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design / architecture of the scene / didier saco


ceramic, enamel, porcelain, celadon, maillodon / for many of us, these techniques, these works, the colors, the charming designer fall / too far a little fragile, a little delicate and totally away from our circle of innovation and research

there are exhibits that you mark with a hot iron, not only as exhibits shown that the exposure draft, both found in situ and incentive to go browse other circuit paths

ceramics, decorative arts in paris is, like, a few years ago, soul and body in great palaces and the Centre Pompidou Paris Moscow

a successful staging is based on four principles: location, room resonance with each other, curiosity that exposure will generate knowledge and soul knowledge that will link the desire, talent and potential

course there is a demonstration / show rooms / course, there is the concatenation / parts that keep coming, one after another and form the narrative of the exhibition and, especially, there are over: the transition part of the visitor, and the invitation to seek out the place, to continue the discovery

Fred bodet, curator of the exhibition, managed to install the ceramic and bow model of contemporary

he also known, and this is the unique architecture of the exhibition, cross art, craft and design / each piece chosen shows that the color, material, cooking, light and emotion make it unique and timeless, and spent the debate is a craftsman, who is an artist who is a designer / training of all its project designs, to the molding and casting a serial perspective or to the unique, the deepening of the maximum plastic possibilities of clay and manual

is where the exchange copy of Jean Girelli, potter and teacher of art, with emmanuel boos who spent three years at his side to learn a trade, as in Japan with the living national treasures, and his research book, not imitation behavior of another age, but those of a child of his age

this is the work of Valerie delarue which is exposed, naked, and built with his hands and his body, carving space

is where the intelligence of the scene that distributes parts, both in the contemporary department in the permanent collections that they are part, of course, the Middle Ages to the art deco period

this is a generation of young designers who take the body on land and made their own, each with its course / artist, designer /

and desires and is sorry to see Fred bodet formations fine arts and design practice to remove the earth so that manifests itself, among the new generation, a renewed desire to work with clay

66 artists and French designers, emerging or established talent, the vast majority is totally unknown to us we will present their work / this is one of the all-rounder of the curators of the exhibition


to 33 minutes foot, Galerie Emmanuel Perrotin done the same: 18 artists, unknown to most of us have major works, sensitive and original, echoing our today and unrelated to the exhibitions of ego that we have to face the past years


2 sites, more than 80 expressions of "emerging artists framed "according to Fred bodet / for some it is a vocation, for others, and a passage for us all, shared research / and a dazzling and convincing answer to all those who mourn the disappearance of the creation and innovation and taking refuge in the heritage and re-editing


and there monet the Grand Palais in Paris also

emmanuel boos / installation mess! Details of the 2009 / glazed porcelain / www.emmanuelboos.com

- group show / Galerie Emmanuel Perrotin until 76 rue de Turenne 30 10 10
- ceramic circuit / decorative arts / contemporary department and the permanent collections of 107 rue rivoli
until 20 February 11 - jean Girelli, master of art / wisdom of the potter / edition of the new eye

Does Rephresh Have Any Side Effect

Matter RAM / Anne Marie Buille


Ceramic Circuit

The first art of fire that humanity was able to master , subtle alchemy of earth and fire, art ceramics, is the first expression of our understanding of the art of our secret links to the imagination and the supernatural.
An ancient tradition whose presence we have in common, as it has seeped into our lives, anonymous, popular, decorative, useful, associated with all uses of life.
Circuits Ceramic Arts Decoratifs in Paris, the French contemporary scene, a journey that much exposure, down from a conceptual approach too often in contemporary art to discover that, sometimes, we can no longer perceive the forces that inspire the experience of materials, the gesture, the long patience of the working and shaping of the material and techniques of his many transformations.
The mysteries of this art of earth and fire have always caught the imagination in that they show so familiarly, our expertise in the larger story of everyday life and, as recalled by Frédéric Bodet, "the report obsessive that man has always had with the ceramic or clay in the rough. "

Who does not remember the frightened and fascinated by what it cost to Bernard Palissy to pierce the secrets?
So everything is not so calm as it appears in the "treasure hunt" discovery of the works of young talent and more experienced we offer Frédéric Bodet.
Frédéric Bodet chose to trouble us, illustrating the famous words of Rene Char "What comes into the world to disturb nothing deserves neither respect nor patience."
Troubling indeed strange that this route that forces the patient's eyes when emerging here and there in the beautiful pageantry of scheduling large scenes style works "objects" that are strong in the expressivity of matter, echo powerful energy flows and concerns that run through our unstable world. This setting

counterpoint ceramic circuit in the course of the great tradition of decorative arts impressed by the intelligence sensitive adjustment to the decor works techniques and manner of expression so different ceramics, sculpture, enamelling shooting , process of cooking.

Frédéric Bodet plays perfectly the game of being revisited by the decor, "according to a partition amazing shots of lightning stealth in the muffled world of great scenes of style, playing sometimes subtle setting affinity materials, lines and nuances sometimes intrusive dramatization of radical works.
In contrast to this great scene, all evidence of their creative energy to another world time and "another world age." Tradition
light, refined or violent impact of a "furious crafts, works amazing, confusing, conceptual, and always animated by" forces "and a stimulating and exciting question of incredible potential of a material and its techniques taking shape. How these will evolve

course creators atypical at the crossroads of visual arts, design and craft practice, these formidable energies of imagination, of bias formalists sometimes agreed, "passage or vocation" asks Frederic Bodet, curator of the exhibition?
he keep the flame, they will join the young artists of the French stage by long solitary work of deepening and ownership of the material, this "passion" that we retouve with emotion at the "masters" who came Europe or the world (and still Japan) who put themselves at the same time, as part of this great event, "City of Ceramics in Sevres and in many galleries in Paris.


www.circuit-ceramiques.fr / Illustration
Jean-François Fouilhoux: Calligraphy clay. Galerie Hélène Porée

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circles of matter / didier saco


First, there is the first circle: wood, paper, textile, water and light
these are matters which are closest to us they
we are familiar from childhood / we touch, we know they are part of our immediate environment and we have a thousand memories and a thousand ideas for work
also, they are easy to approach and require no tools, workshop and factory out of reach of the individual / this is why they are the preferred materials by design schools and those from which most of the projects is completed graduation

then there's the second circle: that of plastics, or polymers, which have emerged in the '50s and invade us, both in our daily life and in our environment when we discover, frightened, in forests, beside the rivers or on the shores of the masses of plastic waste by waters rejettées

if plastics are not really they offer the great advantage of always new and always the great disadvantage of the cheap / they also offer, and is essential for the creation, to be the preferred material for the public as they adapt to all forms , part time and have become the emblems of consumer society

alas, the last 10 years spent in the promotion, culture and education for sustainable development and research materials fully recyclable and non-petroleum-based seem to stand by for the moment and maybe even at risk faltering economies and meet the additional costs associated with bio / +70% for fruit and vegetables, according to a study of the association rural families published by the Cross on August 24 last

the third circle is made of precious materials: the glass and porcelain / precious by their fragility, the difficulty or impossibility to associate with other materials and by the number of steps required to manufacture / 50 people, excluding design and marketing, are the chain manufacturing a piece of porcelain

the fourth circle is that metal / Iron, steel, aluminum, copper, zinc, gold, silver and bronze / this is the farthest from us because its production is linked, in real and in our imagination, an entire process out of human scale, violent, full of fire and noise and stiff, the opposite of all creation and all sensitivity

course, each of us knows that aluminum, the extraction extremely energy intensive, the material is metal that is recycled the better / but do we really know the virtues, benefits and shortcomings of iron, bronze, steel, zinc and Copper?
beyond images of ironworks, steelworks, noise, transport, metal halo is much violence, both in its manufacturing that sometimes used in its military, that its difficult to grasp concrete / l Accession to the workshop, kiln, blacksmith shop, the factory is not simple, as the manufacturing apparatus seems heavy

yet many of us it carries, and Eric Schmitt, Herve van der Straeten, Gerard Garouste, Bernar Veney and Jean-Michel Wilmotte excel

learning the material metal, design schools, is difficult, even impossible, given the necessary manufacturing facilities and beyond measure for schools / is probably one major reason for our distance to the metal

perhaps we are distant with eternity /
key advantage of metal, such as stone, all other materials, is its resistance to the passage of time / idea for many of us design is perhaps related to the temporary in the fleeting, the dazzling in the event, and the prospect of finding in 2000 years, one of our creations at the bottom of the Rhone, is she more afraid Enver, for now

Materiology / mainly on materials and technologies for use by designers / MateriO / Birkhauser

frame design and foundry workshop December 9th 10 / Strate College Designers / 27 Avenue de la Division Leclerc 92310 Sèvres
contact and registration Alain Reynaud / reynaud@ctif.com

Eric Schmitt / ramp montmorency / bronze / www.ericschitt.com

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Limited on your marks! / Anne-Marie Buille


"From my point of view, designing a couch in a small series and sell it at exorbitant price of a work of art is an abuse. The designer is serving people, its task is to create an intelligent design, beautiful, functional and affordable. " About the Terence Conran is relentless.

And the limited edition continues to gain ground on all fronts of the goods. It becomes a bonanza particularly popular with major consumer brands and luxury brands.
The limited edition "to be rare, and obviously more expensive, if possible, creative and innovative: it uses the good old recipe of luxury marketing.
The limited series is much more effective than story telling, the best way for a brand to orchestrate the spectacle of continuous product.

He just needs to choose the role of prime contractor and "signature" a designer or a known maker in charge of "revisit" the emblematic product and enter into modernity. And voila.

Spotlight on setting artistic majesty of the product, we create a surprise, "the novel" of astonishment and, on arrival, buzz and density of presence in all media are guaranteed.

Finally, the method is the good old method of influence of psychological power of addiction and a real working body of the prospective buyer: it should be, and must be run before the stock arrives at exhaustion.

No need to adjust the price at the psychological level of its target: the limited edition has its price, it's limited edition, the value is intangible, it is the price of art.

In the process, the mark is the economy of an ad campaign.
fashion victim, trend setter, the media will do the rest to mobilize attention, stir desire and cause the purchase and each will be entitled to its share in this large market of luxury democratic.

For this season, our designer National offers us in the mystery series "the more I look, the more I see," a new version of "Paleolithic" of the famous perfume of Nina Ricci L'Air du Temps.
When is this singular poetic emotion linked to the original bottle? It only remains
unlimited edition, and poetry traditionally symbolized by the phoenix, reborn from its ashes.
Edition limited attention to the risk of fatigue at the "estimated value" that everyone carries brands and products they love, attention to the risk of saturation of our brain time available to their demands artistic and commercial.

Nina Ricci / L'Air du Temps
By Starck / from October 16