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                <text>Souvenirs avant l'adieu</text>
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                <text>Par le monder, avec le P.E.N. Club</text>
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                <text>Institut Jules Destrée</text>
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                <text>Fonds Luc Rémy</text>
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        <name>Jazz</name>
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            <description>A name given to the resource</description>
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                <text>Poèmes  de 1932 à 1972 et Collages</text>
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                <text>André de Rache</text>
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                <text>Fonds Luc Rémy</text>
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                <text>FLRB-RAD-C-0 000 501</text>
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        <name>Carlos de Radzitzky</name>
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        <name>Hubert Juin</name>
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        <name>Poésie</name>
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                <text>Catalogue de l'exposition des photos de Yannick Bruynoghe au musée d'Ixelles du 8/3 au 28/04/1985.&#13;
Présentation par Margo Bruynoghe.&#13;
Notes de Joseph Noiret et Pjeroo Roobjee (NL).</text>
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                <text>De Arthur Rimbaud à Louis Amstrong</text>
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                <text>Danval, Marc</text>
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            <name>Publisher</name>
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              <elementText elementTextId="41083">
                <text>Le Carré Gomand</text>
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            <name>Date</name>
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              <elementText elementTextId="41084">
                <text> 2014</text>
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            <description>An account of the resource</description>
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                <text>Diverses photos de Robert Goffin.&#13;
Dédicace de l'auteur à Luc Rémy</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Mort en 1984, Robert Goffin est un peu tombé dans l’oubli. La mémoire littéraire de la Fédération Wallonie-Bruxelles est incroyablement sélective, et pas toujours dans le bon sens. La méconnaissance de l’oeuvre de Goffin, écrit Marc Danval, est « un des plus grands scandales littéraires de ce temps. » L’ouvrage qu’il vient de publier vise donc à réparer une injustice, quitte à nager à contre-courant.&#13;
&#13;
Pour mener à bien l’entreprise, Marc Danval partait avec des points forts : comme ami et confident, il a très bien connu Robert Goffin ; il avait des documents personnels et des éléments inattendus pour étoffer son récit ; érudit et journaliste, il écrit de façon agréable, percutante même.&#13;
&#13;
Goffin superman ? C’est l’impression que l’on se fait à la lecture du livre. Nous n’avons affaire ni à une biographie (la chronologie précise de la vie de Goffin apparait cependant en fin de volume) ni à un essai de critique littéraire (mais une riche bibliographie est également proposée à qui voudra aller plus loin). Il s’agit de dépeindre un homme exceptionnel sous ses différentes facettes, qui deviendront tout naturellement des têtes de chapitre : l’avocat, le romancier, l’historien, le gastronome, l’homme de jazz, l’essayiste, le poète… Il fut aussi joueur d’échecs, fondateur d’un orchestre, grand voyageur…Une voracité de la vie, une force de la nature, une créativité formidable, plusieurs vies en une !&#13;
&#13;
Danval sait évidemment de quoi il parle en matière de jazz, et sur l’influence que Goffin a exercée pour le rayonnement de cette musique : un des pôles majeurs de ce livre, et tout à fait pertinent. L’autre étant la description de Goffin poète : le plus gros chapitre, qui s’étend sur une soixantaine de pages. Et c’est très bien ainsi, car au-delà du personnage touche à tout et de savoureuses anecdotes, Danval nous invite à revenir à une oeuvre poétique immense, qui démontre que la grandeur littéraire n’est pas réservée aux monomaniaques de la littérature.&#13;
&#13;
&#13;
Renaud Denuit</text>
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                <text>Pierre Rosenberg, the Chardin scholar and President-Director of the Musée du Louvre, had one overriding goal in mind when assembling the exhibition of whichChardinis the catalog: "to present the artist's finest paintings, the most perfect, the most harmonious, the paintings that leave nothing to be desired." The 99 paintings reproduced in this book are a testimony to the success of that endeavor. There are also six essays by Chardin experts and an extensively researched chronology.Chardin's still lifes and genre scenes have been deeply appreciated for centuries for what Rosenberg calls "the grave, silent quality that encourages the onlooker to silent reverie." He is incapable of untruth: his subjects--jugs and bowls, glasses, cherries, housemaids, boys at play, dogs and cats--are painted without a touch of irony, embellishment, or drama.It is painful to report that this volume is extremely disappointing visually, with plates that are either poorly reproduced or reproduced from poor transparencies and are slightly greenish or washed out. Except for details, which do show Chardin's close harmonies and painterly touch, the pictures look flat and dull. Art historians, of course, will see the paintings in the flesh and use this book as only an aide-memoire, but for ordinary, nonprofessional art lovers, the 20-year-old catalog of the great 1979 Chardin exhibition gives a far better sense of the quiet perfection of this subtle artist. Even a pocket book from Abrams' Discoveries series,Chardin: An Intimate Art, by Helene Prigent and Pierre Rosenberg, is far superior. Although its reproductions are minuscule by comparison, they are at least clear and clean, with colors that appear to be close to those of the original works. The little book may be only an hors d'oeuvre, but it has all the flavor that is missing in the full-course meal.&lt;br /&gt;&lt;br /&gt;Peggy Moorman</text>
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                <text>MARCEL HAVRENNE : Genre de tapir étonné, ainsi nommé lors d'un gala champêtre, où fut, avec succès, chassé le mérinos. Cachant bien la mine, il passait inaperçu aux yeux des cyclistes, mais le bout de la mêche qu'il laissait traîner dans son sillage permettait aux piétons de l'accoster. Mais si le cycliste est rapide, le piéton est rare. Artificier, l'allumette qu'il cachait dans sa plume suffisait pour mille girandoles, alimentées de jeux d'eau, de broutilles et de pain d'épices. Quoique marié, il fut monogastre et aussi l'inventeur d'objets utiles, comme la pelisse d'appartement et le chat de poche. Sur sa pelouse de cuisine, il se plaisait à croiser les grands voiliers revenant de Laeken, chargés de ciboires dérobés et de machines à coudre enfantines. Parce qu'il aimait les chats, il aima les oiseaux. &lt;br /&gt;&lt;div style="text-align:left;"&gt;&lt;br /&gt;Pol Bury, dans Phantomas n°9, 1957.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Les textes qui composent le présent recueil sont extraits en partie d'un ouvrage en préparation, initulé &lt;em&gt;Pour une physique de l'écriture&lt;/em&gt;. (Note présente en page 20)&lt;/div&gt;</text>
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              <elementText elementTextId="40901">
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            <description>An entity responsible for making the resource available</description>
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Préface Jean-Jacques Lévèque&#13;
Avec 8 encres de l'auteur</text>
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                <text>Le passé défini</text>
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            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="40648">
                <text>André de Rache</text>
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            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="41384">
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            <name>Title</name>
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                <text>Le livre des bénédictions.</text>
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                <text>Philatélie.</text>
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                <text>Fumée d'Ardenne.</text>
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              <elementText elementTextId="40634">
                <text>A des absents.</text>
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                <text>Occasions et slennités.</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="40636">
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            <name>Publisher</name>
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            <name>Date</name>
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              <elementText elementTextId="40639">
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          <element elementId="79">
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              <elementText elementTextId="40642">
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            <description>A name given to the resource</description>
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                <text>Braun, Thomas</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Palais des Académies, Bruxelles</text>
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Introduction de Benoit Braun</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>FLRB-JAM-C-0 000 389</text>
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                <text>La conversation de Bierges</text>
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Dédicace de l'auteur à Luc Rémy.</text>
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          <element elementId="79">
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                <text>Mutlu, Selçuk</text>
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            <name>Publisher</name>
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Dédicace de l'auteur à Luc Rémy</text>
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          <element elementId="79">
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            <name>Identifier</name>
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                <text>FLRB-IZO-P-0 000 387</text>
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                <text>La traversée de la poussière&#13;
&#13;
Il te faudra narrer contes, mille contes, cent ou mille vies de silhouettes évanouies, deviens donc le héros de ta propre existence.&#13;
&#13;
Ces derniers mois, Jacques Izoard a sorti deux nouveaux recueils de poé­sie. Inouïe Nuit est édité par La Pierre d'Alun. C'est un livre inquiet dans lequel un narrateur en piteux état (dans la chambre / où vit allongé sur le sol un gisant noir et aveugle / c'est-à-dire moi-même) et au regard triste (un œil / qui n'est qu'un lac / où appareillent les larmes) est confronté à un univers nocturne, peuplé par une faune hostile. Les gravures de Roger Dewint accentuent encore cette impression. L'on y voit, dans une nuit profonde, des fragments de tête (un regard vide, une bouche hurlante) in­quiétés par des insectes agressifs, des oi­seaux inquiétants. La parole est bien sûr la planche de salut (Essaye encore de parler / à l'encre en toi qui, noire, / conserve oiseaux et biefs. / Afin peut-être d'imaginer /et le pire, et le pire / et l'extase), mais les mots résistent, il faut les débarrasser de leur pesanteur (com­ment distraire du langage les nuages ?) pour trouver le langage hors des paroles, là nu sous les chuchotements / dépouillé de sa sève / comme un muscle à vif. Pièges d'air inaugure quant à lui la nouvelle collection des éditions Le Fram.&#13;
&#13;
&#13;
&#13;
Jacques IZOARD&#13;
Pièges d'air&#13;
Le Fram&#13;
Liège&#13;
2000&#13;
100 p.&#13;
La pre­mière section propose une série de poèmes courts et mélancoliques qui s'articulent au­tour d'un souvenir (Nous unissions fièvre et raye / et peignions rue de l'Agneau, / des têtes d'épingles / et de minuscules étuis / qui gar­dent encore / les effigies brûlées) ou d’une sensation (entre l'air et la peau, / que de pays perdus, / que de souffles épars /). Izoard reprend ensuite cette thématique nostalgique, mais en prose cette fois avec le même souci (et le même bonheur) de ciseler sa phrase, de la nourrir d'images inusitées, de la gorger d'allitérations tout en préser­vant une fluidité qui semble improvisée. Cette section (Enfance d'enfance d'enfance) est capitale pour la compréhension d'Izoard. Il s'explique sur le sentiment d'étrangeté qu'il a ressenti très tôt et sur son inadé­quation fondamentale et définitive avec la société. Il tente un brin d'autobiographie mais les souvenirs qu'ils évoquent sont en fait ses premières incursions dans l'imagi­naire : Dans le lit, le corps devient « ai­guille ». (...) j'étais aiguille intrinsèquement. Et cette métamorphose, finalement ne me cau­sait nulle surprise, comme si elle était devenue inéluctable.&#13;
&#13;
On trouve également dans ce recueil la réédi­tion de Sulphur (une plaquette parue en 1994 et désormais épuisée) et un long texte en prose qui donne son titre au volume dans lequel Izoard vante les vertus inspirantes de la marche en ville et salue au passage la mé­moire de ses amis Jules Supervielle et Yves Martin, autres poètes arpenteurs. Pièges d'air est illustré par deux dessins de Selçuk Mutlu.  &#13;
&#13;
Thierry Leroy</text>
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Introduction de Marc Dubois</text>
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                <text>L'œuvre de l'architecte Robert Puttemans est marquée par de très grandes qualités techniques et par les caractéristiques d'une époque qui se cherche. Entre Art Déco, modernisme, néo-classicisme et néo-modernisme, elle est celle d'un temps où divers courants se côtoient, s'affrontent parfois et tentent, pour certains, de se concilier – sinon de se réconcilier. Robert Puttemans, architecte – ou la passion de la mesure, une oeuvre à découvrir.&#13;
&#13;
« L'architecture connut la remise en cause des traditions et de leurs symboles formels, l'irruption de vagues successives de mouvements qui revendiquaient d'appartenir à l'une ou l'autre avant-garde ou, au contraire, la stabilité d'une expression éternelle du Beau. Il y eut la révision du rôle même de l'architecte dans un Système des beaux-arts (pour reprendre le titre d'un ouvrage d'Alain) qui commençait à vaciller, comme si ces vacillements étaient le signe quasi désespéré d'une société qui n'en finissait pas d'affronter des mutations radicales (...)&#13;
&#13;
À travers son histoire personnelle, j'ai voulu raconter ici son drame quotidien, avec ses espoirs et ses désespoirs ; C'est aussi la trajectoire d'un homme qui s'est défié de tout dogmatisme, alors que les radicalismes de toutes espèces fleurissaient (…). » Pierre Puttemans</text>
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Il était le grand ami de l'art et des artistes dont il partageait le délire poétique, tant sur la scène internationale qu'en Belgique. De nombreux créateurs belges de sa génération lui doivent leurs débuts sur la scène artistique publique comme ensuite leur consécration dans les lieux les plus en vue : biennales de Venise ou de São Paulo, Musée d'Art moderne de la Ville de Paris, Palais des Beaux-Arts de Bruxelles, etc.&#13;
Constance et fidélité dans les rapports humains apparaissent chez Dypréau comme les garants d'une compréhension profonde et véritable des travaux des jeunes créateurs qui eurent le bonheur d'être soutenus par lui. Car nul mieux que lui ne sut s'approprier la nature profonde de propositions artistiques extrêmement diverses tout en parvenant à les accrocher à un dénominateur commun, humain et humaniste.&#13;
C'est aussi grâce à la sûreté de son jugement que nombre de collectionneurs firent le bon choix dans le monde foisonnant du Pop Art, du Nouveau Réalisme, de l'Arte Povera, de la Figuration narrative, de l'abstraction lyrique ou des naïfs qu'il adorait.&#13;
Cet ouvrage permettra au lecteur de suivre le parcours de Jean Dypréau au sein du monde de l'art de son temps, de pousser avec lui les portes des galeries et des musées, de partager ses découvertes, ses surprises, ses passions.&#13;
Pour toutes ces raisons, le Point de vision est une leçon magistrale sur l'art contemporain et l'art en général.&#13;
&#13;
&#13;
&#13;
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                <text>Avec Paul Davay, une défense&#13;
&#13;
du cinéma «bien» s'éteint&#13;
&#13;
Mort à 81 ans d'un cancer, notre compatriote Paul Davay, né à Saint-Gilles, une commune bruxelloise qui fut, en son temps, une pépinière de talents politiques, oratoires et artistiques, fut un historien et un critique de cinéma de renom. Son «Histoire du cinéma belge», écrite à la fin des années '60, reste un ouvrage de référence. Grand amateur de toutes les disciplines artistiques, correspondant belge pour des revues de 7e art du monde entier, Davay, comme son ami René Micha, a joué le rôle de «découvreur» et de «conseiller gratuit» pour nombre de jeunes cinéastes (Jean-Jacques Andrien, par exemple). Il faisait partie de ces hommes qui sont le courant souterrain et vital de notre culture.&#13;
&#13;
Avec son costume de velours brun, ses longs cheveux dans le cou à la Paul Delvaux, Davay avait la silhouette gentille et modeste de l'Amoureux de Peynet. Curieux, flâneur, «passant de Bruxelles» qui aimait bouquiner, aller prendre le pouls d'un tournage, discuter avec un acteur (la dernière fois que je le vis, il y a six mois, il déjeunait avec Christophe Malavoy) et finir sa soirée au Musée du Cinéma pour y retrouver Jacques Ledoux et d'autres vieux amis, Paul avait toujours un film à défendre ou à conseiller. Membre actif de l'Union de la Critique du Cinéma, il s'y faisait l'avocat des cinématographies rares, généreuses et de grande valeur - c'est grâce à lui que «Dodeskaden», le film de Kurosawa, connut une belle carrière en Belgique.&#13;
&#13;
La mort de cet homme de bien ne devrait pas être inutile. Le souvenir de Davay, dont les articles n'allaient jamais dans le sens du commerce, devrait faire prendre conscience à la corporation des journalistes de cinéma d'aujourd'hui que, trop souvent, les critiques sont manipulés par les distributeurs de films qui les transforment en pions de la promotion et de la pub' en les appâtant avec des interviews de «stars» qu'on retrouve finalement partout.&#13;
&#13;
A l'heure où le discours critique sur le 7e art s'éteint pour faire place à des événements qui font vendre des couvertures de magazines, la disparition de Davay, qui a toujours défendu et mis sur le pavois un ciné sans scories, doit rallumer une flamme journalistique par trop pâle en '89. Davay qui, plutôt que d'aller rencontrer Sylvester Tartempion à Paris ou à New York, plutôt que d'être un chroniqueur semblable à un «presse-bouton» pour attachés de presse, préférait nourrir sa passion en fouillant dans les perles de manifestations comme «Cinédécouvertes» ou «Le Prix de l'Age d'Or» à la Cinémathèque belge où, malheureusement, les reporters peuvent se compter sur mon gros orteil. Merci de la leçon, Paul. Faites passer...&#13;
&#13;
L. H.&#13;
&#13;
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 Peintures 1997</text>
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                <text>Textes publiés à l'occasion de l'exposition qui lui a été consacrée à la Progressive Art Gallery à Knokke.&#13;
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&#13;
L'exemplaire est bilingue : français - néerlandais. </text>
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                <text>La fuite dans la peur&#13;
Et si la vie ne valait d'être vécue que lorsqu'on qu'on s'attend en permanence au pire? Attendre, encore et encore, vivre dans la crainte permanente de voir le malheur arriver, n'est-ce pas le meilleur moyen de profiter de l'existence lorsque ce malheur ne se produit justement pas? Peut-être mais nos journées ne perdraient-elles pas alors de leur piquant?&#13;
On pourrait le penser en parcourant ce huis clos permanent auquel nous convie Claude Bauwens. A travers des textes courts, il nous confronte à l'angoisse, à la nuit effrayante, au regard négatif des autres ou à la dangerosité du monde qui nous entoure. Paranoïa du narrateur ou triste réalité? Tout cela peut dépendre des perceptions des uns et des autres, mais aussi de notre manière de les apprivoiser.&#13;
Cette perpétuelle tension semble être le leitmotiv d'un parcours constitué de craintes anodines proches du drame qui mettent en lumière nos fragilités personnelles.&#13;
Vivre dans la peur, se nourrir de pessimisme, c'est aussi apprendre à se dépasser, en quelque sorte, à condition d'émerger de cet étouffement grandissant. Sinon, le risque est grand de ressembler, à ses propres yeux à un extra-terrestre, sorte de Roswell perdu dans un univers hostile. Clin d'oeil lancé ici aux dessins de l'auteur qui illustrent ses textes, figures ambiguës d'êtres venus d'ailleurs contempler notre sombre désespérance.&#13;
J'ai aimé la manière avec laquelle Claude Bauwens pointe nos petits travers du quotidien, ces peurs irrationnelles qui peuvent guider toute une vie.</text>
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