.Presentation of the school - Nîmes
.Presentation of the school - Nîmes
.Presentation of the school - Nîmes
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.<strong>Presentation</strong><br />
<strong>of</strong> <strong>the</strong> <strong>school</strong><br />
École Supérieure des Beaux-Arts de Nîmes
The Ecole Supérieure des Beaux-Arts de Nîmes is an exceptional<br />
cultural establishment.<br />
In <strong>the</strong> heart <strong>of</strong> a city with two thousand years <strong>of</strong> history (<strong>of</strong> art)<br />
where, today, <strong>the</strong> Museum <strong>of</strong> Contemporary Art plays a key role on<br />
Europe’s Mediterranean shoreline, <strong>the</strong> <strong>school</strong> proves that it is a true<br />
melting pot <strong>of</strong> creative work.<br />
The teacher-artists and visiting lecturers contribute to <strong>the</strong> full expression<br />
<strong>of</strong> all its talents.<br />
An exhibition space open to <strong>the</strong> public, <strong>the</strong> <strong>school</strong> is also a fertile<br />
forum for meetings and for <strong>the</strong> comparing <strong>of</strong> cultures.<br />
We wish you a warm welcome<br />
Jean-Paul FOURNIER Daniel J. VALADE<br />
Mayor <strong>of</strong> Nîmes Deputy mayor <strong>of</strong> Nîmes<br />
Gard Departmental Councillor Cultural delegate<br />
President <strong>of</strong> Nîmes-Métropole President <strong>of</strong> Carré d’Art
An exceptional position / p.4<br />
Competitive entry / p.6<br />
Courses / p.7<br />
Teaching and programmes / p.8 to 24<br />
Drawing - representation / Drawing - publications / Publishing practices / p.8<br />
Making comic books / Chromatics / p.10<br />
Painting / Painting / <strong>the</strong> image / p.12<br />
Space - sculpture - volume / Space - installation - volume / Space - body / p.14<br />
Video / Photography / History <strong>of</strong> art / Human sciences - literature / p.16<br />
Lecture / English / Collecting - exhibiting - curiosity / p.18<br />
Analysis – <strong>the</strong> imaginary – point <strong>of</strong> view with regard to art / Library / p.20<br />
Video studio / Graphic data processing studio / p.22<br />
Seminars, lectures, workshops / p.25<br />
International relations and ERASMUS strategy / p.26<br />
Classes for children and adults / p.28<br />
An identity: exhibitions / p.30 to 37<br />
Graphics and publishing / p.38 to 49<br />
Teaching staff / p.50 to 85<br />
Technical staff and premises / p.84<br />
Administrative staff / p.85<br />
Publications / p.86<br />
Lecturers, resident artists / p.87<br />
Exhibitions at Hôtel Rivet since 2003 / p.88<br />
Student exhibitions since 2006 / p.89<br />
Cultural partners / p.91<br />
SOMMAIRE 5<br />
École Supérieure des Beaux-Arts de Nîmes<br />
Hôtel Rivet, 10 Grand Rue<br />
30033 Nîmes Cedex 9<br />
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06<br />
ecole.beauxarts@ville-nimes.fr - http://www.nimes.fr/index.php?id=330<br />
Établissement de la Ville de Nîmes placé sous la tutelle pédagogique du Ministère de la Culture et de la Communication.
6<br />
L’HôTEL RIvET<br />
An exceptional position<br />
The Ecole Supérieure des Beaux-Arts de Nîmes is in <strong>the</strong><br />
historic centre <strong>of</strong> <strong>the</strong> city. Installed in ‘Hôtel Rivet’, it fits<br />
naturally in <strong>the</strong> artistic, cultural and architectural heritage <strong>of</strong><br />
<strong>the</strong> city.<br />
The mansion was built in 1786 for David Rivet, a rich silk<br />
trader. It was not set around a courtyard but, in contrast<br />
with <strong>the</strong> local tradition, is U-shaped. It has been used successively<br />
as a hospital, <strong>the</strong> prefecture and a girls’ primary<br />
<strong>school</strong>.<br />
Restored in 1987, it has since housed <strong>the</strong> Ecole Supérieure<br />
des Beaux-Arts. The façades, <strong>the</strong> entrance hall and <strong>the</strong><br />
grand staircase were listed as conservation features in 1988<br />
(Inventaire Supplémentaire des Monuments Historiques).<br />
The floor <strong>of</strong> <strong>the</strong> entrance hall is by <strong>the</strong> artist Bernard Pagés.<br />
Hôtel Rivet was listed as a historical monument in 2005.
The <strong>school</strong> is above all a higher education establishment and teaching is<br />
centred on art alone to provide firm emphasis on this.<br />
The curriculum leads to <strong>the</strong> Diplôme National d’Arts Plastiques (DNAP)<br />
after <strong>the</strong> first three years, and <strong>the</strong>n to <strong>the</strong> Diplôme National Supérieur<br />
d’Expression Plastique (DNSEP) concluding five years <strong>of</strong> teaching.<br />
These degrees are awarded, approved and recognised by <strong>the</strong> Ministry <strong>of</strong><br />
Culture and Communication (Delegation for Plastic Arts).<br />
The harmonisation <strong>of</strong> higher education is in progress at <strong>the</strong> European level<br />
and art <strong>school</strong>s will be part <strong>of</strong> a new system called <strong>the</strong> ECTS (European<br />
Credit Transfer System).<br />
One <strong>school</strong>, three premises<br />
The main centre consists <strong>of</strong> <strong>the</strong> administration, <strong>the</strong> library, graphic data<br />
processing and video units and students’ studios.<br />
The second is for construction and sculpture.<br />
The third is for publishing and printing, conferring excellence on this subject<br />
as this centre works with <strong>the</strong> graphic data processing unit.<br />
Location <strong>of</strong> <strong>the</strong> <strong>school</strong><br />
L’HôTEL RIvET<br />
7<br />
The <strong>school</strong> is in <strong>the</strong> historic centre <strong>of</strong> <strong>the</strong> city <strong>of</strong> Nîmes, a<br />
five-minute walk from Carré d’Art, which houses a documentation<br />
library and <strong>the</strong> Municipal Library.<br />
High-speed TGV train services mean that Nîmes is 40 minutes<br />
from Montpellier, 90 minutes from Marseilles and<br />
Lyons and 3 hours from Paris.
8<br />
E.S.B.A.N.<br />
Competitive entry<br />
First year entry criteria<br />
Candidates must have passed <strong>the</strong> Baccalauréat or possess an equivalent<br />
French or foreign qualification.<br />
Candidates must sit for <strong>the</strong> Baccalauréat in <strong>the</strong> year <strong>of</strong> <strong>the</strong> entry examination.<br />
Candidates may apply to <strong>the</strong> director <strong>of</strong> ESBAN for exemption from <strong>the</strong><br />
above. This is generally for older candidates at end <strong>of</strong> secondary education<br />
level and with specific experience—pr<strong>of</strong>essional for example.<br />
Examination for competitive first year entry<br />
A written test on general knowledge.<br />
A test in art.<br />
A foreign language test (English, Italian, Spanish, German).<br />
Questioning by a jury on presentation <strong>of</strong> a set <strong>of</strong> personal work.<br />
Criteria for starting <strong>the</strong> curriculum<br />
(by crossover or an equivalence commission)<br />
Students are interviewed by a jury <strong>of</strong> four teachers and must show a<br />
file <strong>of</strong> personal work.<br />
Applications may be made by students wishing to benefit from ”crossover”<br />
equivalence or <strong>the</strong> ‘equivalence commission’.<br />
Crossover from ano<strong>the</strong>r institution<br />
Applicants must possess a certificate or diploma in <strong>the</strong> plastic arts or<br />
applied arts (BTS (Advanced Technician’s Certificate), a DEUG (general<br />
university studies diploma), bachelor’s degree, master’s degree) for<br />
<strong>the</strong> preceding year <strong>of</strong> studies.<br />
Equivalence Commission<br />
Entry after appraisal by <strong>the</strong> <strong>school</strong> <strong>of</strong> <strong>the</strong> candidate’s <strong>school</strong> and university<br />
record, under <strong>the</strong> control <strong>of</strong> <strong>the</strong> Ministry <strong>of</strong> Culture.<br />
Candidates from art <strong>school</strong>s in o<strong>the</strong>r countries may apply on condition<br />
that <strong>the</strong>ir qualifications are certified. Applications are forwarded to <strong>the</strong><br />
equivalence commission for <strong>the</strong> examinition <strong>of</strong> <strong>the</strong> documents submitted.<br />
Foreign candidates must provide a TCF (Test de Connaissance du Français)<br />
certificate.<br />
Social Security Cover<br />
Two mutual insurance organisations are proposed to complement obligatory<br />
social security cover for persons 20 years old or more.<br />
Grants<br />
Grants are awarded by DRAC LR (Direction Régionale de la Culture –<br />
Languedoc-Roussillon) according to parents’ means or those <strong>of</strong> <strong>the</strong><br />
student if he/she is no longer a dependant. Grant applications will be<br />
processed and decided by <strong>the</strong> CROUS (Centre national des oeuvres<br />
universitaires et scolaires) from <strong>the</strong> 2009-2010 academic year<br />
onwards.
First year: introduction (S.1-S.2)<br />
Awarding <strong>of</strong> 30 credits per semester.<br />
Each teacher awards <strong>the</strong> credits via continuous assessment.<br />
Two reviews: at <strong>the</strong> end <strong>of</strong> semester 1 and <strong>of</strong> semester 2.<br />
The year finishes with a paper summarising <strong>the</strong> students’ experience<br />
and works, accompanied by a showing <strong>of</strong> work<br />
Second year: programme phase (S.3-S.4)<br />
Awarding <strong>of</strong> 30 credits per semester.<br />
Work shown at <strong>the</strong> end <strong>of</strong> each semester under <strong>the</strong> responsibility <strong>of</strong><br />
a teacher<br />
Third year: DNAP programme phase (S.5-S.6)<br />
Awarding <strong>of</strong> 30 credits in <strong>the</strong> 5th semester, 15 in <strong>the</strong> 6th and 15 on<br />
<strong>the</strong> awarding <strong>of</strong> <strong>the</strong> Diplôme National d’Arts Plastiques (DNAP).<br />
Individual supervision by all <strong>the</strong> teachers.<br />
Showing <strong>of</strong> personal work.<br />
Students must follow <strong>the</strong> teaching <strong>of</strong> all <strong>the</strong> units in semester 5. IN<br />
semester 6, he/she must choose two units in addition to general<br />
studies and must write a paper.<br />
The diploma is awarded by a collegial decision by <strong>the</strong> teachers.<br />
The teacher handling coordination <strong>of</strong> <strong>the</strong> year supervises all <strong>the</strong> students<br />
to <strong>the</strong> diploma stage.<br />
Fourth year: project phase (S.7-S.8)<br />
Awarding <strong>of</strong> 30 credits per semester.<br />
Individual monitoring by all <strong>the</strong> teachers.<br />
Year <strong>of</strong> research and travelling.<br />
Year <strong>of</strong> work placement in a pr<strong>of</strong>essional environment.<br />
Fifth year: DNSEP project phase (S.9-S.10)<br />
Awarding <strong>of</strong> 30 credits in <strong>the</strong> 9th semester, 5 credits in <strong>the</strong> 10th<br />
semester and 25 credits on <strong>the</strong> awarding <strong>of</strong> <strong>the</strong> Diplôme National<br />
Supérieur d’Expression Plastique (DNSEP).<br />
The students must write a paper.<br />
The diploma is awarded by a collegial decision by <strong>the</strong> teachers.<br />
The teacher handling coordination <strong>of</strong> <strong>the</strong> year supervises all <strong>the</strong> students<br />
to <strong>the</strong> diploma stage.<br />
Student record<br />
E.S.B.A.N.<br />
Curriculum<br />
9<br />
A student record book containing <strong>the</strong> academic programme and <strong>the</strong><br />
programme <strong>of</strong> classes is given to each student at <strong>the</strong> beginning <strong>of</strong><br />
<strong>the</strong> year.
10<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Drawing - representation<br />
Isabelle viallat-Simonou<br />
Painter, creator and manager <strong>of</strong> <strong>the</strong> exhibition space ”La Vigie - Art<br />
Contemporain” in Nîmes. Born in 1965.<br />
Teaches drawing and <strong>the</strong> use <strong>of</strong> colour from <strong>the</strong> 1st to <strong>the</strong> 5th years,<br />
using various techniques.<br />
Work on proportions, light, layout, composition and <strong>the</strong> relation<br />
to space.<br />
Large and small drawings—life drawing and work in various places<br />
elsewhere: museums, exhibitions, markets, etc.<br />
Drawing - publications<br />
Augustin Pineau<br />
An artist whose work is developed from printed images, games and<br />
objects. Born in 1968. He addresses <strong>the</strong> notion <strong>of</strong> image in liaison<br />
with language and memory. Teaches 1st and 2nd year classes and<br />
monitors students from <strong>the</strong> 3rd to 5th years in <strong>the</strong> form <strong>of</strong> individual<br />
discussions.<br />
Collaborates with <strong>the</strong> publications and exhibitions units.<br />
Teaches drawing in a very broad sense, open to contemporary<br />
practices; drawing in relation to collage, assembly and <strong>the</strong> notions<br />
<strong>of</strong> image and narration.<br />
Drawing - publications<br />
Jean-Marc Scanreigh<br />
Painter, draughtsman and publisher. Writes for museums and <strong>the</strong><br />
press, including ”Artpress” and ”L’Imbécile”. Born in 1950. Handles<br />
<strong>the</strong> <strong>school</strong>’s publications with <strong>the</strong> assistance <strong>of</strong> Nicolas Grosmaire<br />
in graphical data processing and participation by <strong>the</strong> students.<br />
Teaches 1st and 2nd year classes and provides monitoring on request<br />
until <strong>the</strong> 5th year.<br />
His teaching covers drawing in <strong>the</strong> broad sense: observed and<br />
imagined subjects, contemporary graphic experiments. He explores<br />
<strong>the</strong> features <strong>of</strong> graphics, narration and illustration.<br />
Publishing practices<br />
Clémentine Mélois<br />
Born in 1980. She has chosen artists’ books and ‘Printed Things’ as<br />
her main medium.<br />
Teaches 1st to 5th year classes.<br />
The studio addresses publishing practices in a broad context, drawing<br />
on traditional techniques (engraving, lithography, stencils, screen<br />
prints, embossing, monotype, ‘stamping’ and even potato prints,<br />
etc.), digital printing and photocopies. The technical approach is accompanied<br />
by critical, transverse reflection on relations with o<strong>the</strong>r<br />
media and on <strong>the</strong> status <strong>of</strong> printed works. The aim is that <strong>of</strong> finalising<br />
a completed publishing operation with respect <strong>of</strong> <strong>the</strong> artistic project <strong>of</strong><br />
everybody with regard to both contemporary trends and ‘historical’<br />
works.
12<br />
Making comic books<br />
Gérard Depralon<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Artist and draughtsman, Gérard Depralon has worked with many<br />
publishers such as Glénat, Milan, Le Square, etc. In his present research<br />
he defends authors’ comic books and <strong>the</strong>ir creative field at<br />
<strong>the</strong> meeting-point between <strong>the</strong> plastic arts and literature<br />
Comic book work involves three fundamental disciplines: writing,<br />
drawing and colouring. The study <strong>of</strong> <strong>the</strong>se three components and<br />
<strong>the</strong>ir combining makes a powerful teaching tool. The students<br />
must use <strong>the</strong>ir personal experience to write and set out stories<br />
according to <strong>the</strong> rules for comic strips. Study <strong>of</strong> classic technique<br />
is supplemented by an approach to convergence with painting,<br />
photography and architecture, resulting in a multidisciplinary broadening<br />
<strong>of</strong> <strong>the</strong> field.<br />
Chromatics - space - colour<br />
Pascal Fancony<br />
Painter, plastic artist and spatial scenographer. Born in 1949.<br />
His artistic approach is centred on chromatic painting, in which two<br />
es<strong>the</strong>tic pathways are intertwined. In one, colour is above all ‘an<br />
experience <strong>of</strong> oneself’ and in <strong>the</strong> o<strong>the</strong>r it operates as a phenomenon<br />
in <strong>the</strong> perception <strong>of</strong> space with matter and light: painting working<br />
with <strong>the</strong> wall or even architecture.<br />
He teaches 1st, 2nd and 4th year classes.<br />
His teaching approach has three lines:<br />
- abstraction related to colour <strong>the</strong>ories in which gradations and<br />
<strong>the</strong> logic <strong>of</strong> relations order <strong>the</strong> composition <strong>of</strong> pictorial space and<br />
<strong>the</strong> planes and volumes <strong>of</strong> architectural space;<br />
- writing work accompanies <strong>the</strong> process for learning three ‘ways<br />
<strong>of</strong> making art’: phenomenology, semiotics and psychoanalysis.<br />
This rendering into language forms a de facto part <strong>of</strong> a possible<br />
reality <strong>of</strong> work in art;<br />
- ‘in situ’ work in which <strong>the</strong> formal, visual and physical qualities <strong>of</strong><br />
things are <strong>the</strong> essence <strong>of</strong> work on a place. Colour and light are<br />
combined here.<br />
His teaching is in <strong>the</strong> first semesters <strong>of</strong> <strong>the</strong> 1st and 2nd years and<br />
covers:<br />
- learning <strong>the</strong> fundamentals <strong>of</strong> <strong>the</strong> practice and <strong>the</strong>ory <strong>of</strong> colour<br />
itself;<br />
- <strong>the</strong> scientific approach to colour and light;<br />
- learning <strong>the</strong> systems <strong>of</strong> representation <strong>of</strong> space and <strong>the</strong> project;<br />
- <strong>the</strong> multidisciplinary project: Space – Painting - Light - Architecture.<br />
Teaching in <strong>the</strong> 4th year :
14<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
His teaching includes focus on <strong>the</strong> ‘pr<strong>of</strong>essionalisation’ <strong>of</strong> students<br />
by means <strong>of</strong> <strong>the</strong> setting up <strong>of</strong> exhibitions or initiation in <strong>the</strong><br />
interaction <strong>of</strong> art projects with public space, landscape and place;<br />
this is done within <strong>the</strong> methodological framework <strong>of</strong> public commissions.<br />
Meetings are organised among students in <strong>the</strong> form on miniseminars<br />
on art <strong>the</strong>ory.<br />
He supervises students in <strong>the</strong>ir research, with attention paid both<br />
to <strong>the</strong> formal aspects and <strong>the</strong>oretical culture.<br />
Painting<br />
Serge Plagnol<br />
An artist whose painting is based on questions <strong>of</strong> colour and its relations<br />
with drawing. Born in 1951.<br />
Teaches 1st to 5th year classes.<br />
Head <strong>of</strong> <strong>the</strong> painting studio, his teaching is based on experimental<br />
work with <strong>the</strong> components <strong>of</strong> painting.<br />
This work is set in relation to <strong>the</strong> history <strong>of</strong> painting and <strong>the</strong> various<br />
pictorial <strong>the</strong>ories.<br />
Painting – <strong>the</strong> image<br />
Jean-Marc Cerino<br />
Painter, born in 1965.<br />
Teaches 1st to 5th year classes<br />
For 1st and 2nd year students he addresses <strong>the</strong> testing by comparison<br />
with photos <strong>of</strong> <strong>the</strong> body, language and distance in all pictorial<br />
representation in order to appraise <strong>the</strong> distinctiveness <strong>of</strong><br />
<strong>the</strong> medium and also its complementarity with regard to photography.<br />
An essential gaining <strong>of</strong> awareness for any approach in art<br />
aimed at addressing images.<br />
From <strong>the</strong> 3rd to <strong>the</strong> 5th years, monitoring <strong>of</strong> individual approaches<br />
and opening to <strong>the</strong> outside by proposals for placements<br />
and exhibitions in pr<strong>of</strong>essional and/or institutional establishments.<br />
Painting<br />
Augustin Pineau<br />
Augustin Pineau<br />
An artist whose work is developed from printed images, games and<br />
objects. Born in 1968. He addresses <strong>the</strong> notion <strong>of</strong> <strong>the</strong> image in relation<br />
with language and memory.<br />
He teaches in <strong>the</strong> first and second university cycles, preparing<br />
students for diplomas (DNAP and DNSEP): description <strong>of</strong> current<br />
practices and supervision <strong>of</strong> student papers in <strong>the</strong> form <strong>of</strong> individual<br />
interviews in <strong>the</strong> studio.
16<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Space - sculpture - volume<br />
Arnaud vasseux<br />
Sculptor. Lives in Marseilles. Born in Lyons in 1969.<br />
Teaches 1st to 5th year classes.<br />
The studio wishes to encourage students to experience volume<br />
and to test <strong>the</strong> numerous possibilities <strong>of</strong> three-dimensional work.<br />
Stress is laid here on experimenting with <strong>the</strong> materials chosen<br />
and observation in research.<br />
Sculpture is seen as a practice open to <strong>the</strong> o<strong>the</strong>r disciplines and<br />
transverse studios are proposed for each semester.<br />
The students are helped to perform individual work, in <strong>the</strong><br />
concrete expression <strong>of</strong> <strong>the</strong>ir thinking and in <strong>the</strong> design <strong>of</strong> <strong>the</strong>ir<br />
research.<br />
They come up again choices in <strong>the</strong> diversity <strong>of</strong> <strong>the</strong> things available<br />
and in tools (even reduced to a minimum) that sculpture implies.<br />
They are led to considering <strong>the</strong> problems raised by executing<br />
<strong>the</strong>ir works at <strong>the</strong> scale <strong>of</strong> <strong>the</strong> context in which <strong>the</strong>y wish to<br />
operate.<br />
Space - sculpture - volume<br />
Dror Endeweld<br />
An artist born in Tel Aviv Yaffo in 1960. Has lived in France since<br />
1982. After studies at <strong>the</strong> Beaux-Arts in Lyons, he participated in<br />
<strong>the</strong> second session <strong>of</strong> <strong>the</strong> Institut des Hautes Études en Arts Plastiques.<br />
Hinges his work on language and its physical perception.<br />
Addresses <strong>the</strong> practice <strong>of</strong> volume/space and installation. His teaching<br />
runs from <strong>the</strong> Russian avant-garde through <strong>the</strong> main movements<br />
<strong>of</strong> <strong>the</strong> 1960s—minimal art, conceptual art, arte povera—<br />
and <strong>the</strong> repercussion <strong>of</strong> <strong>the</strong>se works on today’s world.<br />
Space - body<br />
Performance, sound environments, low-tech.<br />
Jean-Claude Gagnieux<br />
Artist and performer. He makes installations and sound editions.<br />
Born in Algeria in 1957. Works in <strong>the</strong> universe <strong>of</strong> humour and derision.<br />
Teaches 1st to 5th year classes.<br />
A course on <strong>the</strong> history <strong>of</strong> performance—iconography, video library,<br />
sound archive, research workshops, radio programmes,<br />
events.<br />
Transverse links with o<strong>the</strong>r contemporary disciplines (dance, <strong>the</strong>atre,<br />
writing, music, circus, etc.) and with traditional disciplines.<br />
Promotion <strong>of</strong> awareness <strong>of</strong> work with sound, voice, <strong>the</strong> body and<br />
‘displaying’ it to make this work on visibility enable <strong>the</strong> claiming <strong>of</strong><br />
explicit practices as a crucial stage in preparation for <strong>the</strong> diplomas.
18<br />
video<br />
Maïder Fortune<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Plastic artist and video maker born in 1973.<br />
Develops research in video film making and installations. Teaches<br />
1st to 5th year classes.<br />
Photography<br />
Brigitte Bauer<br />
Born in Germany, has lived and worked in France since 1987<br />
Awarded a diploma at <strong>the</strong> Ecole Nationale Supérieure de la Photographie,<br />
Arles, in 1990. Master’s Degree in Plastic Arts, Aix-en-Provence,<br />
1995. Teaches 1st to 5th year classes. Her work is exhibited<br />
regularly in France and abroad. ‘After developing landscape culture<br />
in series such as Montagne Sainte-Victoire, Ronds-Points, La Ville<br />
et le Jardin, Carrés d’Herbes and Champs de Nuages and questioning<br />
<strong>the</strong> notion <strong>of</strong> identity (D’Allemagne – a book <strong>of</strong> photographs<br />
and discussion with <strong>the</strong> writer Cécile Wajsbrot), my research today<br />
is focused more on <strong>the</strong> real and mental territory <strong>of</strong> human attitudes<br />
and postures, whe<strong>the</strong>r in an urban environment as in <strong>the</strong> series<br />
Fragments d’Intimité or during leisure time as in <strong>the</strong> more recent<br />
project called Big Game.<br />
Brigitte Bauer is represented by <strong>the</strong> gallery Polaris / Bernard Utudjian<br />
in Paris.<br />
Teaches 1st to 5th year classes.<br />
History and <strong>the</strong>ory <strong>of</strong> photography: <strong>the</strong>me and transverse<br />
path-ways are used to give students an opportunity to acquire<br />
conceptual tools to enable <strong>the</strong>m to develop <strong>the</strong>ir own capacity<br />
for analysis and critical understanding <strong>of</strong> <strong>the</strong> history <strong>of</strong> photogra-<br />
phy and contemporary trends and movements.<br />
Techniques: learning about and using different types <strong>of</strong> apparatus<br />
and silver image and digital treatment processes.<br />
History <strong>of</strong> art<br />
Albert Raniéri<br />
Art historian. Gives classes at <strong>the</strong> Institut d’études pour étrangers<br />
(IEFE) at Université Paul Valéry, Montpellier.<br />
Teaches 1st to 5th year classes.<br />
History and <strong>the</strong>ories <strong>of</strong> art from <strong>the</strong> Renaissance to <strong>the</strong> European<br />
avant-gardes.<br />
He also covers <strong>the</strong> following <strong>the</strong>mes:<br />
- <strong>the</strong> relations between art and architecture<br />
- public commissions,<br />
- <strong>the</strong> idea <strong>of</strong> nature in art<br />
and exhibition practices<br />
Human sciences - literature<br />
Alain-Christophe Restrat<br />
A poet and poetry critic born in 1946, he is <strong>the</strong> author <strong>of</strong> books <strong>of</strong><br />
poems, published in particular by Flammarion, and several artist’s<br />
books. Poetry readings at Centre Georges Pompidou, <strong>the</strong> Musée<br />
d’Art Moderne in Paris, <strong>the</strong> CIPM in Marseilles and abroad (USA,<br />
Arab countries).<br />
In 1980, he met Henri Michaux who encouraged him to continue his<br />
writing independently and outside movements. He taught French<br />
literature and civilisation for a long time in <strong>the</strong> United States.<br />
Teaches 1st to 5th year classes:<br />
His teaching is focused on three areas:
20<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
- <strong>the</strong> role and relation <strong>of</strong> words to <strong>the</strong> plastic arts (writing workshops,<br />
artists’ books and <strong>the</strong> history <strong>of</strong> poetry from Baudelaire to<br />
<strong>the</strong> present day);<br />
- analysis and reflection based on critical, philosophical and aes<strong>the</strong>tic<br />
essays on modern and contemporary art;<br />
- study and knowledge <strong>of</strong> <strong>the</strong> cinema and its language and aes<strong>the</strong>tics<br />
since its origins.<br />
Lecture<br />
Corinne Rondeau<br />
Academic and critic<br />
”I write differently from <strong>the</strong> way I speak, I speak differently from<br />
<strong>the</strong> way I think, I think differently from <strong>the</strong> way I should think …”<br />
Kafka<br />
Teaches 1st to 5th year classes..<br />
Subject : Politics and exhibition news.<br />
The issue <strong>of</strong> an exhibition is less that <strong>of</strong> <strong>the</strong> form or that <strong>of</strong> <strong>the</strong><br />
content than that <strong>of</strong> contextualisation. Under <strong>the</strong>se circumstances,<br />
exhibitions recover <strong>the</strong>ir literary definition.<br />
Fur<strong>the</strong>r, exhibitions stem more from <strong>the</strong> involvement <strong>of</strong> cultural<br />
organisation (interaction between spectators, works, curators,<br />
critics, galleries and museums). In o<strong>the</strong>r words, <strong>the</strong> question <strong>of</strong><br />
contemporary art is that <strong>of</strong> <strong>the</strong> exhibition as a way <strong>of</strong> showing<br />
more a policy <strong>of</strong> art than art, that is to say an organisational issue.<br />
All <strong>the</strong> exhibitions addressed are linked with history <strong>of</strong> art (forms,<br />
discourse and movements).<br />
English<br />
Alain-Christophe Restrat<br />
Depending on <strong>the</strong> students’ levels, gaining and development <strong>of</strong><br />
vocabulary, verbal, syntactic and idiomatic structures in spoken<br />
and written English in relation with a selection <strong>of</strong> texts on art and<br />
Anglo-American society.<br />
Collecting - exhibiting - curiosity<br />
Hubert Duprat<br />
Sculptor. Born in 1957.<br />
Teaches 3rd to 5th year classes.<br />
”I read Einstein. I don’t understand anything, but I understand<br />
something else” Pablo Picasso.<br />
Preparation for <strong>the</strong> diplomas by holding exhibitions <strong>of</strong> students’<br />
work. Coordination work in collaboration with Frac Languedoc-<br />
Roussillon (Fonds régional d’art contemporain Languedoc-Roussillon):<br />
presentation and management <strong>of</strong> <strong>the</strong> works in <strong>the</strong> collection.<br />
His teaching addresses <strong>the</strong> possible relations between art and<br />
science.
22<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Analysis – <strong>the</strong> imaginary – point <strong>of</strong> view with<br />
regard to art<br />
Yves Reynier<br />
An artist whose work involves assembly, collage and installation in<br />
its relation with time and space. Born in 1946. He has had many<br />
solo and group shows in France and abroad (CAPC, Bordeaux, Centre<br />
Georges Pompidou, Musée d’art moderne de Céret, Carré d’Art<br />
in Nîmes, Museum Ludwig in Germany).<br />
Teaches from <strong>the</strong> 3rd to <strong>the</strong> 5th years.<br />
His teaching is aimed at work <strong>of</strong> analysis and information using<br />
exercises and games centred on modern art.<br />
Library<br />
Isabelle Quaglia<br />
The library is a friendly place where students can work, find information,<br />
read, watch films, make photocopies and print individually<br />
or in groups.<br />
It has varied, regularly updated resources assembled in close collaboration<br />
with <strong>the</strong> teaching staff. The students must be able to<br />
extend <strong>the</strong>ir personal reflection and broaden <strong>the</strong>ir knowledge.<br />
With 5000 books, 20 journal subscriptions, 300 videos and a few<br />
rare items, <strong>the</strong> collection is strongly centred on contemporary art<br />
but also covers history <strong>of</strong> art and general subjects.<br />
The librarian holds sessions on initiation in documentary research<br />
for first-year students.<br />
She provides individual help for students in <strong>the</strong>ir research, attends<br />
reviews and takes <strong>the</strong>ir concerns into account in order to<br />
improve <strong>the</strong> relevance <strong>of</strong> <strong>the</strong> stock <strong>of</strong> documents. Selections by<br />
subject and new items are presented throughout <strong>the</strong> year.<br />
Readers can leave books on a ‘swap table’ and take o<strong>the</strong>rs.<br />
Partnerships with <strong>the</strong> o<strong>the</strong>r libraries and documentation centres<br />
in Nîmes enable <strong>the</strong> students to draw <strong>the</strong> most from <strong>the</strong> different<br />
resource venues and pr<strong>of</strong>essionals to design <strong>the</strong>ir services in a<br />
complementary manner. The library’s participation in <strong>the</strong> art<br />
<strong>school</strong> librarians’ network is also a valuable feature.<br />
Documents are lent to <strong>the</strong> students at <strong>the</strong> <strong>school</strong> and students at<br />
establishments with which agreements have been concluded.<br />
The public can consult works in <strong>the</strong> library.<br />
Computer workstations provide access to <strong>of</strong>fice tools and <strong>the</strong><br />
Internet.<br />
A facility is provided to watch films on <strong>the</strong> spot. A printer and a<br />
photocopy machine are available for use by students. The computerised<br />
catalogue can be accessed at: http://extranet.nimes.fr/<br />
pmbeba/opac_css/
24<br />
Atelier vidéo<br />
Frédéric Gleyze<br />
E.S.B.A.N.<br />
Teaching and programmes<br />
Specialised art teaching assistant. Video editor, cameraman and<br />
DVD designer.<br />
The video studio is equipped for training and filmmaking: camera<br />
work, sound recording, editing, post-production, use <strong>of</strong><br />
distribution media, etc.<br />
The studio is open to all (after prior training) from 8.30 a.m. to 9<br />
p.m.<br />
Training and workshops have priority.<br />
Equipment<br />
The following equipment is available:<br />
- 4 Macintosh video editing workstations (Final Cut Pro, Adobe<br />
Première, Avid DV, After Effects, DVD Studio Pro).<br />
- 7 PC editing workstations (Adobe Première Pro, After Effects,<br />
Encore DVD, etc.).<br />
- A dozen digital film cameras.<br />
Supplies such as cassettes, DVDs, CDs, etc. must be provided<br />
by <strong>the</strong> students. It is strongly recommended that <strong>the</strong>y should<br />
own an external hard drive (IEE1394 standard) for a project running<br />
for several months.<br />
Training<br />
- 1st year: introduction to video camera work and virtual editing<br />
(group training throughout <strong>the</strong> year);<br />
- 2nd year: use <strong>of</strong> pr<strong>of</strong>essional editing s<strong>of</strong>tware such as Final<br />
Cut Pro and Avid , DVD design (occasional or group training<br />
according to demand);<br />
- 3rd, 4th and 5th years: monitoring and specific individual training.<br />
What’s on at <strong>the</strong> video studio<br />
- Events: participation in <strong>the</strong> ”Vidé<strong>of</strong>ormes 1 minute” competition<br />
at <strong>the</strong> Clermont Ferrand festival (March), organisation <strong>of</strong><br />
meetings centred on film and video art at Carré d’Art in Nîmes<br />
(May), etc.<br />
- 1-week practical training courses: camera work and <strong>the</strong> use <strong>of</strong><br />
cinema/video lighting, ‘traditional’ animation, computer-assisted<br />
animation with After Effect, etc.<br />
- Periodic events: design and making <strong>of</strong> a studio programme at<br />
a local TV station, ”Télé-mirroir”, in partnership with <strong>the</strong> conservatoire<br />
<strong>of</strong> music and Nîmes <strong>the</strong>atre for a video production for<br />
<strong>the</strong> ”Flower” concert (2007)…<br />
Graphic data processing studio<br />
Nicolas Grosmaire<br />
Specialised art teaching assistant. Graphic designer, plastic artist,<br />
multimedia instructor. Teaches at Université Vauban in Nîmes.<br />
The computer studio possesses equipment for training and <strong>the</strong><br />
post-production <strong>of</strong> work in multimedia and computer-aided publication.<br />
It is a place for exchanges where everybody can both<br />
train and perfect his or her skills in multimedia and computer<br />
graphics.<br />
The workshop is an active part <strong>of</strong> <strong>the</strong> publishing-print section,<br />
combining so-called artisanal and contemporary techniques.
26<br />
E.S.B.A.N.<br />
Pédagogie et programmes<br />
Equipment<br />
A first room is equipped with:<br />
- 8 Macintosh workstations (with multimedia s<strong>of</strong>tware suites installed);<br />
- 4 flatbed scanners (flat, film and strips);<br />
- 4 printers (A4, A3, inkjet and colour laser).<br />
A second room devoted to digital photography is equipped with:<br />
- 8 PC workstations (with digital photography s<strong>of</strong>tware installed);<br />
- 8 graphics pads;<br />
- 4 external DVD burners.<br />
Consumables (USB keys, DVDs, CDs, photographic paper, etc.)<br />
are provided by <strong>the</strong> students.<br />
Training<br />
- 1st year: introduction to computer facilities, basic practices, <strong>the</strong><br />
basis <strong>of</strong> digital images and vector graphics, document entry and<br />
design methods;<br />
- 2nd year: use <strong>of</strong> pr<strong>of</strong>essional print and computer-aided publishing<br />
s<strong>of</strong>tware, participation in <strong>the</strong> design and production <strong>of</strong> publications,<br />
<strong>the</strong>me work on graphics;<br />
- 3rd, 4th and 5th years: monitoring and specific individual training.<br />
What’s on at <strong>the</strong> graphics studio<br />
- production <strong>of</strong> <strong>the</strong> communication literature for <strong>the</strong> <strong>school</strong>;<br />
- participation in and production <strong>of</strong> Hôtel Rivet publications;<br />
- execution <strong>of</strong> outside work and participation in events.<br />
The studio is open to all (after prior training) from 8.30 a.m. to<br />
9 p.m.<br />
Training and workshops have priority.
Seminars<br />
E.S.B.A.N.<br />
Seminars, lectures, workshops<br />
27<br />
Within <strong>the</strong> framework <strong>of</strong> <strong>the</strong> ‘exhibition’ identity <strong>of</strong> <strong>the</strong> <strong>school</strong><br />
and also with regard to a future research laboratory, a one-day<br />
seminar is held every semester. Three external personalities are<br />
invited to <strong>the</strong>se events that focus on a specific question.<br />
The students are prepared for <strong>the</strong>se seminars.<br />
Lectures<br />
Throughout <strong>the</strong> academic year, lectures by figures in <strong>the</strong> art<br />
world contribute to opening <strong>the</strong> <strong>school</strong> to contemporary artistic<br />
and intellectual issues.<br />
The lectures are followed by a meeting/discussion with <strong>the</strong> students.<br />
Workshop<br />
Artists are invited to organise workshops open to students from<br />
<strong>the</strong> 2nd year onwards.<br />
Work is in groups <strong>of</strong> 6 to 12 students. Each workshop is concluded<br />
by an exhibition.
28<br />
International mobility<br />
E.S.B.A.N.<br />
International relations and ERASMUS strategy<br />
For <strong>the</strong> past 5 years, École Supérieure des Beaux-Arts de Nîmes<br />
(ESBAN) has developed a policy <strong>of</strong> exchange and collaboration<br />
with institutions in o<strong>the</strong>r countries. Each year, nearly 30% <strong>of</strong> <strong>the</strong><br />
students participate in exchanges with <strong>school</strong>s in Europe (Belgrade,<br />
Leipzig and Prague) and China (Shenyang).<br />
ESBAN belongs to <strong>the</strong> networks ELIA, ART ACCORD France<br />
and Age d’Or (a network <strong>of</strong> <strong>the</strong> art <strong>school</strong>s in <strong>the</strong> South <strong>of</strong> France).<br />
The <strong>school</strong> aims at enhancing <strong>the</strong> individual mobility <strong>of</strong> students.<br />
They thus obtain better information about evolutions in <strong>the</strong><br />
art world and changes in pr<strong>of</strong>essional sectors in art and creation,<br />
making conditions favourable for <strong>the</strong>m for <strong>the</strong> development <strong>of</strong> a<br />
fulfilling personal and pr<strong>of</strong>essional project.<br />
ERASMUS mobility<br />
Within <strong>the</strong> framework <strong>of</strong> <strong>the</strong> EU Lifelong Learning Programme<br />
(LLLP), thanks to <strong>the</strong> Erasmus programme, ESBAN and its academic<br />
team wish to participate in <strong>the</strong> construction <strong>of</strong> a European area<br />
<strong>of</strong> higher education in art that is open in terms <strong>of</strong> education and<br />
training. For this, it wishes to develop bilateral agreements with institutions<br />
dispensing education and training that are complementary<br />
to that <strong>of</strong> ESBAN. It hopes that while aiming at quality and <strong>the</strong> sharing<br />
<strong>of</strong> competences, <strong>the</strong>se exchanges will become a laboratory to<br />
nourish individual experiences and joint projects.<br />
Contacts have already been made with agreements in mind<br />
with <strong>the</strong> academies <strong>of</strong> Urbino and Macerata (Italian art <strong>school</strong>s) within<br />
<strong>the</strong> framework <strong>of</strong> <strong>the</strong> ERASMUS programme (charter awarded<br />
in May 2008).<br />
The human scale <strong>of</strong> our <strong>school</strong> favours a warm welcome and<br />
personalised supervision adapted to each new student so that he or<br />
she is never left to fend for himself/herself but participates fully in<br />
<strong>the</strong> life <strong>of</strong> <strong>the</strong> <strong>school</strong> right from <strong>the</strong> beginning.<br />
After each trip and each exchange, <strong>the</strong> students and teachers<br />
recount <strong>the</strong>ir experience at conferences and working groups open<br />
to all <strong>the</strong> students and staff <strong>of</strong> <strong>the</strong> <strong>school</strong>.<br />
Without any discrimination and with respect for gender equality<br />
mobile students benefit from personal supervision and also powerful<br />
teaching focused on contemporary artistic practices. They participate<br />
in a workshop/laboratory to materialise travelling exhibitions<br />
<strong>of</strong> <strong>the</strong> work in progress type between <strong>the</strong> various partner institutions.<br />
The <strong>school</strong> has two exhibition rooms on its premises where<br />
<strong>the</strong> exhibition schedules already alternate between exhibitions <strong>of</strong><br />
students’ work and exhibitions by international artists. The publishing<br />
section is also active in <strong>the</strong> accompaniment <strong>of</strong> all <strong>the</strong>se<br />
actions and also in <strong>the</strong> production <strong>of</strong> specific, individual objects.<br />
Located in <strong>the</strong> heart <strong>of</strong> <strong>the</strong> Mediterranean arc—<strong>the</strong> second<br />
most important zone in France for work in modern and contemporary<br />
art—<strong>the</strong> city <strong>of</strong> Nîmes, with an important archaeological and<br />
historical heritage, has acquired ambitious structures for art (art<br />
<strong>school</strong>, municipal galleries, Musée d’art contemporain, Carré d’Art<br />
library, Fine Arts Museum). Of course, <strong>the</strong> development <strong>of</strong> <strong>the</strong><br />
<strong>school</strong> will continue to use this rich fabric and synergy.
Organisation <strong>of</strong> ERASMUS mobility<br />
Meetings are organised by <strong>the</strong> management <strong>of</strong> <strong>the</strong> <strong>school</strong> at<br />
<strong>the</strong> beginning <strong>of</strong> <strong>the</strong> academic year, complementing <strong>the</strong> website<br />
and <strong>the</strong> students’ handbook, to inform all <strong>the</strong> students about mobility,<br />
<strong>the</strong> programme and <strong>the</strong> <strong>school</strong>’s ERASMUS policy.<br />
Priority is awarded to fourth-year students with a creative research<br />
project focused on studio work.<br />
The stay abroad should last for at least one semester.<br />
All periods spent abroad within <strong>the</strong> framework <strong>of</strong> study<br />
contracts, marks; <strong>the</strong> credit transfer system (ECTS), teaching<br />
agreements and undertaking by <strong>the</strong> parties are validated in <strong>the</strong><br />
<strong>school</strong>’s marking procedure.<br />
A committee examines <strong>the</strong> projects, motivation and abilities<br />
<strong>of</strong> applicants for mobility. The person responsible for international<br />
relations and <strong>the</strong> referring teachers provide individual supervision<br />
and accompaniment for <strong>the</strong> writing <strong>of</strong> <strong>the</strong> agreements and study<br />
contracts with partner institutions.<br />
As a complement to ERASMUS grants, <strong>the</strong> <strong>school</strong> and <strong>the</strong><br />
Association des Amis de l’ESBAN will provide financial support<br />
for each student leaving within this framework.<br />
Arriving students are aided by <strong>the</strong> person responsible for<br />
international relations in <strong>the</strong>ir search for board and lodging and in<br />
documentation and language classes in conjunction with <strong>the</strong><br />
Bureau Information Jeunesse, <strong>the</strong> Maison de l’Emploi, <strong>the</strong> CROUS<br />
and <strong>the</strong> university residences.<br />
The mobility <strong>of</strong> teachers and o<strong>the</strong>r staff is encouraged in order<br />
to develop cooperation operations and to gain good knowledge <strong>of</strong><br />
hosting venues in order to prepare for stays by students.<br />
E.S.B.A.N.<br />
International relations and ERASMUS strategy<br />
29
30<br />
Classes for children 7 to 12 years old<br />
Aglaë Gourdouze<br />
Artist<br />
A workshop for children aged 7 to 12 covering various drawing,<br />
painting, volume and photo work in a spirit <strong>of</strong> play and exchange.<br />
The children are encouraged to develop <strong>the</strong>ir creativity by experimenting<br />
with tools and handling materials.<br />
The aim is to stimulate <strong>the</strong>ir imagination and <strong>the</strong>ir creative potential<br />
and help <strong>the</strong>m to become aware <strong>of</strong> contemporary art<br />
work.<br />
The year ends with an exhibition <strong>of</strong> <strong>the</strong> children’s work in June.<br />
Classes for 13 to 15-year-olds<br />
véronique Fabre<br />
Artist<br />
E.S.B.A.N.<br />
Classes for children and adults<br />
Teaches painting and drawing. Learning to look, introduction to<br />
pictorial and experimental techniques with materials, awareness<br />
<strong>of</strong> comics.<br />
Classes for adults : painting<br />
Gérard Depralon<br />
Plastic artist and draughtsman, his work is based on <strong>the</strong> exploration<br />
<strong>of</strong> materials. His work was shown in Romainville and Arles in<br />
2005 and 2006. An author <strong>of</strong> comic books, he works regularly for<br />
<strong>the</strong> press.<br />
His teaching <strong>of</strong> painting is set in a reflection on outwardness<br />
with care to pass on practices and knowledge. The classes are<br />
based on a variety <strong>of</strong> subjects addressed using acrylics, collage,<br />
life drawing, still life, artists’ books, etc.<br />
Classes for adults : drawing and painting<br />
véronique Fabre<br />
Artist<br />
Teaches painting, drawing and volume. Approach to techniques<br />
in varied exercises based on imagination and observation. Regular<br />
life drawing.<br />
Classes for adults : engraving<br />
Clémentine Mélois<br />
The evening classes are aimed at an informal approach to engraving<br />
and printing. The various traditional and modern methods<br />
<strong>of</strong> printmaking are covered. Joint edition projects are launched<br />
so that each participant can express his artistic intentions.
Information on adult and<br />
extracurricular classes<br />
These classes are open to anybody who<br />
would like to have an artistic activity.<br />
Enrolment opens at <strong>the</strong> beginning <strong>of</strong><br />
June and closes in <strong>the</strong> first week <strong>of</strong> September.<br />
Procedures for obtaining and delivering<br />
application forms are described in a<br />
press release and on <strong>the</strong> <strong>school</strong> website.<br />
Fur<strong>the</strong>r information can be obtained<br />
from:<br />
Ecole Supérieure des Beaux-Arts<br />
Hôtel Rivet<br />
10 Grand Rue<br />
30033 Nîmes Cedex 9<br />
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06<br />
ecole.beauxarts@ville-nimes.fr<br />
http://www.nimes.fr/index.php?id=330<br />
E.S.B.A.N.<br />
Classes for children and adults<br />
31
32<br />
E.S.B.A.N.<br />
An identity: exhibitions<br />
The École des Beaux-Arts de Nîmes has provided its students with a<br />
great range <strong>of</strong> experience in exhibition practice for a number <strong>of</strong> years.<br />
The main building has three large rooms used regularly for exhibitions.<br />
The <strong>school</strong> also benefits from <strong>the</strong> city’s substantial art facilities: Carré<br />
d’Art-Musée d’Art contemporain, Musée des Beaux-Arts, municipal<br />
galleries, etc.<br />
Student exhibitions supervised by <strong>the</strong> teaching staff are held every year<br />
at various venues in Nîmes, in <strong>the</strong> Languedoc-Roussillon region and<br />
also elsewhere in France and abroad. These exhibitions make it possible<br />
for <strong>the</strong> students to handle <strong>the</strong> hanging and presentation <strong>of</strong> <strong>the</strong>ir own<br />
work in venues with pr<strong>of</strong>essional contingencies and requirements and<br />
to enhance meetings with <strong>the</strong> public.<br />
Most <strong>of</strong> <strong>the</strong> students also have placements in institutional establishments<br />
(Musée d’Art moderne de Saint-Étienne, Centre international<br />
d’art et du paysage de Vassivière, Centre d’art contemporain de Kerguéhennec,<br />
etc.). They thus learn about <strong>the</strong> technical, conceptual and<br />
administrative issues involved in setting up exhibitions. This enables<br />
both an approach to <strong>the</strong> pr<strong>of</strong>essional handling and placing <strong>of</strong> works <strong>of</strong><br />
art and <strong>the</strong> possibility <strong>of</strong> learning about <strong>the</strong> contemporary art scene by<br />
collaborating directly with artists and exhibition curators.<br />
A partnership with Frac Languedoc-Roussillon also makes it possible for<br />
students to gain experience <strong>of</strong> curating and accompanying exhibitions:<br />
choice <strong>of</strong> works and <strong>the</strong>mes in <strong>the</strong> regional collection (Fond régional<br />
d’art contemporain) and hanging and also <strong>the</strong> design <strong>of</strong> posters, invitation<br />
cards and press releases and handling guided visits for all types <strong>of</strong><br />
public. These operations are sometimes handled at <strong>the</strong> request <strong>of</strong> local<br />
authorities, as in recent years with <strong>the</strong> towns <strong>of</strong> Béziers and Lunel.<br />
Teaching in <strong>the</strong> form <strong>of</strong> lectures or seminars (handled by teachers and<br />
persons from outside <strong>the</strong> <strong>school</strong>) extend and deepen knowledge <strong>of</strong> <strong>the</strong><br />
issues involved in exhibitions.<br />
Exhibition: NÉMAUSUS, 20 ANS / 10 POSITIONS at<br />
<strong>the</strong> ‘Photographie et Architecture’ biennial.<br />
Isacf La Cambre, Brussels, March-May 2008<br />
Exhibition: Objectif Lunel (works belonging to Frac Languedoc-Roussillon).<br />
Espace Louis Feuillade, Lunel, May 2007<br />
Student project for Commemoration Les 20 ans de Némausus.<br />
Nîmes, November 2007.
Exhibition Sans repentir.<br />
Espace Louis Feuillade, Lunel, April 2008.<br />
Exhibition On n’est pas loin.<br />
Maison de la Cure, Saint-Restitut, March 2008<br />
Exhibition Images d’une école.<br />
Hôtel-Rivet, Nîmes, March 2008
40<br />
E.S.B.A.N.<br />
Graphics and publishing<br />
In 2008 <strong>the</strong> publishing section gained vigour by more<br />
marked coordination <strong>of</strong> <strong>the</strong> teachers in <strong>the</strong> drawing section and <strong>the</strong><br />
new teacher in charge <strong>of</strong> printmaking.<br />
In addition to <strong>the</strong> projects completed in recent years with Hôtel Rivet<br />
publications and <strong>the</strong> <strong>school</strong> journal, an experimental art publication<br />
section is being set up in <strong>the</strong> Maison du Poète.<br />
Work by this new unit is based on active collaboration with <strong>the</strong> computer<br />
graphics studio.<br />
The section will continue to handle <strong>the</strong> various competitions and commissions<br />
from institutions. Collaboration with Onisep was set up in<br />
2008. The competition—with many prizes—on <strong>the</strong> occasion <strong>of</strong> <strong>the</strong><br />
Journées méditerranéennes de l’olivier is still a high point that is extremely<br />
successful every year.<br />
A large event organised with <strong>the</strong> library at Carré d’Art de Nîmes is<br />
planned in March 2009.<br />
List <strong>of</strong> Hôtel Rivet publications on page 88
Couv.indd 2-3 21/04/05 18:49:47<br />
jindal, M. Calle and P.G. Coste<br />
Hôtel Rivet Collection # 9, May 2005<br />
couverture.indd 21/04/05 18:45:51 1<br />
D.Semin and J.C.Silberman, Dessiner le champignon<br />
Hôtel Rivet Collection # 5, March 2004<br />
H Ô T E L - R I V E T<br />
#5/ SEMIN / SILBERMANN<br />
A.Giroux, Le monde<br />
Hôtel Rivet Collection # 18, May 2007<br />
Hôtel-Rivet est une publication<br />
de l’École Supérieure des Beaux Arts de Nîmes.<br />
Directeur de la collection :<br />
Dominique Gu<strong>the</strong>rz<br />
Hôtel-Rivet<br />
10 Grand’Rue<br />
30000 Nîmes<br />
04 66 76 70 22<br />
ecole.beauxarts@ville-nimes.fr<br />
N°d’Editeur : 19<br />
Dépôt légal à parution<br />
ISBN 978-2-914215-18-5<br />
Achevé d’imprimer en Juin 2007<br />
AGB Nîmes - 04 66 64 79 53<br />
Conception et réalisation<br />
ESBAN & Anne Faucher<br />
Publié avec le soutien de la D.R.A.C. Languedoc - Roussillon et de l’association des Amis de l’ESBAN.<br />
You can Cut Cut Cut me, M.Calle and E.Brun<br />
Hôtel Rivet Collection # 8, May 2005<br />
J.M Scanreigh, Picasso, remarques à effacer<br />
Hôtel Rivet Collection # 2, March 2004<br />
Couv.indd 1 11/03/06 14:08:35<br />
8 €<br />
Picasso, J.M Scanreigh<br />
Hôtel Rivet Collection # 19, 2007<br />
Pierre E. Richard , Étude pour un portrait de Francis Bacon<br />
Hôtel Rivet Collection # 13, March 2006<br />
�������������
P.G.Coste, Journal Dessin<br />
Hôtel-Rivet ≠ 8, June 2007<br />
S.Bonin et j.Ruel, Journal Dessin<br />
Hôtel-Rivet ≠ 8, June 2007
Exhibition poster A corps<br />
Galerie des Arènes, March-April 2006.<br />
Exhibition poster Projections vidéos franco-tchéque<br />
Prague, Montpellier and Nîmes, April-May 2006.
. Académie d’art de Prague AVU ………………………………………… 25/04/06<br />
. Institut Français de Prague …………………………………………… 02/05/06<br />
. Ecole Supérieure des Beaux-Arts de Nîmes ………… 16/05/06<br />
. Trioletto à Montpellier ……………………………………………………… 19/05/06<br />
……………………………………………………………………………………………………………………………… à 19h<br />
Manifestations organisées avec le soutien de l'association des Amis de l'ESBAN<br />
Renseignements : mouhibyza@hotmail.fr / 00 33 (0)6.65.15.51.82<br />
…………………
LES COUSINS<br />
U NÎ M E S<br />
L e p ô l e A R T S d ’ U N Î M E S e x p o s e l e s t r a v a u x d e s é t u d i a n t s d e s B E AU X - A R T S d e N Î M E S<br />
Vernissage le Mardi 12 avril 2005 à 18h00<br />
Exposition le 13 et le 14 avril 2005 - Centre Universitaire de Nîmes (site Vauban) - Rue Docteur Georges Salan 30 000 Nîmes - 04 66 36 45 21<br />
Photo : R. Tamin - Maquette/graphisme : ESBAN, J.A. Arzilier, Nigo<br />
les aventures du<br />
frac l.r (2)<br />
OBJECTIF LUNEL<br />
Exposition du 5 mai au 24 juin 2007<br />
Espace Louis-Feuillade/Abric . 48 Bld Lafayette . 34400 Lunel . 04 67 87 84 19<br />
ouverture du mardi au vendredi de 9h à 12h - 14h à 18h<br />
samedi et dimanche de 10h à 12h - 15h à 18h (sauf jours fériés)<br />
����������������������������������������������������������������������������������������������������������������������������������������������<br />
��������������������������������������������������������������������������������������������������������������������������������������������������������������
Exhibition Les cousins.<br />
Centre Universitaire de Nîmes, April 2005.<br />
Exhibition Objectif Lunel.<br />
Espace Louis-Feuillade/Abric, Lunel, May-June 2007<br />
Exhibition Fromage et dessert.<br />
ESBAN, Nîmes, March-April 2006
Organisée par l'École Supèrieure des Beaux-Arts de Nîmes<br />
/ 19 H - Conférence de Paul Ardenne.<br />
/ Suivie d'une projection des vidéos des étudiants de l'école des Beaux-Arts de Nîmes.<br />
Organisée par l'École Supérieure des Beaux-Arts de Nîmes, en partenariat avec la bibliothèque municipale Carré d’Art<br />
/ Conférence de François Michaud : la vidéo, ou la plasticité du cinéma.<br />
/ Projection du film d’Olivier Zabat “1/3 des yeux”, en présence du réalisateur.<br />
P. A n d r i e u x<br />
J . B a l m e f r e z o l<br />
E . B r u n<br />
N . C a b o s<br />
F. C a n o<br />
E . C o i f f i e r<br />
J . D o r é<br />
P. F e r r e r<br />
J . F r a n c i o l i<br />
E . G i r a u l t<br />
A . G i r o u x<br />
Y. M o u h i b<br />
C . S a n t o t<br />
J . P a r k<br />
Organisée par l'École Supérieure des Beaux-Arts de Nîmes<br />
/ Conférence de Stéphanie BENZAQUEN.<br />
/ IMAGES ET VIOLENCE / Suivie d'une projection des vidéos des étudiants de l'école des Beaux-Arts de Nîmes.<br />
Organisées par l'École Supérieure des Beaux-Arts de Nîmes, en partenariat avec la bibliothèque municipale Carré d’Art<br />
/ Conférence de Gilles Grand, "Intonation, musique et cinéma".<br />
/ Projection du film "Les protestants" de Clarisse Hahn - 85 min. - 2005.<br />
J. Beaure<br />
M. Boissard<br />
B. Brunello<br />
M. Calle<br />
A. Dumont<br />
E. Girault<br />
N. Kmieczac<br />
Y. Mouhib<br />
C. Santot<br />
R. Tamain<br />
W. Xing
Event Rencontres autour du film et de l’art vidéo<br />
Carré d’Art, Nîmes, 2004/05/06/07.<br />
Poster Journées Méditerranéennes de l’olivier<br />
Nîmes, 2005/06/07/08.
52<br />
E.S.B.A.N. teaching staff<br />
Brigitte BAUER<br />
Born in Germany, has lived and worked in France since 1987<br />
Awarded a diploma at <strong>the</strong> Ecole Nationale Supérieure de la Photographie,<br />
Arles, in 1990. Master’s Degree in Plastic Arts, Aix-en-Provence,<br />
1995.<br />
After developing landscape culture in series such as Montagne Sainte-<br />
Victoire, Ronds-Points, La Ville et le Jardin, Carrés d’Herbes and Champs<br />
de Nuages and questioning <strong>the</strong> notion <strong>of</strong> identity (D’Allemagne – a book<br />
<strong>of</strong> photographs and discussion with <strong>the</strong> writer Cécile Wajsbrot), my research<br />
today is focused more on <strong>the</strong> real and mental territory <strong>of</strong> human<br />
attitudes and postures, whe<strong>the</strong>r in an urban environment as in <strong>the</strong> series<br />
Fragments d’Intimité or during leisure time as in <strong>the</strong> more recent project<br />
called Big Game.<br />
Brigitte Bauer is represented by <strong>the</strong> gallery Polaris / Bernard Utudjian in<br />
Paris.<br />
Recent exhibitions (selection)<br />
polaris.com + documentsdartistes.org<br />
2008 - Corps de Ville, ESAC La Cambre, Bruxelles<br />
- Essmahle , Galerie – Studio im Hochhaus, Berlin<br />
2007 - Musée des Beaux-Arts, Cambrai<br />
- Le Nouveau Paysage Familial, Espace Galeries Poiriel,<br />
Nancy<br />
- Galerie Arrêt sur Image, Bordeaux<br />
- Mas de lo que los ojos pueden ver, (collection Deutsche<br />
Bank), MARCO-Museum, Mexico, Museo de Arte, Lima, et<br />
Museo de Artes Visuales, Santiago du Chili<br />
- Scène Nationale Le Carreau, Forbach<br />
2006 - Montagnes Magiques, Galerie du Conseil Général des<br />
Bouches-du-Rhônes, Aix-en-Provence<br />
- Vous êtes cernés (avec Chr. Crozat, N. Pincemin),<br />
Artothèque, Miramas<br />
Public collections (selection)<br />
Fonds National d’Art Contemporain, Paris / Bibliothèque Nationale de<br />
France, Paris / Deutsche Bank, Frankfurt / Union des Banques Suisses,<br />
Paris / Artothèques de Nantes, Miramas, Auxerre, Angers / L’Imagerie,<br />
Lannion / Musée Carnavalet, Paris / Centre de la Photographie, Nice /<br />
Musée-Château, Annecy / Centre de Photographie, Université de Salamanca,<br />
Espagne / Musée Réattu, Arles / Fonds Communal d’Art<br />
Contemporain, Marseille<br />
Grants, Aid, Public commissions<br />
Bourse d’aide à la création, Région PACA, 2005<br />
Commande Publique " Euroméditerranée ", Marseille, 2002 et 2003<br />
Bourse du FIACRE / Délégation aux Arts Plastiques, 2001<br />
Commande publique " Le Voyage d’Ulysse ", Centre de la Photographie,<br />
Nice, 1998<br />
Bourse d’aide à la création, Ville de Paris, 1998<br />
Aide à l’exposition, Affaires Culturelles de la Ville de Paris, 1997<br />
Aide Individuelle à la Création, Drac Paca, 1996<br />
Main publications<br />
Fragments d‘intimité, Kerstin Stremmel, éd. Ieme, Marseille 2007<br />
Fugue, texte Cécile Wajsbrot, éd. Estuaire, Blandin 2005<br />
D’Allemagne, Michel Poivert éd. Ieme, Marseille 2003<br />
Montagne Sainte-Victoire (avec F. Barre, B.V. Conta),<br />
éd. Ieme, Marseille 1999<br />
Big Game<br />
2008
54<br />
E.S.B.A.N. teaching staff<br />
Jean-Marc CERINO<br />
Born in Jallieu in 1965.<br />
Jean-Marc Cerino’s work addresses <strong>the</strong> representation <strong>of</strong> people<br />
met in various situations <strong>of</strong> life or even isolated from society. This is<br />
seen in Dépositions I, II and III made with homeless men and women,<br />
patients at a psychiatric centre or people in prison. In <strong>the</strong>se wax-treated<br />
white paintings, with close shades, two apparently contradictory gestures<br />
occur that meet, telescope and converse without neutralising or<br />
contradicting each o<strong>the</strong>r: that <strong>of</strong> <strong>the</strong> representation <strong>of</strong> <strong>the</strong>se persons<br />
and that <strong>of</strong> <strong>the</strong> monochromatic covering layer. This creates tension at<br />
<strong>the</strong> level <strong>of</strong> <strong>the</strong> canvas between surface and depth, between <strong>the</strong> figures<br />
represented and <strong>the</strong> background that <strong>the</strong>y are tearing <strong>the</strong>mselves from.<br />
‘What is meant by this monochromatic base, this empty, abyssal<br />
base, is a kind <strong>of</strong> deterritorialisation <strong>of</strong> <strong>the</strong>se lives, <strong>the</strong>ir tearing away<br />
or <strong>the</strong> shifting <strong>of</strong> <strong>the</strong> socio-economic context in which <strong>the</strong>y have become<br />
and are kept invisible for <strong>the</strong>ir recontextualisation or reterritorialisation<br />
in <strong>the</strong> “bottomless base” <strong>of</strong> singular-plural, <strong>of</strong> <strong>the</strong> “with” or <strong>the</strong><br />
“in common”.<br />
Jean-Marc Cerino - Le lieu en <strong>of</strong>frande.<br />
Michel Gaillot.<br />
‘In <strong>the</strong>se figures painted by Jean-Marc Cerino, whiteness is<br />
both a veil and simultaneously a kind <strong>of</strong> revealer ; it is whiteness that<br />
must not be torn […] so as not to sink into too expressive a white or an<br />
over-abundance <strong>of</strong> words that will smo<strong>the</strong>r <strong>the</strong> figure. This is what is<br />
grasped astonishingly well in <strong>the</strong> between-two <strong>of</strong> Jean-Marc Cerino’s<br />
work. It is never too much and never less. And at <strong>the</strong> same time you feel<br />
very clearly that <strong>the</strong> slightest hitch can tip everything over into something<br />
terrifying’.<br />
L’inconvenance du corps.<br />
Daniel Dobbels.<br />
Regular exhibitions in France and abroad, represented by <strong>the</strong> Bernard<br />
Ceysson gallery (Saint-Etienne / Luxembourg).<br />
Writings in publications or catalogues devoted to Jean-Marc<br />
Cerino’s work<br />
Karim Ghaddab, Inventaire après liquidation, in… dans les lanières des<br />
seuils, collection Varia, Fage éditions, 2008.<br />
Daniel Dobbels, L’inconvenance du corps, collection Hôtel-Rivet, # 22,<br />
éditions Esban 2008.<br />
Bernard Stiegler, Le temps de la prison, in Dépositions III, 2006.<br />
Michel Gaillot, Jean-Marc Cerino - Le lieu en <strong>of</strong>frande,<br />
Villa du Parc, Annemasse 2005.<br />
Itzhak Goldberg, L’impression de la mémoire, in “Jean-Marc Cerino -<br />
Savoir, c’est se souvenir”, Musée de Bourgoin-Jallieu, 2000.<br />
Jean-Luc Nancy, Passage.<br />
Jean-Claude Conésa, Esse, est percip.<br />
Être, c’est être perçu, Éditions des Cahiers Intempestifs,<br />
Saint-Etienne 1999.<br />
Jacques Beauffet, Jean-Marc Cerino,<br />
Sicmmat Art Contemporain, 1996.<br />
Jean-Marc Cerino is also a member <strong>of</strong> <strong>the</strong> editorial board <strong>of</strong> <strong>the</strong> journal<br />
De(s)générations.<br />
Passage de témoins/Témoin de passages,<br />
La Galerie de l’artothèque, Bibliothèque de la Part-Dieu, Lyon,<br />
24 April - 10 July 2004.<br />
Photo : Pierre Arnaud
56<br />
E.S.B.A.N. teaching staff<br />
Gérard DEPRALON<br />
Drawing, plastic art. Lives and works in Uzès.<br />
Biography (abridged)<br />
2008 - 2007 Images en visite<br />
Artothèque de Chambéry.<br />
In situ intervention. Exhibition. Publication <strong>of</strong> a<br />
newspaper.<br />
Ainsi est-il, Images pressées<br />
Digigraphies aux Editions Eric Linard.<br />
2008 - 2006 Le Bonheur est dans le trait<br />
Pôle Arts Visuels Ouest-Provence. Médiathèque de<br />
Miramas. Résidence d’artiste.<br />
Reports in drawings. Publication <strong>of</strong> newspapers. Video.<br />
On vit le pays qu’on voit<br />
La Fabrique du Pont d’Aleyrac et le PNR des Monts<br />
d’Ardèche. Artist’s residency.<br />
Reports in drawings.<br />
Publication <strong>of</strong> a book (preface by Jacques Maigne).<br />
Publication <strong>of</strong> digigraphies (Atelier Eric Linard)<br />
2007 - 2006 Copier c’est jouer<br />
Musée des Beaux-arts de Nîmes.<br />
Extramural artist’s residency.<br />
Graphics performance.<br />
Publication <strong>of</strong> a catalogue (préface de René Pons)<br />
Publication <strong>of</strong> digigraphies (Atelier Eric Linard)<br />
2006 Laps de temps<br />
City <strong>of</strong> Arles, Espace Van gogh.<br />
Publication <strong>of</strong> a sketchbook<br />
(préface de Bernard Pignero)<br />
On a la vie qu’on a<br />
Bibliothèque-Artothèque Bonlieu. Annecy.<br />
Publication <strong>of</strong> postcards.<br />
2004 La pratique de la bande dessinée<br />
Esban. Artist’s residency. Exhibition.<br />
2000 Galerie Annie Lagier. L’Isle-sur-Sorgue.<br />
Books<br />
Re-lecture.<br />
Drawings by Gérard Depralon. Text by Bernard Teulon-Nouailles.<br />
Collection Rivères. 2007.<br />
Ainsi est-il.<br />
Sketchbook. Preface by Yves Reynier. Collection Hôtel Rivet. Editions<br />
de l’Esban. 2006.<br />
Une nuit complète.<br />
Text by André Lafon. Photography and <strong>the</strong>rm<strong>of</strong>orming by Gérard<br />
Depralon. Photography and drawings by Martine Lafon. 2001.<br />
A l’appui.<br />
Sketchbook. Text by Bernard Pignero. 1999.<br />
Indélibérément.<br />
Book-object. Text by Jean Klépal. Edition L’Art & la Manière. 1996.<br />
Miscellaneous<br />
Trait pour trait.<br />
A back and forth exchange between Petter Nilsson <strong>the</strong> young<br />
Swedish chef and <strong>the</strong> artist Gérard Depralon. Magazine Terre de<br />
Vins. N° 31. August 2006.<br />
Suite “ Ainsi est-il "<br />
2007<br />
Digigraphie, 92 x 111 cm
58<br />
E.S.B.A.N. teaching staff<br />
Hubert DUPRAT<br />
His work displays what seems to be a perpetual search for<br />
its own laws while tirelessly progressing as if <strong>the</strong>se laws existed.<br />
Unshowable by definition, this art is never<strong>the</strong>less rendered showable<br />
by <strong>the</strong> labourer <strong>of</strong> art <strong>of</strong> whom <strong>the</strong> caddis fly is <strong>the</strong> archetype. What<br />
defines <strong>the</strong> labourer in art is that he takes <strong>the</strong> time to do what he does.<br />
This is quantifiable time, unlike art detached from <strong>the</strong> trade, and <strong>the</strong> time<br />
<strong>of</strong> <strong>the</strong> concept. Finally, this work could be presented simply as <strong>the</strong> time<br />
spent by this ‘artist’ discouraged by rivalling with art, a body <strong>of</strong> temporal<br />
developments in space claiming no particular status.<br />
Ces artistes découragés de rivaliser avec l’art. 1998<br />
Roland Recht.<br />
Selected monographs<br />
leonardo.info + cabinetmagazine.org<br />
Hubert Duprat, Hôtel des Arts, Paris. La Criée, Rennes, Villa Arson, Nice,<br />
Galerie Dumont, Bordeaux, 1991.<br />
- Christian Besson La Phrygane, la merveille et le monument.<br />
- Ca<strong>the</strong>rine Perret L’atelier de Duprat.<br />
- Jean- Marc Poinsot Hubert Duprat : Sujet et mobile.<br />
Hubert Duprat, Frac Poitou-Charentes, Angoulême, 1992.<br />
- Michel Assenmaker Notes et lectures à partir des photographies<br />
d’atelier (1983/86) d’Hubert Duprat.<br />
Hubert Duprat, Musée Picasso, Antîbe, Mamco, Genève, Frac<br />
Limousin, Limoges,1998.<br />
- Maurice Frechuret A la fois,la racine et le fruit.<br />
- Stephen Bann Le jeu curieux d’Hubert Duprat ou,<br />
pourquoi un trichoptère vaut dix chameaux.<br />
- Roland Recht Ces artistes découragés de rivaliser avec<br />
l’art.<br />
Hubert Duprat Theatrum, Collection reConnaître, Rmn, Musée départemental,<br />
Digne, 2002, édition française. Il filatore, Caraglio, 2002, édition Italienne.<br />
- Christian Besson Dupratis Theatrum.<br />
- Louis Chatel Dupratis Mirabilis Artis Thesauri Mystagogus.<br />
Une œuvre de Hubert Duprat, Collection Iconotexte, éditions Muntaner,<br />
Marseille, 2008<br />
- Jacques Demarcq La foudre Mademoiselle.<br />
- Anne-Laure Even Pour croire(encore) à la magie du réel.<br />
- Emma Gobry-Laurencin Les métamorphoses du masque.<br />
- Emmanuel Latreille Vers un espace mythologique ?<br />
- Natacha Pugnet Au delà du marteau.<br />
- Didier Semin La beauté patiente.<br />
Mélancolie cyclopéenne.<br />
48H. Pyrite crystals. Glue.<br />
Diameter 45 cm. Length 45 cm. 2007.<br />
Photo : Frédéric Delpech
60<br />
E.S.B.A.N. teaching staff<br />
Dror ENDEWELD<br />
After a DNSEP at <strong>the</strong> Ecole Nationale des Beaux-arts in Lyons,<br />
I conducted personal work combining plastic language and written<br />
language, referring mainly to minimal art and conceptual art.<br />
I <strong>the</strong>n participated in <strong>the</strong> second session <strong>of</strong> <strong>the</strong> Institut des<br />
Hautes Etudes en Arts Plastiques directed by Pontus Hulten (see <strong>the</strong><br />
book entitled Quand les artistes font école ). The session finished <strong>the</strong><br />
following year with an exhibition called Le territoire de l’art. It brought<br />
toge<strong>the</strong>r works by historic artists and young artists and was an important<br />
stage in my development.<br />
Three years later, I was invited to ano<strong>the</strong>r noteworthy exhibition<br />
by Pontus Hulten: Devant le futur in Taejon in South Korea. This experience<br />
was an opportunity for me to make my first outdoor work, a paradoxical<br />
piece on <strong>the</strong> ground with granite hexagons.<br />
I <strong>the</strong>n made several o<strong>the</strong>r permanent public works, in particular<br />
in a direct line from this work in Lyons for LPA.<br />
In Frankfurt am Main for <strong>the</strong> Ministry <strong>of</strong> Foreign Affairs and<br />
in Lyons for <strong>the</strong> Musée des Beaux-Arts, playing on similarities and<br />
differences between languages; in Roanne, an interactive, polymorphic<br />
work for <strong>the</strong> renovation <strong>of</strong> <strong>the</strong> law courts.<br />
At <strong>the</strong> Verney-Carron gallery and at <strong>the</strong> Institut d’art contemporain<br />
in Villeurbanne, I had previously made modular works which, when<br />
assembled, gave short texts to be read with <strong>the</strong> aim <strong>of</strong> focusing on <strong>the</strong><br />
problem <strong>of</strong> <strong>the</strong> relation between form and substance.<br />
The spectator is placed in <strong>the</strong> centre throughout my approach:<br />
he or she interprets an ambivalent work through perceiving it physically<br />
and understanding it<br />
.<br />
What is perceived is what is read.<br />
Musee des Beaux-Arts, Lyon, 2005<br />
Contenus - Pain <strong>of</strong> content<br />
Red neon
62<br />
E.S.B.A.N. teaching staff<br />
Pascal FANCONY<br />
Born in February 1949.<br />
Painter, plastic artist using space and light.<br />
His approach is centred on Chromatic painting, with <strong>the</strong><br />
interpenetration <strong>of</strong> two aes<strong>the</strong>tic approaches: one in which colour<br />
is ‘an experience <strong>of</strong> oneself’ and <strong>the</strong> o<strong>the</strong>r in which it operates as a<br />
phenomenon in <strong>the</strong> perception <strong>of</strong> space. It uses colour as a pictorial<br />
subject that ‘states’ <strong>the</strong> wall or even <strong>the</strong> volume <strong>of</strong> architecture.<br />
His work consists <strong>of</strong> <strong>the</strong> practice and <strong>the</strong>ory <strong>of</strong> :<br />
- Painting in which colour works on ‘<strong>the</strong> interactive sensation with <strong>the</strong><br />
soul’, with colour gradation and logic running from shade to light or<br />
vice versa. And where <strong>the</strong> materialness <strong>of</strong> <strong>the</strong> transparency <strong>of</strong> colour<br />
is immanent.<br />
- The process is accompanied by writing work with <strong>the</strong> combination<br />
<strong>of</strong> three currents <strong>of</strong> thinking: phenomenology, semiology and<br />
psychoanalysis. Setting out language is de facto part <strong>of</strong> <strong>the</strong> reality <strong>of</strong><br />
art. Using <strong>the</strong>se texts that discuss colours, he tries to ‘say <strong>the</strong> pleasure<br />
and anguish <strong>of</strong> painting and <strong>of</strong> thinking this painting, deciphering what<br />
is buried, what is impossible, <strong>the</strong> ‘non-figured’ features <strong>of</strong> perceptions<br />
and feelings.<br />
- . In situ work in which <strong>the</strong> purely visual and physical qualities <strong>of</strong> colours<br />
state <strong>the</strong> space, light and essence <strong>of</strong> <strong>the</strong> place. Work in which matter,<br />
texture and material are explored in a more materialistic, radical way.<br />
Here, light is sometimes a material in itself in his creations.<br />
In <strong>the</strong>se projects with architecture or territory, he seeks to illuminate <strong>the</strong><br />
meaning and memory <strong>of</strong> place.<br />
Publications<br />
The author <strong>of</strong> various writings and notes on art and in particular<br />
on colour. He has also written two essays:<br />
De Cézanne à l’Abstraction Analytique, Théetéte, 2005.<br />
Rouge comme rouge chine, Afaa, 2001.<br />
.<br />
Recent articles :<br />
La couleur pour soigner l’esprit, exhibition Villejuif, 2000.<br />
La couleur comme expérience intérieure, Esca, Milhaud, 2000.<br />
Entretiens avec Jeanne Gatard, André Valensi, Alain Chareyre-Méjean,<br />
François Bazzoli, et Pierre Paliard, Revue passage de l’art, Marseille,<br />
2000-03.<br />
Rouge-cercle, Natacha Pugnet, Aix-en-Provence, 2002.<br />
Cheminer avec la couleur, a choice <strong>of</strong> texts in Correspondances,<br />
Manosque, 2004.<br />
L’envers du Visible, Alain-Christophe Restrat, Arpac, Montpellier, 2006.<br />
Autre logique de la couleur, réponse à Wittgenstein, <strong>the</strong> rewriting <strong>of</strong><br />
various texts and notes (in progress).<br />
Events :<br />
1972 to 1983: participation in numerous group shows by critical abstraction<br />
movements during <strong>the</strong> Support-Surface years (in particular events<br />
in public spaces), followed by <strong>the</strong> joining <strong>of</strong> <strong>the</strong> formal movements <strong>of</strong><br />
so-called ‘analytical’ painting.<br />
Since 1997: regular exhibitions in France and abroad. He has had several<br />
residencies—in Quebec, Morocco and China, which was a fundamental<br />
meeting with China’s ancient philosophical cultures.<br />
2007-2008: Chairman and curator for <strong>the</strong> promotion <strong>of</strong> <strong>the</strong> architectural<br />
heritage formed by Nemausus, buildings in Nîmes designed by <strong>the</strong> architect<br />
Jean Nouvel. He has worked on projects for public commissions in<br />
<strong>the</strong> arts and <strong>the</strong> development <strong>of</strong> public spaces and gardens.<br />
Le Train des Lumières, transparent adhesive filters on <strong>the</strong> windows <strong>of</strong> a train, Languedoc-Roussillon. 2007.<br />
Commission by SNCF TER / Conseil Régional L.R.<br />
From blue to red by way <strong>of</strong> yellow, an interactive composition with complementary colours
64<br />
E.S.B.A.N. teaching staff<br />
Maïder FORTUNE<br />
Born in France in 1973. Lives and works in Paris<br />
After training at <strong>the</strong> Jacques Lecoq international <strong>school</strong> <strong>of</strong> physical<br />
<strong>the</strong>atre in Paris, she started her own physical <strong>the</strong>atre company and<br />
<strong>the</strong>n did post-graduate studies at Le Fresnoy, Studio national des arts<br />
contemporains, in Tourcoing.<br />
Her works (videos, photography, films and installations) all set<br />
scenes showing stories <strong>of</strong> strangely incarnate virtual presences that<br />
seem to emerge from <strong>the</strong> matter that creates <strong>the</strong>m. The whole aims at<br />
a mental image freed <strong>of</strong> narrative and that becomes <strong>the</strong> support for <strong>the</strong><br />
active projection <strong>of</strong> looking, for <strong>the</strong> imagination and that can open <strong>the</strong><br />
way to anamnesis. Her work has been shown in Europe, Canada, Asia<br />
and <strong>the</strong> United States since 2001. She is represented by Galerie Martine<br />
Aboucaya in Paris.<br />
Residencies / Grants / Prizes<br />
2007 - CNAP research grant.<br />
- Images différentes, Pôle image Haute Normandie.<br />
2006 - Main d’œuvres. Saint Ouen. France.<br />
2005 - Villa Kujoyama, Programme Villa Médicis Hors les murs,<br />
Afaa, Kyoto, Japon.<br />
- Aid for a project, Ville de Paris.<br />
- Fondation du Japon, for <strong>the</strong> document In <strong>the</strong> voice,<br />
2005.<br />
- Cité internationale des arts, Paris, 2004-2005.<br />
Solo shows<br />
2008 - Galerie Martine Aboucaya, Paris.<br />
2007 - Frac Haute Normandie, Rouen, Centre chorégraphique du<br />
Havre.<br />
- Warc, Images Festival, Toronto, Canada.<br />
2006 - Le triangle, Rennes.<br />
- Mercer Union, Toronto, Canada.<br />
- Fondation Miro, Espai 13, Slak, Barcelone.<br />
Group shows<br />
2007 - Territoire de l’image, Le Fresnoy, studio des arts<br />
contemporains, Musée des beaux-arts de Tourcoing.<br />
- Fantasy, Centre photographique d’Ile de France. Pontault-<br />
Combault.<br />
- What ever happened to your dreams ? Galerie des filles<br />
du calvaire, Paris.<br />
- Fiac, Foire internationale d’art contemporain, Paris.<br />
Galerie Martine Aboucaya, Paris.<br />
- Selest’art, Biennale d’art contemporain, Frac Alsace.<br />
- Close up Galerie Martine Aboucaya, Paris.<br />
- Variations Galerie des Filles du Calvaire, Paris.<br />
- Institut français de New York.<br />
Curator Christopher Eamons.<br />
- Our voices, Hong-Kong Visual Arts Centre.<br />
Curator Loic Serot.<br />
- Saison video Fabrica, Brighton, Angleterre.<br />
Curator Mo Gourmelon.<br />
2006 - Quels talents ! Le cube, Issy-les-Moulineaux.<br />
- ZOO , La centrale électrique, Bruxelles.<br />
- Lieux contestés, Galerie du Nouvel Ontario, Sudbury,<br />
Canada.<br />
Licorne<br />
Video 2006<br />
Galerie Martine Aboucaya, Paris
66<br />
1973 BEPC.<br />
E.S.B.A.N. teaching staff<br />
Jean-Claude GAGNIEUX<br />
artisteslr.fr + myspace.com/gagnieuxjc<br />
Born on 1 March 1957 in Blida, Algeria<br />
1975 CAP certificate <strong>of</strong> pr<strong>of</strong>essional competence) in dental<br />
pros<strong>the</strong>tics. First in <strong>the</strong> year in <strong>the</strong> academy.<br />
1975 State lifesaving diploma<br />
1976 Kayak teacher’s diploma (federation)<br />
1976 Driving licence<br />
1977 Physical education assistant teacher’s diploma.<br />
1977 Boat licence.<br />
1985 Diplôme National Supérieur d’Expression Plastique (DNSEP),<br />
with praise from <strong>the</strong> examining board.<br />
1990 1st Dan in Kyudo<br />
1994 State diploma for teaching water activities (BEESAN).<br />
Solo and group shows, performances<br />
- Performance- exposition rencontre n° 30 La Vigie, Nîmes.<br />
- Performance-exhibition rencontre n° 30 La Vigie, Nîmes.<br />
- Performance Espace Louis Feuillade Lunel, Frac Languedoc-Roussillon.<br />
- Performance Galerie E.T.C, Montpellier.<br />
- Performance deux 1 à 3 with Fabrikdelabeslot and F. Guinot, Espace Liberté, Crest (26)<br />
- Performance, Festival <strong>of</strong> short sound pieces, Avignon.<br />
- Performance with Maël sans titre mais avec marcel 2 at <strong>the</strong> event chauffe Marcel, Frac Languedoc - Roussillon. Carré Sainte Anne, Montpellier.<br />
- Performance sans titre mais avec marcel 1 Galerie Esca, Milhaud.<br />
- Performance with Fabrice de la Beslot, 3rd Festival l’art des corps, Lagorce.<br />
- Centre d’Art Aldébaran, Castries.<br />
- Performance, oreiller d’Herbe, Cité de Carcassonne. MONUM Centre des monuments Nationaux, Rendez-vous au jardin<br />
- Performances, Beaux-Arts d’Aix-en-Provence.<br />
- Performances with Maël, Festival Midi-minuit, Centre d’Art Ricochet, Vivier.<br />
- performance Pavillonnaire, Festival Danse de Hors, Ajaccio.<br />
- Centre d’Art Ricochet, Théâtre municipal de Vivier.<br />
- Performance Ad Flectendos sonos en live, Nîmes Planetarium.<br />
- jardins publics/privés centre d’Art Aldébaran, Castries.<br />
- The CD paradoxe, Galerie Pannetier, Nîmes.<br />
- Sound performance du 3° véhicule, Chapelle des Capucins, Aigues-Mortes.<br />
- Exhibition <strong>of</strong> works, Frac Languedoc-Roussillon, Etats d’Esprits.<br />
- Performance, bienvenue à bord, Nîmes.<br />
- Festival Lez’Arts , Béziers<br />
- Performance, Galerie Pannetier, Nîmes.<br />
- Performance, Vallon du Villaret, Bagnols-les-Bains.<br />
- Performance, Galerie Pannetier, Nîmes.<br />
- Collages, Centre Aldébaran, Baillargues<br />
- Performance, Mende Theatre (reception <strong>of</strong> <strong>the</strong> Tibetan delegation – Year <strong>of</strong> Tibet).<br />
- Sound installation, Galerie HD Nick, Association Artistes Nomades, Aubais.<br />
- I.A.E , Université de Sc. Eco. de Marseille/Aix-en-Provence.<br />
- ArtéNimes (stand, Galerie La Vigie), Nîmes.<br />
- Performance le rond Ste-Croix-Vallée-Française.<br />
- CARPE DIEM Ecole supérieure des Beaux Arts de Nîmes.<br />
- Hôtel des Allégories, Nimes.<br />
- Galerie Praz -Delavalade, Paris.<br />
- Bolicus Primus, Vauvert.<br />
- Festival La grande barge, Villeneuve-les-Maguelone<br />
- Lo Vallon es very nice, Vallon du Villaret.<br />
- Or Paire, Rencontre n°12, Galerie la Vigie, Nimes.<br />
- Le Cailar 1988, 1998.<br />
- Performance, Domaine du Couloubrier, Grasse.<br />
- Musée Eric Satie, Honfleur.<br />
- les dérives magnétiques # 3. Théâtre du Griffy. Montpellier.<br />
- Domaine du Couloubrier, Grasse.<br />
- Performance, Vallon du Villaret, Journée salades et cochonnailles.<br />
- Villa Coïncidence, Nîmes.<br />
- Les Curieux, Atelier J.F.T., Toulouse.<br />
- Stage properties for <strong>the</strong> choreography Jour après jours by Michèle Ettorie, Création Bastia.<br />
- Salon de Montrouge, Montrouge.<br />
- Les Portes game installation, Vallon du Villaret discovery park.<br />
- Esprit Animaux, Exhibition by Frac Languedoc-Roussillon, Palais des Arts, Toulouse.<br />
- 20th anniversary <strong>of</strong> <strong>the</strong> Département des sciences pour l’ingénierie, CNRS, Thémis solar power station,Tarass Boulba.<br />
- Performance and exhibition, les excentriques, Théâtre du Chai du Terral, St-Jean-de-Védas.<br />
- Stage properties for <strong>the</strong> play Welcome in <strong>the</strong> war zone by <strong>the</strong> Tryptik Théatre company.<br />
- Trafic, Exhibition by Frac Languedoc-Roussillon, Ecole supérieure de Commerce, Montpellier.<br />
- Un papillon sur la roue, Palais des Arts, Toulouse.<br />
- Le Cailar 94, Le Cailar.<br />
- Participation in <strong>the</strong> short film Scène de la vie des Poules by Sylvie Nayral.<br />
- Design <strong>of</strong> <strong>the</strong> trophy for <strong>the</strong> Cross de la solidarité, Florac.<br />
- Performance with Peter Sinclair, inauguration <strong>of</strong> M.A.C. in Marseilles.<br />
- Arts en Mouvements, Vallon du Villaret, Bagnols-les-Bains.<br />
- Performance, Lycée climatique, Font Romeu.<br />
- Performance and exhibition, Mesdames, Mesdemoiselles, Messieurs A.I.R. Gallery, Amsterdam, Holland.<br />
- Atelier du Grand Domaine, Marseilles<br />
- Art Symposium, Laiguelia, Italy.<br />
- Rencontre N°3, Galerie la Vigie, Nîmes.<br />
- Stage properties for <strong>the</strong> Michèle Ettorie dance company, Montpellier.<br />
- Machines for <strong>the</strong> film Le monde à l’envers by Sylvie Nayral.<br />
- Performance Une heure d’entraînement with Peter Sinclair:<br />
- Festival de Jazz d’Assier,<br />
- Festival du Printemps de Bourges,<br />
- Biennale d’Arts contemporains, Lyons (catalogue).<br />
- Carnet d’Amateur, Galerie Paul Boyer, Séte.<br />
- Une heure d’entraînement, performance with Peter Sinclair, Espace Aldébaran, Baillargues.<br />
- Performance, Association Quand la Ville Dort, Nîmes.<br />
- Jeunes artistes dans la ville, Rochefort-sur-Mer.<br />
- Classé X, A.G..E..L..N , Nîmes.<br />
- Performance and exhibition, Les Déchargeurs, Frac, Paca, Marseilles (catalogue).<br />
- Performance Nîmes sur Scène, Centre National des Arts Plastiques, Paris.<br />
- Salon de la Jeune Sculpture, Paris.<br />
- Dames Nippées, Galerie des Ramblas and Mars magazine, Marseilles.<br />
- Sublime Indigo, Vieille Charité, Marseilles.<br />
- Performance attention musique fraîche, Théâtre de la Bastille, Paris.<br />
- Galerie des Arènes, Carré d’Art Contemporain, Nîmes.<br />
- Performance, Institut Français de Naples.<br />
- Performance and exhibition N° 7 de Nîmes, Maison des expositions, Genas.<br />
- Performance, Frac Languedoc-Roussillon, Lycée de Bédarieux.<br />
- Performance at L’Hospice des Incurables, Marseilles.<br />
- Performance, Octobre des Arts, Lyons.<br />
- Galerie Saint Ravy-Demangel, Montpellier.<br />
- Biennial Germination, Kessel, Germany.<br />
- Modes et Modes Musée d’Aurillac.<br />
- N° 7 de Nîmes, Galerie des Arènes, Nîmes<br />
Ouai !<br />
1998
68<br />
E.S.B.A.N. teaching staff<br />
Dominique GUTHERZ<br />
Born in Montpellier in 1946.<br />
Scholarship student at <strong>the</strong> Villa Medicis (Académie de France) in Rome<br />
from 1975 to 1977.<br />
Director <strong>of</strong> ESBAN since 2002, where he taught from 1983 to 2002.<br />
Lives and works in Meynes in <strong>the</strong> Gard department.<br />
‘ … Thus a chronological study <strong>of</strong> his portraits would make it possible<br />
to record important but practically immaterial inflections: sketches <strong>of</strong><br />
doors, windows and mirrors appear at specific moments and <strong>the</strong>n disappear<br />
just as suddenly when <strong>the</strong> painter moves to different addresses.<br />
A s<strong>of</strong>a replaces a chair or a deckchair which had itself replaced an<br />
armchair. However, <strong>the</strong>se modest changes enhance decisive transformations<br />
in <strong>the</strong> composition <strong>of</strong> <strong>the</strong> painting. In particular, mirrors played<br />
a key role from 1988-1989, enabling Gu<strong>the</strong>rz to double up <strong>the</strong> model<br />
on <strong>the</strong> canvas and hence change gradually from a long period during<br />
which he had painted only one figure at a time to a new phase in which<br />
he tended to combine Ca<strong>the</strong>rine and <strong>the</strong>ir two daughters, who were<br />
small at <strong>the</strong> time, or a friend …’<br />
From : Dominique Gu<strong>the</strong>rz<br />
Édition Mémoire Active<br />
December 2005<br />
Christian Delacampagne<br />
Ca<strong>the</strong>rine et Bénedicte<br />
Oil on canvas, 1995/96<br />
200/200 cm
70<br />
E.S.B.A.N. teaching staff<br />
Clémentine MÉLOIS<br />
Born in 1980..<br />
Qualified at <strong>the</strong> École Nationale Supérieure des Beaux-arts de Parisin<br />
2004.<br />
‘I was born in a family that had always made books. Not knowing<br />
how to write, I already made some with small pots <strong>of</strong> glue and<br />
crayons. There are several reasons for this monomaniac decision<br />
to continue along this pathway. I turned what held my attention,<br />
surprised, amused or annoyed me into book form. Ideas came to<br />
me in <strong>the</strong> form <strong>of</strong> pages that turned. I don’t like it when everything<br />
is ”delivered” in one go, and books form <strong>the</strong> ideal medium for me:<br />
first because a book is multiple and can <strong>the</strong>refore be distributed to a<br />
large number <strong>of</strong> people, and second because it obeys a number <strong>of</strong><br />
rules and codes, a tradition enabling <strong>the</strong> unlimited varying <strong>of</strong> procedures,<br />
techniques and forms: none <strong>of</strong> my books is like ano<strong>the</strong>r, but<br />
<strong>the</strong>y all none<strong>the</strong>less match our image <strong>of</strong> <strong>the</strong> different categories <strong>of</strong><br />
traditional publishing.’<br />
‘Bittersweet irony, sometimes a little impertinence, deep waters<br />
that it is better not to stir up, tenderness and a bite, a whole that<br />
should be addressed slowly and left to soak in.’<br />
Michel Salsmann<br />
vachezebree.fr<br />
Second-hand bookseller’s display case<br />
presenting all <strong>the</strong> works <strong>of</strong> <strong>the</strong> ‘collections de la vache zébrée’. 2004..
72<br />
E.S.B.A.N. teaching staff<br />
Augustin PINEAU<br />
augustin.pineau.free.fr + venusdailleurs.fr + artistelr.fr<br />
Born in Bordeaux in 1968, lives and works in Nîmes<br />
‘The duty <strong>of</strong> <strong>the</strong> right eye is to look through <strong>the</strong> telescope while <strong>the</strong> left<br />
eye questions <strong>the</strong> microscope.’ 1<br />
‘How to convert thinking into images and an image into memory; how<br />
to reduce <strong>the</strong> world to a finished set <strong>of</strong> representations and change all<br />
knowledge into a show.’ 2<br />
In art, images are too <strong>of</strong>ten designed from <strong>the</strong>ir perception, forgetting<br />
that <strong>the</strong>ir handling involves <strong>the</strong> whole <strong>of</strong> <strong>the</strong> ‘psyche’ at <strong>the</strong> level <strong>of</strong><br />
memory… Mnemosyne was <strong>the</strong> mo<strong>the</strong>r <strong>of</strong> <strong>the</strong> Muses in Greeks<br />
mythology. The mnemonic technique developed strongly in <strong>the</strong> sixteenth<br />
century by Giulio Camillo in Teatro della Memoria may seem to us today<br />
to be an anachronistic curiosity unless it is seen in its context. In The Art<br />
<strong>of</strong> Memory, Frances A. Yates made an inventory <strong>of</strong> <strong>the</strong> attempts made<br />
at classification from Ancient Greece and Rome until <strong>the</strong> Renaissance<br />
and she reminded us that what stimulated Renaissance interest in occult<br />
memory was <strong>the</strong> Hermetic tradition <strong>of</strong> <strong>the</strong> Renaissance itself 3 . However,<br />
here it is about a quest for things that are hidden or even invisible, one <strong>of</strong><br />
<strong>the</strong> inherent dimensions <strong>of</strong> art, in <strong>the</strong> manner <strong>of</strong> a cryptogram.’<br />
Théâtres de la mémoire<br />
Bertrand Meyer-Himh<strong>of</strong>f<br />
‘Collage is explored to within its tiniest nooks and crannies. First, printed<br />
images accumulate in a studio, but not just any old images. There<br />
is a collector’s logic in <strong>the</strong> quest for <strong>the</strong>m, in <strong>the</strong> chance <strong>of</strong> meeting<br />
<strong>the</strong>m and in <strong>the</strong>ir classification. The work gains meaning little by<br />
little according to <strong>the</strong> laws <strong>of</strong> relative etymology during its assembly,<br />
following a very personal chain <strong>of</strong> association, by resonance and not by<br />
matching. Everything finally fits and is adjusted. Augustin Pineau likes<br />
packs <strong>of</strong> cards, boxes <strong>of</strong> games—snakes and ladders or Pope Joan. He<br />
sometimes recycles older collages. Each work is a meticulous miniature.<br />
Every detail is justified by juxtaposition with ano<strong>the</strong>r to give a new,<br />
significant general figure. The principle is that <strong>of</strong> a mythological bestiary<br />
that is universal or personal for <strong>the</strong> artist in which men and animals<br />
merge, that <strong>of</strong> <strong>the</strong> mythical figures that made a lasting impression during<br />
our childhood or <strong>the</strong> more scholarly bestiary <strong>of</strong> heraldry. The collages<br />
are carnivals <strong>of</strong> objects, constellations <strong>of</strong> instants, travel boxes (generic<br />
titles). Call can be made on Raymond Roussel for <strong>the</strong> process, Marcel<br />
Duchamp for his ‘Célibataire’ machines and his taste for jokes but why<br />
not <strong>the</strong> Joyce <strong>of</strong> Finnegans Wake… We are in and remain in a coherent<br />
plastic universe where, in spite <strong>of</strong> fragmentation, syn<strong>the</strong>tic unity wins<br />
over chaos. Augustin Pineau’s reconstituted images function like ours;<br />
<strong>the</strong>y are books <strong>of</strong> spells (spelling) in which you have to put <strong>the</strong> puzzle<br />
toge<strong>the</strong>r by reassembling <strong>the</strong> pieces to know who we are and possibly<br />
find out how to interpret dreams …’<br />
Le parapluie de tournesol ou le piment rouge<br />
Bertrand Meyer-Himh<strong>of</strong>f<br />
1 Léonora Carrington<br />
2 Bertrand Schefer, préface, " le théâtre de la mémoire " Guilio Camillo ed Allia 2001<br />
3 F. A. Yates, The Art <strong>of</strong> Memory, Routledge and Kegan Paul, London, 1966<br />
le bouchon d’épouvante<br />
Collage<br />
46,3 x 29,5 cm
74<br />
E.S.B.A.N. teaching staff<br />
Serge PLAGNOL<br />
Serge Plagnol was born on 12 January 1951 in Toulon.<br />
‘The work <strong>of</strong> Serge Plagnol, <strong>the</strong> painter, involves his sensitivity while<br />
maintaining a direct relation with history—that <strong>of</strong> his time because he<br />
talks about our world and <strong>the</strong> special world <strong>of</strong> history <strong>of</strong> art. His work<br />
always tends to be set in this twin perspective and in that <strong>of</strong> his elders.<br />
This is doubtless why he is so preoccupied by formal questions. Painting<br />
is a surface, a symbolic space that always comes back to <strong>the</strong> work site<br />
<strong>of</strong> <strong>the</strong> present. This is why ra<strong>the</strong>r than defining itself in old categories<br />
Serge Plagnol’s work stresses <strong>the</strong> founding values <strong>of</strong> pictorial space, light<br />
and colours, signs and matter.’<br />
Alin Avila<br />
Solo shows since 2000<br />
sergeplagnol.free.fr/<br />
2000 - Galerie Frédéric Storme, Lille<br />
- Galerie Hélène Trintignant, Montpellier<br />
- Centre d’Art, Saint-Cyr-sur-Mer<br />
- Galerie Guigon, Paris<br />
2001 - Galerie Park’Art, Marseille<br />
- Salon de Lyon<br />
2002 - Galerie Frédéric Storme, Lille<br />
- Espace Croix-Baragnon, Toulouse<br />
2003 - Galerie Guigon, Paris<br />
2004 - Galerie Le Petit Louvre, Avignon<br />
2005 - Galerie Hélène Trintignant, Montpellier<br />
- Galerie Art-Espace, Thonon-les-Bains<br />
2006 - Galerie Cupillard, Grenoble<br />
2007 - Le Pont des Arts, with Agnès Mader, Marcillac<br />
- Galerie Remarque, Trans-en-Provence<br />
Group shows since 1985 (selection)<br />
1985-88 - Stockholm Art Fair<br />
- Galerie L’œil écoute, Lyon<br />
- Université d’été, La Garde<br />
- Librairie Biffure, Paris<br />
- Galerie Remarque, Trans-en-Provence<br />
- Aspects de la peinture, Musée de Toulon<br />
- Galerie la Tête d’Obsidienne, La Seyne-sur-Mer<br />
2000 - Espace Peiresc, Toulon<br />
2002 - Méditerranée 1 with Costantini, Lanneau et Pagès,<br />
Hôtel des Arts, Toulon<br />
Public collections<br />
Musée de Nice<br />
Musée de Toulon<br />
Frac, Provence-Côte-d’Azur<br />
Frac, Champagne-Ardennes<br />
Fnac, Paris<br />
Fond d’Art Contemporain, Toulouse<br />
Musée Cantini, Marseille<br />
Conseil Général du Var<br />
Musée Ziem, Martigues<br />
Photo : Léopold Trouillas
76<br />
E.S.B.A.N. teaching staff<br />
Yves REYNIER<br />
Yves Reynier’s works seem to belong to a pre-Babel world. A<br />
multi-dimensional world in which, far from blending toge<strong>the</strong>r, languages<br />
complete and enrich each o<strong>the</strong>r by <strong>the</strong> variety <strong>of</strong> <strong>the</strong>ir nuances and <strong>the</strong><br />
difference in sonority. Here, everything is just echoes, reflection, things<br />
within o<strong>the</strong>rs. Meaning works on shade and light, enigma enriches forms<br />
and looks. We think that we can make out an allegory, we decipher a fable,<br />
remember an aphorism. Chopping boards take on <strong>the</strong> appearance <strong>of</strong><br />
Cycladic gods with clo<strong>the</strong>s and make-up for strange rites.<br />
Little by little, <strong>the</strong> artist associates with <strong>the</strong>se fragments <strong>of</strong> painted<br />
canvas o<strong>the</strong>r fragments drawn from <strong>the</strong> world <strong>of</strong> images or <strong>the</strong> world<br />
<strong>of</strong> raw, unworked materials. And, without abandoning <strong>the</strong> format he likes,<br />
roughly that <strong>of</strong> a sheet <strong>of</strong> paper, he produces strange visual poems where,<br />
from sight to touch, he states his taste for multiculturalism and <strong>the</strong><br />
sensuality <strong>of</strong> things. Thus hybrid works come into being, mingling painting<br />
with Mikado sticks, reproductions <strong>of</strong> Giulio Romano and fur, religious<br />
cloths and dead birds. In this, he moves from <strong>the</strong> flat early work to <strong>the</strong><br />
three dimensions <strong>of</strong> high relief, going as far as <strong>the</strong> direct use <strong>of</strong> objects<br />
as a support, such as chopping boards or even more recently, skateboards.<br />
Thus, characterised by <strong>the</strong>ir smooth imbrication, <strong>the</strong>se works<br />
make one think more <strong>of</strong> concretions <strong>of</strong> heterogeneous materials than<br />
classic asemblies. However, <strong>the</strong>y display a singluar beauty as a result <strong>of</strong><br />
unexpected meetings previously recounted by Isidore Ducasse, that <strong>the</strong><br />
spectator could easily enjoy if he was not insidiously gnawed at by <strong>the</strong><br />
enigmas <strong>of</strong> <strong>the</strong>se paper sphinxes.<br />
From Reliquaire du rêve<br />
Édition Actes Sud / Carré d’Art<br />
October 1999<br />
Guy Tosatto<br />
Farai un vers de dreit nien :<br />
non er de mi ni d’autra gen,<br />
non er d’amor ni de joven<br />
ni de ren au,<br />
qu’enans fo trobatz en durmen<br />
sus un chivau.<br />
‘I shall make a verse on pure nothing:<br />
It shall not be about me or o<strong>the</strong>rs,<br />
Nor love nor youth,<br />
Or anything else,<br />
For it was first made when sleeping<br />
On horseback’<br />
Count <strong>of</strong> Poitiers<br />
Artiste à 20h<br />
Collage, 2005<br />
15 cm x 11 cm.
78<br />
E.S.B.A.N. teaching staff<br />
Jean-Marc SCANREIGH<br />
Born on 27 September 1950 in Marrakesh. Scanreigh started in<br />
Strasbourg where he exhibited at <strong>the</strong> Musée d’art moderne in 1976. His<br />
exhibition at ‘Ateliers d’Aujourd’hui’ at <strong>the</strong> Pompidou Centre in 1980 and<br />
his participation in <strong>the</strong> exhibition-review ”Après le Classicisme” in Saint-<br />
Etienne in <strong>the</strong> same year marked <strong>the</strong> end <strong>of</strong> his minimalist abstract period.<br />
His sculpture and engraving work took his art towards a figurative<br />
style in line with <strong>the</strong> European pictorial revival at <strong>the</strong> beginning <strong>of</strong> <strong>the</strong><br />
1980s. He exhibited his engravings in Saint-Etienne with Gäfgen, Kaminski<br />
and Lüpertz in 1984.<br />
His work in <strong>the</strong> 1990s featured collage and mixed techniques on canvas<br />
or wood, as show in three solo shows in Paris. A retrospective <strong>of</strong> 15<br />
years <strong>of</strong> paintings, sculpture, prints and artist’s books was held in Saint-<br />
Quentin-en-Yvelines in 1998. His publishing work in collaboration with<br />
writers led to an exhibition in 2000 at Columbia University in New York<br />
and at <strong>the</strong> Paris bookshop Nicaise in 2004 and 2005.<br />
For some ten years, he has given lectures and jointly authored prefaces<br />
and articles, some for Art-press (Willem n°274, 2001; Henry Darger n°<br />
300, 2004; Olivier O. Olivier, n° 312, 2005; Graphzines, hors série N°26,<br />
2005). After teaching in Saint-Etienne and Besançon, Scanreigh came to<br />
<strong>the</strong> École des Beaux-Arts de Nîmes in 2003 to teach drawing. He is also<br />
head <strong>of</strong> publishing at <strong>the</strong> <strong>school</strong>.<br />
Catalogues raisonnés<br />
scanreigh.com/<br />
Scanreigh, Estampes & Livres illustrés de 1973 à 1988, Bibliothèque Municipale,<br />
Lyon, 1988.<br />
Livres à l’envie, catalogue raisonné <strong>of</strong> artist’s books and posters from<br />
1972 to 2003, Mémoire Active, Lyons, 2004.<br />
Pour un Scanreigh historié preface by Jacques Jouet, Mémoire Active,<br />
Lyons 2008.<br />
Public and private collections<br />
Musée d’Art Moderne de Strasbourg.<br />
Musée d’Art Contemporain de Saint-Etienne.<br />
Musée de l’Estampe Originale de Gravelines.<br />
Musée de Belfort.<br />
Musée Paul Dini de Villefranche-sur-Saône.<br />
Musée des Arts Décoratifs de Lyon.<br />
Musée de la Carte à Jouer d’Issy-les-Moulineaux.<br />
Spielkarten-Museum, Leinfelden-Echterdingen, Germany.<br />
National Gallery <strong>of</strong> Australia, Canberra.<br />
Bibliothèque nationale de Paris.<br />
Bibliothèque nationale de Luxembourg.<br />
Libraries in Lyons, Mulhouse, Strasbourg, NIce and Nîmes and some<br />
twenty French art lending libraries.<br />
Cities <strong>of</strong> Lyons and Villeurbanne.<br />
Conseil général du Rhône.<br />
Assistance publique de Paris.<br />
French embassies in Tunis and Caracas.<br />
Afaa, Paris.<br />
Frac Rhône-Alpes ; Frac Alsace.<br />
Fnac, Paris.<br />
Fonds Michel Chomarat, Lyon.<br />
Archives Fata Morgana, Montpellier.<br />
Fondation Paribas and BNP, Paris.<br />
Grandville court dans les trames<br />
Acrylic on canvas / 2003<br />
205 x 307 cm.<br />
Collection J.E Huret, Paris
80<br />
E.S.B.A.N. teaching staff<br />
Arnaud vASSEUX<br />
Born in Lyons in 1969, lives and works in Marseilles<br />
Selection <strong>of</strong> solo shows<br />
2004 - Vue d’atelier, Marseille<br />
- Galerie de / di / bY , Paris<br />
2005 - Atelier de Lorette, Marseille<br />
- Galerie Sin Titulo, Mougins<br />
2006 - Centre d’art contemporain intercommunal, Istres<br />
- S.M.P. (Sol Mur Plafond), Marseille<br />
2007 - Domaine de grand Boise, résidence association Voyons Voir,<br />
Trets<br />
2008 - Galerie AL/MA, Montpellier<br />
- Galerie Sin Titulo, Mougins<br />
Selection <strong>of</strong> group shows<br />
documentsdartistes.org<br />
2004 - Connexions, Art-cade, Marseille<br />
- Entraînements, invited by <strong>the</strong> associations Edna et des<br />
Grandes traversées, Capc, Bordeaux<br />
- Zootropes 1, 2 et 3, centenary <strong>of</strong> E.J.Marey, Musée des<br />
Beaux-Arts, Beaune<br />
- Fiac, Galerie de / di / bY, Paris<br />
- A consommer sans modération, le 19, Crac, Montbéliard<br />
2005 - Berliner List, stand S.M.P., Berlin<br />
- Art-cade, Marseille<br />
2007 - Surfaces de passage, curator Cédric Loire<br />
Maison Zervos, Vézelay<br />
- Froth, A.Vasseux / Pierre Weiss, galerie ColletPark, Paris<br />
- Marseille, artistes associés, 1977 - 2007, Mac, Marseille<br />
2008 - Champs d’expérience, le 19, Crac, Montbéliard<br />
- carte grise, galerie du tableau, galerie des grands bains<br />
douches de la Plaine, Marseille<br />
- Arsenal & poudrière, Mont-Dauphin fortified town<br />
- Noces d’or, galerie du tableau and Kunstverein, Hambourg<br />
Publications<br />
2004 Par le menu in Il Particolare , n°11, Marseille.<br />
2006 Semaine n°91<br />
2006 Arnaud Vasseux, ed.le 10 Neuf, Montbeliard.<br />
2007 Surfaces de passage, Maison Zervos, Vézelay<br />
Films, vidéo, (documents)<br />
2005 Cassables au panier, by Simon Birman, mini DV<br />
2006 Arnaud Vasseux et Jean Laube, web-vidéo, Le mur dans le<br />
miroir. www.lemurdanslemiroir.fr<br />
Collections<br />
1995 Sacem, Paris<br />
2005 Fond Communal d’art contemporain, Marseille<br />
À bâtons rompus<br />
2008<br />
Plaster, Indian ink and chairs<br />
450 x 280 x 45 cm
82<br />
Former student at <strong>the</strong> Ecole des Beaux-Arts de Nîmes.<br />
Painter, teacher since 1993 at <strong>the</strong> same <strong>school</strong> and <strong>the</strong> founder in 1992<br />
<strong>of</strong> <strong>the</strong> association ‘La Vigie’ in Nîmes that she has since managed.<br />
‘The wooden frame is wrapped in a set <strong>of</strong> cloths. These are<br />
not only canvas covered with pigment but also gauze, lace, scraps and<br />
debris <strong>of</strong> fabrics superposed, assembled and modelled. Various notions<br />
emerge: solidity and fragility with <strong>the</strong> clinging <strong>of</strong> s<strong>of</strong>t and stretched, <strong>of</strong><br />
above/below, print comes to <strong>the</strong> surface, silkiness becomes rough, gossamer<br />
becomes heavier. Vertical divisions punctuate some canvases and<br />
function as mental doors. The richness <strong>of</strong> <strong>the</strong> arrangements and clever<br />
organisation <strong>of</strong> <strong>the</strong> mixtures take us to a Baroque style, not in <strong>the</strong> historical<br />
sense but acting as a reference.’<br />
Christian Skimao<br />
E.S.B.A.N. teaching staff<br />
Isabelle SIMONOU-vIALLAT<br />
lavigieartcontemporain.unblog.fr/exposer-a-la-vigie/<br />
I look at <strong>the</strong> materials and begin to rehearse for myself each <strong>of</strong><br />
<strong>the</strong> associations which I bring to this encounter.<br />
I cannot be entirely sure where paint and textile each begin. There seem<br />
to be no figurative elements to help me;<br />
I must consider how each <strong>of</strong> <strong>the</strong> colours and surfaces operates. I may be<br />
anchored to <strong>the</strong> play between light and dark, <strong>the</strong> torn and <strong>the</strong> covering,<br />
<strong>the</strong> open and <strong>the</strong> protecting. Something is <strong>of</strong>fered and yet held back ;<br />
covered over, and yet promised.<br />
Whe<strong>the</strong>r it is paint or textile that does this in our lives - on our walls,<br />
around our bodies, in our memories <strong>of</strong> our families, our friends, ourselves,<br />
who can tell but each <strong>of</strong> us?<br />
In <strong>the</strong> assembly <strong>of</strong> paint and pattern, layers before and beyond ground,<br />
<strong>the</strong>re is a tangible, undeniable - even if illusory - meeting - place for diverse<br />
ideas about painting which all have a common source.<br />
In <strong>the</strong> end, each type <strong>of</strong> material is pushed to <strong>the</strong> edge <strong>of</strong> its meaning<br />
and tantalizes because <strong>of</strong> what it has not yet disclosed.<br />
Art Gallery <strong>of</strong> Peterborough, Canada.<br />
Dominic Hardy<br />
Sans titre<br />
Acrylic on and with cloth / 2003
84<br />
Albert Ranieri<br />
Albert Raniéri is an art historian.<br />
E.S.B.A.N. teaching staff<br />
General subjects<br />
A trained academic, he initially worked on Tuscan Mannerism and Baroque<br />
scenography.<br />
After several study and research stays at <strong>the</strong> German Institute <strong>of</strong> History<br />
<strong>of</strong> Art in Florence and a year in <strong>the</strong> United States, he focused his teaching<br />
on applied arts and environment design.<br />
He is also interested in <strong>the</strong> relations between art and architecture, in<br />
questions concerning <strong>the</strong> idea <strong>of</strong> nature in art and exhibition practices.<br />
Lecturer, he also gives courses at Université Paul Valéry in Montpellier<br />
(Institut des étudiants étrangers) and he manages <strong>the</strong> organisation <strong>of</strong><br />
group trips at <strong>the</strong> <strong>school</strong> (in France and abroad).<br />
Alain-Christophe Restrat<br />
A poet and poetry critic born in 1946, he is <strong>the</strong> author <strong>of</strong> books <strong>of</strong> poems,<br />
published in particular by Flammarion, and several artist’s books. Poetry<br />
readings at Centre Georges Pompidou, <strong>the</strong> Musée d’Art Moderne in<br />
Paris, <strong>the</strong> CIPM in Marseilles and abroad (USA, Arab countries).<br />
In 1980, he met Henri Michaux who encouraged him to continue his<br />
writing independently and outside movements. He taught French<br />
literature and civilisation for a long time in <strong>the</strong> United States.<br />
Corinne Rondeau<br />
Academic and critic<br />
‘ I write differently from <strong>the</strong> way I speak, I speak differently from <strong>the</strong> way<br />
I think, I think differently from <strong>the</strong> way I should think …’ Kafka<br />
Subject: Politics and exhibition news.<br />
The issue <strong>of</strong> an exhibition is less that <strong>of</strong> <strong>the</strong> form or that <strong>of</strong> <strong>the</strong> content<br />
than that <strong>of</strong> contextualisation. Under <strong>the</strong>se circumstances, exhibitions<br />
recover <strong>the</strong>ir literary definition.<br />
Fur<strong>the</strong>r, exhibitions stem more from <strong>the</strong> involvement <strong>of</strong> cultural organisation<br />
(interaction between spectators, works, curators, critics, galleries<br />
and museums). In o<strong>the</strong>r words, <strong>the</strong> question <strong>of</strong> contemporary art is that<br />
<strong>of</strong> <strong>the</strong> exhibition as a way <strong>of</strong> showing more a policy <strong>of</strong> art than art, that<br />
is to say an organisational issue. All <strong>the</strong> exhibitions addressed are linked<br />
with history <strong>of</strong> art (forms, discourse and movements).
86<br />
E.S.B.A.N.<br />
Technical staff and premises<br />
Photography studio<br />
Michel Serron, photography technician<br />
Eight computer workstations are used for processing digital photographs.<br />
A silver process black and white laboratory is equipped with<br />
four enlargers. Introduction and advanced work in small, medium<br />
and large formats (negative formats <strong>of</strong> up to 4 x 5 inches).<br />
Publishing studio<br />
Gérard Lauze, technician<br />
A set <strong>of</strong> several rooms houses facilities for engraving, lithography,<br />
screen prints and <strong>of</strong>fset lithography printing.<br />
The studio in Rue de La Poudrière has all <strong>the</strong> equipment required for<br />
producing printed works: large engraving presses, silk screen table,<br />
exposure unit, guillotine, shears, pasting machine and soon a lithography<br />
press.<br />
This is <strong>the</strong>refore a studio for producing artist’s books, fanzines, posters,<br />
portfolios, prints, postcards, etc. Use can be made, according<br />
to <strong>the</strong> job, <strong>of</strong> screen printing, small and large engraving work (etching,<br />
drypoint and aquatint), embossing, monotype, wood engraving,<br />
typography and, shortly, lithography.<br />
volume-sculpture studio<br />
Gérard Montesinos, technician<br />
A 400 sq.-m studio for work. Metal, wood and modelling.<br />
Equipped to handle all volume projects.<br />
Drawing studio<br />
A room is devoted to drawing and projects.<br />
Painting studio<br />
A large painting studio.<br />
Studios reserved for use by students<br />
From <strong>the</strong> second year onwards, students are provided with studios<br />
for use by one or several depending on <strong>the</strong>ir affinities and <strong>the</strong> space<br />
available.<br />
Lecture <strong>the</strong>atre<br />
110 seats, video-projection facilities. This is used for lectures and<br />
conferences.<br />
Exhibition rooms<br />
Three very fine rooms with 300 sq. m <strong>of</strong> exhibition space.<br />
Student exhibition room<br />
A small room at <strong>the</strong> entry to <strong>the</strong> <strong>school</strong> reserved for displaying<br />
works by students.<br />
Technical facilities<br />
The video, computer graphics and digital photography studios have<br />
a set <strong>of</strong> three interconnected rooms.
Director :<br />
Dominique GUTHERZ<br />
Tel. 04.66.76.70 22<br />
Email : dominique.gu<strong>the</strong>rz@ville-nimes.fr<br />
Administrative manager :<br />
Maria DOS SANTOS<br />
Tel. 04.66.76.70.30<br />
Email : maria.dos-santos@ville-nimes.fr<br />
Library<br />
Isabelle QUAGLIA<br />
Tel.04 66 76 71 74 - Fax : 04 66 76 74 06<br />
Email : isabelle.quaglia@ville-nimes.fr<br />
Opening hours: Monday, Tuesday, Thursday and Friday,<br />
9.30-13.00/14.00-17.30 except during <strong>school</strong> holidays.<br />
E.S.B.A.N.<br />
Administrative staff<br />
Administration<br />
Educational administration<br />
(Higher Education)<br />
Ginette DUMAS - Tel. 04.66.76.74.66<br />
Email : ginette.dumas@ville-nimes.fr<br />
School Secretariat<br />
Adult classes – Children’s classes<br />
Nicole KRUCH - Tel. 04.66.76.70.22<br />
Email : nicole.kruch@ville-nimes.fr<br />
International Relations<br />
Maria DOS SANTOS<br />
Accounts / finance<br />
Olivia ESPAGNE<br />
Elisabeth vINCENS<br />
Tel. 04.66.76.70.79<br />
Email : olivia.espagne@ville-nimes.fr<br />
Email : elisabeth.vincens@ville-nimes.fr<br />
87<br />
Technical facilities<br />
Gérard LAUZE - Technician<br />
”La Maison du Poête”- Tel. 04.66.21.38.73<br />
Gérard MONTESINOS - Technician<br />
”Mont Duplan” - Tel. 04.66.27.63.93<br />
Michel SERRON - Technician<br />
”École Hotel-Rivet” - Tel. 04.66.76.70.22 / Poste 3092<br />
Jean-Claude vEDRINES - Caretaker / stock management<br />
Tel. 04.66.76.70.22 / Poste 3414
88<br />
E.S.B.A.N.<br />
Publications<br />
Hôtel Rivet, books<br />
# 1 – Joint authors<br />
La meilleure façon d’empiler les bonbons (student special<br />
edition)<br />
# 2 – Jean-Marc Scanreigh<br />
Picasso, remarques à effacer<br />
# 3 – Daniel Dezeuze<br />
Le dessin, pourquoi<br />
# 4 – Etienne Cornevin<br />
Marcel Duchamp, humour paria<br />
# 5 – Didier Semin / Jean-Claude Silberman<br />
Dessiner le Champignon<br />
# 6 – Yves Reynier<br />
La chaumière à surprises<br />
# 7 – Olivier O Olivier<br />
Ombres et lumières<br />
# 8 – Estelle Brun & Marjorie Calle<br />
Cut cut cut (student special edition)<br />
# 9 – Marjorie Calle & Pierre-Guilhem Coste<br />
Jindal (student special edition)<br />
# 10 – vincent Capes<br />
Endimanchot (student special edition)<br />
# 11 – Christian Delacampagne<br />
Les arts de la chasse"<br />
# 12 – Galerie RX/E.Dereumaux<br />
Quintessence<br />
# 13 – Pierre E. Richard<br />
Étude pour un portrait de Francis Bacon suivie de<br />
Conversation inédite avec l’artiste<br />
# 14 – Alain Christophe Restrat / Céline Steinmetz<br />
Sait si bon (student special edition)<br />
# 15 – Julien Loiret<br />
Je te tiens, tu me tiens (student special edition)<br />
# 16 – Etienne Michelet<br />
Dictions (student special edition)<br />
# 17 – Gérard Depralon<br />
Ainsi estil<br />
# 18 – Alexandre Giroux<br />
Le monde (student special edition)<br />
# 19 – Anne Faucher<br />
Soupe aux faux chez Breton (student special edition)<br />
# 20 – Jean Leyris<br />
Sculptures<br />
# 21 – Claude viallat<br />
Œuvres tauromachiques<br />
# 22 – Daniel Dobbels / Jean Marc Cerino<br />
L’inconvenance du corps<br />
Hôtel Rivet, le journal<br />
N° 0 - Willem – Pierre Collin<br />
N° 1 - Dessins<br />
N° 2 - Le Cahier dessiné<br />
N° 3 - Photographies<br />
N° 4 - Trois Collections Privées<br />
N° 5 - L’atelier sculpture à Garons<br />
N° 6 - Une image possible du monde<br />
N° 7 - Flamencos<br />
N° 8 - Dessin
from 2002/03 to 2006/07<br />
Milan Aleksic<br />
Jiango An<br />
Olivier Antoine<br />
Paul Ardenne<br />
Evelyne Artaud<br />
Jean-Marc Balois<br />
François Bazzoli<br />
Cécilia Bécanovic<br />
Fabrice Béghin<br />
Stéphane Belzere<br />
Stéphanie Benzaquen<br />
Stéphane Bérard<br />
Emanuel Bigler<br />
Pascal Bonafoux<br />
Yves Bonnefoy<br />
Stéphane Bordarier<br />
Didier Bouet<br />
François Bouillon<br />
Jacques Bruel<br />
Pierre Buraglio<br />
Olivier Cabon<br />
Jean-Jacques Ceccarelli<br />
Bernard Ceysson<br />
Jean-Marc Chevallier<br />
Jean Clottes<br />
Pierre Collin<br />
Francis Couturier<br />
Gérard Conio<br />
Rémi Dall Aglio<br />
Marie De Brugerolle<br />
Gérard Depralon<br />
Christian Delacampagne<br />
Jacques Demarcq<br />
Eric Dereumaux<br />
Dominique Dupuis-labbé<br />
Daniel Dobbels<br />
Claude Espinassier<br />
Jean Fabro<br />
Gilles Fage<br />
Serge Fauchier<br />
Martine Franck<br />
Arnaud Friche<br />
Monique Frydman<br />
Christian Garcin<br />
André Gardies<br />
Henri Gaud<br />
Jean-François Gavoty<br />
Marc Genevrier<br />
Jean-Luc Gergonne<br />
Patrice Giorda<br />
Michel Giroud<br />
Jean-Paul Guarino<br />
Rémi Guerrin<br />
Philippe Grand<br />
Gilles Grand<br />
Rémi Guerin<br />
Yvon Haze<br />
Sylvain Jouty<br />
Dan Karavan<br />
Bogdan Konopka<br />
Jean-Yves Lacroix<br />
Emmanuel Latreille<br />
André Lasbouygues<br />
Joëlle Lebailly<br />
Olivier Leroi<br />
Richard Leydier<br />
Patrick Lhot<br />
Barbara Lindlar<br />
Gérard Macé<br />
Jean-Olivier Majastre<br />
Pierre Manuel<br />
Thomas Marin<br />
François Mechain<br />
François Michaud<br />
Ariane Michel<br />
Vesna Micovic<br />
Ca<strong>the</strong>rine Millet<br />
Joseph Nadj<br />
Jean-Luc Nancy<br />
Christian Nze<br />
Olivier O. Olivier<br />
Didier Ottinger<br />
Céleste Olalquiaga<br />
Bernard Palacios<br />
Hervé Passamar<br />
Christophe Paturange<br />
Frédéric Pajak<br />
Françoise Paviot<br />
Yves Peyré<br />
Philippe Piguet<br />
Christian Prigent<br />
Mathieu Provansal<br />
David Renaud<br />
Claire Renier<br />
Jean-Pierre Rolley<br />
Corinne Rondeau<br />
Daniel Rondeau<br />
Gerard Roque<br />
Bernard Rousseaux<br />
Jean Christophe Royaux<br />
Michel Salsmann<br />
Thierry Sarfis<br />
Jean-Luc Sarré<br />
Pavel Schmidt<br />
Didier Semin<br />
Daniel Sibony<br />
Nicola Sornaga<br />
Michel Strauss<br />
David G. Torres<br />
Pierre Tilman<br />
Paul van Der Eerden<br />
Jean villevielle<br />
Pierre Watt<br />
Willem<br />
Olivier Zabat<br />
E.S.B.A.N.<br />
Lecturers, resident artists<br />
2007/08<br />
Jiango An<br />
Alin Avila<br />
Pierre Baumann<br />
Demis Herenger<br />
Joel Kermarrec<br />
Raghava Kk<br />
Jean Klepal<br />
Bogdan Konopka<br />
Carlos Kusnir<br />
Fabien Lerat<br />
Guy de Malherbe<br />
Nora Martirosyan<br />
Sylvie de Meurville<br />
Laurent Mulot<br />
Pascal Neveux<br />
Jean François Pinchon<br />
Antoine Roegiers<br />
Olivier Roubert<br />
89
90<br />
E.S.B.A.N.<br />
Exhibitions at Hôtel Rivet since 2003 (in alphabetical order)<br />
- Pierre Alechinsky<br />
- Balthus<br />
- La Bande dessinée en résidence<br />
Works by G. Depralon and his students<br />
- Bosc<br />
- Jacques Bruel<br />
- Jean-Jacques Ceccarelli<br />
- Chroniques martiennes<br />
Works by D. Renaud and a selection <strong>of</strong> students<br />
- Pierre Collin<br />
- Comic Strip<br />
Aura - Bauduin - les Matons - Mirol - Pellaton<br />
- Côté cour<br />
C.Caillol et J.Bartolani, Y.Gil, F.Rebiere, F.de Hita, I.Rouquette,<br />
F.Schmitt<br />
- Lucien Coutaud<br />
- Ariane Delacampagne<br />
- Frédéric Di Martino<br />
- Martine Franck<br />
- Fromage et dessert<br />
Works by 5th-year students<br />
- Raoul Hausmann<br />
- Alexandre Hollan<br />
- Une image d’école<br />
A selection <strong>of</strong> students’ works chosen by<br />
M. Etienne, P. Trarieux, C. Viallat<br />
- Une Image possible du monde<br />
Collection Madeleine Millot-Durrenberger<br />
- Jean Leyris<br />
- Olivier O. Olivier<br />
- Le cahier dessiné<br />
Collection Frédéric Pajak<br />
- Quintessence<br />
Carte Blanche à la galerie RX – Paris<br />
- Paula Rego<br />
- Reliefs, pentes, expositions, 5 days on Causse Méjean<br />
Students’ works made during <strong>the</strong> stay.<br />
- David Renaud<br />
- Travaux d’hiver<br />
Students’ works with<br />
- Trois collectionneurs privés<br />
Ph. Ducat - J. Mairet - G. Moser<br />
- Claude viallat<br />
- Lucy vines<br />
- Willem<br />
- Workshops<br />
Students’ works with<br />
P.Van Der Eerden, F. Bouillon, Th.Sarfis, S.Fauchier<br />
- 20 ans / 10 positions<br />
Students’ works on Némausus
In Nîmes<br />
Hôtel Rivet<br />
Images d’une école, works by students <strong>of</strong> <strong>the</strong> École des Beaux-<br />
Arts de Nîmes, chosen by Michel Étienne, Pascal Trarieux and<br />
Claude Viallat, 2008.<br />
Némausus<br />
The 20th anniversary <strong>of</strong> Nemausus. The building in colour and<br />
images by <strong>the</strong> making <strong>of</strong> banners, projection <strong>of</strong> photographs and<br />
sculpture work and <strong>the</strong> scheduling <strong>of</strong> a regular series <strong>of</strong> exhibitions,<br />
2007- 2008.<br />
Némausus<br />
Bien-Venu-à Bord, a regular series <strong>of</strong> exhibitions, 2006-2007.<br />
Théatre de Nîmes<br />
Flower in partnership with Nîmes music conservatoire, creation<br />
<strong>of</strong> a music and video evening, 2007.<br />
Carré d’Art-Musée<br />
Inter/Sections, 9 students showed small more or less ephemeral<br />
performance type modules as a counterpoint with <strong>the</strong> works <strong>of</strong><br />
Chloé Piene and Jeppe Hein, 2007.<br />
Carré d’art - Mur Foster<br />
Regular selection <strong>of</strong> students for exhibitions on <strong>the</strong> Mur Foster,<br />
2006-07-08.<br />
Galerie des Arènes - Hôtel Rivet<br />
Travaux d’hiver, group exhibitions at <strong>the</strong> École des Beaux-Arts de<br />
Nîmes and Galerie des Arènes, 2007.<br />
Galerie la Salamandre<br />
Exhibition by 14 students as <strong>the</strong> conclusion <strong>of</strong> a space/light/volume,<br />
2007.<br />
Galerie du 4 Barbier<br />
Six ‘duo’ exhibitions with students working on <strong>the</strong> organisation<br />
and transformation <strong>of</strong> space, 2006-2007.<br />
E.S.B.A.N.<br />
Student exhibitions since 2006<br />
91<br />
Elsewhere in France<br />
Citadelle de Montdauphin<br />
Arsenal et Poudrière, an exhibition organised by <strong>the</strong> association<br />
Voyons Voir within <strong>the</strong> framework <strong>of</strong> <strong>the</strong> 300th anniversary <strong>of</strong> <strong>the</strong><br />
death <strong>of</strong> Vauban and <strong>the</strong> placing <strong>of</strong> Montdauphin fortress on <strong>the</strong><br />
UNESCO World Heritage List, 2008.<br />
Château d’Avignon<br />
Ere de repos, an exhibition organised by <strong>the</strong> Conseil Général des<br />
Bouches du Rhône on <strong>the</strong> <strong>the</strong>me <strong>of</strong> rest, 2008.<br />
Domaine Rouge Garance, Saint-Hilaire d’Ozilhan<br />
Exhibition <strong>of</strong> some 30 barrels addressed with a painting and volume<br />
approach and arranged on <strong>the</strong> Rouge Garance wine estate,<br />
2008.<br />
Médiathèque de Calvisson<br />
Exhibition <strong>of</strong> students’ drawings in <strong>the</strong> new premises <strong>of</strong> <strong>the</strong> Calvisson<br />
Media Centre, 2008..<br />
Musée d’Art moderne de Saint-Étienne<br />
Travaux en cours/En cours de travaux, exhibition by students. The<br />
art <strong>school</strong>s in Annecy, Besançon, Bourges, Cergy, Clermont-<br />
Ferrand, Genève, Grenoble, Marseilles, Montpellier, Nantes, Nîmes,<br />
Saint-Étienne, Du Fresnoy and Valence were represented in<br />
<strong>the</strong> 2006-2007/2007-2008 seasons.<br />
Espace Louis-Feuillade/Abric, Lunel<br />
Objectif Lunel, at <strong>the</strong> request <strong>of</strong> Lunel Town Hall, <strong>the</strong> setting up<br />
by a group <strong>of</strong> students <strong>of</strong> a group exhibition consisting <strong>of</strong> some<br />
15 works belonging to Frac Languedoc-Roussillon, 2007.<br />
(Bruel ‘ancien, D. Castellas, J. Creten, E. Duyckearts / J-P. Khazem,<br />
A-K. Feddersen, F. Francis, J-C. Gagnieux, T. Grand, H.<br />
Maghraoui, M. & La Spesa, M. Négro, P. Parreno, L. Pelen, J-C.<br />
Ruggirello, N. Solakov, F. West/ P. Kogler).
92 E.S.B.A.N.<br />
Student exhibitions since 2006<br />
Espace Louis-Feuillade/Abric, Lunel<br />
Sans repentir, 2008.<br />
Lithos, espace d’art contemporain, Saint Restitut<br />
On n’est pas loin, après Raoul Marek, Éric Dietman, Jean-Michel<br />
Alberola, Olivier Mosset, etc., exhibition <strong>of</strong> works by a group <strong>of</strong><br />
students at <strong>the</strong> premises <strong>of</strong> Maison de la Cure, 2008.<br />
Village d’Aubais<br />
La couleur dans divers états de matière, an exhibition combining<br />
several pictorial and sculptural approaches displaying a specific<br />
use <strong>of</strong> colour, 2007.<br />
Librairie le parefeuille, Uzés<br />
Joint exhibitions <strong>of</strong> original drawings for <strong>the</strong> ‘Journal dessin’ published<br />
by <strong>the</strong> <strong>school</strong>, 2007.<br />
Abroad<br />
Biennale Photographie et Architecture, Bruxelles<br />
20 ans / 10 positions, Exhibition at Isacf La Cambre, Brussels.<br />
Corps de Ville, 2008.<br />
Académie BK<br />
Exchange with <strong>the</strong> Academy <strong>of</strong> Arts BK, Belgrade, Serbia, 2008.
Academy <strong>of</strong> Arts BK, Belgrade, Serbia<br />
Luxun Art Academy, Shenyang, China<br />
Artenim<br />
Association des amis de l’Esban<br />
Association Lithos, Saint-Restitut<br />
Association Les vingt ans de Nemausus<br />
Association voyons voir, Citadelle de Montdauphin<br />
Bibliothèque - Carré d’art de Nîmes<br />
Centre International d’Art et Paysage, vassiviére<br />
Centre Universitaire de Nîmes<br />
Chambre d’Agriculture du Gard<br />
Conseil Général des Bouches du Rhône<br />
Conservatoire de Nîmes<br />
Drac Languedoc-Roussillon<br />
Ecole Nationale Supérieure de la photographie d’Arles<br />
Ecole Nationale Supérieure des Beaux-Arts de Paris<br />
Editions Buchet Chastel - Paris<br />
Editions Cadex - Alès<br />
Editions Item, Paris<br />
Frac Languedoc-Roussillon<br />
Hôpitaux de Paris<br />
Institut d’Alzon - Nîmes<br />
Isacf La Cambre, Bruxelles<br />
E.S.B.A.N.<br />
Cultural partners<br />
93<br />
Les amis des Bibliothèques de Lyon<br />
Les amis du musée des Beaux-Arts et du Carré d’Art de Nîmes<br />
Lycée Camargues, Nîmes<br />
Magnum Photos, Paris<br />
Médiathèque de Lorient<br />
Musée d’Art Contemporain - Carré d’Art de Nîmes<br />
Musée d’Art Moderne de Saint Etienne Métropole<br />
Musée des Beaux-Arts de Nîmes<br />
Musée d’Histoire Naturelle, Nîmes<br />
Musée des Sables d’Olonne<br />
Musée du dessin et de la gravure de Gravelines<br />
Nîmes Métropole<br />
Sénim, Nîmes<br />
Théâtre de Nîmes<br />
Université de Nîmes vauban<br />
ville d’Aubais<br />
ville de Calvisson<br />
ville de Garons<br />
ville de Lunel<br />
ville de Mulhouse
Hôtel-Rivet<br />
10 Grand’Rue<br />
30000 Nîmes<br />
04 66 76 70 22<br />
ecole.beauxarts@ville-nimes.fr<br />
Design and production :<br />
Nigo / ESBAN<br />
Photos<br />
esban©2008 and ESBAN students<br />
P. 33 Jean Pierre Loubat©2007<br />
P. 73 Léopold Trouillas<br />
Published with support from D.R.A.C. Languedoc - Roussillon.
École Supérieure des Beaux-Arts de Nîmes<br />
Hôtel-Rivet / 10 Grand Rue / 30033 Nîmes cedex<br />
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06<br />
ecole.beauxarts@ville-nimes.fr - http://www.nimes.fr/index.php?id=330<br />
Établissement de la Ville de Nîmes placé sous la tutelle pédagogique du Ministère de la Culture et de la Communication.