Stéphane Bordarier, 65 tableaux

Technical details 

: 16,5 x 22 cm, 128 pages, hardback.
Authors : interview and conversation between Stéphane Bordarier and Erik Verhagen.
November 2017.
Isbn : 978-2-35864-109-8.
Public price : 26€.


The time it takes to make a painting is made up of the action of painting plus time spent in contemplation, which accompanies and follows it. I willingly allow myself – and I even actively seek – to be carried away in the momentum of a ‘series’ of paintings: this is the only way that unexpected, non-thought things can enter into it and push it forward. It happens when you get to the point where you no longer know you’re in the middle of making a painting, where the act breaks away and, in its relative autonomy, lets things happen. A familiar tune, whose transcendent aspect must not be trusted. Of course, this non-thought must then become thought! In this way it confronts its own era, the history of painting and philosophy, and the work of other artists. The more severe the confrontation, the more the position I have just described in paintings may be perceived for what it is. What is decidedly more interesting again is that it’s in the very act of painting-beyond-the-canvas that a part of this contemplation occurs, in a totally unconscious and certainly the sharpest manner, which brings a maximum of things into question. Stéphane Bordarier, interview with Erik Verhagen

Album, Françoise et Dominique Dupuy

Technical details 

: 20 x 26 cm, 192 pages, soft cover.
Authors : N+N Corsino, Eugenia Casini Ropa.
Published in October 2017.
Isbn : 978-2-35864-102-9.
Public price : 28€.


Even in images, this is far from a life story.
There are dates, that’s true, but not in order.
A journey, true, but in fragments, the works coming together in a blinding overview of time.
A dislocation, giving rise to a kind of dance of images. Only the dancers, and their profound silence, shot in the moment as if caught in the act, or at moments of pause, like a studied portrait.
Words come, not to take the lead, but to follow; not an explanation but rather a record.
Perhaps they have nothing to impose, and it’s better this way.
Images and words which appear to say, simply:
“You were dancing – I’m so glad. Now, let’s dance.”

Françoise et Dominique Dupuy


Paul Armand Gette [collection Maison Bernard, Fonds de dotation. N01]

Technical details 

: 15 x 21 cm, 92 pages, softback.
Authors : Lydie Rekow-Fond, conversation between Paul Armand Gette and Isabelle Bernard.
Published in September 2017.
Isbn : 978-2-35864-103-6.
Public price : 22€.


«It was inevitable !». When he wrote this simple sentence, Paul Armand Gette summed up his involvement with Maison Bernard, a relationship which has flourished over many years. In 1990, he inaugurated gallerie Paul Bernard in Nice with an exhibition he had “long been dreaming of”,and then came to visit the house built by Antti Lovag at Théoule-sur-Mer. The years went by, Pierre Bernard and Antti Lovag passed away, and the house was passed on to the next generation and transformed with the addition of, among other things, an artist residency. Selecting Paul Armand Gette as the first artist to work in the house is but a continuation of the ethos of working with the spirit of the place. The three men shared a taste for freedom, this certainty that anything is possible which has pushed them to break free from norms and to transgress our biases, to explore new territory, asking how can one inhabit a domestic space? and what are we looking at? And Antti Lovag and Paul Armand Gette, who love to flirt with provocation, both claimed DIY as a method to play with architecture and art in their own way, and which allowed them to, “just like that”, create a body of work with a detachment which combines discretion and a lightness of touch. Both men have fought against arbitrary hierarchies. For them, there are no ‘dignified’ spaces, nor any which are ‘lowly’. Isabelle Bernard

Marc Johnson, Fecund Lacuna

Authors :  Éric Crubézy, Rozenn Colleter & Paul-Anthelme Adèle, Stefan Lorenz Sorgner, Valérie Knochel-Abecassis & Marc Johnson.
Technical details 

: 17 x 24,5 cm, 144 pages, softbound.
Languages : French – English.
Graphic design : Baldinger Vu-Huu
To be released in January 2017.
Isbn : 978-2-35864-098-5.
Public price : 28€.

Coedition La Maréchalerie – centre d’art contemporain, École Nationale Supérieure d’Architecture de Versailles. with the support of LVMH and private sponsors; and in partnership with Inrap.


Art, archaeology, genetics : Is transhumanism the most dangerous idea in the world?

Marc Johnson, artist, architect and filmmaker is like the philosopher and the epistemologist, a researcher in constant search for knowledge and understanding of the world. Conceived as an art book, this publication demonstrates the working methods and the ambition of questioning what is fundamentally at stake in the world of today, and in the development and the future of humanity. More than a year of research dedicated to archeaology, during which the artist explored this discipline with the support of the Inrap. A science that, by crossing his research with the expertise of the most advanced disciplines, in particular genetics, sheds light on human history, questioning today and anticipating the future. This is precisely what the specialists, invited by Marc Johnson, highlight throughout their own experiences in this book. The anthropologists Rozenn Colleter — in collaboration with Paul-Anthelme Adèle, jurist — and Éric Crubézy, illustrate today’s impact on the analyses of relics of the past. Stefan Lorenz Sorgner, philosopher, reflects on the evolution of humankind. Having analysed the posthumanist and transhumanist movements, he argues for a “metahumanity”. By presenting these texts alongside a selection of archaeological excavation photographs, sampled from the iconographic collection of the Inrap and images from the site-specific installation, Marc Johnson performs an original layout elaborated in sequences, visually acquainted with a research project. He tells a story which can only concern us, the story of humanity. Making sense as he questions us about our final outcome. [Valérie Knochel-Abecassis]





Crédit photo : Toan Vu-Huu

Note : The book is a metaphor for an archaeological dig under exploration. The blank of the page (lacuna) is the unexplored territory. The text blocks represents the archaeologists at work (the excavation). The unexplored (the blank of the page) changesas reading progresses. Finally, the excavation (reading) reveals a relic (a photograph) in place of the unexplored territory of departure. This movement in the stratigraphic depths of the earth (the volume of the book) is developing like a storyboard in which a double narrative appears (the text and the pictures). This artist’s book is a treasure hunt built with Stimmungen (moods of affective tonalities). It is composed of 5 parts (30 photographs from the digital library of the National Institute for Preventive Archaeological Research). This assemblage resonates near three essays and an interview that punctuate this proposal with polyglossia. [Marc Johnson]

Marc Johnson is a visual artist, filmmaker and license architect. He is the author of YúYú short-film with which he won the Best Short Film award at the International Film Festival, Las Palmas de Grand Canaria, Spain in 2016. Winner of the LVMH Young Artist award competition in 2009, he presented his works at Sundance, USA in 2016 at the Moscow Biennale for young art, Russia in 2016, at Arc en rêve architecture center, France in 2016, at Berlinale Shorts in 2015 and at Jeu de Paume, art center in Paris in 2014. He studied at the École nationale supérieure des beaux-arts de Paris, École nationale supérieure d’architecture de Paris-Malaquais at the Hunter College of Art, MFA program in New York and at the academy of Arts in Hangzhou, China.

Parages, Guillaume Robert

Authors : collective.
Technical details 

: 20,4 x 24 cm, 336 pages, softback.
Language : French-English.
September 2016.
Isbn : 978-2-35864-093-0.
Public price : 32€.


In French, a parage initially refers to the waters alongside the coast across which one makes one’s way up to the dock. With no beacons around, an unpredictable route remains to be opened. The parage is illegible. No cartographic marking has ever traced it. One should grope so as to get closer; the shore does exist. Yet, generally speaking, the parage is within reach. Parages devise a circle of vicinity, they stand all around, as close horizons. In Parages, designed to be an artist’s monograph as well as an artist’s book, I unveil my practice as a video maker and a visual artist throughout seven chapters. Seven chapters, seven different forms that keep the back and forth movement between proximity and distance alive and persistent, instilling strangeness into what is close, and making familiar what is in the distance. Each chapter takes an area as its own, lands on a context, reaches another one, and initiates a specific process of exploration. These processes take the shape of scripts in action and in movement, scripts that allow us to sail on sight, to seize the chance. So the singularity of my practice is not so much characterised by the media I use, as by my specific relationship, an almost narrative one, to the production process. As a result, some reflective, poetic and sometimes purely sensitive experiences build up territories at the junction of different fields (literature, cinema, science, geopolitics, art history…). As regards four of these chapters, I call on different artists whose artworks neighbour my parages. With their own practices, Louise Hervé & Chloé Maillet, Rémy Héritier, Marceline Delbecq and Jean-Xavier Renaud contribute to shedding light on one of the projects presented in this publication. Such invitations are helpful to understanding the part my work plays in the field of contemporary creation. They also echo my methodology, which consists in initiating collaborative spaces. A mechanic, a geophysicist, a dancer, a blacksmith, an electrician, a musician, a brother, an actress, a beekeeper, a shepherd. As many figures, encounters and savoir-faires that inspire the areas I travel through and give shape to. [Guillaume Robert, preface]

Coedition galerie Françoise Besson with the support of Centre national des arts plastiques, Région Limousin, association Mamie Küsters, Centre d’art contemporain MAGP, Centre international de l’art et du paysage de l’île de Vassivière, Maison Salvan, Centre de la photographie d’Île-de-France.

Jean Denant

Authors : Manuel Pomar (preface), Antonia Birnbaum.
Technical details 

: 17 x 24 cm, 184 pages, hardback.
Language : French-English.
September 2016.
Isbn : 978-2-35864-099-2.
Public price : 28€.


an-jdenant-int3 an-jdenant-int2 an-jdenant-int1

Jean Denant addresses the world. He considers the context of his work on a geopolitical scale. It is by connecting the most trivial everyday life to the major upheavals of History that he is able to reach this universal dimension. His pieces are tautological, the shape, materials, gesture and context build an open approach where criticism is always present. Although he creates objects that have the ability to circulate, he also pays just as much attention to their spatial installation. His exhibitions always have a dimension of immersion. He orchestrates paintings and sculptures in order to completely immerse the onlooker. The scale of his works responds to this desire but also intimately conjures up the artist’s relation to his own work. Jean Denant is particularly fond of his workshop experience and this is where he builds his works to scale. He still demonstrates an economy of action and materials. Extracting matter from plaster board and wood in order to design furniture, carving supporting wood to draw forests, agglomerating debris to build pots, for each action there is a material. This formal simplicity contrasts with the complexity of the words. A work of scale, from the human to the world, the town to the individual, geological to memory, intimate to universal, Jean Denant expresses the forces of the world and their contradictions. [Manuel Pomar, excerpt from the preface]

With the support of iKone, Genève, galerie Anne de Villepoix, Paris, Site archéologique Lattara – Musée Henri-Prades, Lattes, Fonds régional d’art contemporain Languedoc-Roussillon, Montpellier, Lieu-Commun, Artist Run Space, Toulouse, Ville de Sète, Thau Agglo.

Glenn Brown

Co-edition with Fondation Vincent van Gogh Arles.
Authors : Glenn Brown, Bice Curiger, Judicaël Lavrador.
Technical details 

: 24,5 x 31 cm, 96 pages.
Language : français-anglais.
Published on 2016.
Isbn : 978-2-35864-092-3.
Public price : 26€.


One of the most singular British artists working today, Glenn Brown draws his inspiration from art history, which he revisits and reinterprets in a unique manner. This catalogue, dedicated not only to his paintings but also to his sculptures and drawings, aims to convey the full creative scope of Glenn Brown’s oeuvre and his leading role in the renewal of contemporary painting.

After completing his MA in 1992 at London’s distinguished Goldsmiths College, Glenn Brown, born in 1966, struck out against the prevailing artistic current. At this epoch painting – and figurative painting even more so – was viewed as the poor relation among the media available to modern art. While his contemporaries were asking themselves the question “Why bother painting?”, Glenn Brown chose to make the brushmarks of earlier masters, such as Vincent van Gogh, the subject of his paintings.
The Fondation Vincent van Gogh Arles pays tribute to Glenn Brown with a major retrospective bringing together some thirty works. This event marks an important milestone, not only because it has been 16 years since the last retrospective of the artist’s oeuvre was held in France in 2000, but also because the exhibition unites all three media in which Glenn Brown is today active: painting, sculpture and drawing.
Since 2013 Glenn Brown has pursued drawing as an autonomous means of artistic expression, in graphic works whose surfaces are covered with an ensemble of marks and sinuous lines that interweave and reply to each other. His drawings also maintain a thematic and visceral relationship with his paintings and sculptures. These latter deploy brush strokes that have been liberated from the flat surface of his paintings and which now constitute condensed agglomerates in a medley of hues laid down on top of a base of bronze. The three new sculptures created by the artist for the exhibition Suffer Well may be read as 3D translations of the brushmarks of Frank Auerbach and of the misleading and dated colours of reproductions of works by Vincent van Gogh. One such reproduction, showing Field with Irises near Arles (of which the original painted by Van Gogh in 1888 can be seen in our other exhibition), provided the palette of Glenn Brown’s 2016 sculpture The Flowers of Arles. This profusion of tactile matter dialogues with the artist’s canvases which, although entirely smooth, likewise give the impression of an interplay of textures and feverish visual masses.
It is thus that Glenn Brown’s art reveals the subjective force of his translations of reproductions of works by earlier masters, his atomization of painting, and the inexhaustible inventiveness of his practice, which appropriates the styles and colours of drawings and classical paintings. Emanating from his works – whether drawings or paintings – is a plural, blurred and fluid reality, whose visual ambiguity evokes that peculiar to our own digital epoch.
The exhibition borrows its title Suffer Well from a song by the group Depeche Mode, as well as from one of the paintings on show, whose motif is constructed from the famous Head of a Skeleton with Burning Cigarette (1885/86) by Van Gogh. Glenn Brown’s practice is fuelled by this same interweaving of “dissonant” references, ranging from the Baroque to German realism, from new wave music to the genre of horror – and passing, of course, via the works of Van Gogh, which the artist examines with the keen eye of a goldsmith.
[Bice Curiger, curator of the exhibition]

Exhibition Glenn Brown, « Suffer Well », Fondation Vincent van Gogh Arles, from 14 May to 11 September 2016.

La cellule

Author : Marie de Brugerolle.
Technical details 

: 19 x 26 cm, 100 pages, softback + leporello.
Languages : French – English.
Graphc design : Fanette Mellier.
March 2016.
Isbn : 978-2-35864-086-2.
Public price : 22€.


La cellule (Becquemin&Sagot) is an entity formed by two individuals. Two artists, Stéphanie Sagot et Emmanuelle Becquemin explore desire in the context of our post industrial, post human society, between globalisation and sustainable development, in this “glocalisation” that produces new objects, new temptations and new perversions. Infiltrating a number of territories, Stéphanie Sagot et Emmanuelle Becquemin “re-enchant” a world that, for them, is only the decor for a party on infinite loop.
La cellule (Becquemin & Sagot), a false couple of fraternal twins that play at being copies of the real, stringing along the shams and the frauds. They use the operating modes of art and its tiny world to travel, hijacking the usual codes and making art there where we would never expect to find it. Making us see something from a new angle, which is what seduction really means. Veering away from, and changing the route that has been planned, sidestepping it to consider at the world in a critical manner. Beyond jouissance, far from instant gratification, their artworks are bones coated in marshmallow.
[Marie de Brugerolle, excerpt]

With the support of Région Languedoc-Roussillon-Midi-Pyérénées, Chapelle Saint-Jacques centre d’art contemporain, Caza d’Oro, musée Calbet, Alliance française de Rio, Alexander and Olga Kamenets – Cultural fund of Alexander and Olga Kamenets –, Philippe Faur.

Giorgio Griffa

Authors : Bice Curiger, Giorgio Griffa, Francesco Manacorda
Technical details 

: 24,5 x 31 cm, 72 pages.
Languages : French-English.
February 2016.
Isbn : 978-2-35864-085-5.
Public price : 24€.


The art of the italian artist Giorgio Griffa developed quietly and with impressive coherence outside the latest movements broadly outlined on the contemporary scene. At the beginning of his career Griffa nonetheless associated himself with the representatives of Arte Povera, with whom he exhibited on numerous occasions in the 1960s and 1970s. His simultaneously “minimalist” painting also displayed an affinity in particular with the group Supports / Surfaces in France.
Elegant, unprimed and unstretched, the canvases by Italian artist Giorgio Griffa offer constellations of horizontal lines and the numerals of the golden mean in a graceful and warm minimalism. Like a melody, a rhythm or a line of poetry, these painted signs in half-tones convey a certain lyricism, one that is also found in the artist’s poems.
Griffa’s raw canvases are covered with marks in pastel shades of acrylic paint, which he says “are performed by the brush, by my hand, the paint, my concentration, etc.” They attest to his admiration for the artists of ancient times, and his “feeling for the centuries-old memory of painting”. His solo show at the Fondation presents earlier as well as very recent works, including Canone aureo 705 (VVG) (2015), a breath-taking homage to Vincent van Gogh’s Starry Night of 1889.

Exhibition Giorgio Griffa, Fondation Vincent van Gogh Arles, from February 13 to April 24, 2016.

autour des œuvres de Céleste Boursier-Mougenot

Par Benoît Viguier

Que ne puis-je muer ma ressemblance humaine
En la forme de l’eau qui cette barque emmène !
Pierre de Ronsard

“Les télescopages, dans les œuvres de Céleste Boursier-Mougenot, laissent une empreinte durable chez celui qui en fait l’expérience ; une trace sensorielle, mémorielle, à la fois fragile et ténue. […]
Ces traces, ces devenirs surgissent à nouveau dans la solitude, si peuplée, de la lecture. Au détour d’une page, les mots suscitent des rapprochements instantanés et joyeux. Les «vessels» de James Joyce, à la fois vaisseaux et récipients, font résonner les bols de porcelaine avec mes propres souvenirs d’enfant. La neige du «goût de néant» de Baudelaire m’engloutit avec une grande actualité dans sa rencontre avec le poste de secours recouvert de matière blanche en expansion sur la plage de Santa Monica. Les œuvres de Céleste Boursier-Mougenot, jamais ouvertement citationnelles, et sans doute pour cette raison même, me font à leur tour saisir ces textes oubliés, ouvrant des possibles qui semblaient à tout jamais refermés.”

Publié grâce à la collaboration d’Iconoscope, Montpellier, et avec le soutien du ministère de la Culture et de la Communication, Drac Languedoc-Roussillon.

Auteur : Benoît Viguier.

: 16 x 21 cm, 96 pages, broché.
Langues : français, anglais.
Parution juillet 2015.
Isbn : 978-2-35864-078-7.
Prix public : 17€.


téléchargeR un extrait au format epub

Dans la même collection :
Tombeau, variation autour des œuvres de Claude Lévêque

Céleste Boursier-Mougenot, perturbations

perturbations est la deuxième monographie consacrée à l’œuvre de Céleste Boursier-Mougenot chez Analogues. Né en 1961 à Nice, cet artiste vit aujourd’hui à Sète et présente à travers le monde ses oiseaux, piscines, poissons, plantes, guitares électriques, pianos, déplaçant et réinterprétant à chaque occasion ses installations.

perturbations conduit aujourd’hui le lecteur vers des rapports à la sculpture, à l’espace, à l’installation, au mouvement, au multimédia. L’exposition éponyme présentée aux Abattoirs à Toulouse jalonne le livre de repères et d’ouvertures vers un choix d’œuvres de Céleste Boursier-Mougenot produites depuis 2008 et exposées à la Barbican artgallery à Londres, au Musée national d’art contemporain de Séoul, au Umass Fine Arts Center à Amherst (États-Unis) ou au Musée d’art contemporain de Tokyo, mais aussi à la Maison rouge ou au Collège des Bernardins à Paris.

Publié avec les Abattoirs, Toulouse, la galerie Xippas, Paris, la galerie Paula Cooper, New York, la galerie Mazzoli, Berlin, et avec le soutien du Cnap, Centre national des arts plastiques, aide à l’édition.
Auteurs : Olivier Michelon, Emanuele Quinz, Nikola Jankovic, Emma Lavigne.

: 17 x 24 cm, 224 pages, broché.
Langues : français, anglais.
Parution mai 2015.
Isbn : 978-2-35864-058-9.
Prix public : 32€.



Céleste Boursier-Mougenot, états seconds

états seconds présente des œuvres de 1995 à 2008, et soulève des questions incontournables de position du travail entre arts plastiques et musique. Les premières œuvres plastiques de Céleste Boursier-Mougenot s’incrivent en effet dans la suite de son expérience en tant que compositeur, de 1985 à 1994. Céleste Boursier-Mougenot entreprend alors de donner une forme autonome à sa musique en réalisant des installations.

Publié avec le Collège/Frac Champagne-Ardenne, Reims, Césaré, studio de création musicale, Reims, Frac Lorraine, Metz, Grand Café, centre d’art contemporain, Saint-Nazaire, Chapelle du Genêteil, centre d’art contemporain, Le Carré scène nationale, Château-Gontier, galerie Paula Cooper, New York et galerie Xippas, Paris.

Auteurs : Samuel Bianchini, Céleste Boursier-Mougenot, Christophe Kihm, François Quintin, Peter Szendy.
Descriptif : 17 x 24 cm, 208 pages, broché.
Langues : français, anglais.
Parution : avril 2008.
Isbn : 9782915772074.
Prix public : 32 €.


Céleste Boursier-Mougenot, rêvolutions – Pavillon français, Biennale de Venise 2015

Né en 1961 à Nice, Céleste Boursier-Mougenot vit à Sète et présente ses œuvres à travers le monde. Son travail s’inscrit dans la suite de son expérience en tant que compositeur jusqu’en 1994. Céleste Boursier-Mougenot entreprend alors de donner une forme autonome à sa musique en réalisant des installations. En 2015, il représente la France à la Biennale de Venise et conçoit l’exposition rêvolutions comme un îlot organique, avec la commissaire Emma Lavigne.

À Venise, Céleste Boursier-Mougenot ravive notre goût pour le merveilleux des jardins maniéristes italiens tout en réaffirmant sa contemporanéité et la dimension politique qui le sous-tend. Il s’agit de s’emparer des systèmes de contrôle des êtres vivants et de leurs déplacements, pour composer une œuvre poétique où l’humain semble pouvoir habiter des espaces de liberté et de beauté déviante.

Le catalogue réunit des essais de trois auteurs, Emma Lavigne, commissaire du projet, Emanuele Quinz, historien d’art, Hervé Brunon, historien des jardins et du paysage. Ces essais sont accompagnés d’illustrations de référence et prolongés par un ensemble de vues de rêvolutions composé avec le flux et le temps des œuvres comme des visiteurs.

Publié à l’occasion de l’exposition rêvolutions, Céleste Boursier-Mougenot, Pavillon français de la 56e Exposition internationale d’arts visuels – La Biennale di Venezia, 2015 et produit avec l’Institut français en étroite collaboration avec le ministère de la Culture et de la Communication – Direction générale de la création artistique (DGCA).


Auteurs : Hervé Brunon, Emanuele Quinz, Emma Lavigne.

: 20 x 26,5 cm, 160 pages, broché.
Langues : français, anglais.
Parution 2 juin 2015.
Isbn : 978-2-35864-066-4.
Prix public : 34€.