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Reproduction d'une lettre de François Jacqmin à Pascal Goffaux</text>
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                <text>Né à Rotterdam en 1910 et décédé à Bruxelles en 1983, Wout Hoeboer prit part à plusieurs courants artistiques majeurs du XXe siècle : dadaïsme, surréalisme, Cobra, Arte Nucleare. &lt;br /&gt;&lt;br /&gt;Libre penseur, il élabora au cours de sa carrière un œuvre exceptionnel dont l'accrochage révélera l'ampleur et l'originalité. Le passage progressif de la figuration à l'abstraction constitue le fil conducteur de l'exposition Wout Hoeboer. &lt;br /&gt;Plusieurs dizaines de collages et d'assemblages documentent l'indépendance intellectuelle et l'âme dadaïste de l'artiste. Ils seront confrontés à des collages de ses contemporains issues de la collection de la Verbeke Foundation. L'exposition présente également un panorama inédit de l'activité de graveur de Wout Hoeboer, depuis les bois gravés des années 1930 aux lithographies des années 1970 en passant par les linos des années 1940-50.&lt;br /&gt; L'accent sera alors porté sur ses projets graphiques d'illustration. Hoeboer fut en effet l'ami de nombreux poètes (Dotremont, Broodthaers, Koenig...) et prit part à la publication de diverses revues (Phantomas, De Tafelronde, ...)&lt;br /&gt; L'exposition illustre enfin le rapport de Wout Hoeboer au théâtre, à la photograhie et au cinéma. Ses nombreux contacts avec la scène artistique belge francophone lui valurent d'être impliqué dans la réalisation de divers projets photographiques et cinématographiques. Il participa ainsi en 1959 au très controversiel court-métrage &lt;em&gt;L'imitation du cinéma&lt;/em&gt; de Marcel Mariën.</text>
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                <text>Franz Hellens est le pseudonyme de Frédéric van Ermengen. Élevé à Gand, Hellens trouve dans cette ville sa première inspiration (En ville morte, 1905), traduite à la manière de ses aînés (Les Hors-le-vent, 1909). Si Les Clartés latentes (1912) amorcent une évolution vers un art plus attique, c'est cependant un long séjour méditerranéen qui ouvre pour lui une nouvelle ère, marquée par la féerie fantastique de Mélusine (1920), et par Le Disque vert, revue moderniste. L'œuvre, abondante et protéiforme, explore la zone indécise qui, dans les esprits et dans les choses, sépare la réalité et le fantastique (Réalités fantastiques, 1923); ce thème continuera à inspirer l' essayiste, à qui on doit, à côté d'une Poétique des éléments et des mythes (1966), une réflexion sur Le Fantastique réel (1967). Dialectique qui nous vaut des tentations réalistes (La Femme partagée, 1929) aussi bien que des ouvertures symbolistes (Mémoires d'Elseneur, 1954) ou les cruautés cérébrales de Moreldieu (1946).</text>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>Le Plaisir à l'endroit de l'arête</text>
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                <text>Favretto, Françoise</text>
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                <text>Gouat, Marie-Claire</text>
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            <description>An entity responsible for making the resource available</description>
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            <name>Date</name>
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                <text>Illustration de couverture par Marie-Claire Gouat&#13;
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                <text>Ouvrage imprimé</text>
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          <element elementId="79">
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            <name>Title</name>
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                <text>La poésie est un attentat céleste</text>
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          <element elementId="39">
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="24239">
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          <element elementId="50">
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                <text>Poésies (I) 1951-1978</text>
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Eugène Savitzkaya</text>
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&#13;
Le risque était réel, dans un recueil à quatre mains, de voir Izoard ou Valprémy prendre l'ascendant sur son interlocuteur. Ce n'est heureusement pas du tout le cas ici et plutôt que s'affronter, les textes se complètent. Valprémy se glisse avec subtilité à la fin ou à l'intérieur des poèmes d'Izoard, leur donnant un écho très particulier, une nouvelle lecture. Les deux plumes sont pourtant très dissociables, aucune imitation n'est esquissée. Un travail de comparaison bien agréable à mener, mettant en valeur les caractéristiques d'une écriture par rapport à une autre, associant le minimalisme au lyrisme, l'évocation au réalisme, entre autres, pour disséquer toutes les facettes du corps.&#13;
&#13;
&#13;
"Cahin et Caha ne se mentent jamais, s'étreignent ou s'étripent, mais mille soleils font éclater leur coeur qui bat sans battre, en ignorant le pour" (page 13).</text>
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            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="24384">
                <text>Fonds Pierre Puttemans</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24385">
                <text>Koenig, Lionel</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="880">
        <name>Alain Jouffroy</name>
      </tag>
      <tag tagId="1435">
        <name>collages</name>
      </tag>
      <tag tagId="2273">
        <name>Lionel Koenig</name>
      </tag>
      <tag tagId="372">
        <name>Théodore Koenig</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
