste simple materials, effective slogans, arti élan de contestation bouscule l’ordre établi et la société jugée trop conservatrice. Contre le capitalisme, la société de consommation, le colonialisme et son histoire, et contre la guerre du Viêtnam qui provoque un mouvement sanal typography, monochrome print, mondial d’indignation, des mouvements de pensée, plus ou moins structurés, émergent et s’imposent dans le débat public. L’année 1968 s’inscrit comme un marqueur dans l’histoire contemporaine. and simple graphics, principles that were Les avant-gardes des années 1960 ont été, dans le monde entier, fortement ancrées dans le combat politique. Un certain nombre d’images et d’affiches ont acquis le sta- adopted and adapted elsewhere. tut d’icône de ces “années 68”, par leur graphisme et leurs formules lapidaires, par leur évocation des nouvelles idoles, qu’elles soient politiques, intellectuelles ou artis- tiques. Cette “génération 68” révoltée impose sa passion et son engagement. Entre rêve d’une éducation populaire à la portée de tous et engagement auprès de la classe ouvrière à l’aube des grandes luttes historiques des années 1970, ces affiches hétéroclites mais si reconnaissables nous rappellent à quel point la notion de solidarité, à cette époque, n’est pas un vain mot. Dès le 14 mai 1968 s’engage un processus de
Atelier populaire, Beaux-Arts de Paris. Affiche réalisée le 5 juin avec les grévistes de Flins. Atelier des Arts décoratifs, Paris. Atelier populaire, Beaux-Arts de Paris. Faculté des sciences, Paris.
28 - arts > graphic Jean-Pierre Bleys CLAUDE AUTANT-LARA LE POINT DE VUE DES ÉDITEURS
Claude Autant-Lara, l’auteur de La Traversée de Paris, L’ Au- berge rouge, En cas de malheur, Le Diable au corps, fut considéré CLAUDE successivement comme un marginal, un grand réalisateur de gauche, un cinéaste dépassé, un homme d’extrême droite. Ce Jean-Pierre Bleys personnage singulier de l’âge d’or du cinéma français a tourné AUTANT-LARA avec les plus grands acteurs et actrices de cette période : Gé- BLEYS JEAN-PIERRE rard Philipe, Michèle Morgan, Jean Gabin, Brigitte Bardot, Préface de Bertrand Tavernier Preface by Bertrand Tavernier Bourvil, Michel Simon, Danielle Darrieux… Admiré dans les années 1950 comme un cinéaste majeur, Autant-Lara est tombé aujourd’hui dans un statut incertain, sa vie et sa carrière ayant connu, en terme de réputation, des évolutions que l’on rencontre rarement dans une même destinée. Jean-Pierre Bleys explore comme jamais encore le travail de ce cinéaste qui a mis sa vie entière au service de ses films. Grâce à un travail de recherche impressionnant, l’auteur dé- taille sa carrière de ses débuts dans le cinéma muet en tant respected and admired filmmaker Here Jean-Pierre Bleys explores the work que décorateur pour Marcel L’Herbier, son séjour à Hol- lywood dans les années 1930, jusqu’en 1976, date de son dernier film. Cette biographie sera l’occasion d’une plongée CLAUDE AUTANT-LARA CLAUDE in the 1950s, Claude Autant‑Lara of the filmmaker who devoted his whole dans l’histoire du cinéma français, de retrouver certains de ses grands acteurs, de vibrer à l’évocation de grandes œuvres, de traverser le xxe siècle et ses tourments. now enjoys a less illustrious sta life to movies. In a tour de force of detailed
Jean-Pierre Bleys, professeur de français, latin, grec, et d’histoire du cinéma, a publié des articles dans les revues Les Cahiers de la ciné- Atus, depending on the aspects of the man research, the author picks through Autant- mathèque, Positif, 1895, et a collaboré aux ouvrages collectifs Cent ans de cinéma français (Le Cerf, 1989) et Dictionnaire des films (Larousse, 1990). and his career on which we wish to focus. Lara’s career, work by work, from his Autant-Lara was responsible for such great beginnings in silent movies as decorator to Photographie de couverture : Daniel Fallot, ©1960 INA
ISBN 978-2-330-09301-3 French classics as La Traversée de Paris, Marcel L’Herbier, via his Hollywood expe ACTES SUD Dép. lég. : avril 2018 30 e TTC France
9:HSMDNA=U^XUVX: SUD INSTITUT ACTES LUMIÈRE / www.actes-sud.fr L’Auberge rouge, En cas de malheur and Le rience in the 1930s, until 1976 when he INSTITUT LUMIÈRE / ACTES SUD Diable au corps. In his career he worked produced his final movie. Illustrated with with the greats of French cinema – Gérard over fifty black and white photographs, couv_Claude_Autant-Lara.indd 1,3 13/03/2018 09:27 Philipe, Michèle Morgan, Jean Gabin, complete with a detailed index, Bleys’ 14.5 × 24 cm Brigitte Bardot, Bourvil, Michel Simon, book is the most comprehensive biogra 1 056 pages 50 black and white illustrations Danielle Darrieux, to name but a few. His phy of Autant-Lara and also provides a softback exceptional career led to wide and varied fascinating journey through French cin coedition institut lumière/ interpretations. He was first considered as ema history. We rediscover the emblem actes sud april 2018 a misfit, an outsider, then a great socialist atic actors and their major works from a retail price: 32 € filmmaker, while others identified him as different perspective, against the backdrop right-wing, before he was finally deemed of the torments of the 20th century. outmoded and outdated. Jean-Pierre Bleys was born in 1948. He first became familiar with the name, Claude Autant-Lara, when En Left (above) – Bourvil and Jean Gabin in La Traversée Right (above) – Fernandel in L’Auberge rouge (1951) cas de malheur was released de Paris (1956) Right (below) – Gérard Philipe and Micheline Presle to a great media fanfare. In Left (below) – Jean Gabin and Brigitte Bardot in in Le Diable au corps (1947) parallel to his teaching career, En cas de malheur (1958) © Transcontinental/Collection Institut Lumière he has published articles in © Iena/Collection Institut Lumière journals such as Cahiers de la Cinémathèque, Positif and 1895. He also contributed to the works Cent ans de cinéma français (Le Cerf, 1989) and Dictionnaire des films (Larousse, 1990).
29 - arts > cinema L’INTÉGRALE DES OMBRES La Scala Paris THE FULLNESS OF SHADOW The Paris Scala Olivier Schmitt Preface by Antoine de Galbert
n 1873, Paris’s Scala Theater on Par space of a single visit inside a transversal is’s boulevard de Strasbourg opened its modern space opened out onto the city. doors. Ever since it has lived a trou bledI history like many Parisian theaters, 19.6 × 25.5 cm mirroring the French cultural industry This work is a form of 160 pages in general. These pages recount its highs 80 color illustrations manifesto promoting the softback and lows, its heydays and depressions, as september 2018 well as nostalgia for the bygone age when idea of theater as a locus retail price: 43 € audiences thronged to the great boulevard theaters. Olivier Schmitt also recounts for popular festivities the theater’s resurrection and its reopen as in the heyday of the An artistic director at the ing in September 2018. The theater now Scala since September 2016, run by Frédéric and Mélanie Biessy, is set boulevards. for many years, Olivier Schmitt wrote for Le Monde to become a site dedicated to the arts in newspaper where he started all their forms. Artists from all disciplines work straight after his studies. will have the chance to express them A drama critic for 20 years, selves in its modular spaces and audiences he then went onto edit the will experience a new relationship to cul arts supplement, manage the ture with the chance to enjoy exhibitions, Culture bureau and found refreshments, concerts and readings in the the weekly magazine, Le Monde 2, before becoming its editor-in-chief. In 2011, two years after being named a correspondent for the French affairs bureau, he left Le Monde to create his own consultancy business. He has written a number of works including Atys et Médée, Passion baroque (Éditions du Cyprès/Opéra-Comique 1993) and Entretien avec Laurent Terzieff (Flammarion, 2001).
30 - arts > architectureperforming arts 14 × 20.5 cm 416 pages OLIVIER PY softback Planches de salut july 2018 retail price: 32 € OLIVIER PY The Boards of Salvation Timothée Picard
Timothée Picard lectures at “In this first monograph of Olivier Py’s life and work, I wanted to gain an overview of his Rennes University and is a incredibly diverse activities. Theater and opera audiences are generally only familiar with specialist in the performing arts Srebrenica, Miss Knife, La Servante or Orlando and do not appreciate the vast breadth of and their imaginary worlds. He his production. So I set out to bring all areas of his theatrical world together to demon has already published: Verdi/ strate the power and coherence of its diversity.” Wagner, Imaginaire de l’Opéra Timothée Picard et Identités nationales (Actes Sud, 2013), La Civilisation de l’Opéra (Fayard, 2016) Patrice hat is theater capable of? Olivier Py’s perspective is less that of a reli Chéreau: Transversales (Le Bord What might audiences and gion or a policy, although there is some de l’eau, 2010), Opéra et mise en communities expect from thing inherently religious and political in scène (Avant-scène Opéra, 2015) theater?W “Nothing less than to save peo his message. Instead he seeks out an eth and Dictionnaire encyclopédique ple, souls and lives,” replies the playwright ics of a life entirely devoted to theater and Wagner (Actes Sud, 2010). He is and director Olivier Py. art, founded on aesthetic marvel and the also a playwright. This biographical and analytical essay sets faith in life they foster. Total theater is his out to examine how theater (in its broad goal, a synthesis of all theater and poetry, est possible sense – a way of being in the to create a fortress against a sense of der world as it encounters the world’s own eliction, even if it means taking risks and way of being) drew a poet from the death- appealing to excess. like grip of anguish in the face of his own insignificance by giving him a destiny. It looks at how the playwright can offer support to people today who are also confronted by a spectacular absence of meaning on an apocalyptical level. Timothée Picard
LE POINT DE VUE DES ÉDITEURS
Que peut le théâtre ? Qu’est-ce que l’individu et la communauté- OLIVIER PY sont en droit d’en attendre ? Rien moins que sauver des êtres, des âmes, des vies, répond, au-delà de tout prosélytisme, l’actuel di Planches de salut recteur du Festival d’Avignon, le dramaturge et metteur en scène Olivier Py. Cet essai, à la fois biographique et analytique, se propose donc de voir comment le théâtre, au sens le plus extensif que peut prendre ce terme – une façon d’être au monde répondant PICARD TIMOTHÉE à une manière d’être du monde lui-même –, a pu tirer le poète d’une angoisse mortifère procurée par le spectre de l’insigni- fiance en lui donnant un destin ; et comment il peut à son tour l’offrir comme viatique aux hommes et femmes d’aujourd’hui, confrontés à une spectaculaire absence de sens qui semble avoir pris des traits d’apocalypse. Ce dont il retourne alors n’est pas tout à fait une religion, encore moins une politique – tout en ayant éminemment à voir- avec elles –, il s’agit plutôt d’une éthique de vie tout entière consacrée à la scène et à l’art, fondée sur l’éblouissement esthé tique et les assurances qu’il donne, et mise en œuvre au moyen d’une poétique faisant du théâtre total, somme et synthèse de tous les théâtres, un rempart contre le sentiment de déréliction – au risque assumé de la démesure. - - Timothée Picard est professeur à l’université de Rennes, spécialiste des ima , ginaires de l’opéra (Verdi-Wagner. Imaginaire de l’opéra et identités natio nales, 2013 ; La CivilisationPatrice de Chéreau : l’opéra. Surtransversales. les traces Théâtre, d’un fantôme cinéma, 2016), des arts de la scène ( , 2015) et des esthétiques de la
Opéra et mise en scène SALUT DE PLANCHES PY, OLIVIER opéra, 2010 ; totalité ( Dictionnaire encyclopédique Wagner, 2010). Il est également dramaturge.
ISBN 978-2-330-10262-3 ACTES SUD ACTES ACTES SUD ACTES SUD JUILLET 2018 9:HSMDNA=VUW[WX: DÉP. LÉG. : xxx € TTC France www.actes-sud.fr
31 - arts > performing arts 11.5 × 21.7 cm 224 pages FAIRE VIVRE L’OPÉRA softback festival d’aix-en-provence/actes sud Un art qui donne sens au monde july 2018 retail price: 8 € KEEPING OPERA ALIVE An art that gives meaning to the world
Bernard Foccroulle
he 70th edition of the Aix Fes dialogue between Bernard Foccroulle and tival in July 2018 will be Ber a series of international experts: the editor- nard Foccroulle’s curtain call as in-chief of L’Avant-Scène Opéra magazine, festivalT director. During his stewardship, Chantal Cazaux; the Financial Times con the festival has undergone unprecedented tributor, Shirley Aphtorp; the historian, development. cultural mediation consultant and chair This work charts the festival’s policies in of the Culture and Démocratie associa terms of creation, the promotion of new tion, Sabine de Ville; and the journalist talent, intercultural dialogue and interna and opera critic, Anton Fleurov. tional reach. Each theme is explored as a
32 - arts > performing arts L’opéra, miroir du monde L’OPÉRA, MIROIR DU MONDE Festival d’Aix-en-Provence 2007-2018 Les soixante-dix ans du Festival d’art lyrique d’Aix-en-Provence coïn- cident avec la fin de mandat de son directeur général, Bernard Foccroulle, à la tête de l’institution depuis 2007. Festival d’Aix-en-Provence 2007–2018 Durant cette période, le Festival d’Aix a confirmé son statut de Direction éditoriale manifestation internationale incontournable, grâce à des créations Louis Geisler et Alain Perroux et à des spectacles d’une rare intensité, portés par les plus grands artistes de la scène lyrique et les étoiles montantes de la jeune géné- ration. Ce faisant, le Festival s’est efforcé de refléter certaines pré- occupations nouvelles du monde qui l’entoure, à travers des formes participatives et une programmation méditerranéenne. Cet ouvrage THE WORLD REFLECTED IN OPERA revient en images sur les soixante-cinq productions d’opéra qui ont jalonné cette aventure singulière. Il propose les témoignages d’une du miroir monde L’opéra, vingtaine d’artistes et de professionnels – chefs d’orchestre, met- teurs en scène, assistants, chanteurs, directeurs d’institutions – qui Festival of Aix-en-Provence 2007–2018 ont accepté de partager leur regard sur certains de ces spectacles ayant marqué l’histoire récente de l’opéra. Bernard Foccroulle Avec les témoignages de Pierre Audi (Die Zauberflöte), Anne-Françoise Benhamou (Die Walküre), Philippe Boesmans (Pinocchio), Bertrand Couderc (De la maison des morts), Stéphane Degout (Pelléas et Mélisande), Émilie Delorme (Kalîla wa Dimna), Natalie Dessay (La Traviata), Bernard Foccroulle (Written on Skin), Leonardo García Alarcón (Elena), Peter Gelb (Le Nez), Emmanuelle Haïm (Il trionfo del Tempo e del Disinganno), Vincent Huguet (Elektra), Louis Langrée (Zaide), Alexander Neef (Le Rossignol et autres fables), Didier Puntos (L’Enfant et les Sortilèges), Gilles Rico (Don Giovanni), Delia Roubtosva (Carmen) et Véronique Thamin (Le Monstre du labyrinthe).
ISBN 978-2-330-10261-6 he Aix Festival of the lyrical arts Each production is presented from start
ACTES SUD Dép. lég. : juillet 2018 32 € ttc France 9:HSMDNA=VUW[V[: CTES D’AIX-EN-PROVENCE SUD / FESTIVAL has undergone unprecedented to its finish, from conception to audience www.actes-sud.fr A ACTES SUD development in the last ten years reaction. There are interviews with those dueT to a series of high-profile productions involved at the various stages of creation. 11.5 × 21.7 cm 224 pages that have been critically acclaimed by the Each performance is an adventure in its softback press, professionals and audiences alike. own right, and all contribute to the same coedition festival approach: to help 21st century opera d’aix-en-provence/actes sud july 2018 flourish. retail price: 29 € To celebrate the The work looks at each performance from 70th anniversary three perspectives: there is a presentation of each work and its relevancy to the Festival’s of the Festival, the overall approach; there are press articles describing the production and its recep 20th anniversary of its tion; and there are interviews with those academy and the 10th year involved in show’s development, provid ing a kind of travelogue. Extensively illus of Bernard Foccroulle’s trated with production photographs, decor impressive stewardship, models, and costume designs, the work also catalogues all shows to have been per this work looks at the formed at the Festival since 1948. most eye-catching performances of its recent history. © Patrick Berger / ArtComPress Berger © Patrick © Pascal Victor / ArtComPress Victor © Pascal
33 - arts > architectureperforming arts 11.5 × 21.7 cm 160 pages NACERA BELAZA 10 color illustrations Entre deux rives softback april 2018 retail price: 15 € NACERA BELAZA Between the shores Frédérique Villemur
Frédérique Villemur is a writer, “An unexpected void fulfilling all expectations – this is perhaps my aim, the overriding art critic and art historian. She theme of all my works, to sculpt this void, give it body, make it palpable, share it and let lectures at Montpellier’s national it dissolve into the infinite space of our bodies.” school of architecture and has Frédérique Villemur with Actes Sud has already published: La Méridienne de Paris (2000), Paul Facchetti. Le his work looks back at the career The author looks at this intercultural studio : art informel et abstraction of the Franco-Algerian choreog aspect of her career and structures her lyrique (2004), Paul Facchetti. rapher Nacera Belaza, born in narrative around Nacera Belaza’s main Photographe (2007). 1969.T works. She describes her “dance-gesture”, A self-taught dancer, Belaza is now a famil not only in her solo work but also work iar feature of the international scene. In ing in duet alongside her sister and collec January 2015 she received the privileged tively with her troupe. The emphasis is on status of Chevalier of the Order of the Arts the radical dimension of Nacera Belaza’s and Letters from the French government. research, marked by the stripping away of Through her desire to share her cul the self and recentering based on an inner tural heritage, she has created a dialogue void against a stage in darkness where between France where her troupe is based instead of expression, the light brings aura. and Algeria, fostering artistic cooperation The work analyses this “dance-gesture” and founding the Temps Dansé festival. and the power of the void for sculpting life.
Le point de vue des éditeurs
Née en 1969 à Médéa en Algérie, Nacera Belaza ar rive à Reims à l’âge de cinq ans. Après des études de lettres modernes, venant à la danse en autodidacte, Frédérique Villemur elle crée sa compagnie en 1989. Autour du solo et - du duo avec sa sœur Dalila Belaza, la Compagnie Nacera Belaza s’est fait connaître à l’international et en France, aux Rencontres chorégraphiques inter- nationales de Seine-Saint-Denis, à la Biennale de la danse de Lyon, au Festival d’Avignon et au Festival Montpellier Danse.
Nacera Belaza danse pour disparaître, pour faire FRÉDÉRIQUE VILLEMUR danser quelque chose de plus grand, de plus infime aussi : elle danse la naissance de la danse. L’inattendu surgit de la lenteur infinie et de la répétition d’un geste depuis la nudité du plateau, dans un cheminement tout intérieur. La radicalité de sa danse, marquée par un dépouillement certain, sculpte le vide pour le rendre palpable. Frédérique Villemur explore ici les pièces de Na cera Belaza à partir du Cri régraphe, engageant une réflexion(2008) quisur a unrévélé geste la dansécho- pris entre deux rives, entre l’Algérie et la France. -
Frédérique Villemur est auteure, critique et historienne de l’art. Maîtresse de conférences à l’École nationale supérieure d’architecture de Montpellier, elle a publié chez Actes Sud :
La Méridienne de Paris (2000), Paul Facchetti. Le Studio. NACERA BELAZA Art informel et abstraction lyrique Photographe (2008) et dix ouvrages aux Éditions de l’Espé (2004), NACERA rou sur l’art contemporain, l’architecture et la danse.Paul Facchetti. - Photographie de couverture : © David Balicki BELAZA ACTES SUD DÉP. LÉG. : ISBN 978-2-330-09740-0 entre deux rives AVRIL 18 e TTC France 2018 www.actes-sud.fr 9:HSMDNA=U^\YUU:
ACTES SUD