Catalogue FID 2011

Foire internationale du dessin3rd editionMarch 31th April 3rd 2011at the Cit internationale des arts, Pariswithin the Semaine du dessinwith the friendly assistance of Sothebys Franceand in partnership with the Salon du dessin

foireinternationaledudessin.com

978-2-35532-106-1www.lel ivredart .com

FID

20

11

F I D d r a w i n g s f o r t h e f u t u r e

couverture.indd 1 03/03/2011 16:13:29

FID 2011 Foire internationale du dessin FID association culturelle loi 1901 +33 (0)1 46 34 88 08 9 Rue Saint Louis en lle, F-75004 Paris [email protected] Catalog: FID declines all responsibility for any incorrect, incomplete or missing entries. Exhibitors bear full responsibility for the content of their entries.

Catalogue based on photographs supplied by the students.

Publisher: Lelivredart 24 Impasse Mousset, F-75012 Paris +33 (0)9 54 01 24 36 lelivredart.com Design, layout, production: Serghei Litvinin co-operation with Milarpa Bacot Translation: Charles Penwarden Isbn : 978-2-35532-101-6 Printed in Italy

Foi re in ternat iona ledu dess in

3rd edi t ion

31 mars 3 avril 2011 Cit internationale des arts Paris

SHOW MANAGEMENT

Di r e c t o rSerghei L i tv in

co n s u lta n t sNicole HattChar les PenwardenMichel Colas

cata l o g Ma n a g e rMilarpa Bacot

We b De s i g n Ma n a g e rAmal ia Wolff de Montebel lo

sp o n s o r s h i p Ma n a g e rAlain de Montebel lo

Di r e c t o rs as s i s ta n tSandra Bayonne

co M M u n i c at i o n as s i s ta n tMarta Wojtk iewicz

li s t i n g s as s i s ta n tNicolas Pfei ffer

cata l o g Ma n a g e r as s i s ta n tVirginie Bimbenet

HONORARY BOARD

Hlne Mouradian, Salon du dessin, FR-Par isChar les Zalber, Lucie Wei l l & Sel igmann Gal lery, FR-Par isJean-Yves Langlais, Cit internat ionale des arts, FR-Par is

ART AMBASSADORS

po rt u g a l, spa i nTeresa Carneiro, Drawing Spaces PT-Lisbon

be l g i u MSaskia Weyts, Acadmie de beaux-arts BE-Tournai

EDITORIAL & DEFINITION 006

PRIZES 008

JURY 009

ExHIBITORS 010

INDEx OF SCHOOLS 104

SCHOOLS PRESENTATIONS 106

PARTNERS 117

006

Why drawing? I hear you ask. Because drawing is everywhere. Its universal, and its simple, inexpensive to do and to buy. Young and old, rich and poor, everyone can do it, and collect it. Just try for yourself. There is no theatre in drawing. All it takes is a pencil, a sheet of paper and movement of the hand line. No discourse. Skill, emotion, idea or not. But why schools? you ask again. Because schools are the art of tomorrow, and European schools now represent the first generation of artists of our 21st century. FID offers schools the practical experience their students so badly need: exhibiting at a fair, selling their first drawings, meeting collectors and gallerists. My concept of a fair without walls comes from both the agora and the ancient fair, as an open place for encounter and exchange. Europe was created by the great trade routes. Where they intersected, fairs grew up. These were the crucibles of European cultural identity from the year 1000 through to the present day.

The tables oblige exhibitors to lay out their drawings, all on the same level, without frames. They encourage dialogue between visitors and students. This exchange is both necessary and enriching. The European system of art teaching is perhaps over-protective: ateliers, teachers, grants, hangings in the school for five wonderful years, life is cosy and sweet. Then, suddenly, diploma in hand, our students are ejected from the cocoon. Its a shock to the system. No network of collectors. No galleries. No experience of the art market. No studio. No means of subsistence. Students who exhibit at FID will gain valuable professional experience in the real world before they leave their school. They will experience competition between students from fourteen European countries. They will also experience dealing personally with players from the contemporary art market and with the demanding public of the Semaine du Dessin. Dear partners, participants and visitors, welcome to FID 2011, the third edition. Serghei Litvin

EDITORIAL

Drawing is based on line, made with the hand. Whatever the support, tool and material used to make it, a drawing is a single work of art: not a multiple.

DEFINITION

007

Vous vous interrogez peut-tre : Mais pourquoi le dessin ? Parce que le dessin est partout, universel. Le dessin est simple, pas cher produire, pas cher acheter. Jeunes et vieux, riches et pauvres, tous peuvent le pratiquer, le collectionner... Essayez, vous verrez. Il ny a aucune mise en scne dans le dessin. Cest un crayon, une feuille de papier et un geste : le trait. Aucun discours, pas de mise en scne. Mtier, motion, ide sont bien l. Ou pas. Vous vous interrogez encore peut-tre : Mais pourquoi les coles ? Parce que les coles cest lart de demain et les coles europennes forment, aujourdhui mme, la premire gnration dartistes de notre xxe sicle. La FID propose aux coles les travaux pratiques si ncessaires aux tudiants : exposer dans une foire, vendre ses premiers dessins, rencontrer les collectionneurs, les galeristes... Mon concept de foire, sans cloisons, vient la fois de lagora et de la foire ancienne : lieu ouvert, lieu de rencontres et dchanges. Les grandes routes ont fait lEurope. Au croisement des routes sont nes les foires. Les foires : ces creusets de lidentit culturelle europenne, depuis lan mille et jusqu aujourdhui.

Les tables obligent les exposants une mise plat littrale, sans cadres, de leurs dessins. Et obligent aussi les visiteurs dialoguer avec les tudiants. Un face--face la fois ncessaire et enrichissant. Le systme europen denseignement de lart est, peut-tre, surprotecteur. Ateliers, professeurs, bourses, accrochages dans lcole, cest la vie en rose pendant cinq merveilleuses annes. Puis, brusquement, les tudiants devenus diplms quittent la bulle. Le choc est rude ! Pas de rseau de collectionneurs, pas de galerie, pas dexprience du march de lart, ni atelier ni moyens de subsistance... Les tudiants-exposants ont avec la FID, avant de quitter lcole, une premire exprience professionnelle dans le monde rel. Ils vivent la comptition entre tudiants de quatorze pays europens. Ils exprimentent aussi la confrontation avec les acteurs du march de lart contemporain et le public exigeant de la Semaine du dessin. Puis-je vous souhaiter tous, partenaires, participants et visiteurs la bienvenue la troisime dition de la FID ? Serghei Litvin

Le dessin est le trait n du geste de la main. Ceci indiffremment du support, de loutil, de la matire qui sert le raliser. Le dessin est une uvre dart en pice unique.

008

Jury Prize solo exhibition at Catherine Putman Gallery (Paris), Director lonore Chatin Special mention solo exhibition at Twilight zone Gallery (Belgium), Director Rjan Dorval Public Prizesolo exhibition at Galerie Lucie Weill & Seligmann (Paris), Director Charles Zalber

LaCourDieu PrizeThree residencies at LaCourDieu (France)

PRIZES

Prix du jury exposition personnelle la galerie Catherine Putman (Paris), directrice lonore Chatin Mention spcialeexposition personnelle la galerie Twilight zone (Belgique), directeur Rjan Dorval Prix du public exposition personnelle la galerie Lucie Weill & Seligmann (Paris), directeur Charles Zalber

Prix LaCourDieu Trois rsidences LaCourDieu (France)

009

JURY

Serghei Litvin president of the jury (Romania) Teresa Carneiro director Drawing Spaces (Portugal) lonore Chatin director Catherine Putman Gallery (France) Saskia Weyts professor Acadmie de Tournai (Belgium)

Yves Lecointre director FRAC Picardie (France) Charles Penwarden writer, collector (Great Britain) Ernest Pignon Ernest artiste (France) Emil Sennewald art critic (Germany) Vladimir Velickovic artiste, member of the Institut (Serbia)

010

OLGA ABRAMOVA 063

FRANCESCA AGNELLI 064

SERAFN LVAREZ PRIETO 091

RAZVAN ANTON 082

PRISCILLA BECCARRI 021

MARIA INS BEIRES 078

NINA BERNAGOZZI 037

ALICE BIGOT 094

MATHIEU BONARDET 038

JULIEN BOUCq 054

NATALIE BUJOk 062

ROMAIN CADILHON 017

TNIA CAEIRO 073

CLAUDIU CANDEA 083

AMLIE CARVALHO 031

PETTERI CEDERBERG 025

CAMILLE CHEVRILLON 035

ANA COITO 074

JOANA COSTA 101

AURELIEN COUPUT 095

BARTOSZ CZARNECkI 068

MARIE DE GEUSER 028

MAYA DE MONDRAGON 039

LIDIJA DELIC 086

CARMEN DAZ ALAS 092

MARIA DO CARMO ANTUNES 077

EMELYNE DUVAL 020

JOHN PATRICk EGAN 097

GEORGIE FLOOD 102

AMLIE FONTAINE 036

MARIE-ANNE FRANqUEVILLE 040

xIMENA GARCA 060

ADRIEN GRENTON 032

MARTA GLADYSZ 067

ANGLE GUERRE 041

EVELIINA HMLINEN 026

MARION HARDUIN 042

JOCHEM HARTEVELD 012

MARIA HERITAGE 096

WOOJUNG HOH 043

RICARDA HOOP 061

ANA HRCAN 023

ALICE ILIESCU 084

NINA IVANOVIC 087

DRAGAN kORDIC 024

AGATA kUS 069

ExHIBITORS

011

kYOUNGJOO kWON 044

ANNE LECLERC 045

JUNHO LEE 046

NICOLAS LEIGNEL 055

GALLE LEROYER 056

SARAH LDEMANN 098

BENJAMIN MAGOT 047

PATRICIA MARCH ASUNCIN 093

ANDR LANA 075

LA MAYER 018

ELISA MEIRA 076

MAFALDA MENDONA 080

DARIUSZ MILCZAREk 070

IVAN MILENkOVIC 088

JEONG HWA MIN 057

ALEkSANDAR MITROVIC 089

HLNE MOREAU 013

JOO MOURA 079

CAMILLE NICOLLE 014

JAAkkO PALLASVUO 027

DAVID PENELA 081

AGATHE PITI 048

RALUCA POPA 099

CLMENTINE POqUET 034

PIERRE POZZA 015

TIJANA RADENkOVIC 090

ALExANDRU RADULESCU 085

JULIEN RASLE 029

HAN REN 033

LEA ROCHUS 059

MARION ROGER 030

CAMILLE ROSA 049

ARTHUR SALLUSTRAU 019

LAURA SASSEN 065

SRGIO MIGUEL SEqUEIRA 071

GIORGIO SILVESTRINI 050

LISE STOUFFLET 051

MORGANE TROUILLET 016

LEONIE VAN DER VALk 066

HLNE VANDENBUSSCHE 022

kEkE VILABELDA 100

SARA YAN 072

ANAS YSEBAERT 052

CAMILLE ZIZI 053

ULRIkE ZLLNER 058

012

Jochem Harteveld27 x 29.5 cm 2010Belgium: Artesis koninklijke academie voor schone kunsten Antwerp

013

Hlne MoreauBelgium: Acadmie royale des beaux-arts de Bruxelles

FID 2010: Nominee Public Prize

014

Camille Nicolle42 x 29.7 cm 2009Belgium: Acadmie royale des beaux-arts de Bruxelles

015

Pierre Pozza30 x 40 cm 2009Belgium: Acadmie royale des beaux-arts de Bruxelles

016

Morgane Trouillet42 x 29.7 cm 2010Belgium: Acadmie royale des beaux-arts de Bruxelles

017

Romain Cadilhon48 x 32 cm 2010Belgium: La Cambre - cole nationale suprieure des arts visuels

018

La Mayer30 x 50 cm 2010Belgium: La Cambre - cole nationale suprieure des arts visuels

019

Arthur Sallustrau30 x 43 cm 2010Belgium: La Cambre - cole nationale suprieure des arts visuels

020

Emelyne Duval42 x 29.7 cm 2010Belgium: cole Suprieure des Arts plastiques et visuels

021

Priscilla Beccarri29 x 21 cm 2010Belgium: Acadmie des beaux-arts de la ville de Tournai

022

Hlne Vandenbussche42 x 29.7 cm 2010Belgium: Acadmie des beaux-arts de la ville de Tournai

023

Ana Hrcan50 x 65 cm 2010Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci

024

Dragan Kordic39.5 x 30.5 cm 2009Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci

025

Petteri Cederberg20 x 20 cm 2010Finland: kuvataideakatemia

026

Eveliina Hmlinen46 x 43 cm 2010Finland: kuvataideakatemia

027

Jaakko Pallasvuo21 x 29.7 cm 2010Finland: kuvataideakatemia

028

Marie De Geuser20 x 20 cm 2009France: cole suprieure des beaux-arts d'Angers

029

Julien Rasle12.5 x 17.5 cm 2009France: cole suprieure des beaux-arts d'Angers

030

Marion RogerFrance: cole europenne suprieure de l'image

FID 2010: Nominee Jury Prize & Public Prize

031

Amlie Carvalho20 x 30 cm 2010France: cole suprieure d'art de Cambrai

032

Adrien Grenton11 x 22 cm 2010France: cole suprieure des beaux-arts de Montpellier Agglomeration

033

Han Ren65 x 50 cm 2010France: Villa Arson, Nice

034

Clmentine Poquet50 x 65 cm 2002France: Institut d'arts visuels - cole suprieure d'art et de design d'Orlans

035

Camille Chevrillon25 x 20 cm 2010France: cole nationale suprieure des arts dcoratifs Paris

036

Amlie Fontaine29.7 x 42 cmFrance: cole nationale suprieure des arts dcoratifs, Paris

037

Nina Bernagozzi46 x 65 cm 2010France: cole nationale suprieure des beaux-arts de Paris

038

Mathieu Bonardet42 x 42 cm 2010France: cole nationale suprieure des beaux-arts de Paris

039

Maya De MondragonFrance: cole nationale suprieure des beaux-arts de Paris

040

Marie-Anne FranquevilleFrance: cole nationale suprieure des beaux-arts de Paris


041

Angle Guerre42 x 59.4 cm 2010France: cole nationale suprieure des beaux-arts de Paris

042

Marion Harduin24 x 32 cm 2009France: cole nationale suprieure des beaux-arts de Paris

043

Woojung HohFrance: cole nationale suprieure des beaux-arts de Paris


044

Kyoungjoo Kwon60 x 60 cm 2010France: cole nationale suprieure des beaux-arts de Paris

045

Anne Leclerc40 x 50 cm 2010France: cole nationale suprieure des beaux-arts de Paris

046

Junho Lee60 x 40 cm 2010France: cole nationale suprieure des beaux-arts de Paris

047

Benjamin Magot60 x 42 cm 2010France: cole nationale suprieure des beaux-arts de Paris

048

Agathe Piti42 x 29 cm 2010France: cole nationale suprieure des beaux-arts de Paris

049

Camille RosaFrance: cole nationale suprieure des beaux-arts de Paris


050

Giorgio Silvestrini21 x 28.3 cm 2010France: cole nationale suprieure des beaux-arts de Paris

051

Lise StouffletFrance: cole nationale suprieure des beaux-arts de Paris

FID 2010: Winner Public Prize & Nominee Jury Prize

052

Anas Ysebaert10 x 5 cm 2010France: cole nationale suprieure des beaux-arts de Paris

053

Camille Zizi32 x 57.5 cm 2010France: cole nationale suprieure des beaux-arts de Paris

054

Julien BoucqFrance: cole rgionale suprieure d'expression plastique, Tourcoing

055

Nicolas Leignel29.7 x 21 cm 2010France: cole rgionale suprieure d'expression plastique, Tourcoing

056

Galle Leroyer23 x 23 cm 2010France: cole rgionale suprieure d'expression plastique, Tourcoing

057

Jeong Hwa Min17 x 24 cm 2010Germany: Universitt der knste Berlin

058

Ulrike Zllner24 x 17 cm 2010Germany: Universitt der knste Berlin

059

Lea Rochus42 x 29 cm 2010Germany: Hochschule fr Bildende knste Braunschweig

060

Ximena Garca2010Germany: kunstakademie Dsseldorf

061

Ricarda Hoop21 x 29 cm 2009Germany: Hochschule fr Bildende knste Hamburg

062

Natalie Bujok42 x 29 cm 2010Germany: Staatliche Akademie der Bildenden knste karlruhe

063

Olga Abramova50 x 32 cm 2011Italy: Accademia di Belle Arti di Brera

064

Francesca Agnelli42 x 29.7 cm 2010Italy: Accademia di Belle Arti di Brera

065

Laura Sassen19 x 15 cm 2010Netherlands: Hogeschool voor de kunsten Utrecht

066

Leonie Van Der Valk55 x 32 cm 2010Netherlands: koninklijke Academie van Beeldende kunsten Den Haag

067

Marta Gladysz25 x 33 cm 2009Poland: Akademia Sztuk Pieknych w katowicach

068

Bartosz Czarnecki89 x 140 cm 2009Poland: Akademia Sztuk Pieknych w krakowie

069

Agata Kus30 x 20 cm 2010Poland: Akademia Sztuk Pieknych w krakowie

070

Dariusz MilczarekPoland: Akademia Sztuk Pieknych w krakowie

071

Srgio Miguel Sequeira29.7 x 21 cm 2010Portugal: Escola Superior Artstica do Porto-Guimares

072

Sara Yan42 x 60 cm 2010Portugal: Ar.co Centro de Arte & Comunicao Visual

073

Tnia Caeiro30 x 21 cm 2010Portugal: Faculdade de Belas Artes da Universidade de Lisboa

074

Ana Margarida Silva Paulo Coito65 x 50 cm 2010Portugal: Faculdade de Belas Artes da Universidade de Lisboa

075

Andr Lana17 x 14 cm 2010Portugal: Faculdade de Belas Artes da Universidade de Lisboa

076

Elisa Meira60 x 42 cm 2010Portugal: Faculdade de Belas Artes da Universidade de Lisboa

077

Maria Do Carmo Antunes42 x 59 cm 2009Portugal: Faculdade de Belas Artes da Universidade de Lisboa

078

Maria Ins Beires14.8 x 21 cm 2010Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP

Selected on Facebook 2011

079

Joo Moura40 x 60 cm 2005Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP


080

Mafalda Mendona29.7 x 42 cm 2007Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP


081

David Penela50 x 33 cm 2010Portugal: Faculdade de Belas Artes da Universidade do Porto

082

Razvan Anton60 x 60 cm 2008Romania: Universitatea de arta si design Cluj-Napoca

083

Claudiu Candea45 x 65 cm 2010Romania: Universitatea de arta si design Cluj-Napoca


084

Alice Iliescu65 x 45 cm 2010Romania: Universitatea de arta si design Cluj-Napoca

085

Alexandru Radulescu35 x 45 cm 2010Romania: Universitatea de arta si design Cluj-Napoca

086

Lidija Delic19 x 29 cm 2010Serbia: Faculty of Fine Arts of Belgrade

087

Nina Ivanovic21 x 29 cm 2010Serbia: Faculty of Fine Arts of Belgrade

088

Ivan Milenkovic35 x 50 cm 2010Serbia: Faculty of Fine Arts of Belgrade

089

Aleksandar Mitrovic23.4 x 25.1 cm 2010Serbia: Faculty of Fine Arts of Belgrade

090

Tijana Radenkovic35 x 25 cm 2010Serbia: Faculty of Fine Arts of Belgrade

091

Serafn lvarez Prieto29.7 x 42 cm 2010Spain: Facultat de Belles Arts Universitat de Barcelona

092

Carmen Daz Alas29.7 x 42 cm 2010Spain: Facultat de Belles Arts Universitat de Barcelona

093

Patricia March Asuncin50 x 66 cm 2010Spain: Facultat de Belles Arts de Sant Carles de la Universidad Politecnica de Valencia

094

Alice Bigot48 x 65 cm 2010Switzerland: Haute cole d'art et de design, Genve

095

Aurelien Couput20 x 27 cm 2010Switzerland: Haute cole d'art et de design, Genve

096

Maria Heritage42 x 59 cm 2010United kingdom: The arts university college at Bournemouth

097

John Patrick Egan63 x 63 cm 2010United kingdom: Central Saint Martins - Byam Shaw University of the Arts London

098

Sarah Ldemann29.7 x 21 cm 2010United kingdom: Central Saint Martins - Byam Shaw University of the Arts London

099

Raluca Popa35 x 50 cm 2009United kingdom: Central Saint Martins - Byam Shaw University of the Arts London

100

Keke Vilabelda150 x 200 cm 2009United kingdom: Central Saint Martins - Byam Shaw University of the Arts London

101

Joana Costa 25.4 x 38 cm 2010United kingdom: Slade school of fine art (UCL)

102

Georgie FloodUnited kingdom: Slade school of fine art (UCL)

FID 2010: Nominee Jury Prize, Nominee Public Prize

104

BELGIUM

Artesis koninkl i jke academie voor schone kunsten Antwerp

Acadmie royale des beaux-arts de Bruxel les (partner school)

La Cambre cole nationale suprieure des arts visuels (partner school)

cole supr ieure des arts plast iques et v isuels

Acadmie des beaux-arts de la v i l le de Tournai (partner school)

CROATIA

Akademija pr imi jenjenih umjetnost i Sveuci l ista u Ri jeci

FINLAND

kuvataideakatemia (partner school)

FRANCE

cole supr ieure des beaux-arts d'Angers (partner school)

cole supr ieure d'art de Cambrai (partner school)

cole supr ieure des beaux-arts de Montpel l ier Agglomrat ion

Vi l la Arson, Nice

Inst i tut d'arts v isuels cole supr ieure d'art et de design d'Orlans

cole nat ionale supr ieure des arts dcorat i fs, Par is (partner school)

cole nat ionale supr ieure des beaux-arts de Par is

cole rgionale suprieure d'expression plastique, Tourcoing (partner school)

GERMANY

Universi tt der knste Ber l in

Hochschule fr Bi ldende knste Braunschweig

kunstakademie Dsseldorf

Hochschule fr Bi ldende knste Hamburg

Staat l iche Akademie der Bi ldenden knste kar l ruhe

ITALY

Accademia di Bel le Art i d i Brera

NETHERLANDS

Hogeschool voor de kunsten Utrecht

koninkl i jke Academie van Beeldende kunsten Den Haag

INDEx OF SCHOOLS

105

POLAND

Akademia Sztuk Pieknych w katowicach (partner school)

Akademia Sztuk Pieknych w krakowie (partner school)

PORTUGAL

Ar.co Centro de Arte & Comunicao Visual (partner school)

Faculdade de Belas Artes da Universidade de Lisboa (partner school)

Escola Super ior Art st ica do Porto-Guimares (partner school)

Faculdade de Arquitectura da Universidade do Porto - FAUP (partner school)

Faculdade de Belas Artes da Universidade do Porto (partner school)

ROMANIA

Universi tatea de arta s i design Cluj-Napoca (partner school)

SERBIA

Faculty of Fine Arts of Belgrade (partner school)

SPAIN

Facultat de Bel les Arts Universi tat de Barcelona (partner school)

Facultat de Bel les Arts de Sant Car les (partner school)

SWITZERLAND

Haute cole d'Art et de Design Genve

UNITED kINGDOM

The arts universi ty col lege at Bournemouth

Central Saint Mart ins - Byam Shaw Universi ty of the Arts London

Slade school of f ine art (UCL)

106

Belgium: Acadmie royale des beaux-arts de Bruxelles

Drawing, as a discipline in its own right, develops as an open field, expanding, constantly brimming over its margins. However much it may try to delineate itself by rallying round a definition of e.g. the line or the support, by the very same movement it will open on to its diversity. It thereby reveals that it has little to do with imaginary entities such as identity or identification, contaminated as it is by multiplicity, otherness, diversity, and this right from the fibrous layers of its support. Drawing doubtless proceeds from a withdrawal, from an opening on to blanks, nothing, absence. It at first sight it seems to fall within the sphere of the intimate, at the end of the day it shakes our self-confidence and leaves us with our precariousness, our fragility.

Belgium: La Cambre - cole nationale suprieure des arts visuels

Outre une dizaine de cours de dessin, du plus gnral au plus spcifique, visant soutenir ou complter la formation des tudiants inscrits dans ses divers dpartements, lcole nationale suprieure des arts visuels de La Cambre propose une option Dessin, autrement dit une section ddie principalement ce moyen dexpression, o il est considr pour lui-mme et non comme une tape vers une ralisation qui lui serait extrieure. Les tudes stalent sur cinq ans et deux cycles, au cours desquels les tudiants sont amens lacquisition de connaissances thoriques et techniques, mais surtout une rflexion qui leur permette de dvelopper dans le domaine du dessin des dmarches originales en phase avec la cration contemporaine.

SCHOOLS PRESENTATIONS

107

Belgium: Acadmie des beaux-arts de la ville de Tournai

Le dessin est dessein, cest--dire une intention toujours en mouvement, un processus vivant qui nest jamais fini ; sans fermeture, la ligne propose une continuit infinie. Le dessin rpond au besoin de la vie, son accroissement sans fin. Lhomme a besoin de raconter, il veut se faire comprendre, donner sa vision par des signes graphique. Lhomme est le gardien du sens. Pour cheminer vers ce lieu singulier o un sujet recueille des traces, cherche du sens et invente un monde, il y a des outils, les moyens matriels, les formes et les parcours progressifs ou tumulteux que lon entreprend. Joseph Beuys disait : Dessiner reprsente la forme dexpression la plus universelle. Le dessin est soumis la servitude du langage comme lcriture : communication dides par la linature, ce qui peut tre enseign et pens, le savoir et le souvenir comme dpts dans des catgories esthtiques. Dessiner cest tracer.

Saskia Weyts

Finland: Kuvataideakatemia

The weekly Drawing Class at the Finnish Academy of Fine Arts offers teaching in traditional drawing based on perception. In addition, there are intensive experimental workshops, where the focus is on the relationship between the tradition of drawing and phenomena and techniques of contemporary art, such as animation and digital media. As part of the Drawing Class, there are courses where the processes of artistic work on a more general level, with out an emphasis on a particular medium are studied. These workshops are thus a meeting point for the different study programmes in the Academy: Painting, Sculpture, Print making, Time and Space (new media). Equay, the Drawing Class offers a forum for colaboration between various artforms, for example through jointcourses for students of contemporary dance and drawing. Stig Baumgartner, Lecturer Drawing and Perception Finnish Academy of Fine Arts

108

France: cole suprieure des beaux-arts d'Angers

Le dessin contemporain tient dsormais une place prpondrante dans le champ de l'art actuel. Dans notre cole des beaux-arts Angers, considr comme un enseignement de base, le dessin est obligatoire jusqu' la troisime anne. On ne peut le rduire aux uvres sur papier et les traditionnels crayons et pinceaux ne sont pas les uniques outils permettant de tracer. Champ d'expression dimensions variables, le dessin contemporain se pratique sur ordinateur, emploie le non; il est la fois trace d'un projet, outil et analyse, instrument de pense. On ne dessine pas pour reproduire le rel, on dessine pour en comprendre les formes et questionner les sens. Le dessin ne s'apprend pas, il se pratique. Isabelle Lvnez

France: cole suprieure d'art de Cambrai

En premire anne, les tudiants suivent un cours hebdomadaire ax sur le dessin dobservation et lexprimentation graphique. Ils peuvent ensuite poursuivre la pratique du dessin travers plusieurs modules : illustration, dessin de presse, graphisme et latelier Expression dessine. Ce dernier se veut un lieu dmergence dides, de formes, de projets. On y cultive une disponibilit pour que survienne linattendu. Chaque tudiant dfinit un axe de recherche entranant une succession de propositions. Certaines prendront corps de faon plus labore, leur finalisation faisant appel au dessin lui-mme ou dautres pratiques. Paralllement, une rflexion sur une prsentation pertinente et contemporaine du travail fait intervenir le dessin sous dautres formes : croquis, descriptifs, plans Christine Bouvier et Gilles Bachelet

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France: cole nationale suprieure des arts dcoratifs, Paris

L' cole nationale suprieure des arts dcoratifs de Paris propose dix secteurs d'activits : architecture intrieure,art-espace, cinma-animation, design-graphique/multimdia, design-objet, design-textile et matire,design-vtement,image-imprime, photo/video, scnographie. C'est dire que le rle du dessin y tient une place fondamentale puisque le dessin est l'origine du processus de conception de toute cration dans ces domaines. "Les dessins", plus justement, car la perception, l'apprhension et la formulation du monde au moyen du dessin n'est pas la mme pour le peintre ou le sculpteur, l'architecte ou le photographe, le designer textile ou le designer objet. Chaque lve dveloppe ainsi l'outil trs personnel du dessin en fonction de ses objectifs. En matrisant cette pense mise en forme qu'est le dessin, il peut ainsi donner corps et ralit ce qui ne resterait qu' l'tat d'intuition. Luc Gauthier, professeur, coordonnateur du secteur Expression plastique

France: cole rgionale suprieure d'expression plastique, Tourcoing

Dessin : point de dpart du processus de cration pour aborder tous les domaines des arts plastiques et graphiques. Observer, dcouvrir, analyser, initier, sensibiliser, ordonner, structurer, organiser, combiner (la relation du tout aux parties et des parties au tout), configurer, pratiquer, rflchir et crer daprs une rduction radicale des moyens reprsentant le dessin. Affirmer une pense, une sensibilit, une individualit, au travers des multiples liens conscients et inconscients qui nous relient aux autres, notre environnement, une collectivit. Cest par la reprise de ce questionnement et de ces exigences que je dveloppe mon enseignement, l o pour chaque tudiant sexprime une singularit qui noublie jamais la prsence de la multiplicit dont elle est partie prenante. Vassilios Michail, professeur de dessin lERSEP de Tourcoing

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Poland: Akademia Sztuk Pieknych w Katowicach

At the Academy of Fine Arts drawing is an autonomous, obligatory discipline that forms the foundation of the meaning of each artifact and each artistic statement. Following the first year of their education, in the course of which students learn the rudiments of the subject, experiencing the rules of structural discipline as well as the creative possibilities of drawing, they opt for one of six Authors Drawing Studios, treating it as a laboratory for creating realities. The basis of creation is the ability to declare the autonomy of the figure, whereas transcending the workshop limitations to look for ones individual artistic traits springs from the inventiveness of the students, their conscious commitment to the perilous course of searching for their own truth, opening up to experience and cognition.

Text by Prof. Janusz karbowniczek

Poland: Akademia Sztuk Pieknych w Krakowie

The drawing department consists of 6 drawing studios supervised by professors and professors' assistants (PhD)- all together 9 persons. Each studio is lead by the professors according to their own, autonomic teaching program. Our students have the opportunity to develop a wide range of drawing abilities. We offer the nude study to all of them and drawing tasks that teach and show the connection between drawing, photography, movies etc. to build up the personal notions of the nature of reality and to give them the opportunity to question the tradition of art as well. The purpose of this educational offer is to help them to form self - improved comprehension of art problems. Our students may submit their final set of artworks both - paintings or drawings. Some of them do decide to take drawing as a major subject to obtain the Master of Art degree. Even if they decide to present painting as major they can equally present a drawing appendix.

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Portugal: Ar.co Centro de Arte & Comunicao Visual

Founded in 1973 as an independent art school, Ar.Co is dedicated to the experimentation, training and divulging of arts, crafts and visual communication. The practice of Drawing constitutes the center of Ar.Cos pedagogical scheme, bringing together the various different formation areas, from Graphic Design to Jewellery, from Cinema to Illustration and Comics, from Sculpture to Ceramics, etc. As such, its lived reality is not really that of a mere department or an area of formation, but the very center of practice the notion around which the school was built. Drawing is therefore thought of as the place where, in the so called Visual Arts, seeing becomes labour and transformation, following the derrrida(ist) belief that drawing replaces sight while returning it, making it possible.

Portugal: Faculdade de Belas Artes da Universidade de Lisboa

Aujourdhui, le dessin, la facult des beaux-arts de luniversit de Lisbonne, est devenu un dpartement qui prend part au processus de formation initiale dans tous les cours artistiques, en assurant en mme temps un parcours cratif et de recherche spcifique, avec trois cycles dtudes, selon une perspective rflexive et critique, en rapport avec le changement et la convergence europenne. Cest donc avec fiert que nous accueillons la slection de cinq tudiants en fin de premire anne pour participer la FID 2011 et nous remercions lassociation Drawing Spaces pour son engagement dans cette initiative. Professor Antnio Pedro Marques

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Portugal: Escola Superior Artstica do Porto-Guimares

At ESAP Guimares we think of drawing as the specific language of the spatial and global exercise of thought and its instrument of graphic codification. Its foundations are based on an irreducible structure of three basic concepts - point, line and area whose graphic formalization, allowing to deploy them in a virtually infinite number, is organized from two central concepts: differential of visibility and border relations between elements of the image. Our teaching is based on intensive workshop practice - covering the areas of representation and interpretation of the visible and the development of creative projects - from which one seeks to deduce the theoretical principles and fundamental concepts that allow students to conceive the creation of drawings as a process of investigation and conceptualization.

Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP

Under a critical perspective, one of the main goals is to ensure the promotion of specific competences as far as different manual and mental instruments are concerned, as well as the development of techniques of representation, so as to foment the students subjective and expressive autonomy in the act of project building. Drawing is thought as the creative basis of a vast economy of formal and heuristic procedures in the architectural project. Therefore, the singularity of drawing and its project condition define the limits of questions and exercises, which are centered on themes such as shape, human figure and space. The students drawings that are now presented are a sample of an extensive diversity of themes and pedagogical approaches. The prosaic character of their drawings resides on the fact that they were simply made as responses to a real learning process.

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Portugal: Faculdade de Belas Artes da Universidade do Porto

The teaching of Drawing at FBAUP, crosses with its own history then, Drawing Lesson and showing Sketch, and the "essentially formative role of Drawing". The importance given to the teaching of Drawing at FBAUP acquires today, a remarkable level of interest both as a pedagogical practice and at the level of theoretical systematization. It is still seen as a fundamental discipline in the formation of artists. It is a compulsory subject common to all degree courses, allowing students to attend different subjects of Drawing in all the years of their formation. A growing interest in the discipline has been relevant in its formative options, providing students and researchers to continue their Drawing studies through MA and PhD degrees at FBAUP.

Romania: Universitatea de arta si design Cluj-Napoca

The basic mission of the University of Art and Design Cluj-Napoca, Romania is to train specialists in the fields of visual arts able to produce a significant impact on the present culture, commerce and industry, and to improve the spiritual and material development of mankind. Drawing is one of the main subjects taught within the university, as the basis for all artistic areas. For drawing, the representation of reality is a fundamental criterion and the knowledge of its basic techniques and notions of color are vital. Based on the theoretical knowledge of artistic anatomy, drawing is explored in engraving, composition and color, animation, lettering and digital image, painting, sculpture, photography, fashion and design.

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Serbia: Faculty of Fine Arts of Belgrade

The transformation of the curriculum meant that integrated five-year studies have been divided into three-years BA, two years of MA and, after that, six semester doctoral studies. On all years and also in all three departments (painting, sculpture and printmaking) drawing is strongly present. The first year of studies is completely devoted to drawing as the basis of all artistic practices, and in later years it stays as the very important part of studio work. It is possible to choose drawing as the main subject both on MA studies as well as on the doctoral ones. Students drawings are shown in all final exhibitions in our School, and there is the traditional annual exhibition in one of the most important public galleries in Belgrade showing students drawings. For most of the students that show is the first professional appearance and its forty years tradition improved the position of drawing in Faculty for Fine Arts in Belgrade. Mileta Prodanovic

Spain: Facultat de Belles Arts Universitat de Barcelona

Hablar de dibujo dentro del contexto contemporneo, es hablar de mirada, de percepcin es hablar de catalogacin, ordenacin, de repensar lo visto en otro tempo por tanto, hablar de dibujo en el siglo xxI, es hablar una vez ms, de la mirada como pensamiento. El misterio del dibujo consiste en el hecho de conjugar el interior del individuo con el entorno exterior, la reunificacin de objeto y sujeto en esos instantes donde la percepcin detiene el tiempo y las estructuras se vuelven ntidas, consiguiendo as, que: idea, mirada y gesto coincidan en un solo acto. Tanto si el dibujo se realiza con medios tradicionales como si se lleva a cabo con medios tecnolgicos, se precisa de esa comunin entre tiempo detenido y pensamiento fluido. De la misma manera dentro de cada individuo, co-existen varios formatos de dibujo. Josep Montoya i Hortelano Vicedecano de Cultura i Estudiantes

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Spain: Facultat de Belles Arts Sant Carles, Universidad de Valencia

The Faculty of Fine Arts of Valencia has had since its founding a clear vocation for teaching drawing. It has been one of keys that we provide to professionals from our school and who represents us in important places in our society. From the Drawing Department we are committed to continue the tradition of drawing and enlarge it with new demands for their employability. In the first courses we stress upon the training pattern to the subjects of drawing and drawing from life statue and offer advanced courses in subjects in which the design is adaptable to the different profiles such as illustration, animation or graphic. We believe that the drawing is the framework of art education for our students but above all we believe in the intrinsic value of drawing as a clear artistic discipline itself.

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donators and main partners

with the friendly assistance of Sothebys France

Goethe Institut

Cit internationale des arts

Galerie Putman

Galerie Lucie Weill & SeligmannCharles Zalber Galerie LWS

Twilight zone

Salon du dessin

Institut CamosADAGP

partners

EAC

Centre Culturel Serbe

Chic Dessin

Drawing Spaces

ditions Lelivredart

Institut Culturel Roumain

Institut Polonais

Institut Finlandais

Artprice

La Maison de lEurope

portals, blogs, press

Artistik Rezo

Collection Revue

La Paddytheque

Adelap.com

PanoptikonArts magazine

2011

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VENDU 19 950 PARIS EN 2010

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GALERIE LUCIE WEILL & SELIGMANN Charles Zalber

Aprs des annes de participation au Salon du dessin contemporain, la galerie Lucie Weill & Seligmann choisit dinvestir des projets innovants tels que la

FID 2011.

La galerie sera heureuse daccueillir le laurat du Prix du public de la Foire internationale du dessin lors dune exposition personnelle au mois davril 201l.

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Foire internationale du dessin3rd editionMarch 31th April 3rd 2011at the Cit internationale des arts, Pariswithin the Semaine du dessinwith the friendly assistance of Sothebys Franceand in partnership with the Salon du dessin

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FID

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Catalogue FID 2011

Documents

Transcript of Catalogue FID 2011