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Still More on Raphael Haroche

Raphael Haroche was born in Paris \\ 's and a Russian father \\' s mother Argentine, November 7, 1975. The depth of Slavic songs and \\ energy of South American rhythms lull \\ 's childhood of his son \\' s lawyers, from an early age, a passion for music and made his scales on the family piano.

A \\ 's age of seven, he discovered David Bowie and became fascinated with the \\' baroque world of the creator of "Ziggy Stardust". Later, his references will d \\ 'Iggy Pop to Bob Dylan, Black Desire to Jacques Brel and Léo Ferré. Key-on, Raphael \\ 's interest in a time saxophone in his teens, but he soon realizes that his need for freedom requires a companion and adventurer who has proven the guitar.
Incidentally, samplers and computers allow the \\ 'budding artist to compose his first songs, while pursuing his studies led him to Hypokhâgne - there \\' there remains only three days, then law school. Tenant \\ 's Hotel de l \\' Univers Finally, his desire \\ 's go up \\' after Raphael brings his passion to end his career University to devote himself to music.

A retreat to the creation of three years it is necessary, just interrupted by some representations in film. His meeting with Caroline Manset (daughter of singer Gerard Manset) is crucial. She becomes his manager and \\ 'encouraged to submit an initial model with record labels. At 24, the young man has talent and luck, as his first appointment at EMI is successful, the house \\ 's edition of his first album for which he has \\' s total freedom to achieve it . This "Hotel de l \\ 'Univers", for Raphael, c \\' is "a metaphor for life, We are tenants of the world, and we made our life \\ 's true. " Its protective sign four titles including the song which gives its name to the first game. The \\ author casts a critical eye on the consumer society ("It would have been enough", "Qu \\ 'it is good in this world") and describes with humor and tenderness fierce romantic relationships ("Never mind, Self Service ").

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Paradigma / / Choreographic Center of Orleans, festival Sleepers

Paradigma

Company: Davaï - Choreographer: Anastasia Hvan

Room to smile Einstein

Behind the lens invisible a laboratory of eyes peeping

Each filter, zoom and records at will

Taken on a bright absolute present, they stretch the space by opening more time in front of body so the freedoms of movement

It could be an open letter to earth to tell him the feeling of lightness found (...)

And life begins within the limits of his face carnal face the existence of other

exploration of the laws relating to the gravity supersedes the analysis of human nature is why

Paradigma is unlimited in nature where each particle, where each man learns to read his own horizon

interpreters weave together the essential energies of three son: anti-gravitational energy, gravitational energy and exchange energy

While one develops his memory instinctive and intuitive, the other discovers his strength of anticipation

When the time one understands the other's a new word invented elastic

So as duplication of ongoing, past, present and future take place under the same light

The music is like a ray pierce escape velocity, and gives an overall harmonious living unit

Anais Delmas

Location: Studio Jean Babilée National Choreographic Center of Orleans

As part of the lineup of "sleepers"

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Anaïs D.: Exhibition "Shut your eyes and see" Charlotte Cazal, Exprmntl Gallery, Toulouse, Spring 2009

Anaïs D.: Exhibition "Shut your eyes and see" Charlotte Cazal, Exprmntl Gallery, Toulouse, Spring 2009

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Anaïs D.: Exhibition Vanishing Point, September 2009, Toulouse / / Florine Leoni, Eva D. Nielsen

Anaïs D.: Exhibition Vanishing Point, September 2009, Toulouse / / Florine Leoni, Eva Nielsen

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Anaïs: An encounter plastic ... "Ordinary landscapes" Jeanne Susplugas

D. Anaïs: An encounter plastic ... "Ordinary landscapes" de Jeanne Susplugas

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About "From Inside to Outside", Thierry de Mey A meeting

…THE PORTRAIT OF THIERRY DE MEY…

Thierry De Mey , was born in 1956 in Bruxels. He is a musician and a cineaste.

I’ve seen his works for the first time in 2008 during the Contemporary Dance Festival in Toulouse. In June, we exchange some french words over phone. He said : « My credo is moving ».

FROM INSIDE TO OUTSIDE

« Meetings and adoptions

punctuate the scope

life or existence

Utopias lost in the shadow of words

Silence denounces the cry

a voice inaudible

Being is empty without

Strings frames

Archers without hands

Humanity without flesh

Heart bodiless

Humanity without heart

Body without flesh

Infinite is the spirit that includes the visible

Deadly is the eye that sees far into the invisible

The master of the human soul is the human soul itself. Does it? I write to persuade me that it exists. I say maybe she will hear me?

Goodnight day

Today you taught me

There is already much

I look forward tomorrow

What do you reserve?

I think of the imaginary

No image

I think tomorrow

Full of dreams

I project off

Will I ever reach me? "

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" Dance, as you work to show us, appears as a place of encounter with oneself. You meet up to humanity to give him the opportunity to tame otherwise. Everything makes sense. No movement is free. The man, at once a segmented, rigid with its environment. Mental deconstruction of belonging to a predetermined environment leading to the discovery and appropriation a new space. Adaptation and reconstruction. Evolution, sharing and exchange ... still many keys to your dance brought.

you remember your first work?

Yes, I remember very well my first work, it does not pay in improvisation: it was a piece of trippy guitar. I realized this first piece in collaboration with Rosas Rosas and Anne Teresa De Keersmaeker. Moreover, it toured the world in the years 80-82. Many people are involved in this project, all seemed marked by the concentration of energy. We met in a shed below a dance studio. Many of them are now conductors jazz band. That time is the opposite of what I practice today. It was just as magical as small grains which are flourishing. We each made our own path.

My credo, my thread is the movement. The role of movement in my approach lies at the heart of my work. And if silence plays an important role in my achievements, because I see where the movement beings establish their inner self. Before you even recognize themselves in a mirror, a man develops its characteristic after a movement. What is important is to get deep into what I is, in the depths of what constitutes each dancer. I then called an ontological movement as a medium for identification. The cinema, for example, reflects the movement as I mentioned, by making visible the ways you move, it allows the identification.

Over time I specified, and refined my work. This led me to all music Maximalist contemporary, but also to other adventures such as Electronic Music and Ictus.

How important is music in your work? Why?

music occupies a central place in my life. Even as a child, while my sister went to her dance class, I practiced the piano. Then I was one of those teenagers who like rock. Aged 18-19 years, the concern of a craft had the better of me, so I chose to go to the School of Cinema. music sounds to me like a story of process, a coincidence structures. It refers to a meeting with the programs. I do not register in the search for a pure classic. I want to make entire human body of the dancer. This is how music is involved, in my creations to the emergence and growth of the movement.

I always dream of playing a piece by Chopin or Liszt, but not for me. Between us I am jealous of all the pianists who finish the evening at the piano. (Laughs)

personalities such Lucie Mongrain and Maurice Bejart have crossed a very natural way in this dance studio. The routes were enriched heavy encounters.

However, I also made from pure music, especially for the orchestra Ichthys, a choreography of body movement.

How did you come to a work such as "Table Music"?

The theme of "Tabula Rasa" was taken literally. The impetus was given by the hands dancers and the dancers soon revolted. When you launch the music that follows the other? Music or dancing? The idea that the power can change camps was an interesting idea. The principle is to give impetus to the dancers and it is for the body to respond on scene. The piece is written for three percussionists with instruments only for tables. Hand position and the "figures" of movement are codified in a directory of symbols. When music and dance meet, the gesture is as important as what it produces.

you ever happen to destroy some of your works?

Consciously not really, I let them die of their natural death, like a sandcastle. When a piece of carelessness, it ceases to live. Some works do not deserve to be reworked or restored. Even if sometimes we have good surprises, there are also bad. The works are free to move towards entropy and destruction.

The challenges are more interesting when they are honestly and reliably identified: for example, I tried to tame the tool in the years 1990-92. I think for any artist, it is a difficult step. The computer quickly became more than a tool, its control is hard. It is easy to be overwhelmed by this tool. So we must learn to tame it, never to use at its fair value.

Are you still in flight or moving image of your dancers, or do you have a rigorously organized life?

I was called a "hold and cat person" because I am told elusive. Regarding the organization, I confess to be inhabited by a genuine sense of claustrophobia related to time. The schedules are not really my friends.

What do you like life?

The hit parade is trivial, not only for me but I think sex comes first. I'm always fascinated by life itself. Love is the life form the most amazing, most incredible. The couple gave birth to a child, like a Brahms symphony. The ability to interact wants equally strong in both situations, what changes is that for the artist that happens in the walls of the brain but the inter-intellectualism is present everywhere.

What inspires you and pushes you to create?

This question is difficult ... EVERYTHING.

You often work in teams. Why?

Who says team meetings and said so rewarding journey and this time, constructive. The primordial reads in mutual esteem, but also in confidence underpinned by a profound respect for others and themselves.

However, I do not always work as a team. With Keersmaeker, for example, we work every 3-4 years together. It is important to balance with moments of solitude, retired. These moments are very fortunate, sometimes one phone call can ruin everything ... I'm looking

... more or less consciously. I like the teamwork because it means disorder. We must take thirty-six miles à la minute to answer many questions simultaneously and manage the machines. It involves a prime consideration at all times, a whole presence to what is happening here and now. It is a sport somewhere where every adventure must be considered novel because if we rest on its laurels, the challenge may fail at any time. I'm learning to cope with the unexpected. The work builds on the group advanced. It evolves from simple exchanges of glances.

Teamwork has nothing to do with the writing activity that requires solitude. Besides, this is a real problem for me is the flat of my life as an artist. I sometimes need to bury myself in my den, to cut my world, so I'm going home to develop the beginnings of a work I had previously thrown the paper out of my mind.

Moments of meetings strongly on the dance take account of the fire ignited by the desire to write. The body becomes a vehicle smelled and felt animated by a vital force. What need will the music she created with meeting someone? That's what feeds my work.

Do you feel you have multiple lives?

No, I do not feel I have many lives because it would mean that some are closed to others, gold is finally in motion a life, simply. It is an art or a great work to return the composition and execution and all disciplines such as business use in one lifetime. I can not help but treat one area, for me everything is connected, each thing is important and essential factor integrator is, I said, movement. I can not exclude the rest, and too bad if you think I'm crazy. Sometimes I think so too, because a single activity is enough to fill a whole life. But it is beyond my strength and my ability to set boundaries because I am in that lives in the study of what moves, what is in constant evolution. If you want, I could not compare myself to a rider of 100 m, however, I find myself more in the triathlon.

Montaigne wrote that we were "interpreters of interpretations"? What do you think?

Yes, this is his epitaph, I think. I have respect, consideration for the "performers" because they give life and movement to the music stopped given by a partition. But what I like and more research is their ability to project their own presence. The interpreter gives his own life, his flesh and blood. They indulge freely even on a very simple music, it's greatly rewarding. The interpretations are like throwing bottles into the sea, they choose their path according to the swell and waves. They have their own life, because such works are the works of the ephemeral movement. You'll understand that I did not choose the strategy as a rope in my work, even the stage directions are totally foreign to me. I do not try to control everything only to open the field of possibilities.

What relationships do you have today, as a spectator, with the cinema? What are your requirements? Have you seen lately long ago that I love you Philippe Claudel, or DST Olivier Assayas ? What did you think?

I have not seen the movies you quote me, but the note and nourish me happy soon. Generally, I consider myself pretty good audience. When I see things that touch me, things big and strong, it acts as a driving me and makes me want to create. Love that I will be making recommendations. I'm going to see movies very enlightening.

There Will Be Blood Paul Thomas Anderson . I returned twice and told all my friends to go see it. It's a film that even by using efficient workings of known and recognized, takes risks. I think particularly at the beginning where two minutes of silence seem like a hole without words, sawn play of light and dark penetrating. The director, in his blood of Hollywood filmmaker has dared. That is an achievement, a challenge.

What does the Man in your eyes?

Kierkegaard wished to inscribe on his tomb "It was the Individual": this formula you speak to? I quite like the idea that the human body is central to the theory of evolution, as proposed by Henry Vanier.

body ... this is what is projected in as an individual. The body does not continue or in notebooks or in cars. Is the envelope of the instrument identifier that interests me more than the individual. Being wise means having overcome the fear of death. The artist becomes just gray. This is the world of Fernando Pessoa. Death is characterized by the absence of movement. It is for me or make a man or heroic fantasies of growing neo-romanticism.

You do not satisfy the sensitivity to shake the spectators. How far are you trying to touch the viewer?

It is often formed by the impact we ourselves have received. Large shocks me that are formed deeper than the things I can work. Trees created by the mind ahead of all creation influence our actions or gestural language. The art challenges, hence the need to vary the forms of creation. I try to aim so far, touch, meet and personally trees imaginary audience. The term "emotion" is overused and represents the wrong handle to hold the pan.

To cause the essential things, I use the outside, it means that we succeed in sensory experience through movement.

On three screens Live "From Inside". Brings interactivity within a work of art? What are its limits in art?

This is a "motion capture device, street children of Kinchasa appear in a face to face very hard with the viewer. Compared to the work this field experiment was not designed from the outset. I'm not looking to generate excitement in the viewer pushing a button. If there interactivity, meaning there. I fear interactivity because it takes the eyes of people on one side fun that does not suit me because it significantly reduces the content. In the room, some thought jumping on the cushions, one even told me that these pads before shouting, referring to a previous exposure, although their presence invited to sit on it, simply. I'm not against video games that engage in my view a responsibility. But "From Inside " , I searched for some balance between interactivity and content . Making the viewer actor in choosing what they watch, it's cool look at the subject ... it must be able to feel more concerned, more affected than if merely passive recipients of visual. That's what makes that I am more touched before men and children Kinchasa . The journey to the heart of a work shall include the concept of return on its not because any evidence of life is borrowing modesty.

briefly How would you describe your work to someone who has seen any of your work?

I made films and composed music in connection with the movement, in a didactic way. I try to capture what happens when we identify our own movements. I am in search of what's happening in the essential mechanism of the dance. In this sense, the workshop consists of dance movements but also of non-movement. "

If Gilles Deleuze referred to" leave philosophy by philosophy, "Thierry de Mey defines the movement by its absence, because" only the traces are dreaming "(René Char) ... So it remains for us to follow these "traces" and revisit at will by their movements the intimate smile that unites us to life!

AND FROM OUTSIDE TO INSIDE ...

Anais Delmas in Ponytail Magazine

Fluttering In Pelvis And Implantation

plastic ... "Ordinary Landscapes' Exhibition of Joan Susplugas

C IS THE STORY OF A MEETING PLASTIC ...

Toulouse 2007, Jeanne Susplugas this Ordinary Landscapes, the gallery's art center Mirail (CIAM) ...

When the invisible art photography, space is given to the intangible magic of immanence

That experience these visions of a second Mother Earth! That survive the viewer's mind these views belong to an otherwise unknown, without special title!

Under the guise of ordinary landscapes, lies the promise of a non-original place and purifier. These worlds are engaged to us, trembling simplicity, behind plexiglass windows that seem to try to protect some quelqueun thing or perhaps a spectator whose gaze is too insistent, could deprive them of their virginity, and damage to their fullness.

Belonging to the intimate life of everyday life, these works of art have their modesty.

These objects that photography transformed into a shimmering blur fantasy proliferators have nothing in their public existence of remarkable but when the artist catches and then bare men equally amazed that intrigued begin to observe them. Yet nobody guessed that these images are rich in suggestions, halfway between reality and fiction, draw their energy from objects as vile as drugs. The artist, using the macro, it would perform miracles?

By distorting the way the pharmaceutical components, these modern drugs, it corroborates the view of Kant: "Art is not a representation of a beautiful thing but the beautiful representation a thing. " It seems undeniable that a table denouncing the violence of war can be beauty in as representation, it is the same for a shot of drugs.

thinking in mind that access to an objective reality usual, the approximation of the extreme detail that gives life to last an unsuspected and unimaginable.

Undoubtedly this may be a therapy to prescribe in the event of a serious disease where the days seemed punctuated by the absorption of tablets, it is necessary to better fight face to distance to the suffering and face the pain suffered.

Susplugas With Jeanne, the intelligence of vision reaches its climax. And thanks to the intervention minimalist music of Arvo Pärt, the viewer mesmerized resolutely extends her visit as if unconsciously, inhibiting any idea of temporality, this exhibition he inoculated the taste of eternity. To the sound of three notes, echo ephemeral and fragile three units: three drops of water, illusions of three emerging forces alive.

the lookout of silence, music of Estonian composer remains a major appeasement running out of time, a ritual obstinate against all reason and cherished a deep humility, it offers the singular impression anyone gets to listen to be saved. The artist talks about his quest: "I want to reach for this: time and non-time are inextricably linked. This instant and eternity are struggling within us. And this explains all of our contradictions. "

Snapshot, the effect is ultimately disturbing: how do we admire what the substance has the power to heal but also to destroy ourselves? We

helping to "establish a new common world of visual perception" (Kepes, 1946), the photograph clearly shows us here, and it is indeed therein lies the disturbing element, a truth. Indeed, art, prior to the appearance of side feeds a contiguous relationship with the truth that is made real only appearing in concrete forms and history.

Hegel himself reminds us: "Remember that all gasoline, all truth, not to remain pure abstraction, must appear .

So here is the Invisible ....

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. .. WHICH LED TO A VIRTUAL EXCHANGE ...

Dear Jane, how mature you draft your works? What are your views? Could you tell me about your travels?

Do you allow to influence events your work? Is there ever a person by his story upsets you enough to change your work and direction of your steps?

In recent years I have been fortunate to travel extensively for exhibitions, productions of plays, meetings. I feed on those experiences and they influence my work more or less directly. They also bring a dimension more "universal" and the idea that a series begins in Paris and continues in Tokyo or New York I am very interested. The photo series " Addicted particular has built up over the years and the various conversations I have had worldwide. The procedure is simple, a character, a drug. From the first frame, the tension produced by these people offering to target, open mouth, a pill on the tongue, surprised me because the order of the intimate. This simple device proved to be highly complex. Some also have refused, others were able to see some kind of action "liberating" reassuring, violent ...

My interest and my questions about addiction, the pharmacopoeia of enriching experiences. The contact with the medical community, drug-taking experiences are special and I hope you feel that complexity in this body of images.

Sometimes the reflection of a researcher, a physician, a writer can synthesize a question and I can use it as a fulcrum, this is the case of I met Marie Darrieussecq. Reading "truism" I was deeply marked and after each of his books, I told myself that I would work with her, compare our experience, a sound piece ("Iatrogenic") has finally crystallized these exchanges and I like the idea that neither one nor the other could not carry this project individually. Moreover, it was of great generosity by giving me his personal experience of the disease. Spokesperson "girls distilbene" - those girls whose mothers were treated by the notorious drug that caused deformities of the uterus in their children, Marie Darrieussecq speaks of the malformation, the "monstrosity" of the loss and pain.

I also work for some time from a character Lurnar Park by Bret Easton Ellis, he summarizes some of my research fields: kids under sedation, hallucinations and apparitions, fantastic mystery, considerations in Xanax in the world today ...

What music would you choose if you had to accompany your drawings of sound elements?

Could this minimalist music like exposure Ordinary Landscapes or not necessarily?

As for music, in my present work, is particularly attached to the video, so I can avail myself of this sound as a structural element of an exhibition . The video sound resonates throughout the space and enriches the reading of other parts. I can then design a set of photos or drawings in knowing in advance that this music will be a sort of "glue" for all.

The exhibition I am presenting right now in New York (Florence Lynch gallery) is clearly based on this principle. Photographs, drawings, installation, coexist with a film "Plan Iodine," done in collaboration with artist Alain Declercq - as a video projection. Music, Eddie Ladoire, kind of scary and minimal distortion, is used as a guideline for the entire exhibition on the trafficking of drugs from the small deal discreet corner of the street to traffic mega import-export ("Speedy Deal" Series of "Salewomen). Of mass destruction in the way of industry luxury ("Mass Destruction"). It also dealt with the potential traffic video "iodine map" which I just mentioned. In France, every five years, the pharmacy distributes to all the armies of France two pharmacies regulatory board with a limited number of tablets of potassium iodide (which is set on the thyroid iodine) vital remedy in case of trouble Nuclear. In case of accident or attack, the more humanistic came rushing to rescue his pharmacy at the earliest, the most devious might well say that a lucrative business comes to him and it's time to this precious commodity safe place ...

To return to sound and music ... they are sometimes specifically designed for installation as is the case for example of the installation "Hermes", where light box and are surrounded by white powder gnashing of prison doors and cheerful Mexican singers extolling the benefits of illicit substances.

Jeanne, you who work in different media, exploring the video, drawing, photography, text (titles and Iatrogenic part), do you think there is a art that outweighs the others by its effectiveness? Which carrier do you take freely your greatest pleasure?

I have a way of working medium that does not involve a priori, the choice is made according to a necessity imposed by a reflection . I switch from video to photography, the intimacy of a gigantic drawing of a facility.

For example, when I became interested in fake medicines traffic, the complexity and danger of the millions of prescription medicines wild (or very well organized!) markets in the Third World or on specialized websites, a wide field of investigation opened in me. I immersed myself in a daily research - that of the workshop rather introspective and quiet that has spawned numerous drawings, sketches ... but also more dramatic proposals as "Mass Destruction" where a huge steamroller crushes thousands tablets in the manner of destruction of counterfeits in the luxury industry.

I can afford to explore these different aspects because my fields of action are diverse: from gallery to public spaces ...

I take pleasure in all these areas because I change at will!

Do you think art covers disciplines where there is nothing left to learn? I think the painting for example. What do you think of its relevance today? When you Michele Robecchi asked in an interview "how did you come to art? "You say" I started very young to paint and draw. "

course I have a relatively unusual because I'm basically the theory. I did a PhD in art history and if the research I was very rich, this has not necessarily helped to take a plastic work independently!

Passage through a "traditional" practice of painting and drawing was certainly natural for me. But I easily found a plastic singularity through photography, my first experiences in this area seemed more relevant.

art, in your opinion, should it be the bearer of a single message is the peddler of fixed answers to questions of humanity, or should it by all means try multiply the angles of a company pressed forward to alert for better prevention?

I do not work "preachy", I do not give a unilateral interpretation and I have no opinion on static subjects I discuss, approaches are changing as well as interpretations. I like my work raises various comments and even contradictory ... A video like "Konstantin", for example, where we see a child swallowed a large quantity of drugs, can cause deep unease as a form of optimism. The experience of the viewer affects the reading and it is for me a source of enrichment. Some see it as a form of suicide, others a way to survive ... You can not really know if this is a true story or a complete fiction.

Installation "home sick" plays on the same principle. A room is covered floor to ceiling of thousands of boxes of medicines. Each box tells a story and every visitor has a different interpretation according to his own experience of illness and death. It is as if each box of each mirror was sore.

Can we, on your drawings, will speak with plastic non-finito? I personally read real silent cries born to a balanced dialogue between the voids and spaces invested by the pencil.

The unfinished look of my drawings is very important to me, most of the time they have their source in newspapers, magazines. I is a basic iconographic rather large and I operate mixes, confrontations, sometimes in stark contrast to the original document. These "divisions" of journals are both exciting and create a sort of "restarting" of reactivation which seems closed and final, because published.

The idea that one day you could change the subject did she crossed my mind?

I do not feel like a single topic. The drugs appear to be a prominent topic but by extension, I discuss various things such as addiction, obsessions, the notion of space, confinement, loneliness ...

Installation "Peeping Tom's house "For example, inspired dollhouse and plays on the idea of voyeurism. Reduced to a simple expression, it is pierced with holes through which the viewer can see different views, attitudes and domestic rituals at the limit of absurdity.

If he was a land more easily practicable, would you make space, the universe, its stars a new place of artistic and philosophical explorations?

(This question is somewhat often when you surprise ... I'm facing your works appear like a lunar images during mental or extra-terrestrials, and if it is not representational is the conscience of the infinitely large, which leaves me more.)

I think you allude here to the series "Ordinary landscapes". It's a very contemplative and melancholy series and opens on enigmatic and infinite universe.

It is a text that evokes the same ambivalence as which reflected both the stroke in faces and men that you draw in people that you photograph ... I let you discover ...

I'm nobody

I came suddenly, today, in a sense and just absurd. I realized in a flash, I'm nobody, absolutely nobody. When the lightning shone, where I thought it was a town stretched a desert plain, and light loss that showed me to myself not revealed to me no air extending above. I was robbed of the power of being before the world was. If I was forced to reincarnate me, it was not myself, not that I am, I reincarnated.

I am on the outskirts of a city that does not exist, prolix commentary of a book that no one has ever written. I am nobody, nobody. I am the character in a novel that remains to be written, and I'm floating, air, without being dispersed among the dreams of a being that has failed me off.

I think, I keep thinking, but my thought contains no arguments, does not contain my emotion with emotion. I fall without end, the bottom of the door at all up there, through infinite space in a fall that does not follow any direction, infinite and multiple empty. My soul is a maelstrom of black, swirling around the vast empty vertigo, motion of a boundless ocean, around a hole in nothing, and in all these waters, which are much more than a whirl of water, all swimming Images of what I saw and heard in the world - parade of houses, faces, books, boxes, scraps of music and syllables scattered in a whirlwind disaster and endless.

And I think what is really me, I am the center of it all, a center that does not exist, except by a geometry of the abyss, I am that nothing around which this movement spins, with no other purpose than to spin, and no existence by itself, if not for the reason that every circle has a center. I think what is really me, I am the pit walls, the center of everything with nothing around it. (...)

think being able to know! Feel able to know!

Fernando Pessoa

What do you think?

It is a matter of perception shifted, feeling outside the norm and it reminds me of many experiences that I could do as a child with a microscope my parents! A world turned out ... I loved the idea that any plant, powder, put under the lens showing a fantasy world, extraordinary and incomprehensible. Somehow I still extend this experience today through my work on the macro. This technique opens an infinite universe and causes unusual readings.

Discovering the photographic series "What Is It Makes today's celebrity so different, so appealing? "One can not help thinking about the famous collage" Just What Is It That Makes Today's Homes So Different, so Appealing? "By Richard Hamilton. In a sense, if the content of the images conveyed by the Pop Art draws upon the everyday, inducing Thinking and cultural transformations, it reflects Jeanne also the realities of our time.

While both fascination and denunciation, his works leave us on our end: what's going to happen next? What will the outcome: life or death? What awaits sentencing each child she presents?

Children dumb photos collide children viewers of his shows. How does she account for the ills without words?

If the child of an imperfect garden Humanity is polluted one day have to wear a gas mask, as Baby Boy : we can no longer speak of an accident as it is we who have caused his own death.

The innocence of the line combined with a vibrant retail insight provokes alarm from the interior of the "must do something, but what?

What does the artist of the spectators who come to see his works? What is she waiting for men in their relations with medication? are issues that will be an actual meeting face to face, probably in his hometown ...

Thank you Jeanne for your thoughts and your deep concern needed.

Anais Delmas in Ponytail Magazine

Kidneys/brown Discharge

Darzacq Denis, Château d'eau, Toulouse 2009

MEN FLYING

And if that were true!

That photograph shows the human body as a living sculpture seems to disturb anyone! However, it attests transcendence gives it a more sacred character! And let there be no mistake to comb through photographs of Denis Darzacq the halo of rigging because it is seen from flights, stolen from dance professionals.

Gallery Water Tower. Basement. It is the heart of urban landscapes, nudes going, not the calm and determined to reach the dreams, the tips of their eyes, outlined. Out of context, in the fields with weeds, women and men are heading for a deep intimacy, about an infinitely self. The artist photographed the body in the city, this space invested inhabited grid. He queries the urban environment, it allows fulfillment, the escape of man?

It takes physical height and trains his gaze on the earth on these passersby anonymous who tread the ground as it hung. Sets men dishes. Sets solitudes standing. Everyone seems to drag its feet in the form of darkened itself. Shadows, footprints moving from the vertical ephemeral and does not seem to want to leave their men.

Yet ... Man leaning. Up arrow. Stairs.

Back to the main room. Men filled the void in the world have earned their feet Earth's gravity. And they float, like banners live suspended without apparent shadow. Indeed, following the events October 2005 in Paris, the artist goes to meet young people in cities. He discovered the men and women volunteers, self-controlled who thirst for life, to give voice and be heard. And he films some practicing hip-hop, contemporary dance or capoeira. A measure of his observation, he realizes that often leads to their business off the ground. The fieldwork was preparing photographic series "The Fall" and "Hyper", presented until March 22 in Toulouse. We see bodies flying out of shape men. The actors invest the urban environment. They déployent their technique between the spokes of a supermarket cold and their precise movements within the walls of a city shuttered. All of these drops are not yet back to the ground but rather the moment of tension where the body is in the making, this time of uncertainty where everything can still be played. Will they take the decision to go down? They are already falling? Hope they go higher? The diver propels the canvas muscular architecture to a volatile area without attachment. Self-control as the only way to freedom. Sublime gesture. Respiration concentrated. Words which, like the dancers fall then rise. A third eye in each figure intercepted, interrupted his breath. Nobody escapes the apnea. Darzacq Denis, like dancers, with bated breath for each pose can now reveal extraterrestrial presentation. And the viewer, fixed questions facing the motivation of these young unheard. He hears and saves it in the corner of the eye their word, energy-oriented, discipline alive. It is clear that these orbits carnal located between two streams intangible, not content to project into the empty river, occupy the Birdie immortal, no man's land, air.

So a word to the dancers: fly, fly, so that we never lose sight of the man you defend the man that let you speak, man you are trying to save! The photographer to the suit and flippers continue his hunt for the movement that caught living letters form an alphabet to explore the pages, like roads, to choreograph!

A suggestion. Before returning outside, I recommend a controlled landing you make in gallery II, in light of photographs of Olivier Mirguet. They offer to visit in a chiaroscuro tone fictional city at night. That tension in the moving pictures! One would think a fade to black fade to choose sides on a fuzzy narrative plot, anonymous, now highlighted.

Anais Delmas in Multiprise, artistic currents in Midi-Pyrenees

Cover Letter Examples For Visual Merchandising

Exhibition Darzacq Denis, Château d'eau, Toulouse 2009

THE GOLD DIGGER AND HIS MEN NUGGETS

Born in 1961 in Paris, Denis Darzacq is a photographer. He works about the human body in urban space. Actually, he presents his pictures in Toulouse. For « The Fall », the artist had worked with hip-hop, break-dance and capoira dancers. Every picture shows one second, so one movement. The reality is magical : men lift from the ground.

I suggest you visiting from art gallery’s in written and photographical pictures.

« Château d’eau » gallery. Underground. There are in urban landscapes, Nudes who walk in serenity and détermination, to their outlined dreams. Outside, in the mad grasses’ field, people wanders through its profound depths. From one picture to other a question resists : can we blossom out itself in urban space ?

View of the sky. It would seem passers-by are coupled to the earth like a carriage to the rails. They organize some harmonious Wholes . We distinguish flat man, so the shadows and standing men, so groups of solitudes. And the shadows, this moving inprints of the vertical short-lived, don’t want let its men…

On the gallery way, we meet a leaning forward man. His body draws an arrow. We take stairs.

Arrival in principal room. Incredible ! Men take up the air no man’s land ! They are flying ! They have uncoupled their feet of the earth. They are hanging, suspended in mid-air, without visible shadows. Here, the laws of gravity are really light.

The viewer is surprised in front of this trimed energy, lively discipline, so voluntary proposals. Inside the picture, the skin diver hurls the muscular canvas of his evanescent architecture towards a space without strings. The self-control promises liberty.

Sublimated gesture.

Concentrating respiration.

Words, like dancers, fall and stand up. A third eye whose stops its blow when it meets a figure. Everybody is holding it’s breath.

Carnal orbit

Between

Impalpable currents

Fall into the void

This river.

Carnal orbit

Now

Immortal.

Messages to space…

To the dancers…

Can you fly, fly forever ? Because we mustn’t lost man that you save letting express himself in moving !

To the photographer…

Can you keep to your’s diving suit and flippers to carry on walking towards the living letters that you capture ? They form a new alphabet to explore, so new pages, like paths, to choreograph !

To the visitor…

See you later on the gold river of earth, you find nuggets whose are living people !...

Anaïs Delmas, in Ponytail Magazine

Stomach Virus Farting

're a bird, now! Christian Francis and Ben Aim, Avignon, July 2008

A small ant in earth Toulouse Avignon reports certainly invigorating fifty-minute, in this month of festival ... This is a show created by the company WMC 451 ...

"YOU'RE A BIRD, NOW! "

we come into the room, nothing indicates that we're expected. A man in his ears magnetic mp3 plays on his unicycle scene. A chair that we see his back, a cup carelessly deposited on a small wooden table: a neutral unmarked inside of all madness. Man alone passes, returns, passes away. However, from the moment we hear the music stream from his temples, the dancer takes us with him on the road to its drift. It was then happy to run in circles it is always a reason drawn from the heart of the music to move forward without looking back. Released to the discovery of his dreams and frustrations, I had the strange sensation of becoming my own spectator. Exceeding a purely corporeal, choreographer working echo in the singular and universal vice versa. A touching video intervention focuses on the feeling of wandering before any self-exploration. On stage, the choreographer is a musician, dancer, and man. And it is fleece jacket and balaclava in the month of July in Avignon cartoon is that the fear of the human condition to appear in its most honest humility. Why does man use masks to go through with his actions? How far the loss of identity proves she is human in us?

Falls Deputy Volteer, supercharged alternate jumps before getting to know the balancing sense of serenity. Strengthening the emerging questions, in fact, awareness of reality and also providing some relief. Being one with yourself, would it agree to assume the different masks that ensure our own color and personality? The use of the mask remains in this show just and appropriate. At no time have I felt the staging surface. Texts and continue their dance music even in silence. Poetry movement launched in Singing, voice pinched strings unleashed, the scope reveals a speaking body ... And if the body lives in mind, thanks to the impetus provided by the musician guitarist and vocalist Malik Soarès appearing like a mirage behind a light transparent curtain in the backstage area. The simplicity and unity touch raw. The piece is fixed in our memory as a photograph of an ephemeral act, the result of unspoiled nature and assumed. Silence, the emerging movement of the soul and music of life. Christian ben Aïm makes us want to feel at home in itself. I liked his definition throughout his performance, of the human condition: he shows us a being woven endless characters to whom he dares to life. We are witnessing, in other words, the dream project of a new life and liberation. Repeatedly, the dancer enters a deep trance and complete that caused in me the desire to rage. By dint of many movements alternately sensible and senseless, thrown into the empty air, the actor has built in the minds somewhere else without walls, a secret island portable.

At the end of the show "You're a bird, now" I feel light and existing bin Aïm ... Christian has succeeded: I flew while keeping feet on the ground. A big thank you to Christian, Malik and others who have directly or indirectly working on this project!

Anais Delmas in Ponytail Magazine

Marijuana Broken Cappilaries

Exhibition "Shut your eyes and see" Charlotte Cazal, Exprmntl Gallery, Toulouse, Spring 2009

"Shut Your Eyes and See"

Charlotte Cazal exhibition in Galery Exprmntl in Toulouse (France)

And I've shot my eyes and I've seen.

VACUUM fearlessly

" What matters above all in a work of art is vital to the depth that it could well James Joyce , Ulysses

At the bottom of memory, images are standing alert. Their breath persists.

Have you seen the face of the world?

We must close our eyes to see. Where is Ulysses

?

We, here, everywhere: just wanting.

I entered a print, a non-lieu subsurface

Unable to isolate a radius to trace the source of the scattered light

Is it natural? Is it artificial?

And empty, empty

Met without surprise and dismay that I learn to love as the progress of the body and from which emanates a fruitful silence.

I have not forgotten that "there is war. I do not

forget that outside there are wars

cons Brains brains, arms against arms, self against self

I do not dream

Someone filed the snatches of a story.

Is it a past history? On an ongoing story? In a future history?

I do not dream I see

dull blades damaged axes have done their work with axes

I see

Familiar objects in mourning for their usefulness

I see

Of familiar objects for mourning for their uselessness

When outside, we realize that gasoline is not that this material is stockpiled without limitation or love, that are thrown mercilessly when renewal superficial needed a shot of a single one fell swoop?

man screams without warning

No future

He does not want to deafen

He wants to make

A life

Have you seen the face of the world?

We must close our eyes to see.

Where is Ulysses?

We, here, everywhere: just wanting.

Factory poetry of courage to face the world, the exhibition makes the viewer Charlotte Cazal master to live the whole act of thinking. Philosophy is not a prison guard! Art is not a way to escape reality! Together they constitute "an incentive for greater effort to live *". The gesture of the artist condemns the terror of the eye in an explosive assault. works, steps in the crossing solo show of mental work on the stone. Thus resulting abstract elements and human will be coming into his depth and fullness of its meaning. Let us

beauty that exudes from the toothless man

Let us "vitality" * this character

Let us "the power of expression" * a man.

crude Chaos frightens us and the artist uses the letters as the lines of a space structure, just tame nothingness. The concept of leaving the skull puts words in Danger and they focus their ink into a role player as

No (s) tears

block the body encounters the block of empty and man finds his character alive permeable. The crossing is aquatic. And we're sailors floating between reality and its reading with the finding and sculpture possible.

Crazy horse

A broad collar of maggots formed over his eyes, grabs his neck already

The heart and devoured reduced engulfed disappears

The concept does not hide the death,

Includes black and shiny all immobile beings who

Includes black and shiny all these objects carefully arranged on pedestals that look unstable and fragile translucent inhibits any sense of sacredness

Nothing Is

coming

The drawing pen is a dangerous and reckless act, automatic and instinctual. The hope comes and goes constantly, until the promise of life is a matter, a fetus learns to take responsibility for who it turns out

A sculptural design with massive force announces the ability of an evolution

All

remains to build

The promise looming in the palm of his hands rough

Which make up the perfect atmosphere where the implosions are not suicidal but generous and triumphant.

The faces bear the mark of the enigmatic landscape of their own existence

"There are universal shapes to which everyone is unknowingly submitted and answered them so conscious control does not break any *"

The Yolande Moreau interviewed face and explored by the artist includes in his eyes that shapeless thing, that thing raw, intense and unpredictable emerging in the breast at once sweet and nervous human traits

The talk Plastic the artist is soldiery. The flag waving is that of the individual.

Who are these masked men who now no longer defined by the object which hides? How to access the unique landscape of each? Are they men?

One of them left the bi-Dimmension. head in the round elastic he closed his eyes to see. Above him? The embryo of a movement voluntarily failed to certify that an original pure momentum contained in an inner boundary at a visible perceptible. The bubble

insomniac and growing the unspeakable becomes an immediate force field such as drawings, sculptures or installations

An oversized hook and oversized arising as the hope of a return to immeasurable natural

And Suddenly the intrinsic converse with the living eyes of a passer passer

Experience is magic, and infinite

Dolorosa.

However,

"The truth

However," The truth

"Before being a rest

East

** A long violence."

Big Bang

Have you seen the face of the world?

We must close our eyes to see.

Where is Ulysses?

We, here, everywhere: just wanting.

" What matters above all in a work of art ?

" depth is vital that it could well . "

was empty, without fear.

Anais Delmas in Ponytail Magazine

* Henry Moore sculpture Notes

** Yves Bonnefoy, The Improbable

Tech Deck Spiele Online

Effect of trap, Anastasia Hvan, Solo Exhibition

THE PORTRAIT OF ANASTASIA HVAN

... OF ACTION REACTION ...

Male dancer, Anastasia has Hvan under the effect of traps hostage solitary walkers who had ventured to enter a tent located in the walls of a university. Breathtaking, no?

The artist speaks his mind. His language has its nodes in the inaudible, its alphabet is in every part of his body. Dance or life? Here the dance is life. In defining a broad thread space borrowed time, it's not the sign of trace its path. The effect will be instantaneous. The viewer is mesmerized by the bright ribbon through this notch adhesive that does not satisfy to prevent the boundary between possible and impossible, between the known and unknown, or to announce the line between light and darkness, between life and death, file even come to veil the eyes independently of the human animal who just appeared on the earth's surface. What will happen? Here we are now in suspense - until the last breath of the show -. Here we are now awaiting action latent, awaiting a delivery near sketched by the music fresh and nascent intrigued of Hervé Perez. Having extinguished the visual guide, the round belly dancer not arm during his voyage as its sensory intuition. And if she chooses blindness, we, the spectators become helpless witnesses of seeing the danger which the intangible property that threatened it tries to play ... So, playing the game to thwart a dangerous game, it falls under the irresistible effect of a trap continually renewed. In this trap, the spectators are in turn so easily caught as prisoners by the suspense to find solutions to break free. When the human animal has finished with it succumbs to one another ... It is feared, as traps, the development of a Gordian knot, but the dancer was quick to rule in deciding to be physically removed from the field in red frame.

Caught in a life force, Anastasia did not have time to be seen to act, as she continues her movement in a continued breakdown in logic regeneration. In interpreting the role of living in a natural all improvised she traces her movements by a curved line parallel to the time he competes ... Passersby still tried to shoot the film on their dubious memory deadly documentary poetry of a woman acting against any external actions to themselves, these daily obstacles that strives not only shudder to receive but to overcome. This is where for me she wins her race shared over time. Past

conscious? This unconscious? Vice versa? No matter since here thinking, dreaming, showing compliance ... are at once immediate and instinctive search visible acts. The detours are explored with the filter clear and lucid of the discovery of the world. The dynamic movements seems engulfed by the circular shape nascent in the region "ventresque" draws the outline of a future life. The belly is a country. The belly is a miniature fertilized land gives life and form to life. What a sweet trap than the birth ... What a sweet force than the gift of life. Without voice, the dancer sings the joy of motherhood; now here it is Mother Earth. Traps hit us like lightning. For us not to fall than in those who make us happy!

Onstage Anastasia Hvan appears as a real rocket man who fails to soar by keeping their feet on the ground ... The metamorphosis is constant. This represents an inner carnal UFO flourished able to overcome the paralysis and mechanical gestures of daily life. Like an artist, futurist, retained his outbursts echoed his commitment in a world of eternal change.

Ultimately, the ephemeral object now residing in the imagination, there remains the feeling of a dynamic balancing harmonious combination of dance to find the inner self, the true creator. Do not we want it to be heard by this that the lightness of being can be sustainable?

Anais Delmas in Ponytail Magazine

Poofy Dresses For The Holidays

Vanishing Point, September 2009, Toulouse / / Florine Leoni, Eva Nielsen

THE LABYRINTH PLAN

"Life will end,

Life remains.

Also plays the child

Among too dreams. *

History of Nearly anything I

the "jug lying on the pavement sound *, a cat catches my attention. In my laziness, I find myself to follow.

eyes And try to remember to write the perfume of the absurd ...

History II

nothing

What an original and unpredictable. I approach. Near the bell of the words seem to mean: "Building Permit". The door is ajar. I enter.

Here something seems to have exploded. Only remain large sharp rays whose behavior under the law of gravity would smile Einstein. Is that inside the sun helped by the autumn light and the hand of cerebral earth would have exploded by now merge primitive architecture and architecture invented?

I lean the fold and take a walk contorted. The observation time stretches as the deployment of space. I project myself into the distance. I'll soon reach me? Unconsciously, I am accustomed to a new breath, slow and new, denser at the bottom. In situ I read a thought comes up: "the purpose of art is not triggering a momentary adrenaline secretion but construction on the length of life, a state of wonder and serenity . "(Glenn Gould)

Zoom . I understand that nothing is really levitating. Cleats provide anchor points for boards elusive. And a fulcrum in the vanishing point I integrate the logic of the structure that keeps his heart in an outsider.

There , body thought " where I am "exists. There body was able to see, find and receive information around. He was able to take possession of space for reflection. The chaos has finally nothing scary. Still need to know how to relax the inner self to learn to move on its own man.

time becomes an empty desert illegally doubling the spatial organization of a real parallel. At long, the petals up a rectangular partition whose every note neumatic silently focusing on itself would try to fight against an invisible magnetic.

disorder sown by the installation refers to the ways he is happy to build for themselves, using heterogeneous elements, and perhaps he also likes to fan the fire of some urgency to live. Now I ask you: happiness is not it close to the absurd?

Florine Leoni is a crazy architecture that does not suffice to show what she paints but would make it touch. It is everyone's drawing boards plans its own progress. And one thing is for sure, "we will never rest: this is perpetual (Georges Braque). So hope that the paintings of Eva Nielsen will affect us as landmarks, an oasis in wait a few thirsty ...

This event is a point not to be missed flight, a dream that starts at 1 Rue Paneboeuf until October 22!

Anais Delmas in Multiprise, artistic movements in Midi Pyrenees

http: / / expositionpointdefuite.blogspot.com /

* Y. Bonnefoy, Les Planches curves