Foire Internationale : Dessins du 21e siècle

(english version) semaine du dessin 2010 paris welcome art schools jury thank you partnerships FID team

summary 02 W D hy the FI ? To answer the questions which artists, collectors, gallery owners are asking themselves in the current situation. We are living through a financial and social crisis, which people speak much of. We are also living through a cultural crisis, the existence of which we pretend to deny.

For the FID to fulfill its task, it must become the meeting place of inheritance and future. A meeting of inheritance—experience, know- how, the great tradition of European drawing—and future: the students of the art universities of all of Europe.

This is our bet on the future: transmission.

Serghei Litvin

welcome 03 Serghei Litvin, president of the jury

Camilla Adami, painter

Christian Depardieu, director of the Depardieu gallery ()

Pierre Durieu, Mazarine bookshop (modern and contemporary art)

Pantelis Makkas, video artist

Hadrien de Montferrand, Montferrand gallery (Beijing)

Charles Penwarden, writer and contemporary-art collector

Alice Pfeiffer, art journalist (New York Times, Art in America)

Vladimir Velickovic, artist, member of the Académie

jury 04 STAATLICHE AKADEMIE DER BILDENDEN KUNSTE FINNISH ACADEMY OF FINE ARTS (Karlsruhe, GERMANY) (Helsinki, FINLAND) official partner

Stephanie Abben Eveliina Hämäläinen Nastassia Atrakhovich Marion Roger Patrizia Liguda Julia Sinner ÉCOLE NATIONALE SUPÉRIEURE D’ARTS PARIS-CERGY (Paris-Cergy, ) official partner ACADÉMIE ROYALE DES BEAUX-ARTS DE BRUXELLES (Brussels, BELGIUM) Camille Amzallag Paul Maheke Aurélie Gravelat Hélène Moreau ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS (Paris, FRANCE) ÉCOLE NATIONALE SUPÉRIEURE DES ARTS VISUELS (Brussels, BELGIUM) official partner Léonore Aberdam Nour Awada Élisa Espen Mireille Blanc Lucie Kohler Laura Cambon Marijke Noppe Marie Anne Franqueville Marie Tribolet Kristína Hecková Sofia Hihat Woojung Hoh DET FYNSKE KUNSTAKADEMI Anne Leclerc (Odense, DENMARK) Anne Lopez Charalambos Margaritis Pascal Mayet Yuichiro Moriyama Marc Moyano Félix Pinquier AALTO UNIVERSITY SCHOOL OF ART AND DESIGN Camille Rosa (Helsinki, FINLAND) official partner Thibault Scemama de Gialluly Adrian Schindler Laura Ukkonen Ken Sortais Lise Stoufflet Nima Zaree Nahandi Art Schools 05 ÉCOLE SUPÉRIEURE D’ART DE CAMBRAI ACCADEMIA DI BRERA (Cambrai, FRANCE) official partner (Milano, ITALY) official partner

Alice Steinmetz Olga Abramova Francesca Agnelli Alessandra Belloni NICE (Nice, FRANCE) official partner FACULTÉ DES BEAUX-ARTS DE BELGRADE Hugo Ansel (Belgrad, SERBIA) official partner Chloé Delarue Julien Laugier Tanja Bogdanic Rafaela Lopez Ana Cvejic Jean-Charles Michelet Lidija Delic Pauline Stork Biljana Veselinovic

SLADE SCHOOL OF FINE ARTS ÉCOLE CANTONALE D’ART DU VALAIS (London, GREAT BRITAIN) (Sierre, SWITZERLAND) official partner

Georgie Flood Omar Ba Yoonjin Jung

HAUTE ÉCOLE D’ART ET DE DESIGN WINCHESTER SCHOOL OF ART (Geneva, SWITZERLAND) official partner (Winchester, GREAT BRITAIN) official partner Aurélie Menaldo Edward Lawrenson

Art Schools 06 École nationale supérieure des arts visuels de La Cambre (Brussels, Belgium)

Elisa Espen Lucie Kohler Marijke Noppe Marie Tribolet

The École Nationale Supérieure des Arts Visuals de la Cambre, in Brussels, provides seventeen majors, each associated with a discipline of the visual arts or of design, and offers a five-year education resulting in a masters degree. The teaching of drawing holds an important place at la Cambre under two essential forms: J ury 2002 Tessy Bauer (atelier de dessin g\d Isabelle Guissart, Brice Guilbert, un visiteur, Nathalie Garot) first, that of a course in figure drawing given to the students of all of the majors in their first year, and, second, that of a major devoted to drawing as a mode of expression in its own right. la Cambre by the numbers: It is in this latter major that all of the students of la Cambre participating in the 2010 FID are enrolled. On the occasion of its - 17 artistic options 30th anniversary, the Drawing department is organizing an exhibition - 680 students from 1st to 5th year, of which 38 students are in the of students’ drawings made between 1980 and today. Drawing option. A catalogue is in press. - 230 faculty members (professors, assistant professors, and lecturers) - 72 diplomas in June 2009 (masters degree), 5 of which were in the Caroline Mierop, Director Drawing option. Art Schools 07 Al i a to Un versity School of Art and Design (Helsinki, Finland)

Laura Ukkonen

DRAWR O DIE! Drawing is perhaps the most essential native tongue, esperanto and basic skill taught for everybody in TAIK (Aalto University School of Art and Design, Department of Art). At least that’s how most of us in the Department of Art think. Maybe others feel similarly too, since not only students of fine arts but also students of for example film and photography go through obligatory drawing classes.

Our new tactic about teaching drawing is «schizophrenic»: already on the first drawing course the students are taught both traditional model drawing AND introduced to wildly different uses of drawing in contemporary art. Our idea is that drawing is not just a rudimentary basic skill but also a valid and living contemporary art practice. A dventures of a Witch Girl, by Teemu Mäki and his 6-year-old Daughter Ursula

TEEMU MÄKI Artist, Professor of Fine Arts (Doctor of Fine Arts) Vice Director, Department of Art Art Schools 08 The Finnish Academy of Fine Arts (Helsinki, Finland)

Eveliina Hämäläinen Marion Roger

The Finnish Academy of Fine Arts has strengthened its teaching of drawing in the past years. The return to the roots of the 162-year old art school has happened by systematically emphasizing the value of teaching of drawing and by offering an increasing number of opportunities to practise drawing in the Academy. Nowadays a special drawing class gathers twice a week. Students may attend the class when it suits their schedules – a model and materials are provided by the Academy on these given times. For the first year students who start their studies in the Academy, the drawing classes are part of the compulsory studies. The teaching of drawing is mainly based on practice but there are also lectures and critiques as well as open discussions with artists who use drawing in their artistic work.

Rector Markus Konttinen

Art Schools 09 É ACole N TIONALE SUPÉRIEURE D’ARTS (Paris-Cergy, France)

Camille Amzallag Paul Maheke

The École Nationale Supérieure d’Arts is a French public entity under the supervision of the Ministry of Culture and Communication. The “Art” option, which defines the school’s curriculum, orients it towards a critical and creative approach to artistic practices. Open to the world of our time and to its changes, the school responds with a poetic and creative questioning of the present. Over five years, its curriculum has favored the intercrossing of disciplines. Situated between Paris and Cergy, the school sees itself and experiences itself as an offshore rig. A place of exchange, of meeting, and of creation, the school resolutely engages that which will bring it outside of itself.

Art Schools 10 Écolep Su érieure d’art de Cambrai (France)

Alice Steinmetz

C ommunication major—99 students in 2009/2010

1st and 2nd semester: the 30 students follow a weekly 4-hour course focusing primarily on life drawing and graphic experimentation. The goal is to sharpen the students’ gaze and their curiosity, and to foster a personal style. Teacher C. Bouvier

Studio, Expression through Drawing: 4 hours a week, open to all students from the 3rd semester on (31 enrolled). Here one develops a personal mode of thought and expression through drawing. The student defines a line of research and ensures that drawing will play a role in the different stages of his or her project, with the final realization calling upon drawing itself or on other practices. Directed by G Bachelet, illustrator, and C. Bouvier, visual artist.

Text by Christine Bouvier Art Schools 11 V Illa Arson NICE École nationale supérieure d’art (France)

Hugo Ansel Chloé Delarue Julien Laugier Rafaela Lopez Jean-Charles Michelet Pauline Stork

D rawing, a pivotal role

The practice of drawing at the Villa arson—as an École Nationale The regular practice of drawing aspires to lead students towards Supérieure d’Art—lies within the line of instruction “painting- a personal style. Alongside the most traditional techniques drawing” directed by Noël Dolla, Arnaud Labelle-Rojoux, Frédéric (engraving, lithography, silk-screening) or the most contemporary Clavère, as well as Jean-Luc Verna and Nathalie Christophe who techniques linked to digital technologies, drawing still holds a teach this discipline more specifically. pivotal role in the most current artistic education and work—as the The drawing classes are for 1st and 2nd year students, with Villa Arson conceives of them and defends them. an approach that is at once academic and experimental: figure drawing, studies of classic and contemporary works, architectural Nathalie Christophe, artist and teacher of drawing drawings, drawing and movement… drawing becoming as much a tool—a need for sketches or drafts to define a project—as a medium of artistic expression in its own right.

Art Schools 12 W inchester School of Art (Grande Bretagne)

Edward Lawrenson

D rawing at Winchester School of Art … is fundamental to Fine Art and encompasses the full range of what drawing can be today: technical plans and documents, drawing for painting, sculpture, video, installation or performance, drawing from life and imagination, drawing as exploration or research. All these and more are encompassed by our course. We draw on the rich history of drawing in this past century to offer students the greatest possible range of approaches to the discipline. We do not teach it as a separate practice. Rather, drawing is viewed as an integral part of art, pursued to a greater or lesser extent, as appropriate to an individual’s ideas. Students at WSA thrive in a vibrant art school environment that respects drawing as a key source of creative energy in contemporary art. by Nick Stewart, Programme Leader for Fine Art.

Art Schools 13 A ccademia di Brera (Milano, Italy)

Olga Abramova Francesca Agnelli Alessandra Belloni

I n the last years, the course of drawing is acquiring its own autonomy and importance within the academic training. There are at the moment six courses of drawing in our school that, in different ways, elaborate the several languages of this technique that for many years, was considered mere training, support and basic study for all other artistic disciplines. Now the focus is to study the various technical and grammatical aspects of the Drawing: the sign, the gesture, the relationship of light and shade and the proper use of specific technologies in relation to media and on the other hand there is the attention to investigate, in different ways within the six courses, the various expressive problems of the “drawing language” with the aim of identifying its own perceptions of the world that can become a metaphor for the artist. Italo Chiodi, professor of Drawing

Art Schools 14 The Faculty of Fine Arts (Belgrad, Serbia)

Tanja Bogdanic Ana Cvejic Lidija Delic Biljana Veselinovic

D rawing is the basic discipline at all departments. Students of 1st and 2nd year at Painting Department have 20 hours of drawing life-sized nude/portrait/ambient with still life drawing, and the older students have 8 hours per week. At Sculpture Department it is: 8 per week on 1st and 2nd and 5 in 3rd year of Bachelor and 6 in 1st and 5 hours per week in 2nd year of Master. At Printmaking Department there are16 hours per week in 1st and 2nd year of Bachelor and 8 hours per week for older students. Drawing is also included in Plastic Anatomy and Life Drawing. Student can choose drawing as his/her primarily discipline at Doctorate in Art studies. The number of teachers of Drawing courses is 15 professors and 2 assistants.

Text by As.Prof. Aleksandar Mladenovic, Vice Dean

P hoto by As.Prof. professor Branko Rakovic, Vice Dean Art Schools 15 École cantonale d’art du Valais, Sierre (Switzerland)

Omar Ba

I s drawing not the most magnificent way of creating meaning in an artistic gesture which directly links thought with the hand and the eye, all in great freedom? Drawing therefore has always had its place at the École Cantonale d’Art du Valais, to accompany the conception of a project or the preparation of a work, and especially as a discipline which has become largely autonomous in contemporary work.

The question of Drawing in an art school has also been addressed in a colloquium entitled “Du Dessin à Dessein” (“From Drawing to Pourpose,” 2001), which gathered participants who give drawing a central role in their reflections, these latter having been continued through a series of workshops.

Between drawing and design lies a line of research that is at the heart of the mission of the ecaV: the investigation of the public sphere and the possibility, through artistic intervention, of redrawing the space of the work and of the interchange.

Françoise Brunner Coordinator of the Bachelor’s program

Robert Ireland Coordinator of the first-year program

Federica Martini Coordinator of the Masters program Art Schools 16 Hu a te École d’Art et de Design (HEAD) Geneva (Switzerland)

Aurélie Menaldo

The Haute École d’Art et de Design – Geneva locates drawing within a broad, open perspective, giving full attention to its most contemporary developments. The painting and drawing option, like all of the teaching at HEAD – Geneva, offers an artistic training based on personal experiment and encouraging the exploration of different mediums as well as movement between different artistic fields. Today, drawing has freed itself from the space of the sheet of paper and is no longer limited to the simple use of pencil. It now informs all kinds of artistic practices, from photography to animation, and including installation, sculpture and performance. The pedagogical challenge of the painting and drawing option is to foster openness in the propositions put forward by students and encourage them to freely explore different aesthetic currents in order to develop an independent practice and way of thinking. The programmes are articulated around technical courses, individual tutorials with teaching staff and internationally renowned artists, workshops and practical artistic projects. This well-rounded course is further enriched by regular talks by curators and directors of cultural institutions, exhibition tours in Switzerland and abroad, and discussions and critical debates. Art Schools 17 G Ermany STAATLICHE AKADEMIE DER BILDENDEN KUNSTE Stephanie Abben 34 years old 7th year 18 G Ermany STAATLICHE AKADEMIE DER BILDENDEN KUNSTE Nastassia Atrakhovich 32 years old 7th year 19 G Ermany STAATLICHE AKADEMIE DER BILDENDEN KUNSTE Patrizia Liguda 24 years old 5th year 20 G Ermany STAATLICHE AKADEMIE DER BILDENDEN KUNSTE Julia Sinner 26 years old 5th year 21 BL E GIum ACADÉMIE ROYALE DES BEAUX-ARTS DE BRUXELLES Aurélie Gravelat 28 years old 6th year 22 BL E GIum ACADÉMIE ROYALE DES BEAUX-ARTS DE BRUXELLES Hélène Moreau 25 years old 5th year 23 BL E GIum ÉCOLE NATIONALE SUPÉRIEURE DES ARTS VISUELS Élisa Espen 27 years old 6th year 24 BL E GIum ÉCOLE NATIONALE SUPÉRIEURE DES ARTS VISUELS Lucie Kohler 24 years old 5th year 25 BL E GIum ÉCOLE NATIONALE SUPÉRIEURE DES ARTS VISUELS Marijke Noppe 27 years old 26 BL E GIum ÉCOLE NATIONALE SUPÉRIEURE DES ARTS VISUELS Marie Tribolet 21 years old 27 DENMAR K DET FYNSKE KUNSTAKADEMI Pascal Mayet 30 years old 1st year 28 F Inland AALTO UNIVERSITY SCHOOL OF ART AND DESIGN Laura Ukkonen 33 years old 7th year 29 F Inland FINNISH ACADEMY OF FINE ARTS Eveliina Hämäläinen 26 years old 2nd year 30 F Inland FINNISH ACADEMY OF FINE ARTS Marion Roger 23 years old 4th year 31 F Rance ÉCOLE NATIONALE SUPÉRIEURE D’ARTS PARIS-CERGY Camille Amzallag 24 years old 5th year 32 F Rance ÉCOLE NATIONALE SUPÉRIEURE D’ARTS PARIS-CERGY Paul Maheke 25 years old 4th year 33 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Léonore Aberdam 24 years old 4th year 34 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Nour Awada 25 years old 3rd year 35 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Mireille Blanc 25 years old 6th year 36 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Laura Cambon 24 years old 5th year 37 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Marie Anne Franqueville 30 years old 6th year 38 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Kristína Hecková 25 years old 4th year 39 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Sofia Hihat 28 years old 4th year 40 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Woojung Hoh 23 years old 2nd year 41 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Anne Leclerc 27 years old 42 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Anne Lopez 24 years old 4th year 43 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Charalambos Margaritis 25 years old 3rd year 44 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Yuichiro Moriyama 26 years old 3rd year 45 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Marc Moyano 26 years old 2nd year 46 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Félix Pinquier 27 years old 4th year 47 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Camille Rosa 24 years old 2nd year 48 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Thibault Scemama de Gialluly 23 years old 3rd year 49 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Adrian Schindler 21 years old 3rd year 50 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Ken Sortais 5th year 51 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Lise Stoufflet 20 years old 1st year 52 F Rance ÉCOLE NATIONALE SUPÉRIEURE DES BEAUX-ARTS DE PARIS Nima Zaree Nahandi 27 years old 3rd year 53 F Rance ÉCOLE SUPÉRIEURE D’ART DE CAMBRAI Alice Steinmetz 22 years old 4th year 54 F Rance VILLA ARSON NICE Hugo Ansel 22 years old 1st year 55 F Rance VILLA ARSON NICE Chloé Delarue 24 years old 3rd year 56 F Rance VILLA ARSON NICE Julien Laugier 20 years old 1st year 57 F Rance VILLA ARSON NICE Rafaela Lopez 22 years old 1st year 58 F Rance VILLA ARSON NICE Jean-Charles Michelet 22 years old 3rd year 59 F Rance VILLA ARSON NICE Pauline Stork 22 years old 3rd year 60 G ReaT BRITAIN SLADE SCHOOL OF FINE ARTS Georgie Flood 1st year 61 G ReaT BRITAIN SLADE SCHOOL OF FINE ARTS Yoonjin Jung 28 years old 2nd year 62 G ReaT BRITAIN WINCHESTER SCHOOL OF ART Edward Lawrenson 22 years old 3rd year 63 I TAly ACCADEMIA DI BRERA Olga Abramova 23 years old 2nd year 64 I TAly ACCADEMIA DI BRERA Francesca Agnelli 21 years old 3rd year 65 I TAly ACCADEMIA DI BRERA Alessandra Belloni 20 years old 1st year 66 SERA BI FACULTÉ DES BEAUX-ARTS DE BELGRADE Tanja Bogdanic 21 years old 3rd year 67 SERA BI FACULTÉ DES BEAUX-ARTS DE BELGRADE Ana Cvejic 25 years old 3rd year 68 SERA BI FACULTÉ DES BEAUX-ARTS DE BELGRADE Lidija Delic 24 years old 5th year 69 SERA BI FACULTÉ DES BEAUX-ARTS DE BELGRADE Biljana Veselinovic 27 years old 3rd year 70 SWIZ T Erland ÉCOLE CANTONALE D’ART DU VALAIS Omar Ba 33 years old 1st year 71 SWIZ T Erland HAUTE ÉCOLE D’ART ET DE DESIGN Aurélie Menaldo 26 years old 7th year 72 The interest of artistic exchanges between Belgium and France is no It is our friend, Vladimir Velickovic, himself a great draughtsman, who has longer to demonstrate. Once again, at the occasion of the International led us to discover your fair of European art schools. To give students the Fair: Drawings of the 21sty century, young people from two famous Art occasion to show their work, to give them also the occasion to meet each schools in Belgium will have the opportunity to show their skills to the other, to exchange ideas, is an initiative which we would like to salute. french audience. That the artists of tomorrow from nine countries will meet in Paris, in the The “triple patronage” granted to this Fair proves the importance the framework of the Semaine du Dessin 2010, explains the interest which the Kingdom of Belgium and all its components attach to this event of original project of this 2nd FID has created. cultural expression and each competent Community (French Community, Flemish Community and German speaking Community) will bring its own contribution to it.

Jean-Pol Baras Baudouin de la Kethulle de Ryhove Nic Vandermarliere Dušan T. Batakovic Representative of the Belgian Ambassador Representative of the Serbian Ambassador to France Governments of the Flemish Government French Community and of the Walloon Region

We express to His Excellency the Belgian Ambassador Baudouin de la Kethulle de Ryhove, We express to His Excellency Serbian Ambassador Dušan T. Batakovic our gratitude as well as to the Representative of the Governments of the French Community and the for the high patronage that His Excellency has been willing to accord to us. Walloon Region, Jean-Paul Baras, and to the Representative of the Flemish Government, Nic Vandermarliere, our deepest gratitude for the high patronage they have been willing to accord to us.

We thank His Excellency the German Ambassador Reinhard Schäfers W e thank His Excellency Swiss Ambassador Ulrich Lehner for the official for the official partnership that his Embassy has been willing to accord to us. partnership which his Embassy has been willing to accord to us. thank you 73 director Serghei Litvin

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web design Myriam Breitman Cercle D is a non profit organization founded in 2007 by Serghei Litvin Foire Internationale : Dessins du 21e siècle is a Cercle D event Communic’art, François Blanc, president and director

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FID TEAM 74