SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Alexej von Jawlensky Paysage près de Murnau , 1910 Hilti Art Foundation, Schaan C’est parce que la paysannerie et l’artisanat des villageois était perçu comme un gage d’authenticité par les artistes que ces derniers furent très bien accueillis par les populations locales, qui trouvèrent là également le moyen de développer des activités d’accueil. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henry Fugère et Charles Daubigny Vue d’un Phalanstère, d’après la théorie sociétaire de Charles Fourier , ca 1820 Houghton Library, Harvard University, USA Ce modèle organisationnel, celui de la communauté, garde encore quelque chose d’enviable et qui transparaît dans l’ensemble des modèles communautaires : qu’il s’agisse des associations les plus sages ou des ZAD les plus engagées. L’idée dont il entretient la persistance est celle de l’épanouissement des facultés personnelles, dans un environnement coopératif donc bienveillant. Cette vision idéalisée s’est souvent heurtée à des dissensions internes qui ont dans certains cas conduit à la dissolution de la colonie, et on doit garder à l’esprit que la fondation des colonies se fait autour de l’expérience d’une seule personne (qui en agrège d’autres en partageant son enthousiasme). Néanmoins, cette image positive et persistante de la colonie (jusqu’aux colonies de vacances) porte une critique de l’organisation du travail et de la société de laquelle est issue la colonie. anonyme Enfants travaillant dans une fabrique , 1833 Si, dans la société, l’idée du travail est indexée sur celle du labeur, dans la colonie elle se retrouve associée à celle d’une dévotion entière et désintéressée (qu’à l’excès on nomme souvent : la passion). Et cette notion a quelque importance puisque la motivation des colonies, leur raison d’être, ça n’est ni le loisir ni l’oisiveté mais bien le travail et la production : il s’agit de peindre et les peintres diraient (et disent encore) : il s’agit de travailler. Travailler, et même : travailler sans compter ses heures, et travailler dans des conditions réunies pour permettre le développement d’une faculté typiquement humaine : la créativité. Les colonies, par leur organisation, soutiennent la possibilité que la créativité, vertu encore cardinale de nos jours, s’obtient par la bienveillance et non pas par la coercition. L’inspiration des colonies d’artistes provient de l’idée que les individus aiment travailler. Le travail n’est pas le régime d’un asservissement ou de l’exploitation d’un individu sur un autre, non : le travail est une activité régulière favorisant l’épanouissement des individus et participant de l’enrichissement matériel et spirituel de la communauté. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henry David Thoreau Walden ou la vie dans les bois , édition de 1854 Ticknor and Fields, Boston Walt Whitman (1819-1892) Feuilles d’Herbe recueil de poésies édition française de 1909 Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

SYLVAIN SORGATO organic Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Paul Cézanne s’en allant peindre, 1877 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Henri Oedenkoven et Ida Hofmann article paru dans le journal The Sketch, du 28 mars 1906 Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities. Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine. My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions. I was born in 1965 in Paris. anonyme Gusto Gräser, vers 1950 Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée. Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale. De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure. Up

À propos BIO À propos À propos À propos À propos Nouvelle page Blog RESSOURCES KAÏROS KAÏROS KAÏROS KAÏROS ARCHIVES À propos Résultats de recherche RÉGISSEUR J'emploie ici le titre générique que l'on attribue aux services techniques pour l'art contemporain. Le titre est un peu abusif puisqu'il est simplement un emprunt à une profession très structurée et relevant du spectacle. C'est ce travail qui me permet de me tenir au plus près de l'activité qui m'intéresse. Je suis un artiste tout à fait disposé à m'intéresser d'assez près au travail des autres artistes. Je suis un artiste qui vit du travail des autres artistes. 2023 GESTION TECHNIQUE Collection privée 2023 ACCROCHAGES Collections privées, Paris Constance Guisset, Desplans - Van Cleef & Arpels, Paris Guillaume Zuili - Martin Parr, Galerie Clémentine de la Féronnière Paris Salon de la Photo , Grande Halle de la Villette / CIRCAD Fondation Pathé-Seydoux, Paris Thomas Paquet, Galerie Thierry Bigaignon, Paris 2022 GESTION TECHNIQUE Collection privée 2022 ACCROCHAGES Collections privées, Paris J. Agnel - T. Klotz - F. Stucin & E. Mianes, Galerie Clémentine de la Féronnière Paris Boris Mikhaïlov - Karla Hiraldo Voleau, MEP, Paris Catherine Balet, Galerie Thierry Bigaignon, Paris 2021 RÉGIE Bettina Rheims - Détenues , Institut pour la Photographie des Hauts de France, Lille 2021 GESTION TECHNIQUE Collection privée 2021 ACCROCHAGES Collections privées, Paris ALANTRA, Paris Jean de Pomereu, Galerie Thierry Bigaignon, Paris Mayer Brown Paris / CIRCAD Mishka Henner, Galerie Jean-Kenta Gauthier, Paris Les Douches La Galerie, Paris Galerie Clémentine de la Féronnière, Paris Fondation Pathé-Seydoux, Paris 2021 CONSULTATION Ousmane Sow, Centre des Monuments Nationaux, Paris 2020 ASSISTANCE TECHNIQUE Miquel Mont, commande Publique, Saint-Denis 2020 GESTION TECHNIQUE Collection privée 2020 ACCROCHAGES collections privées, Paris Silver Gray Invest, Paris Maison Européenne de la Photographie, Paris Fondation Pathé-Seydoux, Paris Centre des Monuments Nationaux, Paris Reims Couleurs du Nord , Galerie Clémentine de la Féronnière, Paris 2019 RÉGIE Bettina Rheims - Détenues , Friche de la Belle de Mai, Marseille 2019 ACCROCHAGES collections privées, Paris Liberty France / CIRCAD Cité de l'Architecture / CIRCAD Fondation Pathé-Seydoux, Paris U. Schulz-Dornburg - H. Hajjaj - Ren Hang - Coco Capitan, MEP, Paris Paris-Photo , salon d'honneur, Paris Palais de Tau, Centre des Monuments Nationaux, Reims 2018 RÉGIE Bettina Rheims : Détenues , chapelle du Château de Vincennes Bettina Rheims : Détenues , château de Cadillac Dé(s)rives , galerie Aline Vidal, Paris Julien Salaud : Natures Sauvages , château de Rambouillet, France 2018 ACCROCHAGES JR : Momentum - La Photographie Française Existe… - Nino Migliori, MEP, Paris Shego / Hego / Ego : Collection McEvoy Family, Salon d’Honneur, Paris-Photo David Shringley, galerie Anton Kern, FIAC, Grand Palais, Paris 2017 ACCROCHAGES Collections privées, Paris Gao-Bo - Orlan - Michel Journiac, MEP, Paris Fondation Pathé-Seydoux, Paris Médiathèque de l’Architecture et du Patrimoine de Charenton-le-Pont Galerie André Magnin / Art-Paris Vanessa Beecroft, Galerie Caroline Smulders, Drawing Now Les Larmes des Choses : Collection H. de Alvear , Salon d’Honneur, Paris-Photo 2016 ACCROCHAGES Collections privées, Paris V. Perez - D. Michener, A. Seranno, Herb Ritts, M. Gautherot, C. Spengler, MEP, Paris Fondation Pathé-Seydoux Institut Guerlain, Paris Institut de France, Paris Collection du MNAM, Paris-Photo 2015 ASSISTANCE TECHNIQUE Véronique Joumard : Le Halo du Mécano , médiathèque de la Courneuve Élisabeth Ballet, Paris Alexandre Singh, SMAK, Gand 2015 ACCROCHAGES Collections privées, Paris S. Couturier - G. Korganow - B. Plossu - G. Rondeau - B. H. Lartigue - A. Springs - M. Bonisson, MEP, Paris Collection , Rencontres photographiques de Arles Fondation Pathé-Seydoux, Paris Collection Enea Righi, Paris-Photo Pierre Henri, Galerie Aline Vidal, Paris 2014 RÉGIE Narcisse, l’Image dans l’Onde (cat.), A. Abdessemed, K. Attia, R. Baquié, P. Chang, M. Couturier, M. François, D. Graham, F. Hyber, A. V. Jannssens, A. Kapoor, Y. Kusama, A. Kwade, B. Lavier, C. Lévèque, F. Lemoyne, O. Munoz, M. Pistoletto, M. Rossi, F. Scurti, B. Viola, fondation François Schneider, Wattwiller Alexandre Singh CAFA , Beijing NBK, Berlin Victoria Gallery, University of Melbourne 2014 ACCROCHAGE Collections privées, Paris Cerith Wyn Evans, fondation Louis Vuitton, Paris galerie Parra & Romero, FIAC 2014 acquisitions récentes du MOMA , New York, Paris-Photo 2014 Philippe de Gobert, Galerie Aline Vidal, Paris la Mémoire Traversée , Éléphant Paname, Paris Collections privées, Paris 2013 RÉGIE Alexandre Singh musée Sainte-Croix des Sables d’Olonne biennale de Lyon fondation Hyppocrène, Paris collection privée, Paris la Centrale, Bruxelles 2013 ACCROCHAGE Sergio Vega - Mimmo Jodice, Galerie Karsten Greve, Paris Galerie Aline Vidal Hermann de Vries, FIAC exposition de groupe (M. Mont, F. Morellet, S. Thidet) Drawing Now, Paris (T. De Giallully, F. Morellet, J.L. Vilmouth) M. Blazy, R. Fauguet, G. Goiris, N. Hylden, A. McEwen, A. Singh, Galerie Art : Concept, FIAC 2012 ACCROCHAGE collections privées, Paris Cerith Wyn Evans, Musée d’Art Moderne de la Ville de Paris (Cat.) oeuvres de la collection Andreas Züst, Centre Culturel Suisse, Paris (Cat.) galerie Karsten Greve, Paris Claire Morgan Adam Füss, Paris-Photo FIAC 2012, galerie Denise René et galerie Aline Vidal 2011 RÉGIE Le Silo, exposition inaugurale, C. Andre, C. Bart, D. Buren, P. Downsbrough, Sol LeWitt, B. Lavier, F. Morellet, C. Rutault, R. Serra, N. Toroni, M. Verjux, L. Weiner, collection Jean-Philippe et Françoise Billarant (Cat.) 2011 ASSISTANCE TECHNIQUE Véronique Joumard, commande publique Jérôme Borel, commande publique 2011 ACCROCHAGE collections privées, Paris Une collection d’art contemporain Chinois , NEUFLIZE, Paris Alexandre Singh, galerie Art : Concept, Paris 2010 ASSISTANCE TECHNIQUE Felice Varini : Deux disques dans le carré dans l’arche , Lindau (Allemagne) 2010 ACCROCHAGE Collections d’entreprises, Paris Collections privées, Paris Philippe Pasqua, The Storage, exposition inaugurale, Saint-Ouen l’Aumône 2010 ASSISTANCE TECHNIQUE Felice Varini / Krijn de Kooning, château de Blandy-les-Tours Véronique Joumard étude pour une commande publique, Vitry-sur-seine Peinture thermosensible, galerie 108, FIAC, Paris La confusion des sens , espace culturel Louis Vuitton, Paris (Cat.) 2010 ACCROCHAGE David Lachapelle, rétrospective, Hôtel des Monnaies, Paris 2008 RÉGIE la maison rouge (fin : avril 2008) Pilar Albarracin (cat.) Gregor Schneider : Süsser Duft Marie Maillard, Wall 0208 2008 ACCROCHAGE Sigurdsson : Prints of body and light , galerie G. Maubrie, Paris Pierre Ardouvin : La Chose , Centre d’Art Bastille / L.I.A., Grenoble 2007 RÉGIE la maison rouge Sots Art (art et politique en Russie de 1972 à nos jours) Patrick van Caeckenbergh Felice Varini : Quatorze triangles Pavillon Seroussi (cat.) Tetsumi Kudo : La montagne que nous cherchons est dans la serre (cat.) Mutatis mutandis : extraits de la collection d’Antoine de Galbert Flavio Favelli Mounir Fatmi : Hommage à Jacques Derrida Jérôme Borel : Théâtre des opérations Daniela Franco : These shoes are made for walking John Menick : Occupation Hélène Delprat : w.o.r.k. & d.a.y.s. Nicolas Saada Suzanne Doppelt Sarkis : la Suite des Innocents P. Lévèque et S. Bouaziz : Fiancé Sophie Ristelhueber Vasco Araujo : Perruque 2007 ASSISTANCE TECHNIQUE Vasco Araujo - Krzystof Wodiczko, galerie G. Maubrie, Paris 2006 RÉGIE la maison rouge Busygoingcrazy, la collection Sylvio Perlstein (cat.), J. Albers, C. Andre, D. Baechler, B. & H. Becher, Ben, G. Bijl, E. Blumenfeld, Brassai, A. Breton, P. Eluard, D. Buren, P. Bury, A. Cadere, A. Calder, M. Cattelan, Christo, R. Long, B. Nauman, Sol Lewit, Man Ray, R. Ryman ... Henry Darger : Bruit et Fureur (cat.) Michaël Borremans : the Good Ingredients Denise A. Aubertin : les Livres cuits Une vision du monde : collection vidéo d’I. et J.-C. Lemaitre Nicolas Darrot : Oeuvre au noir 2005 RÉGIE la maison rouge Luc Delahaye Dieter Appelt Arnulf Rainer et sa collection d’art brut (cat.) Berlinde de Bruyckère : Een Ann Hamilton : Phora François Curlet et Donuts : Spotless Gerda Steiner et Jörg Lenzlinger : Méta-Jardin 2004 RÉGIE la maison rouge Central Station, collection Harald Falckenberg (cat.), V. Acconci, F. Ackermann, J. Baldessari, R. Barry, W. Büttner, J. Chamberlain, Erro, H.P. Feldman, Fischli & Weiss, D. Graham, R.Hamilton, M. Kelley, M. Kippenberger, (...) Anthony Mac Call : les films de lumière solide L’intime, le collectionneur derrière la porte (cat.), exposition inaugurale 2003 RÉGIE château d’Arenthon, fondation C. et J.-M. Salomon, Alex Jan Fabre (cat.) Elisa Sighicelli (cat.) 2002 RÉGIE château d’Arenthon, fondation C. et J.-M. Salomon, Alex Collection 1 : un choix dans la collection C. et J.-M. Salomon (cat.), M. Berkhemer, L. Bourgeois, J. Coplans, T. Cragg, J. Fabre, A. Ferrer, A. Gormley, Y. Kusama, G. Limone, R. Longo, E. Neto, W. Niedermayer ... Georges Rousse Rebuts / Rébus , G. Chaissac, T. Cragg, A. et P. Poirier, B. Réquichot, K. Schwitters Passion Partagée, 21 collectionneurs de la région grenobloise (cat.), Art 38, ancien musée de peinture de Grenoble 2002 ASSISTANCE TECHNIQUE Véronique Joumard, Ligne de lumière , université Stendhal, Échirolles, France 2001 RÉGIE Gilbert & George (cat.), exposition inaugurale du château d’ Arenthon, fondation C. et J.-M. Salomon, Alex, France 2001 ASSISTANCE TECHNIQUE Felice Varini Segni , Castelgrande Bellinzona, Suisse (cat.) Double diagonale : F.V. Hier und jetzt galerie Hoffmanm, Freidberg, Allemagne Anne et Patrick Poirier : Danger Zone 2000 RÉGIE C.N.A.C. Magasin, Grenoble Gary Panter Michael Smith (cat.) Fabrice Gygi (cat.) Christopher Williams Micropolitiques (cat.) 2000 ASSISTANCE TECHNIQUE Felice Varini A travers l’ellipse , Sapporo, Japon Deux lignes pour quatre points, incursion-excursion 3 arcs de cercle exentriques , Art Unlimited, Bâle, Suisse 273 Bd Pereire , réactualisation, musée d’art moderne de la ville de Paris Mike Kelley : Test Room / Frame and Framed , Migrosmuseum, Zurich, Suisse Christoph Hinterhuber, Nouvelle Galerie, Grenoble 1999 RÉGIE C.N.A.C. Magasin, Grenoble Mike Kelley (cat.) Jim Isermann : Vega John Miller, Economies Parrallèles Emilio Fantin : Rêves (cat.) L’architecture contemporaine en Flandres 1984-1998 La consolation (cat.) Managers de l’immaturité (cat.) Contextes différents 1998 ASSISTANCE TECHNIQUE Felice Varini 360° rouge n°2 , 50 Espèces d’espace, centre de la vieille charité, Marseille, France ensemble de six peintures, coll. privée, Siège Central Allianz, Berlin, Allemagne Centre d’art la Criée, Rennes Martine Aballéa : Hôtel Passager (cat) , musée d’art moderne de la ville de Paris Angela Bulloch, le Consortium, Dijon 1998 ACCROCHAGE musée d’art moderne de la ville de Paris, France Visions du Nord Edward Munch Mark Rothko 1997 ASSISTANCE TECHNIQUE Martine Aballéa, L’émission invisible Felice Varini, le bel aujourd’hui , (cat.) , nouveau musée, Villeurbanne, France 1997 ACCROCHAGE Gilbert & George, rétrospective (cat.), musée d’art moderne de la ville de Paris 1996 ASSISTANCE TECHNIQUE Martine Aballéa : L'émission invisible Felice Varini Galerie le sous-sol, Paris exposition collective, Gilles Mahé et la galerie du placard, Saint Briac, France Ellipse plein vide, rouge et bleu, Siège central de la société Générale, Paris collection privée, Boll Utzingen, Suisse, architectes : Atelier 5 Autour d’une Passion , château de Fraïsse des Corbières Trapezio con due diagonali , collection privée, Lugano Porza, Suisse Elisse rossa piena , collection publique, Lugano Besso, Suisse Trapèze désaxé autour du rectangle , école nationale d’architecture de Nancy, France lycée de Morestel, France Dries van Noten, défilé femmes printemps, Paris, France Marie Clérin, portraits d’Andres Serrano, Brooklyn, U.S.A. 1995 ASSISTANCE TECHNIQUE Martine Aballéa, L’émission invisible Felice Varini Fondation Émile Hugues, Vence, France Parking Grand Jardin, Vence, France Collection de la caisse des dépôts et consignations, Saint- Étienne, France commande privée, Union des Banques Suisses, Bâle, Suisse commande publique, école nationale de mécanique et de microtechniques de Besançon Passions Privées, musée d’art moderne de la ville de Paris, France commande publique, collège de Besso, Suisse collection privée, Riva, Suisse collection privée, Minusio, Suisse 1994 ASSISTANCE TECHNIQUE Felice Varini Hôtel Huger, la Flèche, France Art Front Gallery, Tokyo, Japon Cinq peintures dans le parking Grand Palais, Euralille, Lille, France 1993 ASSISTANCE TECHNIQUE Felice Varini la Filature, Mulhouse, France (cat.) musée cantonal des beaux-arts de Sion, Suisse (cat.) Helmaus, Zurich, Suisse exposition collective, musée d’art moderne de la ville de Paris commande publique, station Jean-Jaurès, métro de Toulouse, France 1992 ASSISTANCE TECHNIQUE Felice Varini Expo 92 , pavillon Suisse, Séville, Espagne le consortium, Dijon galerie Jennifer Flay, Paris collection privée, Nantes 1991 RÉGIE No Man’s Time , R. Agerbeek, H. Bond, groupe BP, A. Bulloch, collection Y. Ja et P. Devautour, S. Fleury, L. Gillick, D. Gonzales-Foerster, F. Gonzales-Torrès, P. Joseph, K. Killimnick, A. Morgana, J. Muyle, P. Parreno, R. Pettibon, Pruitt & Early, A. Ruppersberg, L.van der Stokker, X. Veilhan, villa Arson, Nice 1991 ASSISTANCE TECHNIQUE Bernard Joisten, galerie Air de Paris, Nice Felice Varini Juste en Dessous 6 (cat.), villa Arson, Nice Poste Centrale de Genève, Suisse Isabelle Degeilh, Clementinum, Prague, Tchécoslovaquie Pierre Joseph et Phillippe Parreno : Snaking , galerie Air de Paris, Nice 1990 RÉGIE, Franz Herrard Walter, villa Arson, Nice 1990 ASSISTANCE TECHNIQUE Willy Kopf, villa Arson, Nice Claude Rutault, hôtel Windsor, Nice Cécile Bart, atelier, Saint Denis, France Marylène Negro, galerie Pierre Bernard, Nice J. Dauriac, P. Gonze, K. Sander, Construction and Progress , Lodz, Pologne (cat.) Paul Gonze, Mont des Arts, Bruxelles, Belgique 1989 RÉGIE Noël Dolla, villa Arson, Nice (cat) 1989 ASSISTANCE TECHNIQUE Robert Combas, Présence Panchounette, galerie Christianne le Chanjour, Nice Ben Vautier, atelier, Nice Pas à côté, Pas n’importe Où , J. Armeleder, R. Barry, L. Deleu, H. Duprat, B. Lavier, G. Mahé, M. Nordman, J.-L. Vilmouth, villa Arson, Nice (cat.) Peter Downsbrough, Rotterdam, Hollande John Armeleder, Erik Dietman, galerie Catherine Issert, Saint-Paul de Vence David Salle, exposition inaugurale, fondation Daniel Templon, Fréjus 1988 ASSISTANCE TECHNIQUE Claude Rutault, 18 studios , villa Arson, Nice (cat.) Sous le Soleil Exactement , M. Corris, Y. Ja et P. Devautour, P. Downsbrough, J. Gerz, É. Maillet, H. Orochakoff, G. Traquandi, J. Vieille, J.-L. Vilmouth, villa Arson, Nice (cat.) Up

SYLVAIN SORGATO ENSEIGNANT À propos BIO À propos À propos À propos À propos Nouvelle page Blog RESSOURCES KAÏROS KAÏROS KAÏROS KAÏROS ARCHIVES À propos Résultats de recherche 2023 Histoire de l'art, de 1778 à nos jours, UPT Montereau Expographie - Sciences et Techniques de l'Exposition, UPJV Amiens 2009-2023 Expographie - Sciences et Techniques de l'Exposition, UPJV, Amiens 2018-2022 Expographie - Sciences et Techniques de l'Exposition, IESA, Paris 2017 Expographie - Sciences et Techniques de l'Exposition, L. Art university / POE Consulting 2010-2017 Expographie - Sciences et Techniques de l'Exposition , Paris I - Sorbonne 2014 Workshop , Micro-Édition , ENSA, Limoges 2011 Workshops Maîtres d'oeuvres / Maîtres d'Ouvrage , ESA de Clermont-Métropole Ah! Le Hall, ENSAPC, Cergy 2007 Jurys Prix Gras Savoie pour l'Art Contemporain, villa Arson, Nice DNSEP de l'école des Arts Décoratifs de Paris 1998 Pratiques Minimales de l'Art Contemporain , Université Paris 8 - Nanterre 1997 Pratiques Minimales de l'Art Contemporain , Université Paris 8 - Nanterre 1996 Pratiques Minimales de l'Art Contemporain , Université Paris 8 - Nanterre Up

SYLVAIN SORGATO COMMISSAIRE À propos BIO À propos À propos À propos À propos Nouvelle page Blog RESSOURCES KAÏROS KAÏROS KAÏROS KAÏROS ARCHIVES À propos Résultats de recherche 2023 Carrés sur l'Axe (cat), J. Borel, La Furieuse Company, Léa Eouzan-Pieri, C. Hinterhuber, C. Jankovski, G. Lego, S. Loye, M. Mont, J. Savoye et S. Sorgato, Vernou sur Seine et ses environs 2019 Jean-Philippe Roux, Hôtel Élysées-Mermoz, Paris 2018 Hôtel Élysées-Mermoz, Paris Sans Clou ni Vis , John M. Armleder, C. Hinterhuber, G. Lego et O. Malessène Élise Bergamini : Sans Titre Apparent (cat.) Florent Audoye : Paperwork 2017 Hôtel Elysées-Mermoz, Paris Sophie Chaintrier : Là où je suis, j’allais déjà Ce que la photographie peut pour l’art , E. Bernadas, O. Breuil, R. Cattenoz, N. Chesnais, C. Giordano, C. Laigle, N. Nadaud, N. Polovski, É. Poisson, L. Poulet et S. Sorgato Jeu de Mains , F. Arraya, O. Breuil, C. Cuzin, C. Giordano, C. Hinterhuber, H.-S. Jin, G. Lego, O. Malessène, C. Martin, V. Mesaros, J. Savoye, We Are The Painters Be my Guest, O. Breuil, C. Cuzin, É. Duserre, G. Lego, O. Malessène, J. Savoye, We Are The Painters La Main Invisible , F. Audoye, V. Balatsos, J. Blanpied, J. Borel, M. Bourdanove, O. Breuil, D. Brun, A. Callay, C. Cuzin, J.-F. Demeure, É. Duserre, L. Eouzan-Pieri, A. Erre, I. Ferreira, P. Fraenkel, La Furieuse Company, L. Gary, C. Giordano, C. Hinterhuber, C. Laroche, G. Légo, J. Lévy, A. Lucas-Gary, O. Malessène, C. Martin, V. Mesaros, M. Mont, É. Msika, J. Rault, M. Sanheira, J. Savoye, T. Schaelstraete, Z. Sharipova, A. Sorgato, S. Sorgato, J.-M. Thommen et E. Villard, La Belle Absente / Présente, Paris 2016 Hôtel Elysées-Mermoz, Paris L’avaleur de langage ment : Pierre Fraenkel et la Furieuse Company Isabelle Ferreira : She always folds her napkins in the shape of a flower Martin Bourdanove : les Lucioles Christophe Cuzin : Hoops! Elvire Bonduelle : Le Meilleur Monde Léa Eouzan-Pieri : Neyret Peter Downsbrough : Books / Livres / Libbri / Boeken / Bücher / Książki 2015 Colombe Marcasiano : Greetings!, Hôtel Élysées-Mermoz, Paris LivreS d’ArtisteS , M. Aballéa, K. Christidi, C. Cuzin, L. De Leersnyder, J. M. Espitallier, B. Géhanne, N. Guiet, V. Joumard, L. Le Bricomte, E. Maillet, C. Marcasiano, M. Mont, E. Msika, (…) LivreS d’ArtisteS Premium, J. Borel, M. Bourdanove, O. Breuil, C. Dugit-Gros, c. Laroche, R. Martinez (…) 2013 Loft-Artplace, Paris Édouard Prulhière Guillaume Millet : Les Peintures Grises Miquel Mont 2012 Andrew Dadson, On Kawara et Adam McEwen, Loft-Artplace, Paris Pour que les murs se souviennent , J.-M. Alberola, J. M. Armeleder, É. Boutry, c. Cuzin, T. de Giallully, E. Heydayat, V. Joumard, M. Mont, F. Morellet, C. Rutault, S. Sorgato, S. Thidet et F. Varini, Galerie Aline Vidal, Paris 2011 C.O.N.S.O.L.E. , Paris Pas au-delà du vernissage 4 - Les artistes habitués du Bar du Marché Pas au-delà du vernissage 2 - un dessin mural de Stephen Loye Pas au-delà du vernissage 1 - une peinture murale de Pierre Fraenkel 2007 Fred Sandback : Minimal / Maximal , Musée de Grenoble / CAB Grenoble Stéphane Albert et Nicolas Guiet : Antistatique , la maison rouge, Paris Up