#jean guillaume bart

[strechanadi]

Silvia Saint-Martin, Jean Guillaume Bart

Don Quichotte rehearsal

photo Julien Benhamou

[kameliendame]

The Bolshoi Ballet posted an obituary on their youtube channel for Pierre Lacotte, who passed away on April 10th. This is such a sweet video. They included backstage footage of him interacting with all the dancers as well and you can just tell how much he loved to be at the Bolshoi and how much he was loved in return. No wonder he was staging so many of his ballets there, overseeing everything from the rehearsals to the broadcast. Rest in peace to one of the greatest choreographers of the 20th and 21st century.

[leftprohans]

Schau dir "Carnet de Bals 2015 : Championnat de France - Valse du Papillon - Jean-Guillaume Bart et Olivia Wely" auf YouTube an

[gorbigorbi]

Agnès Letestu and Jean Guillaume Bart

[kitsnicket]

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hey im throwing a ball and the only requirement is you learn to dance this hope everyone is ready!

dancers are: Christine de Gioanni, Olivia Wély, Jean-Guillaume Bart et Alexandre Emard during the first Championnat de Paris de Danse historique, organized by Association Carnet de Bal. more information on the reconstruction here: http://socialdance.stanford.edu/syllabi/Cancan_Quadrille_CdeBal.PDF

[goalhofer]

2020 Olympics France Roster

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Dora Tchakounté (Yaoundé, Cameroon)

Gaëlle Nayo-Ketchanke (Clermont-l'Hérault)

[mickeypamo]

Paris Opera Ballet morning class with Jean-Guillaume Bart | World Ballet...

[gramilano]

The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Jean-Guillaume Bart, former Étoile at the Paris Opera Ballet, created his version of The Sleeping Beauty for his POB colleague Eleonora Abbagnato — currently both an Étoile in Paris as well as director of the Rome Opera Ballet — in 2017. Some of it works, some does not.

He has opened up many cuts, though often without having a particularly interesting idea of how to fill the extra music. One nice touch was a pre-prologue prologue; a mime scene behind a front gauze which sees the young King Florestan banishing Carabosse so that he can take possession of all her lands. He finds his queen, and the scene finishes with her showing her pregnant profile… thus, ready for the prologue. It’s an efficient way of explaining why Carabosse is so mad at the King.

Bart’s choreography can be bland for the corps, or pointlessly difficult for the principals. Marianela Nuñez, who was the guest Aurora for the opening two performances, was given jumping èchappés toward the end of the vision scene which jolted the sequence, taking away grace from a poetic moment, and it looked uncomfortable. Bart grew up with Nureyev’s version at the Paris Opera Ballet which, though eccentric at times, always maximizes a dancer’s potential.

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (2)

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (3)

Nuñez was, of course, a radiant star and, especially in the first act, she shone with the joy of a young girl in love with life. Audible gasps could be heard as she gave an extra beat to a balance, and all was sublimely satisfying, from her technical wizardry to her refined interpretation. The roses were offered loving to the Queen, not chucked to the ground; her subtle ‘oh, it’s nothing’ after being pricked by the spindle didn’t mark the beginning of a Giselle-style mad scene; and she constantly interacted with everyone around her… friends, family, courtiers.

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (6)

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (5)

Marianela Nuñez in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (4)

Vadim Muntagirov’s last minute indisposition resulted in him being replaced — in a coup of luxury casting — by Vladislav Lantratov who was performing in The Taming of the Shrew with the Bolshoi at La Scala. There couldn’t be a greater difference in roles than between Prince Desiré and Petruchio, yet how excellent he was in both. The Russian expansiveness of his movements meant he found Rome’s stage small, often finishing a manège millimetres from the proscenium arch, but he is no bold and brash show-off as he’s also tender, precise, and noble. Oh yes, and lands in a perfect fifth-position after every double en tour!

Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Marianna Suriano and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Another main dancing character in this version is Carabosse, who jetès her way around the stage trying to be frightening and performs hundreds of steps to little effect. Alessandra Amato gave her all, but she had no moody lighting to help her, was casually carried of backwards after her curse as though what she’d been doing wasn’t all that important anyway, and the whole of Carabosse’s prologue participation lacked clarity, dynamic and force. Children were terrified when Monica Mason came on at Covent Garden in the 1970s – here, I imagine, they just shrugged… Whatever!

The Rome company is in a good form. The corps moves well together and there are some sharply disciplined performances from the soloists. Maybe their dancing sometimes lacks a little flair. They are well behaved, but a little flashy chutzpah wouldn’t come amiss.

The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

Marianna Suriano was suitably luminous and gracious as the Lilac Fairy, Susanna Salvi was a sparkling diamond, both with her technique and her enchanting personality (and she was later an alternate Aurora), and Sara Loro was a confident and delightful Princess Florine (Simone Agrò was her disappointing Bluebird).

Rome Opera was sinking in a financial quagmire just a few seasons ago, and this production has retained the sumptuous sets and costumes by Aldo Buti which were created for the first-rate 2002 production by Canadian choreographer, and former dancer, Paul Chalmer. While I don’t see the point in dropping that version for this of Bart, I commend Abbagnato’s responsible decision to maintain the previous production, and Bart for having accepted the inherent constraints.

Marianela Nuñez and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (5)

Marianela Nuñez and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (4)

Marianela Nuñez and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama (3)

Marianela Nuñez and Vladislav Lantratov in The Sleeping Beauty, Rome Opera Ballet © Yasuko Kageyama

The Sleeping Beauty with Marianela Nuñez and Vladislav Lantratov at the Rome Opera Ballet Jean-Guillaume Bart, former Étoile at the Paris Opera Ballet, created his version of The Sleeping Beauty…

[bartcassiman]

Bart Cassiman (°1961), freelance-curator, art critic and editor, is an art historian and studied press- and communication sciences at the Ghent University (1979-1984).

Early Years 

He was the project-leader of the exhibition Initatief 86 which took place in the St. Pieters Abbey and the Museum of Contemporary Art of Ghent in 1986. This was an exhibition on Belgian art for which Kasper König, Jan Hoet, Jean-Hubert Martin and Gosse Oosterhof made the selection. The exhibition included a.o. works by Chantal Akerman, Guillaume Bijl, Jacques Charlier, Luc Deleu, Lili Dujourie, Jef Geys, René Heyvaert, Raoul De Keyser, Marie-Jo Lafontaine, Panamarenko, Guy Rombouts, Walter Swennen, Narcisse Tordoir, Jan Vercruysse and Didier Vermeiren,… 1

From September 1986 until the end of 1988, Bart Cassiman was curator for Contemporary Art at the Palais des Beaux-Arts (BOZAR) in Brussels where he organized (in collaboration with the director Jan Debbaut) several exhibitions of contemporary art (Gilbert & George, John Baldessari, Didier Vermeiren, Narcisse Tordoir, Claes Oldenburg, Art & Language, Luciano Fabro, Per Kirkeby, Jan Vercruysse,…)

Curatorial Practice 

As a free-lance curator he organized several exhibitions between 1989 and 1991. Amongst others:

Rombouts and Tordoir, Douglas Hyde Gallery, Dublin, 1989.

Noli me tangere - with Lili Dujourie and Cristina Iglesias, Locus Solus - Genova, Italy, 1990.

De Pictura - an exhibition on motive and alibi in the painting of Herbert Brandl, Helmut Dorner, John Murphy, Mitja Tušek, Narcisse Tordoir and Walter Swennen - Bruges La Morte, Bruges, 1990.

The solo-exhibitions of Lili Dujourie, Kunstverein, Bonn, 1989; Le Magasin, Grenoble, 1990.2

Espacio Mental with René Daniëls, Thierry De Cordier, Isa Genzken, Cristina Iglesias, Thomas Schütte and Jan Vercruysse at Valencia, IVAM-El Carme in 1991 was his first major group show and has made Cassimans name as a particular exhibition maker. The exhibition contained about 80 works, was complex and layered so that the different interrelations between the artworks became almost endless.3

He has been a member of the Jury of the Mies van der Rohe Stipendium, Krefeld (1990-1995) and also of the program-commission of the Appel Foundation, Amsterdam (1989-1993).

Bart Cassiman’s reputation became really established when he has been the project-leader of the section Contemporary Visual Art of Antwerp 93, European Capital of Culture. For this temporary organization he realized three major projects which differed in terms of intent and content.

For the Middelheim Museum he invited ten artists (Per Kirkeby, Richard Deacon, Panamarenko, Thomas Schütte, Juan Muñoz, Matt Mullican, Bernd Lohaus, Harald Klingelhöller, Didier Vermeiren, Isa Genzken) to make a work, which was bought by Antwerp 93 for the permanent collection. Those sculptures are nowadays considered as masterpieces and several of them the eyecatchers of the Middelheim Museum. They were placed on Middelheim Low, which became by doing so the section of contemporary art of the museum. A section invented by Cassiman and realized with the support of Bob Cools (The Mayor), Eric Antonis (the intendant of Antwerp 93) and Hans Nieuwdorp (the director of the Art Historical Museums of the City of Antwerp). This project became known as New Sculptures.4

For the first time, the Royal Museum of Fine Arts hosted contemporary artists who gave form to entwining of remembrance and imagination in the creative process. This project (exhibition and book), The Sublime Void (on the memory of the imagination), can be considered as his ‘pièce de résistance’, included the artists Jean-Marc Bustamante, Jan Vercruysse, Rachel Whiteread, Juan Muñoz, Niek Kemps, John Murphy, Mitja Tušek, Gerhard Richter, Michelangelo Pistoletto, Luc Tuymans, Robert Gober, Cristina Iglesias, Harald Klingelhöller, Didier Vermeiren, Thomas Schütte, Ettore Spalletti, Luciano Fabro, Jeff Wall, Jannis Kounellis, René Daniëls, Franz West, Fortuyn/O'Brien, James Welling, Lili Dujourie and Thierry De Cordier. The accompanying publication contains texts, essays, poems etc. by a.o. Adorno, Augustinus, Baudelaire, Benjamin, Blanchot, Borges, Broch, Canetti, Handke, Hölderlin, Kafka, Kristeva, Musil, Michelangelo, Nietzsche, Pascal, Proust, Rilke, Valery, Wenders, Wordsworth… It has been rewarded with the Gouden penning van Plantijn-Moretus, an award for the best book published in 1993.5

For the third project, he invited after conscientiously research and several workshops three colleagues-curators (Iwona Blazwick, Yves Aupetitallot and Carolyn-Christov Bakargiev) to make an exhibition with artists from different cultural backgrounds to produce a new work in the extended M HKA. The for a long time underestimated exhibition On taking a normal situation and translating it into overlapping and multiple readings of conditions past and present which included at that time a few quite well-known artists (such as Jimmy Durham, Mark Dion, Eugenio Dittborn, Judith Barry and Renée Green) in combination with a lot of artists who were at the beginning of their public life and have since then co- determined the international discourse for years (Maria Eichhorn, Zarina Bhimji, Ann Veronica Janssens, Andrea Fraser,…)6

From 1994 until 1998 he was member of the advisory-committee of the Middelheim Museum, Antwerp.

In 1995 he realized an exhibition with Dora García, Dianne Hagen, Gert Verhoeven, Lisa May Post, Anne-Marie Schneider and Stephen Wilks, at Galerie Nelson, Paris. In the same year he co-ordinated the project Arte Habitable with Alicia Framis. He wrote the essay for the catalogue which he edited too.7

In 1997 Bart Cassiman curated the exhibition and edited the publication Green Easter (with Dianne Hagen, Carla Klein, Aglaia Konrad, Peter Rogiers, Stephen Wilks and Robert Suermondt) at the Museum Dhondt-Dhaenens, Deurle.8 He wrote a substantial essay on the work of Lili Dujourie and edited the catalogue and curated the show at Lisson Gallery, London. 9

At the Rijksakademie in Amsterdam he curated the Open Studio’s 1997. This project included more than 50 young artists, such as Carlos Amorales, Emmanuelle Antille, Lise Baggesen, Maura Biava, Franck Bragigand, Jeroen Eisinga, Meshac Gaba, Winneke Gartz, Mark Hosking, Runa Islam, Saskia Janssen, Moshekwa Aaron Langa, Fang Lijun, Els Opsomer, Ebru Özseçen, Anne Van der Plas, De Rijke/De Rooij, Emmanuel Ropers, Dierk Schmidt, Tim Stoner, Tomoko Take, Fiona Tan, Hermann Terrier, Claire Todd, Vera Weisgerber, Edwin Zwakman,…

At the end of 1997 he organized also two exhibitions with the Belgian painter Jan Van Imschoot. In Hasselt (Provinciaal Museum) he curated his first painting overview. In Amsterdam (Artbook) he curated an exhibition on drawings.

In 1998 he organized his - till today - last exhibition: Privacy: Tuymans – Balka for Serralves, Porto.10

In 2000 he was responsible for the Flemish selection for the Milano Europa 2000 project. The selected artists were: Marie José Burki, Jan Van Imschoot and Gert Verhoeven.

Art Critic 

Bart Cassiman is also active as a free-lance art-critic, having written essays for catalogues on a.o. René Daniëls, Raoul De Keyser, Harald Klingelhöller, Lili Dujourie, Cristina Iglesias, Jan Vercruysse, Thierry De Cordier, Paul Robbrecht, Walter Swennen, Narcisse Tordoir, Henk Visch, Guy Rombouts, Dianne Hagen, Peter Rogiers, Stephen Wilks, Juan Muñoz, Thomas Schütte, Isa Genzken, Alica Framis, Robert Suermondt, Aglaia Konrad, Carla Klein,… and several articles for international art-magazines (Flash Art, Kunst & Museumjournaal, Meta, Artefactum, Kunst Nu and Metropolis M), about art policy and specific subjects related to art.

In 1989 he edited the first small monography De architectuur en het beeld (The Architecture and the Image) on the work of the architects Paul Robbrecht/Hilde Daem.11 In 1995 he did the same on the work of Thierry De Cordier with a text of Stefan Hertmans.12

In 1996/1997 he is a member of the staff of editors of DWB (Dietsche Warande en Belfort), an important magazine on literature. For this he edited a special number (DWB 6/97) on Juan Muñoz.13

Educational Parcours 

On the level of education, Bart Cassiman has been, besides for almost a decade (1989 – 1998) tutor at the Rijksakademie, Amsterdam, a guest-lecturer at the Appel Foundation in Amsterdam and Le Magasin in Grenoble (for the curator training which is organized by those institutes), at Sotheby’s London (educational studies for future artworld-professionals) and at P.A.R.T.S., the institute for dance founded by Anne Teresa De Keersmaeker of Rosas.

Since 1985 he participated at many lectures, symposiums and workshops on the subject of contemporary art organised by different museums, art institutions and galleries. amongst others in Geneva he participated at the symposium La possibilité de l'art. Où commence, où finit l'art dans le monde de l'art contemporain (25-26 February 1989, Centre d'Art Contemporain Genève|Centre d'art contemporain) and in Stuttgart at A new spirit in curating (25-26 January 1992, Künstlerhaus). He was a member of the studygroup which prepared the symposium Writing about art (1991, Van Abbe Museum, Eindhoven). At the occasion of the publication Art, gallery, exhibition. The gallery as a vehicle for art, edited by gallery Andriesse and De Balie, Amsterdam, he took part in the symposiums organized in Amsterdam (7 September 1996), Rotterdam (8 September 1996) and Antwerp (8 October 1996). In Brussels (25-26 October 1996) he participated at the colloquium Art et commande publics, organized by Encore Bruxelles.

The Absent Museum.

From 1989 until 2000 he was responsible for the BACOB bank collection of contemporary art. The collection contained at the end about 180 works of around 40 different international artists, a.o. Stan Douglas, Franz West, Herbert Brandl, Lili Dujourie, Cristina Iglesias, Thomas Schütte, Harald Klingelhöller, Allan McCollum, Narcisse Tordoir, Helmut Dorner, Luc Tuymans, Jan Fabre, Bazilebustamante, Jean-Marc Bustamante, Thierry De Cordier, James Welling, Juan Muñoz, Jan Vercruysse, Mitja Tušek, Gert Verhoeven, Stephen Wilks, Dianne Hagen, Jan Van Imschoot, Robert Suermondt, Carla Klein, Niek Kemps, Alicia Framis, Isa Genzken, Ebru Özseçen, Gregor Schneider, Valerie Mannaerts, Bjarne Melgaard, Mike Kelley, Carlos Amorales, Miroslav Balka.

Due to a severe illness Bart Cassiman was forced to stop all his professional activities at the end of the nineties. Without any doubt one can say that he was one of the most active and energized persons of the artworld between the mid-eigthies and the end of the nineties. With colleagues such as Saskia Bos, Ulrich Loock, Julian Heynen, Dennis Zacharopoulos and a few others he was responsible for the visualization of a generation by making exhibitions and writing texts and convincing many museums and collectors to buy their works.

The bank for which he collected more than a decade bought as a result of his engagement and advise the well-known Vanderborght building in the heart of Brussels, at the end of the nineties. Everything was prepared to open the first private (corporate) museum on this scale in Western Europe. The opening was planned for the spring of 2002. But because the engine of this whole operation fell silent the project died a quiet dead. Big parts of the collection were sold and so stays the capital of Europe deprived of an urgently needed Museum of Contemporary Art…

References.

Cassiman, Bart; Martin, Jean-Hubert; König, Kasper; Oosterhof, Gosse; Hoet, Jan (1986). Initiatief 1986. Gent, Belgium: Imschoot.

Cassiman, Bart (1989). Lili Dujourie. Grenoble: Centre national d'art contemporain.

Cassiman, Bart (1991). Espacio mental. Valencia: Generalitat Valenciana.

Pauwels, Hilde (1993). Nieuwe beelden : Openluchtmuseum voor Beeldhouwkunst Middelheim. Antwerpen: Antwerpen.

Cassiman, Bart; Ramael, Greet; Vande Veire, Frank (1993). The sublime void : on the memory of the imagination. Ghent: Ludion.

Cassiman, Bart (1993). On taking a normal situation … Antwerpen: Antwerpen 1993 v.z.w. / Museum van Hedendaagse Kunst, Antwerpen.

Cassiman, Bart (1995). Arte Habitable. Amsterdam.

Cassiman, Bart (1997). Green Easter. Museum Dhondt-Dhaenens. Deurle: Museum Dhondt-Dhaenens.

Dujourie, Lili; Cassiman, Bart (1997). Lili Dujourie. London: Lisson Gallery.

Ramos, Maria (1998). Privacy : Luc Tuymans/Miroslaw Balka. Porto, Portugal: Fundação de Serralves.

Cassiman, Bart (1989). Paul Robbrecht Hilde Daem. De architectuur en het beeld. Antwerpen: deSingel.

Hertmans, Stefan (1995). Eenzaamheid op de marktplaats. Over het werk van Thierry De Cordier. Brussel: Hayen.

Cassiman, Bart (December 1997). “Juan Muñoz”. Dietsche Warande & Belfort. N°6.> Further Reading

Primary sources.

Cassiman, Bart. “The pictorial diversity of a generation”. 6 Young Flemish Artists. Dirk De Bruycker, Walter Swennen, Philippe Tonnard, Narcisse Tordoir, Hans Vandekerckhove, Philippe Vandenberg. Washington: Art Society of The International Monetary Fund (1986).

Cassiman, Bart. “«Farbzustände» von Raoul De Keyser”. Guillaume Bijl, Jan Vercruysse, Lili Dujourie, Raoul De Keyser. Bern: Kunsthalle Bern (1986).

Cassiman, Bart. “Einigie (möglische) Überlegungen zum Niederschlag von René Daniëls’ amüsiertem Umgang mit der Wirklichkeit in Wort und Bild”. Daniëls. Bern: Kunsthalle Bern (1987).

Cassiman, Bart. “L'Oeuvre au Noir”. Flash Art. N°146 May / June 1989.

Cassiman, Bart. Harald Klingelhöller. Eindhoven: Stedelijk Van Abbemuseum; London: The Whitechapel Art Gallery (1990).

Cassiman, Bart. “Alzumeazume or La Musee Amusée”. Kunst & Museumjournaal. N° 5 1990.

Cassiman, Bart. “Images and their effects: Imagination in the plural” Walter Swennen. Heerlen: Stadsgalerij (1990).

Cassiman, Bart. Cristina Iglesias. Amsterdam: De Appel (1990).

Cassiman, Bart. “Propos sur le maître de schoorisse” L'Art en Belgique. Flandre et Wallonie au XXe Siècle. Un point de vue. Paris: Musée d'Art Moderne de la Ville de Paris (1991).

Cassiman, Bart. “Het relaas van een wanhoop: over de meester van Schoorisse. Thierry De Cordier” Kunst & Museumjournaal. N°5 (1992).

Cassiman, Bart “Necessary but not urgent” Pose. N°9 Spring / Summer 1993.

Cassiman, Bart. “Lili Dujourie” Kunst in België na 1980. Brussel: Koninklijke Musea voor Schone Kunsten van België (1993).

Cassiman, Bart. “Jan Vercruysse” Kunst in België na 1980. Brussel: Koninklijke Musea voor Schone Kunsten van België (1993).

Cassiman, Bart (a.o.) “Middelheim, 1995+…” De WItte Raaf. N°58, November-December 1995.

Cassiman, Bart. “Par amour de l'art” De Morgen. 1 December 1995.

Cassiman, Bart. “The same again, but different” L&B (Lier en Boog). Series of Philiosophy of Art and Art Theory. Volume 13 (1998).

Cassiman, Bart. “Adieu Chantal” Knack Focus. 10 October 2015.

Secondary sources.

Early Years.

Waterschoot, Hector. “Een hete, artistieke zomer. Gentse musea en galerijen brengen een monsterprojekt : Initiatief 86” Knack. 18 June 1986.

Van Den Abeele, Lieven. “Initiatief 86. Alleen visitekaartje van Belgische kunst” De Standaard. 27 June 1986.

Gillemon, Danièle. “L'art contemporain à Gand: une abondance d'expositions pour vous édifier ou vous achever !” Le Soir. 25 July 1986.

Meuris, Jacques. “«Initiatief 86» : Gand au carrefour de l'art contemporain” La Libre Belgique. 11 July 1986.

De Baere, Bart. “Het is geen diktaat over Belgische Kunst” Special Knack Magazine. (1986).

De Zutter, “Initiatief '86 of hoe een mug een olifant baarde” De Morgen. 21 June 1986.

Curatorial Practice.

Borka, Max “Lili Dujourie in het Bonner Kunstverein. Fluweel en schone schijn. Verdwaalde rekwisieten op zoek naar een auteur.” De Morgen. 28 December 1989.

Favet, Catherine. “Lili Dujourie” Art Press. October 1990.

Bost, Bernadette. “Velours et marbres de Lili Dujourie” Le Monde. 11 July 1990.

Braet, Jan. “Moord in de galerie” Knack. 18 July 1990.

De Cecco, Emanuela. “Lily Dujourie, Cristina Iglesias. Locus Solus” Flash Art. April / May (1991).

Borka, Max. “'Espacio Mental’ in Valencia. De nazaten van de Heilige Hiëronymus” De Morgen. 31 May 1991.

Penxten, Stéphane. “L'imagination au pouvoir” La Libre Belgique. 12 June 1991.

Cortés, José Miguel G. “Los estratos de la mente. Seis artistas europeos en Valencia” El Pais. 1 June 1991.

Jarque, Vicente. “Moradas del arte. El Centre del Carme acoge una muestra colectiva bajo el título de Espacio mental” Cultura. June 1991.

Middendorp, Jan. “Ver van de dolle menigte” Knack. 26 June 1991.

Lambrecht, Luk. “Mental Space” Forum International. N° 10, November 1991.

Entrop, Pieter. “Bart Cassiman” Metropolis M. N° 4 1991.

Braet, Jan. “Antwerpen '93. Het ideale museum” Knack. 10 March 1993.

Van Den Bergh, Jos. “Bart Cassiman on his show "The Sublime Void”“ Forum International. N°18 May / August 1993.

Gillemon, Danieèle. "Le Deuxième Souffle du Middelheim” Le Soir. 9 June 1993.

Braet, Jan. “Antwerpen '93. Als op een zomernacht. Nieuwe Beelden voor Middelheim” Knack. N°24 1993.

Lubbers, Frank. “Nieuwe Beelden” Metropolis M. N° 4 1993.

Van Mulders, Wim “Nieuwe beelden voor het Middelheim” Muziek & Woord. June 1993.

Turine, Roger Pierre. “Le Middelheim contemporain” La Libre Belgique. 11 June 1993.

McFadden, Sarah. “Sculpture garden sprouting new works. The Middelheim museum enjoys a breath of fresh air” The Bulletin. 24 June 1993.

S.N. “Kirkebys store skulptur/hus” Politiken Sǿndag. 18 July 1993.

Van der Geer, Cees. “Herwaardering van een beeldenpark” Haagse Courant. 19 July 1993.

Montón, Carmen. “Amberes y Lisboa planean ceder parte de la capitalidad cultural europea a Sarajevo” La Vanguardia. 25 July 1993.

Bracke, Eric. “Hedendaagse kunst in Antwerpen: 'Het sublieme gemis’. Met andere woorden” De Morgen. 30 July 1993.

Chauvy, Laurence. “Expositions à Anvers. L'imagination et sa mémoire / La surprise est dans le parc” Journal de Genève et Gazette de Lausanne. 31 July 1993.

Braet, Jan. “Antwerpen '93. De Lege Ruimte” Knack. 4 August 1993.

Borka, Max. “Letter from Antwerp” The Bulletin. 5 August 1993.

Depondt, Paul. “Dingen waarvan de tijd nog niet is aangebroken” De Volkskrant. 6 August 1993.

Romare, Kristian. “Skulptur for skulpturer” Information. 6 August 1993.

Von Radziewsky, Elke. “Der geliehene Sinn” Die Zeit. 6 August 1993.

Van der Geer, Cees. “Kunstwerken als toekomstige dingen” Haagse Courant. 18 August 1993.

Braet, Jan. “In de maag van geest” Knack. 18 August 1993.

Braudeau, Michel. “L'Anvers de l'art” Le Monde. 21 August 1993.

Muller, Robert-Jan. “Tien nieuwe beelden in Middelheim” Archis. September 1993.

Marcelis, Bernard. “Le Manque Sublime” Art e Culture. September 1993.

Puvogel, Renate. “The Sublime Void” Kunstforum. September 1993.

Barten, Walter. “Doorbroken concepten. Twee boeiende exposities in culturele hoofdstad Antwerpen93” Het Financieele Dagblad. 4 September 1993.

Vonck, Bart. “Hun tijd is nog niet aangebroken. Tentoonstelling 'Het Sublieme Gemis’” Markant. N°35 10 September 1993.

Lebovici, Elisabeth “L'Anvers du décor” Libération. 18 September 1993.

Bouman, Ole. “Talent voor de ultieme leegte” De Groene Amsterdammer. 22 September 1993.

Braet, Jan. “Tegen de nieuwe schoolmeesters” Knack. (1993).

Lambrecht, Luk. “Over een drieluik” Antwerpen 93. (1993).

Ruyters, Marc. “Afsluiting van drieluik in het MUHKA. Ook beeldende kunst weet het antwoord niet” Financieel Economische Tijd. 25 September 1993.

Wilson, Andrew. “Antwerp 93” Art Monthly. November 1993.

Lambrecht, Luk. “Antwerp 93” Flash Art. November / December 1993.

Bracke, Eric. “De versnipperde archipel” De Morgen. 14 February 1997.

Borka, Max. “Groene Pasen bloemleest kunst uit schemerzones” De Standaard. 15 February 1997.

Braet, Jan. “Eros en Narcis in hun eerste bloei” Knack. 26 February 1997.

Barten, Walter. “Eigenzinnig en consequent” Het Financieele Dagblad. 3 March 1997.

Lorent, Claude. “Le printemps de l'art actuel” La Libre Belgique. 10 March 1997.

Pontzen, Rutger. “Groene Pasen” Metropolis M. N°2 1997.

Borka, Max. “Onder lakens van lood. Lili Dujourie in de Londense Lisson Gallery” DS MAGAZINE. 13 June 1997.

Van Hove, Jan. “Broedplaats voor jonge kunst. Rijksacademie Amsterdam houdt open ateliers” De Standaard. 1997.

Roos, Robbert. “Rijksakademie open voor jacht op het nieuwste talent” Trouw. 28 November 1997.

Ruyters, Marc. “De onacademische aanpak van de Rijksacademie” De Financieel-Economische Tijd. 29 November 1997.

Art Critic.

Van Synghel, Koen. “Museum voor Krappe Kunsten. Het Koninklijk Museum voor Schone Kunsten in Antwerpen op zoek naar ruimte in eigen huis” DS MAGAZINE. 8 December 1995.

Ruyters, Marc. “Tegen '92 zou Brussel zowat de Kunsthalle van Europa moeten zijn. Interview met Bart Cassiman” De Morgen. 28 September 1988.

Braet, Jan. “Kunst om te stelen” Knack. 17 September 1997.

The Absent Museum.

Pitteljon, Honoré (ed.). Artesia Center for the Arts. Bruxelles: Artesia Banking Corporation (1999).

Mast, Michel (ed.) Bacob & Art. Bruxelles: Bacob & Art (1996).

[strechanadi]

Paris Opera Ballet

Stepping Stones

photo: Icare

[kameliendame]

Agnès Letestu, Jean-Guillaume Bart, and Aurélie Dupont in Nureyev’s production of La Bayadère

ph. Alastair Muir

[commercialistadiroma-blog]

La bella addormentata sulle punte

La bella addormentata sulle punte

A pochi giorni dalla prima esecuzione (3 Febbraio) in tempi moderni de “La Bella Addormentata nel Bosco” di Ottorino Respighi al Teatro Lirico di Cagliari, dove ha avuto un enorme successo, la fiaba di Charles Perrault arriva, sulle punte, l’8 febbraio al Teatro dell’Opera di Roma nella notissima versione di Peter Illich Tchaikovsky con la coreografia di Jean Guillaume Bart che, in questo…

[remykolpakopoul]

Contrôle Discal ► Radio Nova

► Retour sur une émission de radio animée par Rémy Kolpa Kopoul le temps d’un septennat, avec des archives vidéo et la liste des podcasts disponibles en ligne. ▼

À l’antenne de Radio Nova, l’Inspecteur La Galette procédait chaque semaine à un minutieux Contrôle Discal de personnalités triées sur le volet. D’abord, il le pratiqua en déplacement, afin d’enquêter sur leurs goûts musicaux en examinant leurs propres collections d’enregistrements phonographiques, comme l’illustrent ces images filmées en 2009, avec le saxophoniste David Murray. ▼

Lorsqu’il était impossible de se rendre dans la demeure des participants, une alternative s’imposait : explorer les disques durs de leurs ordinateurs portables et scruter leurs sites sur internet. S’adaptant parfaitement aux usages modernes du nomadisme numérique, RKK put ainsi traiter l’affaire Manu Chao en 2011, n’hésitant pas à faire chanter l’artiste dans les studios de la station. ▼

Ainsi que le brésilien Seu Jorge, en 2013, pour une version a capella d’un standard de samba composé par João Nogueira : “Minha Missão”. ▼

Puis, Rémy Kolpa Kopoul inversa le processus en les recevant à domicile (1, rue Pixérécourt dans le XXème arrondissement de Paris) où il les laissait fouiner dans sa discothèque personnelle pour y sélectionner quelques pépites révélatrices de leurs orientations mélomanes. Ce document conserve le précieux souvenir de la visite des comédiens Léa Drucker et Édouard Baer. ▼

Organisée en “territoires” (par thème ou par origine), envahissant même la cuisine, l’imposante collection ne pouvait être véritablement découverte sans l’aide d’un guide. Qui de plus efficace que celui qui la rassembla ? Cet accueil éclairé favorisa un brillant échange avec Hervé Salters de General Electriks ▼

L’élégant passage de la chanteuse malienne Rokia Traoré fut aussi capturé. ▼

Si cette analyse approfondie permettait aux protagonistes d’illustrer leurs propos d’extraits choisis par leurs soins, elle était toutefois ponctuée d’une intervention particulière du ConneXionneur : il fournissait alors une pièce à conviction correspondant au profil de ses interlocuteurs. Ce rituel singulier fut conservé lorsqu’au cours de la dernière saison, le Contrôle Discal s’ouvrit aux auditrices et aux auditeurs... 

Vedettes confirmées, talents prometteurs, complices patentés ou amateurs distingués : chacun put se délecter de ces instants privilégiés, cocasses et encyclopédiques. Tant d’autres savoureuses anecdotes restaient encore à raconter, Rémy ! Subsiste le plaisir de se souvenir... LL

LISTE DES PODCASTS DISPONIBLES EN LIGNE

À écouter sur Novaplanet, iTunes, Deezer et rkkcom.com. Seules les émissions les plus récentes restent consultables. Un clic sur la date permet d’accéder au podcast correspondant.▼

DIFFUSÉ EN 2013 ► 05/04/13 : Rokia Traoré ● 13/10/13 : Yuksek ● 10/11/13 : Fixi ● 17/11/13 : Frédéric Joignot ● 24/11/13 : Wally Badarou ● 01/12/13 : Rosemary Standley ● 08/12/13 : Steve Shehan ● 15/02/13 + 22/12/13 : Camille & Simon Dalmais

DIFFUSÉ EN 2014 ► 12/01/14 : Rachid Taha ● 19/01/14 : Simone & Jacques Schwarz-Bart ● 26/01/14 : Orlando Morais (Rivière Noire) ●  09/02/14 : Féloche ● 16/02/14 : Alessandra Sublet ● 23/02/14 : Mayra Andrade ● 02/03/14 : Catherine Ringer (Plaza Francia) ● 16/03/14 : Doctor L ● 23/03/14 : Jukebox Champions ● 30/03/14 : Cyril Atef (CongopunQ) ● 06/04/14 : André Minvielle ● 13/04/14 + 20/04/14 : Miossec ● 27/04/14 : Angélique Kidjo ● 04/05/14 : Chinese Man ● 11/05/14 : Soviet Suprem ● 18/05/14 : José Bel (Fiest’À Sète) ● 25/05/14 : Vincent Segal ● 15/06/15 : Elisa do Brasil ● 22/06/14 : Isaac Delusion ● 29/06/14 : Gilles Peterson ● 07/09/14 : Big Red (Raggasonic) ● 14/09/14 : Guillaume Perret ● 21/09/14 : Marco Prince ● 05/10/14 : Philippe Cohen-Solal ● 12/10/14 : Arnaud Rebotini ● 19/10/14 : Clinton Fearon ● 26/10/14 : Chapelier Fou ● 02/11/14 : Fakear ● 09/11/14 : Ed Motta ● 16/11/14 : Marc Hollander ● 23/11/14 : Guts ● 30/11/14 : Jean-Louis Brossard (Trans Musicales de Rennes) ● 14/12/14 : Hollie Cook ● 21/12/14 : Jackie Berroyer

DIFFUSÉ EN 2015 ► 18/01/15 : Janko Nilovic ● 25/01/15 : Maïa Barouh ● 08/02/15 : DJ Click ● 15/02/15 : Chassol ● 22/02/15 : Biga Ranx ● 08/03/15 : Faada Freddy ● 22/03/15 : Kid Francescoli ● 29/03/15 : Xavier Lemettre (Banlieues Bleues) ● 12/04/15 : Hindi Zahra ● 19/04/15 : Pigeon John ● 26/04/15 : Mariana de Moraes

LES ZODITEURS 2014/2015 ► 07/12/14 : Albane & Alexandre ● 11/01/15 : Charlotte & Elsa ● 01/02/15 : Adiaratou & Étienne ● 01/03/15 : Thomas & Elsa ● 05/04/15 : Leila & Romain ● 03/05/15 : Mélanie & Ignacio

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[aurelie-dupont]

Bb Nicolas Le Riche, Aurélie Dupont, Jean-Guillaume Bart and Karl Paquette during their Paris Opera Ballet School days.

Photo © Daniel Cande

[fashionnasty]

DANSEURS ÉTOILES

Jean-Guillaume Bart and 'danseuse étoile invitée' Ulyana Lopatkina in 'Diamants' from George Balanchine's "Joyaux". Opéra national de Paris, circa 2004.

[strechanadi]

Karl Paquette and all the people

photo: Isabelle Aubert