Artslink France

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Charnwood

RTSLIN

France

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Floats by Angela Co (2011) Photography by photoarchitecture.com Festival des Architectures Vives in Montpellier

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Contents Samuel Dougados 4

Live Architecture Festival 20

Les Commandos Percu 34

Julien Creuzet 44

Festival des Lumières 60

Transe Express 70

JR 80

Front Cover: ‘Reframe’ by Adam Scales + Atelier Kit (Pierre Berthelomeau and Paul Van Den Berg) (2012)

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I think that we pay more attention to a flower or a butterfly because their lifetime is very short. People are very sensitive to the ephemeral nature of this kind of work, it leaves a marking impression, the impact is shorter but much deeper.


Samuel Dougados

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Circle woman (2008)

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F

rench photographer Robert Doisneau once said “For

beauty to be emotional, it has to be ephemeral”. For Samuel Dougados, this citation perfectly sums up his artwork. Samuel is a surfer and artist living in Biarritz, in the South West of France. His artworks include environmental and land art, but more importantly beach art which is his specialty. He also makes some sculpture, installations and other art forms. At a young age, Samuel was already interested in art, but making it his career was not his first decision. He graduated from a bachelor degree and it was only four years ago that he started living off his passion for art. Having recently won the World Beach Art Championship in 2012, Samuel’s artwork has been gaining more attention and is starting to be recognized more widely.

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Ailleurs (2011)

Reading your biography reveals

approach to this kind of art, which

that you have started quite

is by definition land art. I often find

recently doing beach art and

myself arriving on the beach not

other land art. How did you get into

knowing yet what I am going to do;

beach art? Was it something that

I let myself go with the flow of this

you used to do as a child?

moment and improvise in terms of

When I was a child, I lived in Alsace so

the time and location. It can be a

quite far away from any beaches!

geometrical form, a more meaningful

I started beach art in 2008, a year

drawing with a message or just a

after discovering this form of art and

sentence. In the last two cases, I

technique in a surf video. At that

think in advance, I take some ideas

moment I moved near the beach

which I keep in a notebook. When I

of the Basque coast in Biarritz, an

improvise, what I look for above all is

ideal beach location for this art

a certain homogeneity of the artwork,

which also offers great photography

a general harmony. Then there are

opportunities as there are cliffs

also ways and tools to make perfect

overlooking the beach. It was a way

drawings such as cords, set squares

for me back then, to create a sort of

but I prefer not to use them. My lines

buzz during summer. I quickly started

can seem perfect when they are not;

being hooked by the interaction

sometimes I will rub them out, but if

between my work and the public.

I make mistakes and keep working with them, my artwork will then evolve

How would you describe the

into something less predicted which

beach art process? How do you

can bring even more interest to it. My

work and what are the different

approach is a bit similar to that of a

steps and processes in completing

street artist on a wall. I just replace the

a beach artwork?

wall by a beach and the spray by a

I have quite a free and artistic

rake!

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What do you most enjoy about doing your work? What I love about this work is the freedom and space! There are very few workspaces that can offer as much space for expression. Here, my only limit is time. It is also one of the most beautiful workspaces, it is alive and at certain times, a real alchemy is created with nature, my five senses are awakened, the smell of the sea spray, the changing lights, the sound of waves... Searching for new locations and new beaches across the world is such luck! I am selftaught, I let myself be guided by my emotions, my dreams, and today I feel really lucky to be able to make a living from what I do!

How do other people generally respond to it? Do they always respond in the way that you expect? There are generally interactions with the audience and it is pleasing to see how much we can affect people.

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CarrĂŠ Optiq


que (2010)

The first time I did a beach artwork, a woman who was walking by came closer and just thanked me for what I was doing and offering and this really impacted on me. It was at this moment that I realized the power of my work and that I then started to write messages directly. During the summer, you can impact on millions of people in only a few hours. Most of them respect my work and do not walk on it but there are always some who either do not see it or do not care, I just have to deal with it!

From the photographs on your website, it seems that you use words, symbols or signs that people can recognise (such as the barcode or “I Need� sign) as well as abstract shapes. Are there any particular ideas or messages that you try to communicate through your art? In general, I try to bring nature into my work and to bring my work into nature. I enjoy the interaction

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Empruntes digitales (2008)

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between my works and nature and

therefore a relatively high tide, there

with the public. “I NEED” is an artwork

also shouldn’t be too much swell or

which communicates directly with

wind and of course no rain. Usually,

nature and which would not be able

on the beach close to where I live,

to exist without it, just as we, humans,

I have 5 possible days every 10-15

could not exist without it. I often try to

days but this is always depending on

communicate messages of respect

the weather. It is then the weather

of our environment, of awareness; the

that dictates my work. I create my

barcode entails the monetization of

artwork between 1 and 3pm, take

nature, of the beach (luckily there are

photographs and then let it live and

still no private beaches on the Basque

die. Often, when I start too late or

coast!). I try to make people react

when I see too large, I cannot finish

to what surrounds them, to admire

on time and the tide will start to make

and to look for the beauty, to be

it disappear. But this is part of the

conscious… In a way, it is the key to

game and some of the photographs

our salvation and our elevation which

were taken while the artwork was

tends to be put down because of

starting to fade, it is all part of the

mass media seeking to brainwash us.

creative process!

Working outside and especially

Artists often have preferences of

on sand means you are, as an

working with certain materials. Are

artist, affected by the natural

there any particular sands surfaces

environment. What are the biggest

that you like to work on more than

challenges when achieving your

others?

artwork?

The various travels I have done have

The biggest barrier is nature itself.

allowed me to test different sands:

I need to have enough space,

fine, thick, white, brown or pink. Let’s


say that in order to have a good result, I need a relatively flat beach that is completely covered at high tide so that the sand is hard and wet. And I cannot do that anywhere.

You already document your artwork through photography. Do you have plans to document your artwork with another method (documentary, film)? Photography is really a second work,

I would also like to assemble all these

it allows me to keep a memory of

photos in a book to display all the

my ephemeral artworks but it is also

beaches worldwide and these furtive

a second artwork I create which

fingerprints that I have left behind. A

is sustainable and where I try to

documentary, sort of an artistic road

bring a more poetic reading of the

trip is also something I would like to

image. I will often keep only a small

make in the future.

detail of my artwork, for example capture a couple or a child who

You used the citation by French

approached it and made it live in

photographer Robert Doisneau on

a certain way. I then rework the

your website: “To be emotional,

photographs more or less to create a

beauty has to be ephemeral�. How

certain atmosphere and I print them

do you think this citation applies

on brushed aluminium for the texture

to your artwork? Do you think that

and particular lightning that goes

land art is beautiful because in a

well with this sand work. In the future,

way it does not last?

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I Need (2011)

All photos and artwork by Sam Dougados

I think that this citation from Robert Doisneau suits perfectly my beach artwork. I wrote it once on the beach and two photos were taken from it (La Beauté et Être). I think that we pay more attention to a flower or a butterfly because their lifetime is very short. People are very sensitive to the ephemeral nature of this kind of work, it leaves a marking impression; the impact is shorter but much deeper. Nowadays we like what we can touch, what can last but the ephemeral has this poetry!

Finally, do you have any ambitious projects for the future? Do you have, for example, any aspirations to work on bigger scales,

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internationally?

Islands in the St Laurent Gulf in

My goal is to be able to achieve this

Quebec this summer. I would also

work on the largest scale as possible

like to go to Portugal, California and

across the world. To this day I have

Norway etc… I have also worked

been able to work on beaches in

with dancers from the Biarritz Ballet,

France, Spain, UK, Jersey, Morocco

musicians, and I would like to

and Bermudas and I am still waiting

multiply these artistic exchanges,

for an answer to go on Madeleine

also add some colour to my work


(ecological of course), mix painting

I also work on installations in nature

on canvas and beach art such

and I would like to further develop this

as this performance by painter

side of sculpture which I really enjoy.

I単igo Manterola for my exhibition

To create an artwork in volume is very

Lineacontinua (ref. video on my

interesting and enriching for an artist

website). This involves bringing a

and if the artwork can interact with its

fragment of my beach artwork on a

environment or the audience, it would

canvas which is large enough.

be even better!

For more informaton, visit: www.sam-dougados.com 17


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Code Barre (2009)


Festival des Architectures Vives

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This year was the 8th celebration of Festival des Architectures Vives, a festival putting forward contemporary architecture and a selection of young international architects across the world. 21


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‘ByeByeBalloon’ by Sha•Lu•Mo (Samuel Berthomeau and Lucie Mothes) 2012

F

estival des Architectures Vives

essentially concentrates on the

(Festival of Live Architecture)

Festival des Architectures Vives

is an event that takes place in the

which has become one of their

South of France every year during

main projects. Initially created with

the month of June. It was created by

the main aim to showcase young

the Association ‘Champ Libre’ in 2006

architects’ work, the festival features

whose main mission is to promote

work from 11 French and International

architecture in Montpellier and the

teams of young architects. The event

Languedoc Roussillon region through

takes place in the oldest part of the

the organisation of programs, cultural

city centre of Montpellier, known as

events and various projects. This

‘L’Écusson’ where the most important

provides a platform for architects,

building and culture heritage sites

urban planners, professionals and

can be found. The architects’

the general public to meet and

artworks and designs are displayed

collaborate. The association now

in urban spaces which are generally

‘La vie en Rose’ by Atelier A5 (Samantha Dugay, Nicolas Boudier, Stéphane Coulaud,. Daniel Delgado and Mathieu Canonge) 2008

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‘Flower-still life’ by Sophie Bour and Luc Leotoing (2007)

24 24 ‘Chrysalide’ by Yves Rolin (2009)


closed to public such as old, private

awarded by the Jury to the winning

buildings and the courtyards of

team of architects. Every year, the

private mansions. Combining

architectural creations are designed

contemporary architecture and

around a chosen theme. This year’s

heritage sites, the festival provides a

theme was ‘The Memory’ echoing

unique space and environment to

the aim of the festival to revive the

experience architecture in an urban

‘souvenir’ of old patrominal buildings

context. Set as a walk of adventure

with the use of contemporary

and discovery, this journey is an

architecture.

opportunity for anyone to experience

Since the first edition, the festival

architecture. At the start of the day,

has gained popularity and more

each person is given a map of the

international exposure, attracting

city with the various installations and

9,000 visitors every year. For this year’s

locations as guidance. Featuring

edition, the festival was extended

animations, themed visits and various

for the first time to La Grande Motte,

architectural experiences, the event

a coastal town near Montpellier,

offers a dynamic and open image

bringing an additional week of

of contemporary architecture which

architectural discovery in a different

can be enjoyed by anyone, from the

environment. Not only does the

general public to the experienced

festival bring a unique contemporary

individual. Some installations may be

architectural experience to the public

static and others may be moving and

but it also offers the oppportunity for

interactive where the audience can

young and emerging architects to

participate and develop their own

take part in a collaborative project.

experience and perspective.

This enables them to think outside the

The event takes place over five days;

box and experiment with new fields of

the first day involves the inauguration

architectural design around a specific

and the public opening of the

theme and in unique environments.

event and on the last day a prize is

For more information visit:

www.festivaldesarchitecturesvives.com

25 All photos by photoarchitecture.com


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‘Ombre en Lumière’ by Emilie Queney and Markus Schork (2010)


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28 ‘Expo d’Expe’ by GoaGroup (2011)


‘Kub(or)’ by La Mutuelle (Emmanuelle Chiappone-Piriou, Maxime Enrico, Dimitri Roussel, and Sonia Sifflet)(2010)

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‘Dans les Plis de la Mémoire’ by Atelier L2 (Julie de Legge and Pierre Lelièvre) 2013

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‘Pavillion’ by Atelier Vecteur (Ugo Elzière, Nicolas Suissa, Cléo Deschaintres, Thomas Dalby, Coline Giardi) 2012

‘Performa’ by College of Design (Jordan Hines, Joanna Grand, Ricky Sparks) 2010

‘Smooth Rock’ by MN-Lab (Gwenole Mary, Arnaud Negre)31 2012

photo by Amélie Goebel


‘Cristallisation’ by Laurent Bariat and Fanny Dohen(2010)

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Fire, percussions, dance and surprise, Les Commandos Percu take street art performances to a whole new level!

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Les Commandos Percu 35


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L

es Commandos Percu is a performance company from

Toulouse which was put together in 1994. The company was born from a partnership with Claude Walter from ‘Rythmes & Sons’ (Rhythms & Sounds), a sound laboratory, which provided the creation of original instruments and unique sounds. The initial idea behind the company was to put together a team of mobile street art percussion performers capable of delivering surprise to the audience. On stage or off stage, from distant or direct interaction with the audience, Les Commandos Percu fascinate the public. Composed of six fire and percussion performers, as well as special guests such as dancers and musicians, the company has been present at festivals all over the world for more than 15 years. Their shows also take form of street art performances and the group regularly

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participate in private events.

and unexpected combination.

The success and dynamism of

By making their own instruments,

Les Commandos Percu rests

Les Commandos Percu are

in the fusion of the musical

also able to create their

element and fire whereby

own identity and distinguish

the combination of both of

themselves with the design of

these elements create a new

original instruments with special

language which is able to cross

shapes and unique sounds.

over all cultures and genres.

With the delivery of outstanding

Fire, drums and dance come

performances all over the world,

together to create a surprising

they have experienced great


success and rising popularity

This summer, Les Commandos

in the performing arts sector.

Percu will be touring all over

As audiences are looking for

France in various cities.

more unique and breath-taking art experiences, this French

For more information, visit:

company can fulfil this by

www.commandospercu.com

delivering amazing and inspiring performances. As the show comes to an end and the smell of powder from the last fireworks hangs in the air, the audience applauds, whistles and calls out for more.

All photos Š Kevin Ryan - Derby FestÊ and London 2012 Festival Windermere Lake.

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Using various materials and different artforms, Julien Creuzet’s artworks represent an interesting and diverse ensemble with the recurring themes of the questionning of ‘identity’ and ‘existence’. 44


Julien Creuzet

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46 Standard and poor’s, le grand ensemble (ensemble). 2012


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‘

I do not attach myself to a material in

particular, such as wood or glass. These are things that draw my attention because they

‘

contain stories of yesterday and when we think about it today, they echo something different.

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J

ulien Creuzet is a young artist

a number of solo exhibitions.

originally from Martinique. He

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previously studied at Les Beaux-

When did you decide you wanted

Arts, both in Caen and Lyon,

to pursue art education and an

where he first obtained a National

art career? Was there a particular

Superior Diploma of Art and then

trigger that made you choose this

a postgraduate degree in Art.

path, or is it something that you

He is currently a student at Le

were always interested in?

Fresnoy-Studio national des Arts

I have always been quite

Contemporain. He is represented

interested in the arts and always

by the art gallery ‘Galerie

been involved in activities as a

Dohyanglee’ in Paris. He has

child. I was lucky to have a father

participated in many collective

who brought me to see many

exhibitions and has already made

exhibitions, which has helped me


Left: Horizon Introspectif (2010) Previous pages: Saint-Cola, sculpture instalation (2010)

a lot in a way and has strongly

to others. When I use the word

influenced me. I did not know

‘shape’, I mean an artistic shape,

straight away that I wanted to

whatever the art technique is

be an artist.During my teenage

- drawing, sculpture, images or

years I knew that I wanted to do

videos.

something related to visual arts but it has only been recently that I

Can you talk about the recurring

have truly wanted to be an artist.

themes in your artworks? I would say the recurring themes

What was the first piece of artwork

are the questions of identity, the

you did?

question of existence...

The first thing I really did was to decorate my room when I was a

And does this question of identity

child. I loved collecting magazines

concern you? Or is it in general?

and various things, I would cut

Yes, it does concern me in a way,

images and make collages that

as I am my own creation and my

I would put onto my walls. I was

own scale. I speak about my story,

quite open to any art form or

what makes me who I am; I speak

technique but I have always had

about my travels and my cultural

a preference for volumes and

heritage. For example, I was born

sculpture.

in Paris but I grew up in Martinique, so I have seen a certain number of

For people that are new to your

things and events. Consequently I

work, how would you describe

have an interest in America, in the

your artwork?

history of the Caribbean but also in

I would say that my work brings

colonial and post-colonial history.

questions about identity, through

I have an attraction for the sea,

the use of shapes that I expose

for the islands and the insularity...

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I have the feeling that those everyday things, those everyday objects which are within reach, from the clothes bought in a shop to the food item which we eat, are not there by pure coincidence; they are here because there is a history behind them. For example, the fact that today I can smoke a cigarette reveals something. The cigarette is made up of tobacco which has a history - a history relating to commerce. The cigarette can also be seen as a communication object, an object of our society. And those are the kind of things for which I pay attention to and which

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interest me.

Gisant (2010), from the exhibition ‘6ème étage’, in collabora

You work with a variety of materials

What deeply interests me is the

(glass, wood, metal...). Is there a

possibility to put shapes into place,

particular material that you find

shapes which might seem different

most challenging? Why?

at first sight, but at the same time

Not really... What interests me in the

they all have a history, a world

first place is not to have a specific

which is similar to an archipelago,

shape, such as not having a fixed

with landscape, details and various

signature, unlike a painter who is

shapes. Therefore, I do not attach

entirely attached to his canvas.

myself to a material in particular,


What meaning do these materials hold in your artworks? Are you trying to communicate a particular message/idea through their uses? What interests me is that the artwork itself is more or less an ensemble, a set of artworks. This means that when I create a sculpture, it represents a shape, I will then create another one, and another one... and for me this set, this combination of everything is an artwork. What interests me is that everything which I combine together can reveal a multiple identity; it is not just one identity and there is not just one way to see things but there are many

ation with artist Anne Houel.

possible ways to interpret it.

such as wood or glass. These are

Can you describe your creation

things that draw my attention

process? How do you start an

because they contain stories of

artwork? Do you have a precise

yesterday and when we think about

idea before starting and do you

it today, they echo something

know when an artwork is finished?

different. To put these forward today

Not really, I try to be aware of each

is to question yesterday and the

moment, of my environment and

past, resulting in a back and forth

of things that surround me. Simple

between the past and the present.

things, small details... For example,

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I try to be aware of the coffee cup which I take every morning, the coffee bag which I bought at the supermarket and which I will then use to make the coffee. I also pay attention to the sugar that I will put into my coffee, which will sweeten it and to the rest of coffee which will remain in my cup and which will stain it. Those are the things that interest me. I really try to be aware of everything, as if we were always on the lookout for something, as if something serious could happen anytime. So your inspiration comes from everyday life, by what surrounds you, by objects ? I think it is more complicated than that, it is an attitude, a way of life from day to day, which puts itself into place and consequently enables us to start our work. It is not as if all of a sudden, I see a light which determines that I will make a shape, a drawing or a sculpture. I think that it has more to do with

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Question Mark, sculpture (2012)

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everyday life, every moment

Echoing the previous question

progressively resulting in things

regarding materials, what are your

being put into place. At some

biggest challenges to creating art

point, an idea will take shape; this

and how do you deal with them?

shape can either be insufficient

There are many important things

or completely sufficient. And I

to take into account. Firstly there

think that it is at this very moment

is the context and above this there

- when we feel that the idea takes

is the workplace, which in a sense

shape - that the shape can really

is not limited to its environment

exist.

and to the artist. It is every day life, a moment where I walk in

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Left: Standard and Poor’s, Peur Intérieure (2012)

the street and I notice something

country, whether it is Martinique or

with a particular sign or writing.

France. But In a way it does make

There is a moment of observation

me reflect ond question myself

and then there is a moment of

and helps to nourish my work.

demonstration where I put these shapes together for the exhibition. I

How do people react to your

think it is important to be aware of

artwork?

the context, the environment, the

There are people who are entirely

place and its history. The difficulty

against it and then there are

then lies in trying to attribute things,

people who are completely

to communicate them and to

fascinated. I think that either

try to find a language which can

opinions are very important and

speak to certain people.

that it is a good thing that there are some people who do not

You are originally from the

share my ideas. In both cases,

Caribbean and you have lived

those opinions are enriching. I

both in France and Martinique.

think that not everyone can have

Does this influence your work? If

admiration for something; it is

so, in what way?

a question of sensibility and we

What influences me is that

all have the freedom of having

although Martinique is a French

this sensitivity which determines

department there is a contrast

whether we appreciate something

with the life of Metropolitan

or not. But what matters the most is

France; there is a culture which is

the opinion and what the artwork

separated. My travels do inspire

communicates to us; whether it

me but I do not let myself be too

interests us in our conditions and in

attached and ‘stuck’ on one

our realities.

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The previous series of work that

composed of Haiti and Dominican

you have completed belongs to

Republican. And it is a reality that

the ‘Standard & Poor’s’ project

there are two strong identities

which is still in progress. What are

which make up this ensemble.

your future plans for this project?

Every little island has a story and

Standard and Poor’s is like an

is at the same time independent

archipelago, an ensemble of

of the ensemble and this is quite

artworks. For two years I have

similar to the way that I see my

been trying to put into place an

work.

ensemble, as if this ensemble was the artwork itself and that within

Julien Creuzet is currently

it there are different shapes and

exhibiting ‘Standard & Poor’s, ces

archipelagos. This idea comes

yeux, Césaire’ at Le Fresnoy, in

from the archipelagos such as in

Paris. He will also have another

the Caribbean for example. There

solo exhibition: ‘Standard and

are the Antillean islands which are

poor’s, le Nouveau Monde’ in

divided into two groups: the Lesser

November also in Paris at the art

Antilles and the Greater Antilles.

gallery Galerie Dohyanglee.

In the Greater Antilles, there is a small island which was discovered by Christophe Colombus called

To find out more, visit:

Española and which is nowadays

www.juliencreuzet.com

Left: Standard and poor’s, Capitalis, Estatuas - Les mains de Yeyette (2012) All photography © Pierre Capiemont, Hugo Renard, Christophe Bouder & Solveig Robbe

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Fête des Lumières

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Taking place every December, the Festival of Lights transforms Lyon into a magical place, celebrating the city and its patrimonial architecture with outstanding light shows and performances. 61


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’Highlights’ by Skertzo. photo © 2012 Muriel Chaulet


--+W

-+++--

T

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here is a good reason why

the Basilica of Fourvière to light

Lyon is called the City of Lights.

candles and give offerings to

Taking place in December, the

Virgin Mary. It was later in 1862,

“Fête des Lumières” is an awe-

when the statue of the Virgin Mary

inspiring festival of lights organised

was installed on December 8th

every year by the city council.

on the Fourvière hill, that this date

Behind the festival lies a religious

became a celebration. As the

tradition which dates back to 1643.

years passed by, the traditional

Originally, a procession would

event slowly gained popularity

make its way every December to

and moved to the form of a


larger scale festival with a more

of the city, the park and the

artisitc approach. While it is still a

two rivers that separate the city

current practice for every family

allowing outstanding shows of

in Lyon to place candles on the

light reflections. The patrimonial

window-sills and wander in the

architecture of Lyon is celebrated

streets, this religious celebration

through these light performances

has now extended to a four day

with the most iconic being the

festival. Illuminations, light shows,

lighting of the Basilica of Fourvière.

activities and performances take

Every year from designers and

place between the buildings

architects, to light specialists, 70 internationally known creators and young talents take part in the festival and transform 60 urban areas of the city of Lyon into magical and intriguing places. No matter how low the temperatures, the festival attracts more than 4 millions tourists every year. From France and all over the world, people come to visit Lyon to enjoy the vibrant and electrifying atmosphere of the light shows and events happening around the city. Lights and creativity make a great... and electrifying duo! For more information, visit:

www.fetedeslumieres.lyon.fr

Left: “La Sarabande des Animaux Magnifiques” by L’ Atelier de l’Evènement Photo © 2012 Titash

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‘Keyframes’ by Groupe Laps. Photo © 2011 Ludovic Landry


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Medusa by Elodie Thibault and Emmanuel Cussigh Photo Š 2012 Muriel Chaulet

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True pioneers of ‘Celestial Art’, this thirty year old street theatre company keeps surprising their audiences and transforming cities into unique destinations.

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Transe Express 71


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F

ormed in 1982, Transe Express is a street theatre company

which was founded by sculptor Gilles Rhode and dancer & choreographer Brigitte Burdin. Pioneers of street arts, intervention theatre and aerial spectacles, Transe Express is the founder and initiator of “Art Céleste”- celestial art, a form of art which can be described as theatre above the city. This form of art includes aerial performances whereby

rehearsed. Offering an original

performing artists supported by

form of street arts, Transe Express

cables fly over the city hanging

is a mix of artistic elements and

over 60 meters high. With the sky

mediums including music, theatre,

as their limit, this type of show

circus, fire processions, dance

offers an alternative to ground

and many more. The team is

based performance giving great

comprised of a hundred actors,

visibility and allowing large-scale

aerobats, acrobats, dancers,

audiences in public spaces to

bell ringers, percussionists and

watch performances from below.

technicians. With their main

Based in Eurre, in the Drome

motivations and goal to play

Region of Southern France,

and provoke through meeting

the company has settled in La

the public in open spaces, the

Gare à Coulisses, a building

company brings unique and

and centre where their artistic

intriguing performances to their

creation is developed and their

audiences, going beyond usual

productions are created and

expectations...

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From their magical musical chandelier “Maudits Sonnats� to their impressive giant dolls, Transe Express can surprise the public through one performance and transform a city into a unique destination. In the past 30 years, Transe Express has created a dozen shows, 80 ephemeral performances and has played in 80 countries in 5 different continents. The company has been present at many

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major events, such as the opening of the Olympic Games in Albertville in 1992, the Sydney Festival in 2002 and 2005 and festivals including Glastonbury and WOMAD. Bringing a unique identity as street art performers, Transe Express are enjoyed the world over. To find out more, visit:

www.transe-express.com

All photos Š 2009 Kevin Ryan. Derby FestÊ

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JR exhibits in the biggest art gallery of all, the still and moving surfaces of our world...

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JR 81


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28 millimeters, ‘Women Are Heroes’, Kenya (2009)


S

treet artist, photographer or photojournalist? It is

rather hard to categorize French artist JR and his work with a specific title. With no special art background or education, JR is a selftaught artist. Just in his 30s, his artwork has already been displayed worldwide and has been viewed by millions of people. From buildings to trains, rooftops or bridges, JR’s photographs have covered many surfaces, spaces and cities. He exhibits in the biggest art gallery of all, the still and moving surfaces of our world. With complete freedom and a will to share his vision and photography with the world, JR displays his giant black and white photographs in varied urban and public spaces. They can be the usual or unusual places, but mostly, of course where the work can be seen.

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Favela Morro da Providência, Favela by Day, Rio de Janeiro, Brazil (2008)

‘Women Are Heroes’ For this project celebrating women and their role in society, JR pasted huge photos of the faces and eyes of local women in various countries: Brazil, Sierra Leone, Cambodia, India, Liberia and Kenya.

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Action in Shanghai, Shi Li, horizontal, China (2010)

His main purpose is to bring art into a

people and communities, to find

new context, to create projects with

out about their lifestyle, and bring a

communities and neighbourhoods,

different view on current events or

projects that are so big that they

situations. From surprise, fascination,

force people to question themselves.

questioning or confusion, JR’s art not

For his projects, JR uses the mediums

only makes a direct impact on the

of photography and video to create

urban surroundings but also upon the

his work; his photographs are printed

population through their reactions to it.

in large-scale on paper or canvas

Having travelled all over the world, JR

sheets. At first, JR’s method may

is often to be found in countries that

seem simple: taking portraits of local

are not so stable and where there are

people, printing and plastering

conflict zones. Putting aside the critical

them on walls of urban spaces. Yet

situations of those countries, which

underneath this kind of project lies

appear to him to be of lesser concern,

a strong need to socialise with local

JR is mostly concerned with bringing

86 Action in Shanghai, Shi Li, work in progress, China (2010)


another vision of our world than the one in the mainstream media, different and provoking, yet closer to reality. One of his projects included photographing the faces of Palestinians and Israelis pulling faces and putting each portrait next to each on either side on the separation wall. This was not only provoking to the local authorities and impacting on the local communities, but it was also a way to show the world another image of a current conflict.

‘The Wrinkles of the City’ Taking place in Cartagena, Shanghai, Los Angeles, and La Havana, this is a project which involved photographing elderly people and pasting their large scale portraits on the heights of the city, witnessing both the “wrinkles’ in their lives and of the city they live in.

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Nuns in Action, Separation Wall, Security Fence, Palestinian Side, Bethlehem (2007)

88 88


Throughout the years, JR has gained

global, identity.

popularity and is now a renowned

JR is currently working on the ‘Inside

international artist. Not only does he

Out’ project, a global art project

impact communities with his street

whose aim is to give everyone, from

art but he creates opportunities for

groups to individuals, the opportunity

anyone who wants to participate

to share their portrait and share

and play a part. Beyond the

their statement with the world. With

response and involvement of local

100,000 posters sent from more than

people, and others who volunteer,

108 countries since 2011, this project

his projects are collaborative pieces

has a promising future. Like his six past

where each participates in some

projects the strength and impact of this

way contributing to a distinctive, yet

work is already assured.

To find out more visit: www.jr-art.net ‘Face 2 Face’ For this project, JR photographed and pasted large-scale portraits of Israelis and Palestinians on both sides of the wall and in several Palestinian and Israeli cities.

Holy Tryptich, 2006

89 All artwork and photography © JR


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“Inside Out Project”, Nablus, Palestine (2011)

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Acknowledgements Contributing: Artists: Samuel Dougados Julien Creuzet JR Art Centres & Associations: Festival des Architecture Vives Festival des Lumières Agencies Agence VU Photographers:

photoarchitecture.com

Pierre Capiemont Hugo Renard Christophe Bouder Solveig Robbe Muriel Chaulet Fabrice Dimier Ludovic Landry Kevin Ryan Producing Editor: AmĂŠlie Goebel Series Editor:

Kevin Ryan

Design Assistance: Jagdeep Ryatt Natalie Chabaud Project Assistance: James Chantry Terry Allen Rebecca Abrahams

First published in August 2013 Copyright: Charnwood Arts and Individual Authors All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, scanning, recording or otherwise, without prior written permission of Charnwood Arts.

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Charnwood Artslink International Charnwood Artslink International was born in the early 1990s

through links with the Indian state of Gujarat and European twinning links between Charnwood in the UK and towns in Belgium, France, Germany and Poland. Since then we have worked with or promoted the works of artists from over 100 countries. We began this work even earlier, as since 1977, Charnwood Arts, an arts and educational charity based in the UK East Mildands, has worked with artists and organisations around the world to create scores of exhibitions, events, workshops, festivals, publications and projects. This current magazine project, initiated in the summer of 2013 is designed to involve people between 16 and 35 years of age in producing magazines about arts and culture in, or from, their home countries. Most people involved in this project have no direct experience of producing a publication before undertaking the project and with support they are thrown into the deep end of undertaking ALL aspects of originating and producing the magazine for on-line distribution. All of the young people and young adults involved in this project to date have been involved in face to face work with Charnwood Arts. www.charnwoodarts.com

Charnwood

RTSLIN France

K

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Aquastell by Pitaya Design Photo © 2011 Ludovic Landry, Fête des lumières

Charnwood Arts acknowledges core support from Arts Council England and Charnwood Borough Council.

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