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• 

  Aurore Callias

  Illustratrice

  www.aurorecallias.net

  Aurore Callias

  Il y a 15 ans

  

  http://www.aurorecallias.net

  Travaux d'Aurore Callias, illustratrice

  

  Thèmes : Dessin, Illustration
• 

  Baptiste de Ville d'Avray

  Photographe

  www.baptiste-dva.fr

  Tiwizi à Iguiouaz # 01

  Il y a 15 ans

  / BLOG

  

  Bienvenue à Iguiouaz, petite oasis de 60 familles située dans la province de Tata au Maroc.
  Le système oasien subit fortement le changement climatique et la désertification.
  L'association Tiflit, qui rassemble les agriculteurs du village, est en train de mettre en place un programme d'adaptation communautaire avec la réhabilitation de la palmeraie.
  Cette oasis rassemble plusieurs générations d'habitants : s'y cotoient enfants, jeunes et vieux.
  La plupart des adultes entre trente et cinquante ans sont partis en ville à la recherche d'un travail.
  Youssef Elkardaoui (en premier plan) a 24 ans, il est étudiant à Agadir en faculté d'anglais mais lors de ses congés il revient aider sa famille à Iguiouaz. Il est très investit dans la sauvegarde de l'oasis et est un maillon important entre jeunes et vieux.
  
  La suite de "Tiwizi à Iguiouaz" prochainement...

  Suite

  

  Thème : Photographie
• 

  David Tétard

  Auteur, compositeur, interprète

  www.jaitoujoursrevedetreungroupederock.fr

  21 Avril 2010

  Il y a 15 ans

  / Concerts

  

  Les Trois Baudets
  Paris (75)
  Fête la sortie de "j'ai toujours rêvé d'être un groupe de rock" avec ses copains...

  Suite

  

  Thème : Musique
• 

  David Tétard

  Auteur, compositeur, interprète

  www.jaitoujoursrevedetreungroupederock.fr

  Krinein Magazine

  Il y a 15 ans

  / Presse

  

  David Té­tard - J'ai tou­jours rêvé d'être un groupe de rockAprès 12 pures chan­sons en 2002, Mes dix doigts en 2005 puis Fau­dra faire avec en 2007 sor­tis sous le nom de Té­tard, David Té­tard se lance en solo, seule­ment ac­com­pa­gné d'une chan­teuse Cé­cile Her­cule et du mu­si­cien Mat­thieu Pei­gnoux, pour un qua­trième album J'ai tou­jours rêvé d'être un groupe de rock.Entre rock et chan­son
  The Wall ver­sion Té­tard
  
  David Té­tard a pré­cé­dem­ment col­la­bo­ré avec des poids lourds de la chan­son fran­çaise comme Phi­lippe Al­mos­ni­no des Wam­pas ou Gaëtan Rous­sel de Louise At­taque et Tar­mac. Pour ce nou­vel album, c'est cette fois Eric Di­gaire (Mat­ma­tah) qui réa­lise les onze titres de cet opus ancré pro­fon­dé­ment dans l'une des spé­cia­listes fran­çaises, le mé­lange rock/chan­son qu'ont po­pu­la­ri­sé ses pré­cieux aînés. Les ri­tour­nelles de gui­tare de L'im­pru­dence ou le faux rythme de J'ose pas ra­mènent in­évi­ta­ble­ment aux grandes heures de Louise At­taque, même si l'in­fluence du groupe pa­ri­sien, de­puis les dé­buts de Tê­tard, ne se fait sen­tir qu'oc­ca­sion­nel­le­ment. On pour­rait même évo­quer In­do­chine ou Mi­ckey 3D au dé­tour d'une chan­son ou d'une autre. Au fil de l'album, le rock éner­gique du pre­mier titre laisse petit à petit sa place à des chan­sons plus in­ti­mistes, plus tristes aussi. C'est ainsi que L'écume des jours se ré­vèle à l'au­di­teur ca­far­deux comme un jeudi du mois de mars quand le pla­fond des nuages des­cend sur terre pour mouiller de brouillard la terre. De la même façon, L'amour passe aux so­no­ri­tés nos­tal­giques ne peut qu'ar­ra­cher des sou­pirs mé­lan­co­liques et pas­séistes.Voix de ga­rage
  Scott Ba­ku­la ver­sion Té­tard
  
  Si David Té­tard se dé­marque de ses glo­rieux aînés, c'est cer­tai­ne­ment dans sa voix de gra­vier, une voix éraillée et grin­çante qui sur­vole le ter­roir fran­çais, ac­com­pa­gnée et adou­cie par la voix douce et aé­rienne de Cé­cile Her­cule (L'amour passe, La beau­té du geste). Cette voix si par­ti­cu­lière s'échine sur le plus beau des thèmes, celui qui fait battre les cœurs en­dur­cis et pleu­rer les mi­di­nettes, en peu­plant son uni­vers d'his­toires d'amours, d'amour ti­mide sur J'ose pas, d'amour tran­si sur La beau­té du geste, d'amour ou­blié sur L'amour passe, mais d'amour tou­jours. Le ta­lent de pa­ro­lier de Tê­tard tresse sur ces thèmes de biens beaux atours en croi­sant les roses, les pauses et ces choses qui in­dis­posent sur J'ose pas, en dé­cli­nant à l'in­fi­ni les mots en 'ile' sur Cé­cile ou en mul­ti­pliant les al­li­té­ra­tions chères à Ra­cine sur L'amour passe. Cette écri­ture donne un ca­chet par­ti­cu­lier à J'ai tou­jours rêvé d'être un groupe de rock et per­met à Té­tard de nous of­frir un album vrai­ment sym­pa­thique.   J'ai tou­jours rêvé d'être un groupe de rock s'ins­crit plei­ne­ment dans une chan­son fran­çaise mâ­ti­née de rock qui ne peut que char­mer l'au­di­teur. Certes on ne crie­ra pas à l'ori­gi­na­li­té, ni même au génie, mais les mé­lo­dies ac­cro­cheuses et la voix cas­sée de David Té­tard sau­ront être ce « petit bout de temps d'in­uti­li­té » que nous chante l'au­teur/com­po­si­teur.
  
  nazonfly
  

  Suite

  

  Thème : Musique
• 

  Injonction

  Projet de dessin collaboratif

  injonction.metaproject.net

  Hors-d'œuvre inquiétant

  Il y a 15 ans

  / Injonctions

  • 1 - hors d'oeuvre inquiétant

  • 2 - hors-nej

  • 3 - horsd'oeuvre-aurore

  • + 20 media(s)

  

  Thème : Dessin
• 

  Anne Van Der Linden

  Artiste peintre et dessinatrice

  www.annevanderlinden.net

  Freak wave

  Il y a 15 ans

  / Editions

  

  Revue misanthropique d'images &
  textes bilingues - 33 participants
  offset couleur 132 p. - 15x 21 cm
  
  éditions Orbis Pictus Club 2008
  
  + d'infos sur cette revue

  Suite

  

  Thèmes : Arts plastiques, Dessin, Peinture
• 

  Anne Van Der Linden

  Artiste peintre et dessinatrice

  www.annevanderlinden.net

  Bibliographie

  Il y a 15 ans

  / Editions

  Histoire d’os ( Voix éditions 2009)
  Dessins de AVDL, texte de Jérôme Bertin , n & blanc, 96 pages, 11,5 X16 cm
  
  Sous le signe de Cyber-Cybèle ( éditions L'Harmattan 2009)
  Poèmes de Nina Zivancevic, illustrations n&bl de AVDL, 80 pages, 13,5 X 21,5 cm
  
  Zombie plage (Ah Pook éditions 2008)
  Porte-folio de 4 eaux-fortes d'Anne van der Linden numérotées et signées, 15,5 x 12,5 cm, 30 exemplaires
  
  L’imagier du diable ( Ragage éditeur 2008)
  Peintures, dessins, préface de Charles Pennequin, texte de dKelvin, impression numérique couleur, 80 pages,15X21 cm
  
  Fragments du carnage ( Voix éditions 2008)
  Poèmes de Jérôme Bertin, illustrations couleur de AVDL, 52 pages, 14 X 21 cm
  
  Freak wave ( Orbis pictus club 2007)
  Collectif images et poésie bilingue, offset couleur, 132 pages, 15X 21 cm
  
  Trouble fête (éditions La boîte à gants 2007)
  Poèmes de Vincent Pachès, illustrations de Anne van der Linden, impression numérique n & blanc, 28 pages, 22X 26 cm
  
  Satan m'habite ( Ragage éditeur 2005 )
  Peintures, préface de Charles Pennequin, impression numérique couleur,76 pages,15X21 cm
  
  Ton cul pue ( édité par Allemane 2003 )
  Collectif images et poésie avec Angelo, Marc Fischer, Bruno Richard, Christophe Manon, Charles Pennequin, Jean Rouzaud, Giulio Nesi, Costes, Allemane, Antoine Dufeu, June Shenfield, Anne van der Linden, sérigraphie 3 couleurs, 64 pages,18X13 cm
  
  Viva la merda ( Les éditions Hermaphrodite 2003)
  Roman de JL Costes, illustrations de couverture AVDL, 156 pages, 14 X 21 cm
  
  K . or t (OR) Tu(R)& ( Trame ouest 2001)
  Textes de Philippe Boisnard, illustrations de AVDL, préface de Mehdi Belhaj Kacem, impression numérique couleur,14x18 cm
  
  La dame blanche ( édité par Allemane 2001)
  Dessins de Pascal Doury et AVDL, sérigraphie 3 couleurs,16 pages,18x26 cm
  
  Je veux être ton singe ( réedition Bongoût 2000 )
  Texte et dessins de AVDL, sérigraphie 3 couleurs 20 pages, 20x24 cm
  
  La caverne sentimentale ( United dead artists 2000 )
  Dessins, peintures et romans-photos de AVDL, textes de Jean Rouzaud, Costes, June Shenfield, offset couleur,112 pages,15x22 cm
  
  Bise d'Anne ( CBO 2000 )
  Dessins, dépliant sérigraphié, 3 couleurs, 8 pages,10,5 x10,5 cm
  
  Le poil ( Les 4 mers éditions 1999 )
  Texte de Morvandiau, illustrations de AVDL, offset noir & rouge, 40 pages,18x13 cm
  
  Bovary's boys ( CBO éditions 1999 )
  Dessins de AVDL, texte de Armelle Kerouas, dépliant sérigraphié couleur, couverture cartonnée, 12,5 x 22 cm
  
  Je veux être ton singe ( CBO éditions 1999 )
  Texte et dessins de AVDL noir & blanc, couverture sérigraphiée rouge et argent,16 pages,15x17 cm
  
  Le rationnement de l'air ( L'art pénultième éditions 1998 )
  Roman de Olivier Prieur, illustrations de AVDL noir & blanc, couverture cartonnée argent
  
  Tais-toi et bande ( CBO 1997 )
  Dessins de AVDL, texte de June Shenfield, sérigraphie 4 couleurs,14 pages, 22X15 cm,
  
  Livrées aux chiens ( CBO 1996 )
  Dessins de AVDL, textes de Céline Galliot, Lisa Falour, Hélène Girard sérigraphie 4 couleurs, A4
  
  Amour m'a tué ( Chacal puant 1996 )
  Dessins de AVDL, texte de Costes, sérigraphie couleur
  
  Systèmes sexuels ( Monotrash éditions 1995 )
  Dessins de AVDL, texte de Costes, sérigraphie couleur, 20 pages, 16X16 cm
  
  Heavy meat ( J.P. Faur éditeur 1995 )
  Peintures de AVDL, texte de June Shenfield, offset couleur, 24 pages, 21x21cm

  Suite

  

  Thèmes : Arts plastiques, Dessin, Peinture
• 

  Anne Van Der Linden

  Artiste peintre et dessinatrice

  www.annevanderlinden.net

  Eaten by ducks - an interview by Gaspard Garcia

  Il y a 15 ans

  / Presse

  Eaten By Ducks
  Tuesday, June 23, 2009
  
  Nobody can avoid the radical in Anne van der Linden’s paintings; many also see the sentimental and peaceful dimensions of them. I’m seeking the human nature and tragedy that they are transcribing.
  There are often contrasts between characters who are detached from the scenes depicted and those who are fully conscious and affected by them. This is the case in the painting where a child has his mouth and arsehole carved by the Alder king who also happens to be his father. The sadness on the face of the father who is teaching a lesson about life when the child seems blasé and bound by his flesh may be a profound statement about vice. This is tragic.
  Also I respect very much that in Anne van der Linden’s paintings many different situations and relationships are present. The social patterns (gender, age, social class, lifestyles, sexual preferences etc…) aren’t always the same. When consumerism encourages people to define their identity so they can fit the market that has been designed for them, this multiplicity reminds us that we can face all the dimensions of our specie. The radical dimensions of these paintings work as a gargoyle: they protect something. Also Anne's paintings are sexy and hilarious!
  
  L: I’d like to know more about the different artistic directions you’ve explored… What were your different steps?
  
  A: I started with improvised drawings, a mix of figures, symbols and abstract objects and lines, then I went to art school for 2 years and after that started a 3 or 4 year experiment with abstract painting. They were very thick, organic paintings, I tried to get away from consciousness and judgement in order to create a pure expression of inner feelings...well that was bullshit, I mean a deadlock for me which drove me close to depression, so after a 3 year break, I went back slowly to narrative art.
  
  L: You wrote that your work was grotesque social pornography. Why? What should it mean? Is there something strategic in this term, something you believe in?
  
  A: I cannot remember myself saying that, I should have said “obscenity” rather than “pornography”.
  But truly there is something grotesque in my figures: they are so ambiguous, caught by a situation they don’t seem to belong to, assuming all the social codes while making them untidy, invaded by bestiality and at the same time so stiff and civilized. I think that this permanent contrast of order and disorder brings the sensation of social obscenity.
  
  L: You’ve been involved in performances with Jean-Louis Costes? Could you describe these performances?
  It was quite a long time ago, it was fun having a rock ’n roll band life style, touring and doing crazy things on stage, and a strange sensation of getting out of my body while I was acting, as if in a trance.
  
  L: Any anecdotes or striking moments?
  
  A: I got knocked in the face by a Swiss girl who came on stage while I was acting. After the show I went to get her and asked her why she did that, and her answer was “Did you see how they treated you on stage?” A feminist answer… Ha! Ha!
  
  L: I have the feeling that many artists who’ve evolved in the same context as yours are quite reticent to comment about their work. What about you?
  
  A: Commenting is something I need to do, it’s always an opportunity for me to clear my ideas, and put distance between myself and creation, that enables a renewed vision.
  But it’s not so easy though. Sometimes the words are much lower than the image, just superfluous, or sometimes they kill the image! One has to find a way....I hope I do!!!
  
  L: I guess that 90 percent of the « psychological interpretations » people want to make when they look at paintings are erroneous. When you have the opportunity to discuss your art, what sort of themes did the viewers questioned you about?
  
  A: I don’t know, not that interesting in general... seems that most of the time viewers ask questions to themselves and not to me!
  I don’t blame them but it’s just boring ... generally it’s about sex and taboos, things that they search for or, on the contrary, reject, or how I can live and assume such a type of art etc...
  In general I believe that few people can look at a piece of art and penetrate its logic, only very sensitive persons can do that... or professional eyes...
  
  L: What passes through your mind when you’re painting? What sort of correlation is there between what you’re representing and what you’re actually thinking? Any symbols? Signs?
  
  A: I start from a drawing or a sketch, so while painting I first think about technical matters, how to build my image, the volumes, contrasts, colors and shape associations, so maybe what passes in my mind would be “sensitive thoughts”, how I feel my own body, the surrounding light (summer or winter light) etc...
  Then while keeping working, an atmosphere takes place, that goes beyond the basic drawing and brings new emotions and references (dreams, other paintings, stories)...from that point the painting pulls me to it’s own meaning, and I have to possibly add the elements that it asks for..
  
  L: Loads of your paintings are mise-en-scenes involving several characters, how do you construct the image? Do you improvise much?
  
  A: I never improvise, it’s a long process, not so easy putting together all those characters, also I have no models as you can see.
  So I have to draw and try first to build a choreography that I have only partly in mind at the beginning and which gets more precise while drawing, with the game of lines and shapes
  
  L: In theses scenes maybe something both animalistic and ritual could be perceived?
  
  A: Yes, it may be that: I am a lost and suffering animal in this world, and I demand with my art to the obscure forces that drive me to be favorable, not to hurt me.
  
  L: Sometimes it seems that you’re taking the piss out of customs and lifestyles (I remember a painting depicting a woman shitting on a house and another one with a bride clasping a big phallus)…
  
  A: Well...
  Certainly I like to make things clear... married girls need eternal big dick rather than eternal big love... this can be a refreshing idea, and when I paint it I laugh !
  But of course destroying the old statues brings chaos, who knows what will come out of it... We seek for order... then kill it...etc... then we have to find new models.
  (One of the results of my having turned against old rules is my loneliness)
  
  L: How do you perceive self portraits? Do you wish to keep distance with your art? I mean some artists want people to know that their art doesn’t show what they are, some don’t know what they are doing but afterwards want to understand something about themselves, and some try to express what seems to be blocked inside… Do you think you would fit in any of theses categories?
  
  A: Hum! I can say for sure that my characters reassemble me, more or less, in terms of body structure... and the technique, one should pay attention to the way artists use their brushes for example: it is a language, a confidence by itself.
  So this way, and avoiding private confessions, I can assert that my painting is me!!...the transcription of my body and soul.
  
  L: Is it painful to paint?
  
  A: No, very less than digging holes.
  
  L: Is there something you want to say about your writings?
  
  A: I read a lot but write very little, the last thing I wrote was “Je veux être ton singe” (I want to be your monkey) a short story that I illustrated... since then I’ve been quite locked.
  
  L: Your videos?
  A: I tried to put in action the themes of my paintings and it was fun, I did it with friends for the first one called “Le repassage” (the ironing), then for the 2 following, I collaborated with “professional” guys who tried to abuse me, and since then I haven’t done any movies again...
  A good thing with painting is that you are the master of your world, you don’t need to deal with people

  Suite

  

  Thèmes : Arts plastiques, Dessin, Peinture
• 

  Injonction

  Projet de dessin collaboratif

  injonction.metaproject.net

  Autoportrait

  Il y a 15 ans

  / Injonctions

  • 1 - untitled

  • 2 - autoportrait-nej

  • 3 - auto-aurore

  • + 22 media(s)

  

  Thème : Dessin
• 

  Anne Van Der Linden

  Artiste peintre et dessinatrice

  www.annevanderlinden.net

  New-York Arts Nina Zivancevic

  Il y a 15 ans

  / Presse

  Anne Van der Linden comes from a wealthy middle-class French family who allowed her at an early age to launch into an artistic adventure which he has never returned from afterwards. She was born in England, in 1959, but she was raised in Belgium and then in France. She started painting abstract enformelle age seventeen, only to trasfer her interest to drawing while studying with the famous Amor at the French Academy of Beaux-Arts. Perhaps it was there that she came to terms with her absence of interest for the abstract expression. She understood that the joy of contemplation and a challenging emotion could also serve the language of figuration and that these could be equally expressed through an expressionist drawing. Her drawings thus became at the same time serious and reminiscent of those ancient echtings of Dürer and Bosch and also critically charged and merciless somewhat like those caricatures of Otto Dix and Max Beckmann.
  The artist's drawings challenge those 'dangerous' or socially (un)acceptable topics-- she often asks a question whether all our relationships, including the family, sexual and the ones at work - are just a simple exercise of power ? The artist always answers this question in a brave and humorous manner as she reaches for the heritage of her great predecessors, notably authors such as de Sade, Bataille and Frida Kahlo who, in their turn, refused any given socal norms that stood in their way of being creative. The drawings of Van der Linden's are more than provocative- they are often ladden with the 'erotic' symbols as exemplified by the beautiful females resembling the top models placed on the torture table of the Great Inquisitor who, in splashing their sex with boiling oil represents, perhaps, common reason and consciousness. There are also in there the fallen angels who descend from Bosch's inferno and who devour penises in the red houses of Amsterdam and Antwerp.
  The constant themes of the artist's obsession are the following: the terror of racism, neocolonisation, consumerism and an overall industrialization of the society staggering both under the social regulations and family norms as well as under an influx of the pseudo-scientific and technological consciousness. And in an ancient expressionist manner her drawings also criticize the sanctum of motherhood, as they are critical of the Virgin and the Saint and of our new Holy father who hides a knife, an animal and a telephone in his pants instead of the penis. We could surely say that the girl who makes love to a phone receiver evokes more a naif symbolism of the neo-technocrat world than that she leads us to the erotic connotation of Van der Linden's image>
  The artist complains that despite the fact that "all that she has always wanted to do is to be a painter" she gets sollicited by the publishers only as an illustrator. This is mainly due to her painfully precise analyses of the contemporary society, that is her drawings which often decorate the texts that are serious textual analyses of such. She treasures that painterly approach to color and the painter's material which often does not reveal itself to draughtsmen. Van der Linden had spent some time in the psychiatric wards painting their patients; such an experience has produced the painting "Total peeling" on which a patient tries to peel off her own skin and flesh. In a certain way, the whole oeuvre of Van der Linden's enters the category of "peeling off'' of the conscious as the paintings evoke the reality peeled off and penetrated to the bone. Her palette is very heavy and sombre resemling a bit Diego Rivera's, although her overall sensibility reminds us of some other artist.
  The artist has also got involved in theater (through 1990s), performance and film, earlier with her legendary partner Costes. Her short films such as the "Ironing" and the "Well", 1999,treat cruel subjects: the problem of an alcoholic mother and life of a cleaning lady who gets literaly ironed by her boss. And although these films are both committed and heavy just like the artist's very painting they are also capable of keeping our attention on them- the phenomenon which surpasses many a contemporary artist and his work these days. If we were to ask about the number of Van der Linden's group or solo shows in the world we would learn that such number is big; and if we wanted to inquire about the importance or a scope of the places where she showed her work we would also learn that it has been very present in many prestigious places in the world. However, when we start thinking of the artist's work, this particular thing is not something that we begin to think of. The important thing is that her art approves of thinking, so to speak, and at the moment when she flashes her art like a gun or a glove , to the face of the spectator, he takes a good look at it- and starts thinking about it.
  Nina Zivancevic

  Suite

  

  Thèmes : Arts plastiques, Dessin, Peinture