Presentation of the school

Transcription

.Presentation
of the school
École Supérieure des Beaux-Arts de Nîmes
The Ecole Supérieure des Beaux-Arts de Nîmes is an exceptional
cultural establishment.
In the heart of a city with two thousand years of history (of art)
where, today, the Museum of Contemporary Art plays a key role on
Europe’s Mediterranean shoreline, the school proves that it is a true
melting pot of creative work.
The teacher-artists and visiting lecturers contribute to the full expression of all its talents.
An exhibition space open to the public, the school is also a fertile
forum for meetings and for the comparing of cultures.
We wish you a warm welcome
Jean-Paul FOURNIER
Mayor of Nîmes
Gard Departmental Councillor
President of Nîmes-Métropole Daniel J. VALADE
Deputy mayor of Nîmes
Cultural delegate
President of Carré d’Art
SOMMAIRE
An exceptional position Competitive entry Courses
Teaching and programmes Drawing - representation / Drawing - publications / Publishing practices
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Making comic books / Chromatics
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Painting / Painting / the image
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Space - sculpture - volume / Space - installation - volume / Space - body
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Video / Photography / History of art / Human sciences - literature
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Lecture / English / Collecting - exhibiting - curiosity
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Analysis – the imaginary – point of view with regard to art / Library
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Video studio / Graphic data processing studio
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Seminars, lectures, workshops
International relations and ERASMUS strategy
Classes for children and adults
An identity: exhibitions
Graphics and publishing
Teaching staff
Technical staff and premises
Administrative staff
Publications
Lecturers, resident artists
Exhibitions at Hôtel Rivet since 2003
Student exhibitions since 2006
Cultural partners
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Hôtel Rivet, 10 Grand Rue
30033 Nîmes Cedex 9
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06
[email protected] - http://www.nimes.fr/index.php?id=330
Établissement de la V ille de N îmes placé sous la tutelle pédagogique du Ministère de la Culture et de la C ommunication.
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L’Hôtel Rivet
An exceptional position
The Ecole Supérieure des Beaux-Arts de Nîmes is in the
historic centre of the city. Installed in ‘Hôtel Rivet’, it fits
naturally in the artistic, cultural and architectural heritage of
the city.
The mansion was built in 1786 for David Rivet, a rich silk
trader. It was not set around a courtyard but, in contrast
with the local tradition, is U-shaped. It has been used successively as a hospital, the prefecture and a girls’ primary
school.
Restored in 1987, it has since housed the Ecole Supérieure
des Beaux-Arts. The façades, the entrance hall and the
grand staircase were listed as conservation features in 1988
(Inventaire Supplémentaire des Monuments Historiques).
The floor of the entrance hall is by the artist Bernard Pagés.
Hôtel Rivet was listed as a historical monument in 2005.
L’Hôtel Rivet
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The school is above all a higher education establishment and teaching is
centred on art alone to provide firm emphasis on this.
The curriculum leads to the Diplôme National d’Arts Plastiques (DNAP)
after the first three years, and then to the Diplôme National Supérieur
d’Expression Plastique (DNSEP) concluding five years of teaching.
These degrees are awarded, approved and recognised by the Ministry of
Culture and Communication (Delegation for Plastic Arts).
The harmonisation of higher education is in progress at the European level and art schools will be part of a new system called the ECTS (European Credit Transfer System).
One school, three premises
The main centre consists of the administration, the library, graphic data
processing and video units and students’ studios.
The second is for construction and sculpture.
The third is for publishing and printing, conferring excellence on this subject as this centre works with the graphic data processing unit.
Location of the school
The school is in the historic centre of the city of Nîmes, a
five-minute walk from Carré d’Art, which houses a documentation library and the Municipal Library.
High-speed TGV train services mean that Nîmes is 40 minutes from Montpellier, 90 minutes from Marseilles and
Lyons and 3 hours from Paris.
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E.S.B.A.N.
Competitive entry
First year entry criteria
Equivalence Commission
Candidates must have passed the Baccalauréat or possess an equivalent French or foreign qualification.
Candidates must sit for the Baccalauréat in the year of the entry examination.
Candidates may apply to the director of ESBAN for exemption from the
above. This is generally for older candidates at end of secondary education level and with specific experience—professional for example.
Entry after appraisal by the school of the candidate’s school and university record, under the control of the Ministry of Culture.
Candidates from art schools in other countries may apply on condition
that their qualifications are certified. Applications are forwarded to the
equivalence commission for the examinition of the documents submitted.
Foreign candidates must provide a TCF (Test de Connaissance du Français) certificate.
Examination for competitive first year entry
A written test on general knowledge.
A test in art.
A foreign language test (English, Italian, Spanish, German).
Questioning by a jury on presentation of a set of personal work.
Criteria for starting the curriculum
(by crossover or an equivalence commission)
Students are interviewed by a jury of four teachers and must show a
file of personal work.
Applications may be made by students wishing to benefit from ”crossover” equivalence or the ‘equivalence commission’.
Crossover from another institution
Applicants must possess a certificate or diploma in the plastic arts or
applied arts (BTS (Advanced Technician’s Certificate), a DEUG (general
university studies diploma), bachelor’s degree, master’s degree) for
the preceding year of studies.
Social Security Cover
Two mutual insurance organisations are proposed to complement obligatory social security cover for persons 20 years old or more.
Grants
Grants are awarded by DRAC LR (Direction Régionale de la Culture –
Languedoc-Roussillon) according to parents’ means or those of the
student if he/she is no longer a dependant. Grant applications will be
processed and decided by the CROUS (Centre national des oeuvres
universitaires et scolaires) from the 2009-2010 academic year
onwards.
E.S.B.A.N.
Curriculum
First year: introduction (S.1-S.2)
Fourth year: project phase (S.7-S.8)
Awarding of 30 credits per semester.
Each teacher awards the credits via continuous assessment.
Two reviews: at the end of semester 1 and of semester 2.
The year finishes with a paper summarising the students’ experience and works, accompanied by a showing of work
Individual monitoring by all the teachers.
Year of research and travelling.
Year of work placement in a professional environment.
Second year: programme phase (S.3-S.4)
Work shown at the end of each semester under the responsibility of
a teacher
Third year: DNAP programme phase (S.5-S.6)
Awarding of 30 credits in the 5th semester, 15 in the 6th and 15 on
the awarding of the Diplôme National d’Arts Plastiques (DNAP).
Individual supervision by all the teachers.
Showing of personal work.
Students must follow the teaching of all the units in semester 5. IN
semester 6, he/she must choose two units in addition to general
studies and must write a paper.
The diploma is awarded by a collegial decision by the teachers.
The teacher handling coordination of the year supervises all the students to the diploma stage.
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Fifth year: DNSEP project phase (S.9-S.10)
Awarding of 30 credits in the 9th semester, 5 credits in the 10th
semester and 25 credits on the awarding of the Diplôme National
Supérieur d’Expression Plastique (DNSEP).
The students must write a paper.
The diploma is awarded by a collegial decision by the teachers.
The teacher handling coordination of the year supervises all the students to the diploma stage.
Student record
A student record book containing the academic programme and the
programme of classes is given to each student at the beginning of
the year.
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E.S.B.A.N.
Teaching and programmes
Drawing - representation
Drawing - publications
Isabelle Viallat-Simonou
Jean-Marc Scanreigh
Painter, creator and manager of the exhibition space ”La Vigie - Art
Contemporain” in Nîmes. Born in 1965.
Painter, draughtsman and publisher. Writes for museums and the
press, including ”Artpress” and ”L’Imbécile”. Born in 1950. Handles the school’s publications with the assistance of Nicolas Grosmaire in graphical data processing and participation by the students.
Teaches 1st and 2nd year classes and provides monitoring on request until the 5th year.
Teaches drawing and the use of colour from the 1st to the 5th years,
using various techniques.
Work on proportions, light, layout, composition and the relation
to space.
Large and small drawings—life drawing and work in various places elsewhere: museums, exhibitions, markets, etc.
Drawing - publications
Augustin Pineau
An artist whose work is developed from printed images, games and
objects. Born in 1968. He addresses the notion of image in liaison
with language and memory. Teaches 1st and 2nd year classes and
monitors students from the 3rd to 5th years in the form of individual
discussions.
Collaborates with the publications and exhibitions units.
Teaches drawing in a very broad sense, open to contemporary
practices; drawing in relation to collage, assembly and the notions of image and narration.
His teaching covers drawing in the broad sense: observed and
imagined subjects, contemporary graphic experiments. He explores the features of graphics, narration and illustration.
Publishing practices
Clémentine Mélois
Born in 1980. She has chosen artists’ books and ‘Printed Things’ as
her main medium.
Teaches 1st to 5th year classes.
The studio addresses publishing practices in a broad context, drawing
on traditional techniques (engraving, lithography, stencils, screen
prints, embossing, monotype, ‘stamping’ and even potato prints,
etc.), digital printing and photocopies. The technical approach is accompanied by critical, transverse reflection on relations with other
media and on the status of printed works. The aim is that of finalising
a completed publishing operation with respect of the artistic project of
everybody with regard to both contemporary trends and ‘historical’
works.
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Making comic books
Chromatics - space - colour
Gérard Depralon
Pascal Fancony
Artist and draughtsman, Gérard Depralon has worked with many
publishers such as Glénat, Milan, Le Square, etc. In his present research he defends authors’ comic books and their creative field at
the meeting-point between the plastic arts and literature
Painter, plastic artist and spatial scenographer. Born in 1949.
Comic book work involves three fundamental disciplines: writing,
drawing and colouring. The study of these three components and
their combining makes a powerful teaching tool. The students
must use their personal experience to write and set out stories
according to the rules for comic strips. Study of classic technique
is supplemented by an approach to convergence with painting,
photography and architecture, resulting in a multidisciplinary broadening of the field.
His artistic approach is centred on chromatic painting, in which two
esthetic pathways are intertwined. In one, colour is above all ‘an
experience of oneself’ and in the other it operates as a phenomenon in the perception of space with matter and light: painting working with the wall or even architecture.
He teaches 1st, 2nd and 4th year classes.
His teaching approach has three lines:
- abstraction related to colour theories in which gradations and
the logic of relations order the composition of pictorial space and
the planes and volumes of architectural space;
- writing work accompanies the process for learning three ‘ways
of making art’: phenomenology, semiotics and psychoanalysis.
This rendering into language forms a de facto part of a possible
reality of work in art;
- ‘in situ’ work in which the formal, visual and physical qualities of
things are the essence of work on a place. Colour and light are
combined here.
His teaching is in the first semesters of the 1st and 2nd years and
covers:
- learning the fundamentals of the practice and theory of colour
itself;
- the scientific approach to colour and light;
- learning the systems of representation of space and the project;
- the multidisciplinary project: Space – Painting - Light - Architecture.
Teaching in the 4th year :
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His teaching includes focus on the ‘professionalisation’ of students by means of the setting up of exhibitions or initiation in the
interaction of art projects with public space, landscape and place;
this is done within the methodological framework of public commissions.
Meetings are organised among students in the form on miniseminars on art theory.
He supervises students in their research, with attention paid both
to the formal aspects and theoretical culture.
Painting
Serge Plagnol
An artist whose painting is based on questions of colour and its relations with drawing. Born in 1951.
Head of the painting studio, his teaching is based on experimental work with the components of painting.
This work is set in relation to the history of painting and the various pictorial theories.
Painting – the image
Jean-Marc Cerino
Painter, born in 1965.
Teaches 1st to 5th year classes
For 1st and 2nd year students he addresses the testing by comparison with photos of the body, language and distance in all pictorial representation in order to appraise the distinctiveness of
the medium and also its complementarity with regard to photography. An essential gaining of awareness for any approach in art
aimed at addressing images.
From the 3rd to the 5th years, monitoring of individual approaches and opening to the outside by proposals for placements
and exhibitions in professional and/or institutional establishments.
Painting
Augustin Pineau
Augustin Pineau
An artist whose work is developed from printed images, games and
objects. Born in 1968. He addresses the notion of the image in relation with language and memory.
He teaches in the first and second university cycles, preparing
students for diplomas (DNAP and DNSEP): description of current
practices and supervision of student papers in the form of individual interviews in the studio.
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E.S.B.A.N.
Space - sculpture - volume
Arnaud Vasseux
Sculptor. Lives in Marseilles. Born in Lyons in 1969.
The studio wishes to encourage students to experience volume
and to test the numerous possibilities of three-dimensional work.
Stress is laid here on experimenting with the materials chosen
and observation in research.
Sculpture is seen as a practice open to the other disciplines and
transverse studios are proposed for each semester.
The students are helped to perform individual work, in the
concrete expression of their thinking and in the design of their
research.
They come up again choices in the diversity of the things available and in tools (even reduced to a minimum) that sculpture implies. They are led to considering the problems raised by executing their works at the scale of the context in which they wish to
operate.
Space - sculpture - volume
Dror Endeweld
An artist born in Tel Aviv Yaffo in 1960. Has lived in France since
1982. After studies at the Beaux-Arts in Lyons, he participated in
the second session of the Institut des Hautes Études en Arts Plastiques. Hinges his work on language and its physical perception.
Addresses the practice of volume/space and installation. His teaching runs from the Russian avant-garde through the main movements of the 1960s—minimal art, conceptual art, arte povera—
and the repercussion of these works on today’s world.
Space - body
Performance, sound environments, low-tech.
Jean-Claude Gagnieux
Artist and performer. He makes installations and sound editions.
Born in Algeria in 1957. Works in the universe of humour and derision. Teaches 1st to 5th year classes.
A course on the history of performance—iconography, video library, sound archive, research workshops, radio programmes,
events.
Transverse links with other contemporary disciplines (dance, theatre, writing, music, circus, etc.) and with traditional disciplines.
Promotion of awareness of work with sound, voice, the body and
‘displaying’ it to make this work on visibility enable the claiming of
explicit practices as a crucial stage in preparation for the diplomas.
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E.S.B.A.N.
Video
Maïder Fortune
Plastic artist and video maker born in 1973.
Develops research in video film making and installations. Teaches
1st to 5th year classes.
phy and contemporary trends and movements.
Techniques: learning about and using different types of apparatus and silver image and digital treatment processes.
History of art
Albert Raniéri
Art historian. Gives classes at the Institut d’études pour étrangers
(IEFE) at Université Paul Valéry, Montpellier.
Photography
Brigitte Bauer
Born in Germany, has lived and worked in France since 1987
Awarded a diploma at the Ecole Nationale Supérieure de la Photographie, Arles, in 1990. Master’s Degree in Plastic Arts, Aix-en-Provence, 1995. Teaches 1st to 5th year classes. Her work is exhibited
regularly in France and abroad. ‘After developing landscape culture
in series such as Montagne Sainte-Victoire, Ronds-Points, La Ville
et le Jardin, Carrés d’Herbes and Champs de Nuages and questioning the notion of identity (D’Allemagne – a book of photographs
and discussion with the writer Cécile Wajsbrot), my research today
is focused more on the real and mental territory of human attitudes
and postures, whether in an urban environment as in the series
Fragments d’Intimité or during leisure time as in the more recent
project called Big Game.
Brigitte Bauer is represented by the gallery Polaris / Bernard Utudjian in Paris.
History and theory of photography: theme and transverse
path-ways are used to give students an opportunity to acquire
conceptual tools to enable them to develop their own capacity
for analysis and critical understanding of the history of photogra-
History and theories of art from the Renaissance to the European
avant-gardes.
He also covers the following themes:
- the relations between art and architecture
- public commissions,
- the idea of nature in art
and exhibition practices
Human sciences - literature
Alain-Christophe Restrat
A poet and poetry critic born in 1946, he is the author of books of
poems, published in particular by Flammarion, and several artist’s
books. Poetry readings at Centre Georges Pompidou, the Musée
d’Art Moderne in Paris, the CIPM in Marseilles and abroad (USA,
Arab countries).
In 1980, he met Henri Michaux who encouraged him to continue his
writing independently and outside movements. He taught French
literature and civilisation for a long time in the United States.
Teaches 1st to 5th year classes:
His teaching is focused on three areas:
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E.S.B.A.N.
- the role and relation of words to the plastic arts (writing workshops, artists’ books and the history of poetry from Baudelaire to
the present day);
- analysis and reflection based on critical, philosophical and aesthetic essays on modern and contemporary art;
- study and knowledge of the cinema and its language and aesthetics since its origins.
Lecture
Corinne Rondeau
Academic and critic
”I write differently from the way I speak, I speak differently from
the way I think, I think differently from the way I should think …”
Kafka
Teaches 1st to 5th year classes..
Subject : Politics and exhibition news.
The issue of an exhibition is less that of the form or that of the
content than that of contextualisation. Under these circumstances, exhibitions recover their literary definition.
Further, exhibitions stem more from the involvement of cultural
organisation (interaction between spectators, works, curators,
critics, galleries and museums). In other words, the question of
contemporary art is that of the exhibition as a way of showing
more a policy of art than art, that is to say an organisational issue.
All the exhibitions addressed are linked with history of art (forms,
discourse and movements).
English
Depending on the students’ levels, gaining and development of
vocabulary, verbal, syntactic and idiomatic structures in spoken
and written English in relation with a selection of texts on art and
Anglo-American society.
Collecting - exhibiting - curiosity
Hubert Duprat
Sculptor. Born in 1957.
Teaches 3rd to 5th year classes.
”I read Einstein. I don’t understand anything, but I understand
something else” Pablo Picasso.
Preparation for the diplomas by holding exhibitions of students’
work. Coordination work in collaboration with Frac LanguedocRoussillon (Fonds régional d’art contemporain Languedoc-Roussillon): presentation and management of the works in the collection.
His teaching addresses the possible relations between art and
science.
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E.S.B.A.N.
Analysis – the imaginary – point of view with
regard to art
Yves Reynier
An artist whose work involves assembly, collage and installation in
its relation with time and space. Born in 1946. He has had many
solo and group shows in France and abroad (CAPC, Bordeaux, Centre Georges Pompidou, Musée d’art moderne de Céret, Carré d’Art
in Nîmes, Museum Ludwig in Germany).
Teaches from the 3rd to the 5th years.
His teaching is aimed at work of analysis and information using
exercises and games centred on modern art.
Library
Isabelle Quaglia
The library is a friendly place where students can work, find information, read, watch films, make photocopies and print individually or in groups.
It has varied, regularly updated resources assembled in close collaboration with the teaching staff. The students must be able to
extend their personal reflection and broaden their knowledge.
With 5000 books, 20 journal subscriptions, 300 videos and a few
rare items, the collection is strongly centred on contemporary art
but also covers history of art and general subjects.
The librarian holds sessions on initiation in documentary research
for first-year students.
She provides individual help for students in their research, attends reviews and takes their concerns into account in order to
improve the relevance of the stock of documents. Selections by
subject and new items are presented throughout the year.
Readers can leave books on a ‘swap table’ and take others.
Partnerships with the other libraries and documentation centres
in Nîmes enable the students to draw the most from the different
resource venues and professionals to design their services in a
complementary manner. The library’s participation in the art
school librarians’ network is also a valuable feature.
Documents are lent to the students at the school and students at
establishments with which agreements have been concluded.
The public can consult works in the library.
Computer workstations provide access to office tools and the
Internet.
A facility is provided to watch films on the spot. A printer and a
photocopy machine are available for use by students. The computerised catalogue can be accessed at: http://extranet.nimes.fr/
pmbeba/opac_css/
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E.S.B.A.N.
Atelier vidéo
Frédéric Gleyze
Specialised art teaching assistant. Video editor, cameraman and
DVD designer.
The video studio is equipped for training and filmmaking: camera work, sound recording, editing, post-production, use of
distribution media, etc.
The studio is open to all (after prior training) from 8.30 a.m. to 9
p.m.
Training and workshops have priority.
Equipment
The following equipment is available:
- 4 Macintosh video editing workstations (Final Cut Pro, Adobe
Première, Avid DV, After Effects, DVD Studio Pro).
- 7 PC editing workstations (Adobe Première Pro, After Effects,
Encore DVD, etc.).
- A dozen digital film cameras.
Supplies such as cassettes, DVDs, CDs, etc. must be provided
by the students. It is strongly recommended that they should
own an external hard drive (IEE1394 standard) for a project running for several months.
Training
- 1st year: introduction to video camera work and virtual editing
(group training throughout the year);
- 2nd year: use of professional editing software such as Final
Cut Pro and Avid , DVD design (occasional or group training
according to demand);
- 3rd, 4th and 5th years: monitoring and specific individual training.
What’s on at the video studio
- Events: participation in the ”Vidéoformes 1 minute” competition at the Clermont Ferrand festival (March), organisation of
meetings centred on film and video art at Carré d’Art in Nîmes
(May), etc.
- 1-week practical training courses: camera work and the use of
cinema/video lighting, ‘traditional’ animation, computer-assisted animation with After Effect, etc.
- Periodic events: design and making of a studio programme at
a local TV station, ”Télé-mirroir”, in partnership with the conservatoire of music and Nîmes theatre for a video production for
the ”Flower” concert (2007)…
Graphic data processing studio
Nicolas Grosmaire
Specialised art teaching assistant. Graphic designer, plastic artist,
multimedia instructor. Teaches at Université Vauban in Nîmes.
The computer studio possesses equipment for training and the
post-production of work in multimedia and computer-aided publication. It is a place for exchanges where everybody can both
train and perfect his or her skills in multimedia and computer
graphics.
The workshop is an active part of the publishing-print section,
combining so-called artisanal and contemporary techniques.
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E.S.B.A.N.
Pédagogie et programmes
Equipment
A first room is equipped with:
- 8 Macintosh workstations (with multimedia software suites installed);
- 4 flatbed scanners (flat, film and strips);
- 4 printers (A4, A3, inkjet and colour laser).
A second room devoted to digital photography is equipped with:
- 8 PC workstations (with digital photography software installed);
- 8 graphics pads;
- 4 external DVD burners.
Consumables (USB keys, DVDs, CDs, photographic paper, etc.)
are provided by the students.
Training
- 1st year: introduction to computer facilities, basic practices, the
basis of digital images and vector graphics, document entry and
design methods;
- 2nd year: use of professional print and computer-aided publishing
software, participation in the design and production of publications,
theme work on graphics;
- 3rd, 4th and 5th years: monitoring and specific individual training.
What’s on at the graphics studio
- production of the communication literature for the school;
- participation in and production of Hôtel Rivet publications;
- execution of outside work and participation in events.
The studio is open to all (after prior training) from 8.30 a.m. to
9 p.m.
Training and workshops have priority.
E.S.B.A.N.
Seminars, lectures, workshops
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Seminars
Within the framework of the ‘exhibition’ identity of the school
and also with regard to a future research laboratory, a one-day
seminar is held every semester. Three external personalities are
invited to these events that focus on a specific question.
The students are prepared for these seminars.
Lectures
Throughout the academic year, lectures by figures in the art
world contribute to opening the school to contemporary artistic
and intellectual issues.
The lectures are followed by a meeting/discussion with the students.
Workshop
Artists are invited to organise workshops open to students from
the 2nd year onwards.
Work is in groups of 6 to 12 students. Each workshop is concluded by an exhibition.
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E.S.B.A.N.
International mobility
For the past 5 years, École Supérieure des Beaux-Arts de Nîmes (ESBAN) has developed a policy of exchange and collaboration
with institutions in other countries. Each year, nearly 30% of the
students participate in exchanges with schools in Europe (Belgrade,
Leipzig and Prague) and China (Shenyang).
ESBAN belongs to the networks ELIA, ART ACCORD France
and Age d’Or (a network of the art schools in the South of France).
The school aims at enhancing the individual mobility of students. They thus obtain better information about evolutions in the
art world and changes in professional sectors in art and creation,
making conditions favourable for them for the development of a
fulfilling personal and professional project.
ERASMUS mobility
Within the framework of the EU Lifelong Learning Programme
(LLLP), thanks to the Erasmus programme, ESBAN and its academic team wish to participate in the construction of a European area
of higher education in art that is open in terms of education and
training. For this, it wishes to develop bilateral agreements with institutions dispensing education and training that are complementary
to that of ESBAN. It hopes that while aiming at quality and the sharing of competences, these exchanges will become a laboratory to
nourish individual experiences and joint projects.
Contacts have already been made with agreements in mind
with the academies of Urbino and Macerata (Italian art schools) within the framework of the ERASMUS programme (charter awarded
in May 2008).
The human scale of our school favours a warm welcome and
personalised supervision adapted to each new student so that he or
she is never left to fend for himself/herself but participates fully in
the life of the school right from the beginning.
After each trip and each exchange, the students and teachers
recount their experience at conferences and working groups open
to all the students and staff of the school.
Without any discrimination and with respect for gender equality
mobile students benefit from personal supervision and also powerful teaching focused on contemporary artistic practices. They participate in a workshop/laboratory to materialise travelling exhibitions
of the work in progress type between the various partner institutions. The school has two exhibition rooms on its premises where
the exhibition schedules already alternate between exhibitions of
students’ work and exhibitions by international artists. The publishing section is also active in the accompaniment of all these
actions and also in the production of specific, individual objects.
Located in the heart of the Mediterranean arc—the second
most important zone in France for work in modern and contemporary art—the city of Nîmes, with an important archaeological and
historical heritage, has acquired ambitious structures for art (art
school, municipal galleries, Musée d’art contemporain, Carré d’Art
library, Fine Arts Museum). Of course, the development of the
school will continue to use this rich fabric and synergy.
E.S.B.A.N.
Organisation of ERASMUS mobility
Meetings are organised by the management of the school at
the beginning of the academic year, complementing the website
and the students’ handbook, to inform all the students about mobility, the programme and the school’s ERASMUS policy.
Priority is awarded to fourth-year students with a creative research project focused on studio work.
The stay abroad should last for at least one semester.
All periods spent abroad within the framework of study
contracts, marks; the credit transfer system (ECTS), teaching
agreements and undertaking by the parties are validated in the
school’s marking procedure.
A committee examines the projects, motivation and abilities
of applicants for mobility. The person responsible for international
relations and the referring teachers provide individual supervision
and accompaniment for the writing of the agreements and study
contracts with partner institutions.
As a complement to ERASMUS grants, the school and the
Association des Amis de l’ESBAN will provide financial support
for each student leaving within this framework.
Arriving students are aided by the person responsible for
international relations in their search for board and lodging and in
documentation and language classes in conjunction with the
Bureau Information Jeunesse, the Maison de l’Emploi, the CROUS
and the university residences.
The mobility of teachers and other staff is encouraged in order
to develop cooperation operations and to gain good knowledge of
hosting venues in order to prepare for stays by students.
29
30
E.S.B.A.N.
Classes for children 7 to 12 years old
Aglaë Gourdouze
Artist
A workshop for children aged 7 to 12 covering various drawing,
painting, volume and photo work in a spirit of play and exchange.
The children are encouraged to develop their creativity by experimenting with tools and handling materials.
The aim is to stimulate their imagination and their creative potential and help them to become aware of contemporary art
work.
The year ends with an exhibition of the children’s work in June.
Classes for adults : painting
Gérard Depralon
Plastic artist and draughtsman, his work is based on the exploration of materials. His work was shown in Romainville and Arles in
2005 and 2006. An author of comic books, he works regularly for
the press.
His teaching of painting is set in a reflection on outwardness
with care to pass on practices and knowledge. The classes are
based on a variety of subjects addressed using acrylics, collage,
life drawing, still life, artists’ books, etc.
Classes for adults : drawing and painting
Classes for 13 to 15-year-olds
Véronique Fabre
Artist
Teaches painting and drawing. Learning to look, introduction to
pictorial and experimental techniques with materials, awareness
of comics.
Véronique Fabre
Artist
Teaches painting, drawing and volume. Approach to techniques
in varied exercises based on imagination and observation. Regular life drawing.
Classes for adults : engraving
Clémentine Mélois
The evening classes are aimed at an informal approach to engraving and printing. The various traditional and modern methods
of printmaking are covered. Joint edition projects are launched
so that each participant can express his artistic intentions.
E.S.B.A.N.
Information on adult and
extracurricular classes
These classes are open to anybody who
would like to have an artistic activity.
Enrolment opens at the beginning of
June and closes in the first week of September.
Procedures for obtaining and delivering
application forms are described in a
press release and on the school website.
Further information can be obtained
from:
Ecole Supérieure des Beaux-Arts
Hôtel Rivet
10 Grand Rue
30033 Nîmes Cedex 9
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06
[email protected]
http://www.nimes.fr/index.php?id=330
31
32
E.S.B.A.N.
An identity: exhibitions
The École des Beaux-Arts de Nîmes has provided its students with a
great range of experience in exhibition practice for a number of years.
The main building has three large rooms used regularly for exhibitions.
The school also benefits from the city’s substantial art facilities: Carré
d’Art-Musée d’Art contemporain, Musée des Beaux-Arts, municipal
galleries, etc.
Teaching in the form of lectures or seminars (handled by teachers and
persons from outside the school) extend and deepen knowledge of the
issues involved in exhibitions.
 
Student exhibitions supervised by the teaching staff are held every year
at various venues in Nîmes, in the Languedoc-Roussillon region and
also elsewhere in France and abroad. These exhibitions make it possible for the students to handle the hanging and presentation of their own
work in venues with professional contingencies and requirements and
to enhance meetings with the public.
Most of the students also have placements in institutional establishments (Musée d’Art moderne de Saint-Étienne, Centre international
d’art et du paysage de Vassivière, Centre d’art contemporain de Kerguéhennec, etc.). They thus learn about the technical, conceptual and
administrative issues involved in setting up exhibitions. This enables
both an approach to the professional handling and placing of works of
art and the possibility of learning about the contemporary art scene by
collaborating directly with artists and exhibition curators.
A partnership with Frac Languedoc-Roussillon also makes it possible for
students to gain experience of curating and accompanying exhibitions:
choice of works and themes in the regional collection (Fond régional
d’art contemporain) and hanging and also the design of posters, invitation cards and press releases and handling guided visits for all types of
public. These operations are sometimes handled at the request of local
authorities, as in recent years with the towns of Béziers and Lunel.
Exhibition: NÉMAUSUS, 20 ANS / 10 POSITIONS at
the ‘Photographie et Architecture’ biennial.
Isacf La Cambre, Brussels, March-May 2008
Exhibition: Objectif Lunel (works belonging to Frac Languedoc-Roussillon).
Espace Louis Feuillade, Lunel, May 2007
Student project for Commemoration Les 20 ans de Némausus.
Nîmes, November 2007.
34
36
Exhibition Sans repentir.
Espace Louis Feuillade, Lunel, April 2008.
Exhibition On n’est pas loin.
Maison de la Cure, Saint-Restitut, March 2008
Exhibition Images d’une école.
Hôtel-Rivet, Nîmes, March 2008
40
E.S.B.A.N.
Graphics and publishing
In 2008 the publishing section gained vigour by more
marked coordination of the teachers in the drawing section and the
new teacher in charge of printmaking.
In addition to the projects completed in recent years with Hôtel Rivet
publications and the school journal, an experimental art publication
section is being set up in the Maison du Poète.
Work by this new unit is based on active collaboration with the computer graphics studio.
The section will continue to handle the various competitions and commissions from institutions. Collaboration with Onisep was set up in
2008. The competition—with many prizes—on the occasion of the
Journées méditerranéennes de l’olivier is still a high point that is extremely successful every year.
A large event organised with the library at Carré d’Art de Nîmes is
planned in March 2009.
List of Hôtel Rivet publications on page 88
Couv.indd 2-3
21/04/05 18:49:47
Hôtel-Rivet est une publication
de l’École Supérieure des Beaux Arts de Nîmes.
Directeur de la collection :
Dominique Gutherz
Hôtel-Rivet
10 Grand’Rue
30000 Nîmes
04 66 76 70 22
[email protected]
N°d’Editeur : 19
Dépôt légal à parution
ISBN 978-2-914215-18-5
Achevé d’imprimer en Juin 2007
AGB Nîmes - 04 66 64 79 53
Conception et réalisation
ESBAN & Anne Faucher
Publié avec le soutien de la D.R.A.C. Languedoc - Roussillon et de l’association des Amis de l’ESBAN.
8€
21/04/05 18:45:51
couverture.indd
1
jindal, M. Calle and P.G. Coste
Hôtel Rivet Collection # 9, May 2005
J.M Scanreigh, Picasso, remarques à effacer
Hôtel Rivet Collection # 2, March 2004
Picasso, J.M Scanreigh
Hôtel Rivet Collection # 19, 2007
Pierre E. Richard , Étude pour un portrait de Francis Bacon
H Ô T E L - R I V E T
#5/ SEMIN / SILBERMANN
D.Semin and J.C.Silberman, Dessiner le champignon
You can Cut Cut Cut me, M.Calle and E.Brun
Couv.indd 1
11/03/06 14:08:35
��
A.Giroux, Le monde
P.G.Coste, Journal Dessin
Hôtel-Rivet ≠ 8, June 2007
S.Bonin et j.Ruel, Journal Dessin
Hôtel-Rivet ≠ 8, June 2007
Exhibition poster A corps
Galerie des Arènes, March-April 2006.
Exhibition poster Projections vidéos franco-tchéque
Prague, Montpellier and Nîmes, April-May 2006.
A c a d é m i e d ’ a r t d e P r a g u e A V U … … … … … … … … … … … … … … … … 2 5 /04/06
I n s t i t u t F r a n ç a i s d e P r a g u e … … … … … … … … … … … … … … … … … 0 2 /05/06
E c o l e S u p é r i e u r e d e s B e a u x - A r t s d e N î m e s … … … … 1 6 /05/06
T r i o l e t t o à M o n t p e l l i e r … … … … … … … … … … … … … … … … … … … … … 1 9 /05/06
… … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … à 19h
Manifestations organisées avec le soutien de l'association des Amis de l'ESBAN
Renseignements : [email protected] / 00 33 (0)6.65.15.51.82
…………………
.
.
.
.
les aventures du
frac l.r (2)
LES COUSINS
UNÎMES
Le pôle ARTS d’UNÎMES expose les travaux des étudiants des BEAUX-ARTS de NÎMES
Vernissage le Mardi 12 avril 2005 à 18h00
Exposition le 13 et le 14 avril 2005 - Centre Universitaire de Nîmes (site Vauban) - Rue Doc teur Georges Salan 30 000 Nîmes - 04 66 36 45 21
Exposition du 5 mai au 24 juin 2007
Espace Louis-Feuillade/Abric . 48 Bld Lafayette . 34400 Lunel . 04 67 87 84 19
ouverture du mardi au vendredi de 9h à 12h - 14h à 18h
samedi et dimanche de 10h à 12h - 15h à 18h (sauf jours fériés)
��
��
Photo : R. Tamin - Maquette/graphisme : ESBAN, J.A. Arzilier, Nigo
OBJECTIF LUNEL
Exhibition Les cousins.
Centre Universitaire de Nîmes, April 2005.
Exhibition Objectif Lunel.
Espace Louis-Feuillade/Abric, Lunel, May-June 2007
Exhibition Fromage et dessert.
ESBAN, Nîmes, March-April 2006
P. A n d r i e u x
J. Balmefrezol
E. Brun
N. Cabos
F. C a n o
E. Coiffier
J. Beaure
J. Doré
M. Boissard
P. F e r r e r
B. Brunello
M. Calle
J. Francioli
A. Dumont
E. Girault
Organisée par l'École Supèrieure des Beaux-Arts de Nîmes
/ 19 H - Conférence de Paul Ardenne.
/ Suivie d'une projection des vidéos des étudiants de l'école des Beaux-Arts de Nîmes.
E. Girault
A. Giroux
N. Kmieczac
Y. M o u h i b
Y. Mouhib
C. Santot
C. Santot
Organisée par l'École Supérieure des Beaux-Arts de Nîmes
J. Park
/ Conférence de Stéphanie BENZAQUEN.
/ IMAGES ET VIOLENCE / Suivie d'une projection des vidéos des étudiants de l'école des Beaux-Arts de Nîmes.
Organisée par l'École Supérieure des Beaux-Arts de Nîmes, en partenariat avec la bibliothèque municipale Carré d’Art
/ Conférence de François Michaud : la vidéo, ou la plasticité du cinéma.
/ Projection du film d’Olivier Zabat “1/3 des yeux”, en présence du réalisateur.
Organisées par l'École Supérieure des Beaux-Arts de Nîmes, en partenariat avec la bibliothèque municipale Carré d’Art
/ Conférence de Gilles Grand, "Intonation, musique et cinéma".
/ Projection du film "Les protestants" de Clarisse Hahn - 85 min. - 2005.
R. Tamain
W. Xing
Event Rencontres autour du film et de l’art vidéo
Carré d’Art, Nîmes, 2004/05/06/07.
Poster Journées Méditerranéennes de l’olivier
Nîmes, 2005/06/07/08.
52
E.S.B.A.N.
teaching staff
Brigitte BAUER
polaris.com + documentsdartistes.org
Born in Germany, has lived and worked in France since 1987
Awarded a diploma at the Ecole Nationale Supérieure de la Photographie, Arles, in 1990. Master’s Degree in Plastic Arts, Aix-en-Provence,
1995.
After developing landscape culture in series such as Montagne SainteVictoire, Ronds-Points, La Ville et le Jardin, Carrés d’Herbes and Champs
de Nuages and questioning the notion of identity (D’Allemagne – a book
of photographs and discussion with the writer Cécile Wajsbrot), my research today is focused more on the real and mental territory of human
attitudes and postures, whether in an urban environment as in the series
Fragments d’Intimité or during leisure time as in the more recent project
called Big Game.
Brigitte Bauer is represented by the gallery Polaris / Bernard Utudjian in
Paris.
Recent exhibitions (selection)
2008
2007
2006
- Corps de Ville, ESAC La Cambre, Bruxelles
- Essmahle , Galerie – Studio im Hochhaus, Berlin
- Musée des Beaux-Arts, Cambrai
- Le Nouveau Paysage Familial, Espace Galeries Poiriel,
Nancy
- Galerie Arrêt sur Image, Bordeaux
- Mas de lo que los ojos pueden ver, (collection Deutsche
Bank), MARCO-Museum, Mexico, Museo de Arte, Lima, et
Museo de Artes Visuales, Santiago du Chili
- Scène Nationale Le Carreau, Forbach
- Montagnes Magiques, Galerie du Conseil Général des
Bouches-du-Rhônes, Aix-en-Provence
- Vous êtes cernés (avec Chr. Crozat, N. Pincemin), Artothèque, Miramas
Public collections (selection)
Fonds National d’Art Contemporain, Paris / Bibliothèque Nationale de
France, Paris / Deutsche Bank, Frankfurt / Union des Banques Suisses,
Paris / Artothèques de Nantes, Miramas, Auxerre, Angers / L’Imagerie,
Lannion / Musée Carnavalet, Paris / Centre de la Photographie, Nice /
Musée-Château, Annecy / Centre de Photographie, Université de Salamanca, Espagne / Musée Réattu, Arles / Fonds Communal d’Art
Contemporain, Marseille
Grants, Aid, Public commissions
Bourse d’aide à la création, Région PACA, 2005
Commande Publique " Euroméditerranée ", Marseille, 2002 et 2003
Bourse du FIACRE / Délégation aux Arts Plastiques, 2001
Commande publique " Le Voyage d’Ulysse ", Centre de la Photographie,
Nice, 1998
Bourse d’aide à la création, Ville de Paris, 1998
Aide à l’exposition, Affaires Culturelles de la Ville de Paris, 1997
Aide Individuelle à la Création, Drac Paca, 1996
Main publications
Fragments d‘intimité, Kerstin Stremmel, éd. Ieme, Marseille 2007
Fugue, texte Cécile Wajsbrot, éd. Estuaire, Blandin 2005
D’Allemagne, Michel Poivert éd. Ieme, Marseille 2003
Montagne Sainte-Victoire (avec F. Barre, B.V. Conta),
éd. Ieme, Marseille 1999
Big Game
2008
53
54
E.S.B.A.N.
teaching staff
Jean-Marc CERINO
Born in Jallieu in 1965.
Jean-Marc Cerino’s work addresses the representation of people met in various situations of life or even isolated from society. This is
seen in Dépositions I, II and III made with homeless men and women,
patients at a psychiatric centre or people in prison. In these wax-treated
white paintings, with close shades, two apparently contradictory gestures occur that meet, telescope and converse without neutralising or
contradicting each other: that of the representation of these persons
and that of the monochromatic covering layer. This creates tension at
the level of the canvas between surface and depth, between the figures
represented and the background that they are tearing themselves from.
‘What is meant by this monochromatic base, this empty, abyssal base, is a kind of deterritorialisation of these lives, their tearing away
or the shifting of the socio-economic context in which they have become and are kept invisible for their recontextualisation or reterritorialisation in the “bottomless base” of singular-plural, of the “with” or the
“in common”.
Jean-Marc Cerino - Le lieu en offrande.
Michel Gaillot.
‘In these figures painted by Jean-Marc Cerino, whiteness is
both a veil and simultaneously a kind of revealer ; it is whiteness that
must not be torn […] so as not to sink into too expressive a white or an
over-abundance of words that will smother the figure. This is what is
grasped astonishingly well in the between-two of Jean-Marc Cerino’s
work. It is never too much and never less. And at the same time you feel
very clearly that the slightest hitch can tip everything over into something terrifying’.
L’inconvenance du corps.
Daniel Dobbels.
Regular exhibitions in France and abroad, represented by the Bernard
Ceysson gallery (Saint-Etienne / Luxembourg).
Writings in publications or catalogues devoted to Jean-Marc
Cerino’s work
Karim Ghaddab, Inventaire après liquidation, in… dans les lanières des
seuils, collection Varia, Fage éditions, 2008.
Daniel Dobbels, L’inconvenance du corps, collection Hôtel-Rivet, # 22,
éditions Esban 2008.
Bernard Stiegler, Le temps de la prison, in Dépositions III, 2006.
Michel Gaillot, Jean-Marc Cerino - Le lieu en offrande,
Villa du Parc, Annemasse 2005.
Itzhak Goldberg, L’impression de la mémoire, in “Jean-Marc Cerino Savoir, c’est se souvenir”, Musée de Bourgoin-Jallieu, 2000.
Jean-Luc Nancy, Passage.
Jean-Claude Conésa, Esse, est percip.
Être, c’est être perçu, Éditions des Cahiers Intempestifs,
Saint-Etienne 1999.
Jacques Beauffet, Jean-Marc Cerino,
Sicmmat Art Contemporain, 1996.
Jean-Marc Cerino is also a member of the editorial board of the journal
De(s)générations.
Passage de témoins/Témoin de passages,
La Galerie de l’artothèque, Bibliothèque de la Part-Dieu, Lyon,
24 April - 10 July 2004.
Photo : Pierre Arnaud
55
56
E.S.B.A.N.
teaching staff
Gérard DEPRALON
Drawing, plastic art. Lives and works in Uzès.
Biography (abridged)
2008 - 2007
2008 - 2006
2007 - 2006
2006
Images en visite 
Artothèque de Chambéry.
In situ intervention. Exhibition. Publication of a newspaper.
Ainsi est-il, Images pressées
Digigraphies aux Editions Eric Linard.
Le Bonheur est dans le trait
Pôle Arts Visuels Ouest-Provence. Médiathèque de Miramas. Résidence d’artiste.
Reports in drawings. Publication of newspapers. Video.
On vit le pays qu’on voit
La Fabrique du Pont d’Aleyrac et le PNR des Monts d’Ardèche. Artist’s residency.
Reports in drawings.
Publication of a book (preface by Jacques Maigne). Publication of digigraphies (Atelier Eric Linard)
Copier c’est jouer
Musée des Beaux-arts de Nîmes.
Extramural artist’s residency.
Graphics performance.
Publication of a catalogue (préface de René Pons)
Publication of digigraphies (Atelier Eric Linard)
Laps de temps
City of Arles, Espace Van gogh.
Publication of a sketchbook
(préface de Bernard Pignero)
On a la vie qu’on a
Bibliothèque-Artothèque Bonlieu. Annecy.
Publication of postcards.
2004
2000
La pratique de la bande dessinée
Esban. Artist’s residency. Exhibition.
Galerie Annie Lagier. L’Isle-sur-Sorgue.
Books
Re-lecture.
Drawings by Gérard Depralon. Text by Bernard Teulon-Nouailles.
Collection Rivères. 2007.
Ainsi est-il.
Sketchbook. Preface by Yves Reynier. Collection Hôtel Rivet. Editions
de l’Esban. 2006.
Une nuit complète.
Text by André Lafon. Photography and thermoforming by Gérard
Depralon. Photography and drawings by Martine Lafon. 2001.
A l’appui.
Sketchbook. Text by Bernard Pignero. 1999.
Indélibérément.
Book-object. Text by Jean Klépal. Edition L’Art & la Manière. 1996.
Miscellaneous
Trait pour trait.
A back and forth exchange between Petter Nilsson the young
Swedish chef and the artist Gérard Depralon. Magazine Terre de
Vins. N° 31. August 2006.
Suite “ Ainsi est-il "
2007
Digigraphie, 92 x 111 cm
58
E.S.B.A.N.
teaching staff
Hubert DUPRAT
leonardo.info + cabinetmagazine.org
His work displays what seems to be a perpetual search for
its own laws while tirelessly progressing as if these laws existed.
Unshowable by definition, this art is nevertheless rendered showable
by the labourer of art of whom the caddis fly is the archetype. What
defines the labourer in art is that he takes the time to do what he does.
This is quantifiable time, unlike art detached from the trade, and the time
of the concept. Finally, this work could be presented simply as the time
spent by this ‘artist’ discouraged by rivalling with art, a body of temporal
developments in space claiming no particular status.
Ces artistes découragés de rivaliser avec l’art. 1998
Roland Recht.
Selected monographs
Hubert Duprat, Musée Picasso, Antîbe, Mamco, Genève, Frac
Limousin, Limoges,1998.
- Maurice Frechuret - Stephen Bann - Roland Recht A la fois,la racine et le fruit.
Le jeu curieux d’Hubert Duprat ou,
pourquoi un trichoptère vaut dix chameaux.
Ces artistes découragés de rivaliser avec
l’art.
Hubert Duprat Theatrum, Collection reConnaître, Rmn, Musée départemental,
Digne, 2002, édition française. Il filatore, Caraglio, 2002, édition Italienne.
- Christian Besson - Louis Chatel Dupratis Theatrum.
Dupratis Mirabilis Artis Thesauri Mystagogus.
Hubert Duprat, Hôtel des Arts, Paris. La Criée, Rennes, Villa Arson, Nice,
Galerie Dumont, Bordeaux, 1991.
Une œuvre de Hubert Duprat, Collection Iconotexte, éditions Muntaner,
Marseille, 2008
- Christian Besson - Catherine Perret - Jean- Marc Poinsot - Jacques Demarcq - Anne-Laure Even - Emma Gobry-Laurencin - Emmanuel Latreille - Natacha Pugnet - Didier Semin La Phrygane, la merveille et le monument.
L’atelier de Duprat.
Hubert Duprat : Sujet et mobile.
Hubert Duprat, Frac Poitou-Charentes, Angoulême, 1992.
- Michel Assenmaker Notes et lectures à partir des photographies
d’atelier (1983/86) d’Hubert Duprat.
La foudre Mademoiselle.
Pour croire(encore) à la magie du réel.
Les métamorphoses du masque.
Vers un espace mythologique ?
Au delà du marteau.
La beauté patiente.
Mélancolie cyclopéenne.
48H. Pyrite crystals. Glue.
Diameter 45 cm. Length 45 cm. 2007.
Photo : Frédéric Delpech
59
60
E.S.B.A.N.
teaching staff
Dror ENDEWELD
After a DNSEP at the Ecole Nationale des Beaux-arts in Lyons,
I conducted personal work combining plastic language and written
language, referring mainly to minimal art and conceptual art.
I then participated in the second session of the Institut des
Hautes Etudes en Arts Plastiques directed by Pontus Hulten (see the
book entitled Quand les artistes font école ). The session finished the
following year with an exhibition called Le territoire de l’art. It brought
together works by historic artists and young artists and was an important
stage in my development.
Three years later, I was invited to another noteworthy exhibition
by Pontus Hulten: Devant le futur in Taejon in South Korea. This experience
was an opportunity for me to make my first outdoor work, a paradoxical
piece on the ground with granite hexagons.
I then made several other permanent public works, in particular
in a direct line from this work in Lyons for LPA.
What is perceived is what is read.
In Frankfurt am Main for the Ministry of Foreign Affairs and
in Lyons for the Musée des Beaux-Arts, playing on similarities and
differences between languages; in Roanne, an interactive, polymorphic
work for the renovation of the law courts.
At the Verney-Carron gallery and at the Institut d’art contemporain
in Villeurbanne, I had previously made modular works which, when
assembled, gave short texts to be read with the aim of focusing on the
problem of the relation between form and substance.
The spectator is placed in the centre throughout my approach:
he or she interprets an ambivalent work through perceiving it physically
and understanding it
.
Musee des Beaux-Arts, Lyon, 2005
Contenus - Pain of content 
Red neon
61
62
E.S.B.A.N.
teaching staff
Pascal FANCONY
Born in February 1949.
Painter, plastic artist using space and light.
His approach is centred on Chromatic painting, with the
interpenetration of two aesthetic approaches: one in which colour
is ‘an experience of oneself’ and the other in which it operates as a
phenomenon in the perception of space. It uses colour as a pictorial
subject that ‘states’ the wall or even the volume of architecture.
His work consists of the practice and theory of : 
- Painting in which colour works on ‘the interactive sensation with the
soul’, with colour gradation and logic running from shade to light or
vice versa. And where the materialness of the transparency of colour
is immanent.
- The process is accompanied by writing work with the combination
of three currents of thinking: phenomenology, semiology and
psychoanalysis. Setting out language is de facto part of the reality of
art. Using these texts that discuss colours, he tries to ‘say the pleasure
and anguish of painting and of thinking this painting, deciphering what
is buried, what is impossible, the ‘non-figured’ features of perceptions
and feelings.
- . In situ work in which the purely visual and physical qualities of colours
state the space, light and essence of the place. Work in which matter,
texture and material are explored in a more materialistic, radical way.
Here, light is sometimes a material in itself in his creations.
In these projects with architecture or territory, he seeks to illuminate the
meaning and memory of place.
Publications
The author of various writings and notes on art and in particular
on colour. He has also written two essays:
De Cézanne à l’Abstraction Analytique, Théetéte, 2005.
Rouge comme rouge chine, Afaa, 2001.
.
Recent articles :
La couleur pour soigner l’esprit, exhibition Villejuif, 2000.
La couleur comme expérience intérieure, Esca, Milhaud, 2000.
Entretiens avec Jeanne Gatard, André Valensi, Alain Chareyre-Méjean,
François Bazzoli, et Pierre Paliard, Revue passage de l’art, Marseille,
2000-03.
Rouge-cercle, Natacha Pugnet, Aix-en-Provence, 2002.
Cheminer avec la couleur, a choice of texts in Correspondances,
Manosque, 2004.
L’envers du Visible, Alain-Christophe Restrat, Arpac, Montpellier, 2006.
Autre logique de la couleur, réponse à Wittgenstein, the rewriting of
various texts and notes (in progress).
Events :
1972 to 1983: participation in numerous group shows by critical abstraction movements during the Support-Surface years (in particular events
in public spaces), followed by the joining of the formal movements of
so-called ‘analytical’ painting.
Since 1997: regular exhibitions in France and abroad. He has had several
residencies—in Quebec, Morocco and China, which was a fundamental
meeting with China’s ancient philosophical cultures.
2007-2008: Chairman and curator for the promotion of the architectural
heritage formed by Nemausus, buildings in Nîmes designed by the architect Jean Nouvel. He has worked on projects for public commissions in
the arts and the development of public spaces and gardens.
Le Train des Lumières, transparent adhesive filters on the windows of a train, Languedoc-Roussillon. 2007.
Commission by SNCF TER / Conseil Régional L.R.
From blue to red by way of yellow, an interactive composition with complementary colours 
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E.S.B.A.N.
teaching staff
Maïder FORTUNE
Born in France in 1973. Lives and works in Paris
After training at the Jacques Lecoq international school of physical theatre in Paris, she started her own physical theatre company and
then did post-graduate studies at Le Fresnoy, Studio national des arts
contemporains, in Tourcoing.
Her works (videos, photography, films and installations) all set
scenes showing stories of strangely incarnate virtual presences that
seem to emerge from the matter that creates them. The whole aims at
a mental image freed of narrative and that becomes the support for the
active projection of looking, for the imagination and that can open the
way to anamnesis. Her work has been shown in Europe, Canada, Asia
and the United States since 2001. She is represented by Galerie Martine
Aboucaya in Paris.
Residencies / Grants / Prizes
2007
2006 
2005 
- CNAP research grant.
- Images différentes, Pôle image Haute Normandie.
- Main d’œuvres. Saint Ouen. France.
- Villa Kujoyama, Programme Villa Médicis Hors les murs,
Afaa, Kyoto, Japon.
- Aid for a project, Ville de Paris.
- Fondation du Japon, for the document In the voice,
2005.
- Cité internationale des arts, Paris, 2004-2005. 
Solo shows
2008 
2007
2006 
- Galerie Martine Aboucaya, Paris.
- Frac Haute Normandie, Rouen, Centre chorégraphique du Havre.
- Warc, Images Festival, Toronto, Canada.
- Le triangle, Rennes.
- Mercer Union, Toronto, Canada.
- Fondation Miro, Espai 13, Slak, Barcelone.
Group shows
2007
2006
- Territoire de l’image, Le Fresnoy, studio des arts
contemporains, Musée des beaux-arts de Tourcoing.
- Fantasy, Centre photographique d’Ile de France. PontaultCombault.
- What ever happened to your dreams ? Galerie des filles
du calvaire, Paris.
- Fiac, Foire internationale d’art contemporain, Paris.
Galerie Martine Aboucaya, Paris.
- Selest’art, Biennale d’art contemporain, Frac Alsace.
- Close up Galerie Martine Aboucaya, Paris.
- Variations Galerie des Filles du Calvaire, Paris.
- Institut français de New York.
Curator Christopher Eamons.
- Our voices, Hong-Kong Visual Arts Centre.
Curator Loic Serot.
- Saison video Fabrica, Brighton, Angleterre.
Curator Mo Gourmelon.
- Quels talents ! Le cube, Issy-les-Moulineaux.
- ZOO , La centrale électrique, Bruxelles.
- Lieux contestés, Galerie du Nouvel Ontario, Sudbury,
Canada.
Licorne
Video 2006
Galerie Martine Aboucaya, Paris
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E.S.B.A.N.
teaching staff
Jean-Claude GAGNIEUX
artisteslr.fr + myspace.com/gagnieuxjc
Born on 1 March 1957 in Blida, Algeria
1973
1975
1975
1976
1977 1985 1990 1994 1976
1977
BEPC.
CAP certificate of professional competence) in dental
prosthetics. First in the year in the academy.
State lifesaving diploma
Kayak teacher’s diploma (federation)
Driving licence
Physical education assistant teacher’s diploma.
Boat licence.
Diplôme National Supérieur d’Expression Plastique (DNSEP),
with praise from the examining board.
1st Dan in Kyudo
State diploma for teaching water activities (BEESAN).
Solo and group shows, performances
- Performance- exposition rencontre n° 30 La Vigie, Nîmes.
- Performance-exhibition rencontre n° 30 La Vigie, Nîmes.
- Performance Espace Louis Feuillade Lunel, Frac Languedoc-Roussillon.
- Performance Galerie E.T.C, Montpellier.
- Performance deux 1 à 3 with Fabrikdelabeslot and F. Guinot, Espace Liberté, Crest (26)
- Performance, Festival of short sound pieces, Avignon.
- Performance with Maël sans titre mais avec marcel 2 at the event chauffe Marcel, Frac Languedoc - Roussillon. Carré Sainte Anne, Montpellier.
- Performance sans titre mais avec marcel 1 Galerie Esca, Milhaud.
- Performance with Fabrice de la Beslot, 3rd Festival l’art des corps, Lagorce.
- Centre d’Art Aldébaran, Castries.
- Performance, oreiller d’Herbe, Cité de Carcassonne. MONUM Centre des monuments Nationaux, Rendez-vous au jardin
- Performances, Beaux-Arts d’Aix-en-Provence.
- Performances with Maël, Festival Midi-minuit, Centre d’Art Ricochet, Vivier.
- performance Pavillonnaire, Festival Danse de Hors, Ajaccio.
- Centre d’Art Ricochet, Théâtre municipal de Vivier.
- Performance Ad Flectendos sonos en live, Nîmes Planetarium.
- jardins publics/privés centre d’Art Aldébaran, Castries.
- The CD paradoxe, Galerie Pannetier, Nîmes.
- Sound performance du 3° véhicule, Chapelle des Capucins, Aigues-Mortes.
- Exhibition of works, Frac Languedoc-Roussillon, Etats d’Esprits.
- Performance, bienvenue à bord, Nîmes.
- Festival Lez’Arts , Béziers
- Performance, Galerie Pannetier, Nîmes.
- Performance, Vallon du Villaret, Bagnols-les-Bains.
- Performance, Galerie Pannetier, Nîmes.
- Collages, Centre Aldébaran, Baillargues
- Performance, Mende Theatre (reception of the Tibetan delegation – Year of Tibet).
- Sound installation, Galerie HD Nick, Association Artistes Nomades, Aubais.
- I.A.E , Université de Sc. Eco. de Marseille/Aix-en-Provence.
- ArtéNimes (stand, Galerie La Vigie), Nîmes.
- Performance le rond Ste-Croix-Vallée-Française.
- CARPE DIEM Ecole supérieure des Beaux Arts de Nîmes.
- Hôtel des Allégories, Nimes.
- Galerie Praz -Delavalade, Paris.
- Bolicus Primus, Vauvert.
- Festival La grande barge, Villeneuve-les-Maguelone
- Lo Vallon es very nice, Vallon du Villaret.
- Or Paire, Rencontre n°12, Galerie la Vigie, Nimes.
- Le Cailar 1988, 1998.
- Performance, Domaine du Couloubrier, Grasse.
- Musée Eric Satie, Honfleur.
- les dérives magnétiques # 3. Théâtre du Griffy. Montpellier.
- Domaine du Couloubrier, Grasse.
- Performance, Vallon du Villaret, Journée salades et cochonnailles.
- Villa Coïncidence, Nîmes.
- Les Curieux, Atelier J.F.T., Toulouse.
- Stage properties for the choreography Jour après jours by Michèle Ettorie, Création Bastia.
- Salon de Montrouge, Montrouge.
- Les Portes game installation, Vallon du Villaret discovery park.
- Esprit Animaux, Exhibition by Frac Languedoc-Roussillon, Palais des Arts, Toulouse.
- 20th anniversary of the Département des sciences pour l’ingénierie, CNRS, Thémis solar power station,Tarass Boulba.
- Performance and exhibition, les excentriques, Théâtre du Chai du Terral, St-Jean-de-Védas.
- Stage properties for the play Welcome in the war zone by the Tryptik Théatre company.
- Trafic, Exhibition by Frac Languedoc-Roussillon, Ecole supérieure de Commerce, Montpellier.
- Un papillon sur la roue, Palais des Arts, Toulouse.
- Le Cailar 94, Le Cailar.
- Participation in the short film Scène de la vie des Poules by Sylvie Nayral.
- Design of the trophy for the Cross de la solidarité, Florac.
- Performance with Peter Sinclair, inauguration of M.A.C. in Marseilles.
- Arts en Mouvements, Vallon du Villaret, Bagnols-les-Bains.
- Performance, Lycée climatique, Font Romeu.
- Performance and exhibition, Mesdames, Mesdemoiselles, Messieurs A.I.R. Gallery, Amsterdam, Holland.
- Atelier du Grand Domaine, Marseilles
- Art Symposium, Laiguelia, Italy.
- Rencontre N°3, Galerie la Vigie, Nîmes.
- Stage properties for the Michèle Ettorie dance company, Montpellier.
- Machines for the film Le monde à l’envers by Sylvie Nayral.
- Performance Une heure d’entraînement with Peter Sinclair:
- Festival de Jazz d’Assier,
- Festival du Printemps de Bourges,
- Biennale d’Arts contemporains, Lyons (catalogue).
- Carnet d’Amateur, Galerie Paul Boyer, Séte.
- Une heure d’entraînement, performance with Peter Sinclair, Espace Aldébaran, Baillargues.
- Performance, Association Quand la Ville Dort, Nîmes.
- Jeunes artistes dans la ville, Rochefort-sur-Mer.
- Classé X, A.G..E..L..N , Nîmes.
- Performance and exhibition, Les Déchargeurs, Frac, Paca, Marseilles (catalogue).
- Performance Nîmes sur Scène, Centre National des Arts Plastiques, Paris.
- Salon de la Jeune Sculpture, Paris.
- Dames Nippées, Galerie des Ramblas and Mars magazine, Marseilles.
- Sublime Indigo, Vieille Charité, Marseilles.
- Performance attention musique fraîche, Théâtre de la Bastille, Paris.
- Galerie des Arènes, Carré d’Art Contemporain, Nîmes.
- Performance, Institut Français de Naples.
- Performance and exhibition N° 7 de Nîmes, Maison des expositions, Genas.
- Performance, Frac Languedoc-Roussillon, Lycée de Bédarieux.
- Performance at L’Hospice des Incurables, Marseilles.
- Performance, Octobre des Arts, Lyons.
- Galerie Saint Ravy-Demangel, Montpellier.
- Biennial Germination, Kessel, Germany.
- Modes et Modes Musée d’Aurillac.
- N° 7 de Nîmes, Galerie des Arènes, Nîmes
Ouai !
1998
67
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E.S.B.A.N.
teaching staff
Dominique GUTHERZ
Born in Montpellier in 1946.
Scholarship student at the Villa Medicis (Académie de France) in Rome
from 1975 to 1977.
Director of ESBAN since 2002, where he taught from 1983 to 2002.
Lives and works in Meynes in the Gard department.
‘ … Thus a chronological study of his portraits would make it possible
to record important but practically immaterial inflections: sketches of
doors, windows and mirrors appear at specific moments and then disappear just as suddenly when the painter moves to different addresses. A sofa replaces a chair or a deckchair which had itself replaced an
armchair. However, these modest changes enhance decisive transformations in the composition of the painting. In particular, mirrors played
a key role from 1988-1989, enabling Gutherz to double up the model
on the canvas and hence change gradually from a long period during
which he had painted only one figure at a time to a new phase in which
he tended to combine Catherine and their two daughters, who were
small at the time, or a friend …’
From : Dominique Gutherz
Édition Mémoire Active
December 2005
Christian Delacampagne
Catherine et Bénedicte
Oil on canvas, 1995/96
200/200 cm
70
E.S.B.A.N.
teaching staff
Clémentine MÉLOIS
vachezebree.fr
Born in 1980..
Qualified at the École Nationale Supérieure des Beaux-arts de Parisin 2004.
‘I was born in a family that had always made books. Not knowing
how to write, I already made some with small pots of glue and
crayons. There are several reasons for this monomaniac decision
to continue along this pathway. I turned what held my attention,
surprised, amused or annoyed me into book form. Ideas came to
me in the form of pages that turned. I don’t like it when everything
is ”delivered” in one go, and books form the ideal medium for me:
first because a book is multiple and can therefore be distributed to a
large number of people, and second because it obeys a number of
rules and codes, a tradition enabling the unlimited varying of procedures, techniques and forms: none of my books is like another, but
they all nonetheless match our image of the different categories of
traditional publishing.’
‘Bittersweet irony, sometimes a little impertinence, deep waters
that it is better not to stir up, tenderness and a bite, a whole that
should be addressed slowly and left to soak in.’
 
Michel Salsmann
Second-hand bookseller’s display case
presenting all the works of the ‘collections de la vache zébrée’. 2004..
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E.S.B.A.N.
teaching staff
Augustin PINEAU
augustin.pineau.free.fr + venusdailleurs.fr + artistelr.fr
Born in Bordeaux in 1968, lives and works in Nîmes
‘The duty of the right eye is to look through the telescope while the left
eye questions the microscope.’1
‘How to convert thinking into images and an image into memory; how
to reduce the world to a finished set of representations and change all
knowledge into a show.’2
In art, images are too often designed from their perception, forgetting
that their handling involves the whole of the ‘psyche’ at the level of
memory… Mnemosyne was the mother of the Muses in Greeks
mythology. The mnemonic technique developed strongly in the sixteenth
century by Giulio Camillo in Teatro della Memoria may seem to us today
to be an anachronistic curiosity unless it is seen in its context. In The Art
of Memory, Frances A. Yates made an inventory of the attempts made
at classification from Ancient Greece and Rome until the Renaissance
and she reminded us that what stimulated Renaissance interest in occult
memory was the Hermetic tradition of the Renaissance itself3. However,
here it is about a quest for things that are hidden or even invisible, one of
the inherent dimensions of art, in the manner of a cryptogram.’
little according to the laws of relative etymology during its assembly,
following a very personal chain of association, by resonance and not by
matching. Everything finally fits and is adjusted. Augustin Pineau likes
packs of cards, boxes of games—snakes and ladders or Pope Joan. He
sometimes recycles older collages. Each work is a meticulous miniature.
Every detail is justified by juxtaposition with another to give a new,
significant general figure. The principle is that of a mythological bestiary
that is universal or personal for the artist in which men and animals
merge, that of the mythical figures that made a lasting impression during
our childhood or the more scholarly bestiary of heraldry. The collages
are carnivals of objects, constellations of instants, travel boxes (generic
titles). Call can be made on Raymond Roussel for the process, Marcel
Duchamp for his ‘Célibataire’ machines and his taste for jokes but why
not the Joyce of Finnegans Wake… We are in and remain in a coherent
plastic universe where, in spite of fragmentation, synthetic unity wins
over chaos. Augustin Pineau’s reconstituted images function like ours;
they are books of spells (spelling) in which you have to put the puzzle
together by reassembling the pieces to know who we are and possibly
find out how to interpret dreams …’
Le parapluie de tournesol ou le piment rouge
Bertrand Meyer-Himhoff
Théâtres de la mémoire
Bertrand Meyer-Himhoff
1 Léonora Carrington
‘Collage is explored to within its tiniest nooks and crannies. First, printed
images accumulate in a studio, but not just any old images. There
is a collector’s logic in the quest for them, in the chance of meeting
them and in their classification. The work gains meaning little by
2 Bertrand Schefer, préface, " le théâtre de la mémoire " Guilio Camillo ed Allia 2001
3 F. A. Yates, The Art of Memory, Routledge and Kegan Paul, London, 1966
le bouchon d’épouvante
Collage
46,3 x 29,5 cm
73
74
E.S.B.A.N.
teaching staff
Serge PLAGNOL
sergeplagnol.free.fr/
Serge Plagnol was born on 12 January 1951 in Toulon.
‘The work of Serge Plagnol, the painter, involves his sensitivity while
maintaining a direct relation with history—that of his time because he
talks about our world and the special world of history of art. His work
always tends to be set in this twin perspective and in that of his elders.
This is doubtless why he is so preoccupied by formal questions. Painting
is a surface, a symbolic space that always comes back to the work site
of the present. This is why rather than defining itself in old categories
Serge Plagnol’s work stresses the founding values of pictorial space, light and colours, signs and matter.’
Alin Avila
Solo shows since 2000
2000
2001
2002
2005
2006 2003
2004
2007
- Galerie Frédéric Storme, Lille
- Galerie Hélène Trintignant, Montpellier
- Centre d’Art, Saint-Cyr-sur-Mer
- Galerie Guigon, Paris
- Galerie Park’Art, Marseille
- Salon de Lyon
- Galerie Frédéric Storme, Lille
- Espace Croix-Baragnon, Toulouse
- Galerie Guigon, Paris
- Galerie Le Petit Louvre, Avignon
- Galerie Hélène Trintignant, Montpellier
- Galerie Art-Espace, Thonon-les-Bains
- Galerie Cupillard, Grenoble
Group shows since 1985 (selection)
1985-88
2000
2002
- Stockholm Art Fair
- Galerie L’œil écoute, Lyon
- Université d’été, La Garde
- Librairie Biffure, Paris
- Galerie Remarque, Trans-en-Provence
- Aspects de la peinture, Musée de Toulon
- Galerie la Tête d’Obsidienne, La Seyne-sur-Mer
- Espace Peiresc, Toulon
- Méditerranée 1 with Costantini, Lanneau et Pagès,
Hôtel des Arts, Toulon
Public collections
Musée de Nice
Musée de Toulon
Frac, Provence-Côte-d’Azur
Frac, Champagne-Ardennes
Fnac, Paris
Fond d’Art Contemporain, Toulouse
Musée Cantini, Marseille
Conseil Général du Var
Musée Ziem, Martigues
- Le Pont des Arts, with Agnès Mader, Marcillac
- Galerie Remarque, Trans-en-Provence
Photo : Léopold Trouillas
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E.S.B.A.N.
teaching staff
Yves REYNIER
Yves Reynier’s works seem to belong to a pre-Babel world. A
multi-dimensional world in which, far from blending together, languages
complete and enrich each other by the variety of their nuances and the
difference in sonority. Here, everything is just echoes, reflection, things
within others. Meaning works on shade and light, enigma enriches forms
and looks. We think that we can make out an allegory, we decipher a fable, remember an aphorism. Chopping boards take on the appearance of
Cycladic gods with clothes and make-up for strange rites.
Little by little, the artist associates with these fragments of painted canvas other fragments drawn from the world of images or the world
of raw, unworked materials. And, without abandoning the format he likes,
roughly that of a sheet of paper, he produces strange visual poems where, from sight to touch, he states his taste for multiculturalism and the
sensuality of things. Thus hybrid works come into being, mingling painting with Mikado sticks, reproductions of Giulio Romano and fur, religious
cloths and dead birds. In this, he moves from the flat early work to the
three dimensions of high relief, going as far as the direct use of objects
as a support, such as chopping boards or even more recently, skateboards. Thus, characterised by their smooth imbrication, these works
make one think more of concretions of heterogeneous materials than
classic asemblies. However, they display a singluar beauty as a result of
unexpected meetings previously recounted by Isidore Ducasse, that the
spectator could easily enjoy if he was not insidiously gnawed at by the
enigmas of these paper sphinxes.
From Reliquaire du rêve
Édition Actes Sud / Carré d’Art
October 1999
Guy Tosatto
Farai un vers de dreit nien :
non er de mi ni d’autra gen,
non er d’amor ni de joven
ni de ren au,
qu’enans fo trobatz en durmen
sus un chivau.
‘I shall make a verse on pure nothing:
It shall not be about me or others,
Nor love nor youth,
Or anything else,
For it was first made when sleeping
On horseback’
Count of Poitiers
Artiste à 20h
Collage, 2005
15 cm x 11 cm.
78
E.S.B.A.N.
teaching staff
Jean-Marc SCANREIGH
scanreigh.com/
Born on 27 September 1950 in Marrakesh. Scanreigh started in
Strasbourg where he exhibited at the Musée d’art moderne in 1976. His
exhibition at ‘Ateliers d’Aujourd’hui’ at the Pompidou Centre in 1980 and
his participation in the exhibition-review ”Après le Classicisme” in SaintEtienne in the same year marked the end of his minimalist abstract period. His sculpture and engraving work took his art towards a figurative
style in line with the European pictorial revival at the beginning of the
1980s. He exhibited his engravings in Saint-Etienne with Gäfgen, Kaminski and Lüpertz in 1984.
His work in the 1990s featured collage and mixed techniques on canvas
or wood, as show in three solo shows in Paris. A retrospective of 15
years of paintings, sculpture, prints and artist’s books was held in SaintQuentin-en-Yvelines in 1998. His publishing work in collaboration with
writers led to an exhibition in 2000 at Columbia University in New York
and at the Paris bookshop Nicaise in 2004 and 2005.
For some ten years, he has given lectures and jointly authored prefaces
and articles, some for Art-press (Willem n°274, 2001; Henry Darger n°
300, 2004; Olivier O. Olivier, n° 312, 2005; Graphzines, hors série N°26,
2005). After teaching in Saint-Etienne and Besançon, Scanreigh came to
the École des Beaux-Arts de Nîmes in 2003 to teach drawing. He is also
head of publishing at the school.
Catalogues raisonnés
Scanreigh, Estampes & Livres illustrés de 1973 à 1988, Bibliothèque Municipale, Lyon, 1988.
Livres à l’envie, catalogue raisonné of artist’s books and posters from
1972 to 2003, Mémoire Active, Lyons, 2004.
Pour un Scanreigh historié preface by Jacques Jouet, Mémoire Active,
Lyons 2008.
Public and private collections
Musée d’Art Moderne de Strasbourg.
Musée d’Art Contemporain de Saint-Etienne.
Musée de l’Estampe Originale de Gravelines.
Musée de Belfort.
Musée Paul Dini de Villefranche-sur-Saône.
Musée des Arts Décoratifs de Lyon.
Musée de la Carte à Jouer d’Issy-les-Moulineaux.
Spielkarten-Museum, Leinfelden-Echterdingen, Germany.
National Gallery of Australia, Canberra.
Bibliothèque nationale de Paris.
Bibliothèque nationale de Luxembourg.
Libraries in Lyons, Mulhouse, Strasbourg, NIce and Nîmes and some
twenty French art lending libraries.
Cities of Lyons and Villeurbanne.
Conseil général du Rhône.
Assistance publique de Paris.
French embassies in Tunis and Caracas.
Afaa, Paris.
Frac Rhône-Alpes ; Frac Alsace.
Fnac, Paris.
Fonds Michel Chomarat, Lyon.
Archives Fata Morgana, Montpellier.
Fondation Paribas and BNP, Paris.
Grandville court dans les trames
Acrylic on canvas / 2003
205 x 307 cm.
Collection J.E Huret, Paris
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E.S.B.A.N.
teaching staff
Arnaud VASSEUX
documentsdartistes.org
Born in Lyons in 1969, lives and works in Marseilles
Selection of solo shows
2004
2005
2006
2007 2008
- Vue d’atelier, Marseille
- Galerie de / di / bY , Paris
- Atelier de Lorette, Marseille
- Galerie Sin Titulo, Mougins
- Centre d’art contemporain intercommunal, Istres
- S.M.P. (Sol Mur Plafond), Marseille
- Domaine de grand Boise, résidence association Voyons Voir,
Trets
- Galerie AL/MA, Montpellier
- Galerie Sin Titulo, Mougins
Selection of group shows
2004 2005
2007
- Connexions, Art-cade, Marseille
- Entraînements, invited by the associations Edna et des
Grandes traversées, Capc, Bordeaux
- Zootropes 1, 2 et 3, centenary of E.J.Marey, Musée des
Beaux-Arts, Beaune
- Fiac, Galerie de / di / bY, Paris
- A consommer sans modération, le 19, Crac, Montbéliard
- Berliner List, stand S.M.P., Berlin
- Art-cade, Marseille
- Surfaces de passage, curator Cédric Loire
Maison Zervos, Vézelay
- Froth, A.Vasseux / Pierre Weiss, galerie ColletPark, Paris
- Marseille, artistes associés, 1977 - 2007, Mac, Marseille
2008
- Champs d’expérience, le 19, Crac, Montbéliard
- carte grise, galerie du tableau, galerie des grands bains
douches de la Plaine, Marseille
- Arsenal & poudrière, Mont-Dauphin fortified town
- Noces d’or, galerie du tableau and Kunstverein, Hambourg
Publications
2004
2006
2006
2007
Par le menu in Il Particolare , n°11, Marseille.
Semaine n°91
Arnaud Vasseux, ed.le 10 Neuf, Montbeliard.
Surfaces de passage, Maison Zervos, Vézelay
Films, vidéo, (documents)
2005
2006
Cassables au panier, by Simon Birman, mini DV
Arnaud Vasseux et Jean Laube, web-vidéo, Le mur dans le
miroir. www.lemurdanslemiroir.fr
Collections
1995
2005
Sacem, Paris
Fond Communal d’art contemporain, Marseille
À bâtons rompus
2008
Plaster, Indian ink and chairs
450 x 280 x 45 cm
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E.S.B.A.N.
teaching staff
Isabelle SIMONOU-VIALLAT
lavigieartcontemporain.unblog.fr/exposer-a-la-vigie/
Former student at the Ecole des Beaux-Arts de Nîmes.
Painter, teacher since 1993 at the same school and the founder in 1992
of the association ‘La Vigie’ in Nîmes that she has since managed.
‘The wooden frame is wrapped in a set of cloths. These are
not only canvas covered with pigment but also gauze, lace, scraps and
debris of fabrics superposed, assembled and modelled. Various notions
emerge: solidity and fragility with the clinging of soft and stretched, of
above/below, print comes to the surface, silkiness becomes rough, gossamer becomes heavier. Vertical divisions punctuate some canvases and
function as mental doors. The richness of the arrangements and clever
organisation of the mixtures take us to a Baroque style, not in the historical sense but acting as a reference.’
 
Christian Skimao
 
 
I look at the materials and begin to rehearse for myself each of
the associations which I bring to this encounter.
I cannot be entirely sure where paint and textile each begin. There seem
to be no figurative elements to help me;
I must consider how each of the colours and surfaces operates. I may be
anchored to the play between light and dark, the torn and the covering,
the open and the protecting. Something is offered and yet held back ;
covered over, and yet promised.
Whether it is paint or textile that does this in our lives - on our walls,
around our bodies, in our memories of our families, our friends, ourselves, who can tell but each of us?
In the assembly of paint and pattern, layers before and beyond ground,
there is a tangible, undeniable - even if illusory - meeting - place for diverse ideas about painting which all have a common source.
In the end, each type of material is pushed to the edge of its meaning
and tantalizes because of what it has not yet disclosed.
 
Art Gallery of Peterborough, Canada.
Dominic Hardy
Sans titre
Acrylic on and with cloth / 2003
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E.S.B.A.N.
teaching staff
General subjects
Albert Ranieri
Corinne Rondeau
Albert Raniéri is an art historian.
Academic and critic
A trained academic, he initially worked on Tuscan Mannerism and Baroque scenography.
‘ I write differently from the way I speak, I speak differently from the way
I think, I think differently from the way I should think …’ Kafka
After several study and research stays at the German Institute of History
of Art in Florence and a year in the United States, he focused his teaching on applied arts and environment design.
Subject: Politics and exhibition news.
The issue of an exhibition is less that of the form or that of the content
than that of contextualisation. Under these circumstances, exhibitions
recover their literary definition.
Further, exhibitions stem more from the involvement of cultural organisation (interaction between spectators, works, curators, critics, galleries
and museums). In other words, the question of contemporary art is that
of the exhibition as a way of showing more a policy of art than art, that
is to say an organisational issue. All the exhibitions addressed are linked
with history of art (forms, discourse and movements).
He is also interested in the relations between art and architecture, in
questions concerning the idea of nature in art and exhibition practices.
Lecturer, he also gives courses at Université Paul Valéry in Montpellier
(Institut des étudiants étrangers) and he manages the organisation of
group trips at the school (in France and abroad).
A poet and poetry critic born in 1946, he is the author of books of poems,
published in particular by Flammarion, and several artist’s books. Poetry
readings at Centre Georges Pompidou, the Musée d’Art Moderne in
Paris, the CIPM in Marseilles and abroad (USA, Arab countries).
In 1980, he met Henri Michaux who encouraged him to continue his
writing independently and outside movements. He taught French
literature and civilisation for a long time in the United States.
85
86
E.S.B.A.N.
Technical staff and premises
Photography studio
Michel Serron, photography technician
Eight computer workstations are used for processing digital photographs. A silver process black and white laboratory is equipped with
four enlargers. Introduction and advanced work in small, medium
and large formats (negative formats of up to 4 x 5 inches).
Drawing studio
A room is devoted to drawing and projects.
Painting studio
A large painting studio.
Studios reserved for use by students
Publishing studio
Gérard Lauze, technician
A set of several rooms houses facilities for engraving, lithography,
screen prints and offset lithography printing.
The studio in Rue de La Poudrière has all the equipment required for
producing printed works: large engraving presses, silk screen table,
exposure unit, guillotine, shears, pasting machine and soon a lithography press.
This is therefore a studio for producing artist’s books, fanzines, posters, portfolios, prints, postcards, etc. Use can be made, according
to the job, of screen printing, small and large engraving work (etching, drypoint and aquatint), embossing, monotype, wood engraving, typography and, shortly, lithography.
From the second year onwards, students are provided with studios
for use by one or several depending on their affinities and the space
available.
Lecture theatre
110 seats, video-projection facilities. This is used for lectures and
conferences.
Exhibition rooms
Three very fine rooms with 300 sq. m of exhibition space.
Student exhibition room
A small room at the entry to the school reserved for displaying
works by students.
Volume-sculpture studio
Gérard Montesinos, technician
A 400 sq.-m studio for work. Metal, wood and modelling.
Equipped to handle all volume projects.
Technical facilities
The video, computer graphics and digital photography studios have
a set of three interconnected rooms.
E.S.B.A.N.
Administrative staff
Director :
Dominique GUTHERZ
Tel. 04.66.76.70 22
Email : [email protected]
Administrative manager :
Maria DOS SANTOS
Tel. 04.66.76.70.30
87
Administration
Educ ational admini s tration
( Highe r Educ ation )
Ginette DUMAS - Tel. 04.66.76.74.66
Sc hool Se c re tariat
Adul t c las s e s – Chil dre n’s c las s e s
Nicole KRUCH - Tel. 04.66.76.70.22
Inte rnational Re lations
Maria DOS SANTOS
Accounts / finance
Olivia ESPAGNE
Elisabeth VINCENS
Tel. 04.66.76.70.79
Technical facilities
Library
Isabelle QUAGLIA
Tel.04 66 76 71 74 - Fax : 04 66 76 74 06
Opening hours: Monday, Tuesday, Thursday and Friday,
9.30-13.00/14.00-17.30 except during school holidays.
Gérard LAUZE - Technician
”La Maison du Poête”- Tel. 04.66.21.38.73
Gérard MONTESINOS - Technician
”Mont Duplan” - Tel. 04.66.27.63.93
Michel SERRON - Technician
”École Hotel-Rivet” - Tel. 04.66.76.70.22 / Poste 3092
Jean-Claude VEDRINES - Caretaker / stock management
Tel. 04.66.76.70.22 / Poste 3414
88
E.S.B.A.N.
Publications
Hôtel Rivet, books
# 1 – Joint authors
La meilleure façon d’empiler les bonbons (student special edition)
# 2 – Jean-Marc Scanreigh
Picasso, remarques à effacer
# 3 – Daniel Dezeuze
Le dessin, pourquoi
# 4 – Etienne Cornevin
Marcel Duchamp, humour paria
# 5 – Didier Semin / Jean-Claude Silberman
Dessiner le Champignon
# 6 – Yves Reynier
La chaumière à surprises
# 7 – Olivier O Olivier
Ombres et lumières
# 8 – Estelle Brun & Marjorie Calle
Cut cut cut (student special edition)
# 9 – Marjorie Calle & Pierre-Guilhem Coste
Jindal (student special edition)
# 10 – Vincent Capes
Endimanchot (student special edition)
# 11 – Christian Delacampagne
Les arts de la chasse"
# 12 – Galerie RX/E.Dereumaux
Quintessence
# 13 – Pierre E. Richard
Étude pour un portrait de Francis Bacon suivie de Conversation inédite avec l’artiste
# 14 – Alain Christophe Restrat / Céline Steinmetz
Sait si bon (student special edition)
# 15 – Julien Loiret
Je te tiens, tu me tiens (student special edition)
# 16 – Etienne Michelet
Dictions (student special edition)
# 17 – Gérard Depralon
Ainsi estil
# 18 – Alexandre Giroux
Le monde (student special edition)
# 19 – Anne Faucher
Soupe aux faux chez Breton (student special edition)
# 20 – Jean Leyris
Sculptures
# 21 – Claude Viallat
Œuvres tauromachiques
# 22 – Daniel Dobbels / Jean Marc Cerino
L’ inconvenance du corps
Hôtel Rivet, le journal
N° 0 - Willem – Pierre Collin
N° 1 - Dessins
N° 2 - Le Cahier dessiné
N° 3 - Photographies
N° 4 - Trois Collections Privées
N° 5 - L’atelier sculpture à Garons
N° 6 - Une image possible du monde
N° 7 - Flamencos
N° 8 - Dessin
E.S.B.A.N.
Lecturers, resident artists
from 2002/03 to 2006/07
Milan Aleksic
Jiango An
Olivier Antoine
Paul Ardenne
Evelyne Artaud
Jean-Marc Balois
François Bazzoli
Cécilia Bécanovic
Fabrice Béghin
Stéphane Belzere
Stéphanie Benzaquen
Stéphane Bérard
Emanuel Bigler
Pascal Bonafoux
Yves Bonnefoy
Stéphane Bordarier
Didier Bouet
François Bouillon
Jacques Bruel
Pierre Buraglio
Olivier Cabon
Jean-Jacques Ceccarelli
Bernard Ceysson
Jean-Marc Chevallier
Jean Clottes
Pierre Collin
Francis Couturier
Gérard Conio
Rémi Dall Aglio
Marie De Brugerolle
Gérard Depralon
Christian Delacampagne
Jacques Demarcq
Eric Dereumaux
Dominique Dupuis-labbé
Daniel Dobbels
Claude Espinassier
Jean Fabro
Gilles Fage
Serge Fauchier
2007/08
Martine Franck
Arnaud Friche
Monique Frydman
Christian Garcin
André Gardies
Henri Gaud
Jean-François Gavoty
Marc Genevrier
Jean-Luc Gergonne
Patrice Giorda
Michel Giroud
Jean-Paul Guarino
Rémi Guerrin
Philippe Grand
Gilles Grand
Rémi Guerin
Yvon Haze
Sylvain Jouty
Dan Karavan
Bogdan Konopka
Jean-Yves Lacroix
Emmanuel Latreille
André Lasbouygues
Joëlle Lebailly
Olivier Leroi
Richard Leydier
Patrick Lhot
Barbara Lindlar
Gérard Macé
Jean-Olivier Majastre
Pierre Manuel
Thomas Marin
François Mechain
François Michaud
Ariane Michel
Vesna Micovic
Catherine Millet
Joseph Nadj
Jean-Luc Nancy
Christian Nze
Olivier O. Olivier
Didier Ottinger
Céleste Olalquiaga
Bernard Palacios
Hervé Passamar
Christophe Paturange
Frédéric Pajak
Françoise Paviot
Yves Peyré
Philippe Piguet
Christian Prigent
Mathieu Provansal
David Renaud
Claire Renier
Jean-Pierre Rolley
Corinne Rondeau
Daniel Rondeau
Gerard Roque
Bernard Rousseaux
Jean Christophe Royaux
Michel Salsmann
Thierry Sarfis
Jean-Luc Sarré
Pavel Schmidt
Didier Semin
Daniel Sibony
Nicola Sornaga
Michel Strauss
David G. Torres
Pierre Tilman
Paul Van Der Eerden
Jean Villevielle
Pierre Watt
Willem
Olivier Zabat
Jiango An
Alin Avila
Pierre Baumann
Demis Herenger
Joel Kermarrec
Raghava Kk
Jean Klepal
Bogdan Konopka
Carlos Kusnir
Fabien Lerat
Guy de Malherbe
Nora Martirosyan
Sylvie de Meurville
Laurent Mulot
Pascal Neveux
Jean François Pinchon
Antoine Roegiers
Olivier Roubert
89
90
E.S.B.A.N.
Exhibitions at Hôtel Rivet since 2003 (in alphabetical order)
- Pierre Alechinsky
- Balthus
- La Bande dessinée en résidence
- Jean Leyris
- Olivier O. Olivier
- Le cahier dessiné
Works by G. Depralon and his students
Collection Frédéric Pajak
- Bosc
- Jacques Bruel
- Jean-Jacques Ceccarelli
- Chroniques martiennes
- Quintessence
Works by D. Renaud and a selection of students
- Pierre Collin
- Comic Strip
Aura - Bauduin - les Matons - Mirol - Pellaton
- Côté cour
C.Caillol et J.Bartolani, Y.Gil, F.Rebiere, F.de Hita, I.Rouquette,
F.Schmitt
- Lucien Coutaud
- Ariane Delacampagne
- Frédéric Di Martino
- Martine Franck
- Fromage et dessert
Works by 5th-year students
- Raoul Hausmann
- Alexandre Hollan
- Une image d’école
A selection of students’ works chosen by
M. Etienne, P. Trarieux, C. Viallat
- Une Image possible du monde
Collection Madeleine Millot-Durrenberger
Carte Blanche à la galerie RX – Paris
- Paula Rego
- Reliefs, pentes, expositions, 5 days on Causse Méjean
Students’ works made during the stay.
- David Renaud
- Travaux d’hiver
Students’ works with
- Trois collectionneurs privés
Ph. Ducat - J. Mairet - G. Moser
Claude Viallat
Lucy Vines
Willem
Workshops
Students’ works with
P.Van Der Eerden, F. Bouillon, Th.Sarfis, S.Fauchier
- 20 ans / 10 positions
Students’ works on Némausus
E.S.B.A.N.
91
In Nîmes
Elsewhere in France
Hôtel Rivet
Images d’une école, works by students of the École des BeauxArts de Nîmes, chosen by Michel Étienne, Pascal Trarieux and
Claude Viallat, 2008.
Citadelle de Montdauphin
Arsenal et Poudrière, an exhibition organised by the association
Voyons Voir within the framework of the 300th anniversary of the
death of Vauban and the placing of Montdauphin fortress on the
UNESCO World Heritage List, 2008.
Némausus
The 20th anniversary of Nemausus. The building in colour and
images by the making of banners, projection of photographs and
sculpture work and the scheduling of a regular series of exhibitions, 2007- 2008.
Némausus
Bien-Venu-à Bord, a regular series of exhibitions, 2006-2007.
Théatre de Nîmes
Flower in partnership with Nîmes music conservatoire, creation
of a music and video evening, 2007.
Carré d’Art-Musée
Inter/Sections, 9 students showed small more or less ephemeral
performance type modules as a counterpoint with the works of
Chloé Piene and Jeppe Hein, 2007.
Carré d’art - Mur Foster
Regular selection of students for exhibitions on the Mur Foster,
2006-07-08.
Galerie des Arènes - Hôtel Rivet
Travaux d’hiver, group exhibitions at the École des Beaux-Arts de
Nîmes and Galerie des Arènes, 2007.
Galerie la Salamandre
Exhibition by 14 students as the conclusion of a space/light/volume, 2007.
Galerie du 4 Barbier
Six ‘duo’ exhibitions with students working on the organisation
and transformation of space, 2006-2007.
Château d’Avignon
Ere de repos, an exhibition organised by the Conseil Général des
Bouches du Rhône on the theme of rest, 2008.
Domaine Rouge Garance, Saint-Hilaire d’Ozilhan
Exhibition of some 30 barrels addressed with a painting and volume approach and arranged on the Rouge Garance wine estate,
2008.
Médiathèque de Calvisson
Exhibition of students’ drawings in the new premises of the Calvisson Media Centre, 2008..
Musée d’Art moderne de Saint-Étienne
Travaux en cours/En cours de travaux, exhibition by students. The
art schools in Annecy, Besançon, Bourges, Cergy, ClermontFerrand, Genève, Grenoble, Marseilles, Montpellier, Nantes, Nîmes, Saint-Étienne, Du Fresnoy and Valence were represented in
the 2006-2007/2007-2008 seasons.
Espace Louis-Feuillade/Abric, Lunel
Objectif Lunel, at the request of Lunel Town Hall, the setting up
by a group of students of a group exhibition consisting of some
15 works belonging to Frac Languedoc-Roussillon, 2007.
(Bruel ‘ancien, D. Castellas, J. Creten, E. Duyckearts / J-P. Khazem, A-K. Feddersen, F. Francis, J-C. Gagnieux, T. Grand, H.
Maghraoui, M. & La Spesa, M. Négro, P. Parreno, L. Pelen, J-C.
Ruggirello, N. Solakov, F. West/ P. Kogler).
92
E.S.B.A.N.
Espace Louis-Feuillade/Abric, Lunel
Sans repentir, 2008.
Lithos, espace d’art contemporain, Saint Restitut
On n’est pas loin, après Raoul Marek, Éric Dietman, Jean-Michel
Alberola, Olivier Mosset, etc., exhibition of works by a group of
students at the premises of Maison de la Cure, 2008.
Village d’Aubais
La couleur dans divers états de matière, an exhibition combining
several pictorial and sculptural approaches displaying a specific
use of colour, 2007.
Librairie le parefeuille, Uzés
Joint exhibitions of original drawings for the ‘Journal dessin’ published by the school, 2007.
Abroad
Biennale Photographie et Architecture, Bruxelles
20 ans / 10 positions, Exhibition at Isacf La Cambre, Brussels.
Corps de Ville, 2008.
Académie BK
Exchange with the Academy of Arts BK, Belgrade, Serbia, 2008.
E.S.B.A.N.
Cultural partners
93
Academy of Arts BK, Belgrade, Serbia
Les amis des Bibliothèques de Lyon
Luxun Art Academy, Shenyang, China
Les amis du musée des Beaux-Arts et du Carré d’Art de Nîmes
Artenim
Lycée Camargues, Nîmes
Association des amis de l’Esban
Magnum Photos, Paris
Association Lithos, Saint-Restitut
Médiathèque de Lorient
Association Les Vingt ans de Nemausus
Musée d’Art Contemporain - Carré d’Art de Nîmes
Association Voyons Voir, Citadelle de Montdauphin
Musée d’Art Moderne de Saint Etienne Métropole
Bibliothèque - Carré d’art de Nîmes
Musée des Beaux-Arts de Nîmes
Centre International d’Art et Paysage, Vassiviére
Musée d’Histoire Naturelle, Nîmes
Centre Universitaire de Nîmes
Musée des Sables d’Olonne
Chambre d’Agriculture du Gard
Musée du dessin et de la gravure de Gravelines
Conseil Général des Bouches du Rhône
Nîmes Métropole
Conservatoire de Nîmes
Sénim, Nîmes
Drac Languedoc-Roussillon
Théâtre de Nîmes
Ecole Nationale Supérieure de la photographie d’Arles
Université de Nîmes Vauban
Ecole Nationale Supérieure des Beaux-Arts de Paris
Ville d’Aubais
Editions Buchet Chastel - Paris
Ville de Calvisson
Editions Cadex - Alès
Ville de Garons
Editions Item, Paris
Ville de Lunel
Frac Languedoc-Roussillon
Ville de Mulhouse
Hôpitaux de Paris
Institut d’Alzon - Nîmes
Isacf La Cambre, Bruxelles
Hôtel-Rivet
10 Grand’Rue
30000 Nîmes
04 66 76 70 22
[email protected]
Design and production :
Nigo / ESBAN
Photos
esban©2008 and ESBAN students
P. 33 Jean Pierre Loubat©2007
P. 73 Léopold Trouillas
Published with support from D.R.A.C. Languedoc - Roussillon.
Hôtel-Rivet / 10 Grand Rue / 30033 Nîmes cedex
Tel. 04 66 76 70 22 / Fax 04 66 76 74 06
[email protected] - http://www.nimes.fr/index.php?id=330
Établissement de la V ille de N îmes placé sous la tutelle pédagogique du Ministère de la Culture et de la C ommunication.

Presentation of the school

Transcription

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