Catalog Fid 2011

F I D d r a w i n g s f o r t h e f u t u r e
FID 2011 Foire internationale du dessin

FID association culturelle loi 1901
+33 (0)1 46 34 88 08
9 Rue Saint Louis en lle, F-75004 Paris
info@litvin.eu

Catalog:
FID declines all responsibility for any incorrect, incomplete
or missing entries. Exhibitors bear full responsibility for the
content of their entries.
Catalogue based on photographs supplied by the students.

Publisher: Lelivredart
24 Impasse Mousset, F-75012 Paris
+33 (0)9 54 01 24 36
lelivredart.com

Design, layout, production: Serghei Litvin
in co-operation with Milarpa Bacot
Translation: Charles Penwarden

Isbn : 978-2-35532-101-6
Printed in Italy
Foi r e
i nt er nat i onal e
du dessi n
3r d edi t i on
31 mars 3 avril 2011
Cit internationale des arts Paris
SHOW MANAGEMENT
DI RECTOR
Serghei Li t vi n
CONSULTANTS
Ni col e Hat t
Char l es Penwarden
Mi chel Col as
CATALOG MANAGER
Mi l arpa Bacot
WEB DESI GN MANAGER
Amal i a Wol ff de Mont ebel l o
SPONSORSHI P MANAGER
Al ai n de Mont ebel l o
DI RECTOR S ASSI STANT
Sandr a Bayonne
COMMUNI CATI ON ASSI STANT
Mar t a Woj t ki ewi cz
LI STI NGS ASSI STANT
Ni col as Pf ei ff er
CATALOG MANAGER ASSI STANT
Vi rgi ni e Bi mbenet
HONORARY BOARD
Hl ne Mour adi an, Sal on du dessi n, FR-Par i s
Char l es Zal ber, Luci e Wei l l & Sel i gmann Gal l er y, FR-Par i s
Jean-Yves Langl ai s, Ci t i nt er nat i onal e des ar t s, FR-Par i s
ART AMBASSADORS
PORTUGAL, SPAI N
Teresa Car nei ro, Dr awi ng Spaces PT-Li sbon
BELGI UM
Saski a Weyt s, Acadmi e de beaux-ar t s BE-Tour nai
EDI TORI AL & DEFI NI TI ON 006
PRI ZES 008
JURY 009
EXHI BI TORS 010
I NDEX OF SCHOOLS 104
SCHOOLS PRESENTATI ONS 106
PARTNERS 117
006
Why drawing? I hear you ask. Because
drawing is everywhere. Its universal, and
its simple, inexpensive to do and to buy.
Young and old, rich and poor, everyone
can do it, and collect it. Just try for
yourself.

There is no theatre in drawing. All it
takes is a pencil, a sheet of paper
and movement of the hand line. No
discourse. Skill, emotion, idea or not.

But why schools? you ask again.
Because schools are the art of tomorrow,
and European schools now represent
the first generation of artists of our 21
st

century.

FID offers schools the practical experience
their students so badly need: exhibiting at
a fair, selling their first drawings, meeting
collectors and gallerists.

My concept of a fair without walls comes
from both the agora and the ancient
fair, as an open place for encounter and
exchange. Europe was created by the
great trade routes. Where they intersected,
fairs grew up. These were the crucibles of
European cultural identity from the year
1000 through to the present day.

The tables oblige exhibitors to lay out their
drawings, all on the same level, without
frames. They encourage dialogue between
visitors and students. This exchange is
both necessary and enriching.

The European system of art teaching is
perhaps over-protective: ateliers, teachers,
grants, hangings in the school for five
wonderful years, life is cosy and sweet.
Then, suddenly, diploma in hand, our
students are ejected from the cocoon.

Its a shock to the system. No network of
collectors. No galleries. No experience of
the art market. No studio. No means of
subsistence.

Students who exhibit at FID will gain
valuable professional experience in
the real world before they leave their
school. They will experience competition
between students from fourteen European
countries. They will also experience
dealing personally with players from the
contemporary art market and with the
demanding public of the Semaine du
Dessin.

Dear partners, participants and visitors,
welcome to FID 2011, the third edition.

Serghei Litvin
EDITORIAL
Drawing is based
on line, made with
the hand.

Whatever
the support,
tool and material
used to make it,

a drawing is
a single work of art:
not a multiple.
DEFINITION
007
Vous vous interrogez peut-tre :
Mais pourquoi le dessin ? Parce que
le dessin est partout, universel. Le dessin
est simple, pas cher produire, pas cher
acheter. Jeunes et vieux, riches et
pauvres, tous peuvent le pratiquer,
le collectionner...
Essayez, vous verrez.

Il ny a aucune mise en scne dans
le dessin. Cest un crayon, une feuille
de papier et un geste : le trait. Aucun
discours, pas de mise en scne. Mtier,
motion, ide sont bien l. Ou pas.

Vous vous interrogez encore peut-tre :
Mais pourquoi les coles ? Parce que
les coles cest lart de demain et les
coles europennes forment, aujourdhui
mme, la premire gnration dartistes de
notre XX
e
sicle.

La FID propose aux coles les travaux
pratiques si ncessaires aux tudiants :
exposer dans une foire, vendre
ses premiers dessins, rencontrer
les collectionneurs, les galeristes...

Mon concept de foire, sans cloisons,
vient la fois de lagora et de la foire
ancienne : lieu ouvert, lieu de rencontres
et dchanges. Les grandes routes ont fait
lEurope. Au croisement des routes sont
nes les foires. Les foires : ces creusets
de lidentit culturelle europenne, depuis
lan mille et jusqu aujourdhui.

Les tables obligent les exposants une
mise plat littrale, sans cadres,
de leurs dessins. Et obligent aussi les
visiteurs dialoguer avec les tudiants.
Un face--face la fois ncessaire
et enrichissant.

Le systme europen denseignement de
lart est, peut-tre, surprotecteur. Ateliers,
professeurs, bourses, accrochages dans
lcole, cest la vie en rose pendant cinq
merveilleuses annes. Puis, brusquement,
les tudiants devenus diplms
quittent la bulle.

Le choc est rude ! Pas de rseau de
collectionneurs, pas de galerie, pas
dexprience du march de lart,
ni atelier ni moyens de subsistance...

Les tudiants-exposants ont avec la FID,
avant de quitter lcole, une premire
exprience professionnelle dans le
monde rel. Ils vivent la comptition entre
tudiants de quatorze pays europens.
Ils exprimentent aussi la confrontation
avec les acteurs du march de lart
contemporain et le public exigeant
de la Semaine du dessin.

Puis-je vous souhaiter tous, partenaires,
participants et visiteurs la bienvenue
la troisime dition de la FID ?

Serghei Litvin
Le dessin est le trait
n du geste de la main.

Ceci indiffremment
du support,
de loutil,
de la matire
qui sert le raliser.

Le dessin
est une uvre dart
en pice unique.
008
Jury Prize
solo exhibition at Catherine Putman
Gallery (Paris), Director lonore Chatin

Special mention
solo exhibition at Twilight zone Gallery
(Belgium), Director Rjan Dorval

Public Prize
solo exhibition at Galerie Lucie Weill &
Seligmann (Paris), Director Charles Zalber
LaCourDieu Prize
Three residencies at LaCourDieu (France)
PRIZES
Prix du jury
exposition personnelle la galerie
Catherine Putman (Paris), directrice
lonore Chatin

Mention spciale
exposition personnelle la galerie Twilight
zone (Belgique), directeur Rjan Dorval

Prix du public
exposition personnelle la galerie Lucie
Weill & Seligmann (Paris), directeur
Charles Zalber
Prix LaCourDieu
Trois rsidences LaCourDieu (France)
009
JURY
Serghei Litvin
president of the jury (Romania)

Teresa Carneiro
director Drawing Spaces (Portugal)

lonore Chatin
director Catherine Putman Gallery (France)

Saskia Weyts
professor Acadmie de Tournai (Belgium)

Yves Lecointre
director FRAC Picardie (France)

Charles Penwarden
writer, collector (Great Britain)

Ernest Pignon Ernest
artiste (France)

Emil Sennewald
art critic (Germany)

Vladimir Velickovic
artiste, member of the Institut (Serbia)
010
OLGA ABRAMOVA 063
FRANCESCA AGNELLI 064
SERAF N LVAREZ PRI ETO 091
RAZVAN ANTON 082
PRI SCI LLA BECCARRI 021
MARI A I NS BEI RES 078
NI NA BERNAGOZZI 037
ALI CE BI GOT 094
MATHI EU BONARDET 038
JULI EN BOUCQ 054
NATALI E BUJOK 062
ROMAI N CADI LHON 017
TNI A CAEI RO 073
CLAUDI U CANDEA 083
AMLI E CARVALHO 031
PETTERI CEDERBERG 025
CAMI LLE CHEVRI LLON 035
ANA COI TO 074
JOANA COSTA 101
AURELI EN COUPUT 095
BARTOSZ CZARNECKI 068
MARI E DE GEUSER 028
MAYA DE MONDRAGON 039
LI DI JA DELI C 086
CARMEN D AZ AL AS 092
MARI A DO CARMO ANTUNES 077
EMELYNE DUVAL 020
JOHN PATRI CK EGAN 097
GEORGI E FLOOD 102
AMLI E FONTAI NE 036
MARI E-ANNE FRANQUEVI LLE 040
XI MENA GARC A 060
ADRI EN GRENTON 032
MARTA GLADYSZ 067
ANGLE GUERRE 041
EVELI I NA HMLI NEN 026
MARI ON HARDUI N 042
JOCHEM HARTEVELD 012
MARI A HERI TAGE 096
WOOJUNG HOH 043
RI CARDA HOOP 061
ANA HRCAN 023
ALI CE I LI ESCU 084
NI NA I VANOVI C 087
DRAGAN KORDI C 024
AGATA KUS 069
EXHIBITORS
011
KYOUNGJOO KWON 044
ANNE LECLERC 045
JUNHO LEE 046
NI COLAS LEI GNEL 055
GALLE LEROYER 056
SARAH LDEMANN 098
BENJAMI N MAGOT 047
PATRI CI A MARCH ASUNCI N 093
ANDR LANA 075
LA MAYER 018
ELI SA MEI RA 076
MAFALDA MENDONA 080
DARI USZ MI LCZAREK 070
I VAN MI LENKOVI C 088
JEONG HWA MI N 057
ALEKSANDAR MI TROVI C 089
HLNE MOREAU 013
JOO MOURA 079
CAMI LLE NI COLLE 014
JAAKKO PALLASVUO 027
DAVI D PENELA 081
AGATHE PI TI 048
RALUCA POPA 099
CLMENTI NE POQUET 034
PI ERRE POZZA 015
TI JANA RADENKOVI C 090
ALEXANDRU RADULESCU 085
JULI EN RASLE 029
HAN REN 033
LEA ROCHUS 059
MARI ON ROGER 030
CAMI LLE ROSA 049
ARTHUR SALLUSTRAU 019
LAURA SASSEN 065
SRGI O MI GUEL SEQUEI RA 071
GI ORGI O SI LVESTRI NI 050
LI SE STOUFFLET 051
MORGANE TROUI LLET 016
LEONI E VAN DER VALK 066
HLNE VANDENBUSSCHE 022
KEKE VI LABELDA 100
SARA YAN 072
ANA S YSEBAERT 052
CAMI LLE ZI ZI 053
ULRI KE ZLLNER 058
012
Jochem Harteveld
27 x 29.5 cm 2010
Belgium: Artesis koninklijke academie voor schone kunsten Antwerp
013
Hlne Moreau
Belgium: Acadmie royale des beaux-arts de Bruxelles
FID 2010: Nominee Public Prize
014
Camille Nicolle
42 x 29.7 cm 2009
015
Pierre Pozza
30 x 40 cm 2009
016
Morgane Trouillet
42 x 29.7 cm 2010
017
Romain Cadilhon
48 x 32 cm 2010
Belgium: La Cambre - cole nationale suprieure des arts visuels
018
La Mayer
30 x 50 cm 2010
019
Arthur Sallustrau
30 x 43 cm 2010
020
Emelyne Duval
42 x 29.7 cm 2010
Belgium: cole Suprieure des Arts plastiques et visuels
021
Priscilla Beccarri
29 x 21 cm 2010
Belgium: Acadmie des beaux-arts de la ville de Tournai
022
Hlne Vandenbussche
42 x 29.7 cm 2010
Belgium: Acadmie des beaux-arts de la ville de Tournai
023
Ana Hrcan
50 x 65 cm 2010
Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci
024
Dragan Kordic
39.5 x 30.5 cm 2009
Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci
025
Petteri Cederberg
20 x 20 cm 2010
Finland: Kuvataideakatemia
026
Eveliina Hmlinen
46 x 43 cm 2010
027
Jaakko Pallasvuo
21 x 29.7 cm 2010
028
Marie De Geuser
20 x 20 cm 2009
France: cole suprieure des beaux-arts d'Angers
029
Julien Rasle
12.5 x 17.5 cm 2009
France: cole suprieure des beaux-arts d'Angers
030
Marion Roger
France: cole europenne suprieure de l'image
FID 2010: Nominee Jury Prize & Public Prize
031
Amlie Carvalho
20 x 30 cm 2010
France: cole suprieure d'art de Cambrai
032
Adrien Grenton
11 x 22 cm 2010
France: cole suprieure des beaux-arts de Montpellier Agglomeration
033
Han Ren
65 x 50 cm 2010
France: Villa Arson, Nice
034
Clmentine Poquet
50 x 65 cm 2002
France: Institut d'arts visuels - cole suprieure d'art et de design d'Orlans
035
Camille Chevrillon
25 x 20 cm 2010
France: cole nationale suprieure des arts dcoratifs Paris
036
Amlie Fontaine
29.7 x 42 cm
France: cole nationale suprieure des arts dcoratifs, Paris
037
Nina Bernagozzi
46 x 65 cm 2010
France: cole nationale suprieure des beaux-arts de Paris
038
Mathieu Bonardet
42 x 42 cm 2010
039
Maya De Mondragon
040
Marie-Anne Franqueville
041
Angle Guerre
42 x 59.4 cm 2010
042
Marion Harduin
24 x 32 cm 2009
043
Woojung Hoh
044
Kyoungjoo Kwon
60 x 60 cm 2010
045
Anne Leclerc
40 x 50 cm 2010
046
Junho Lee
60 x 40 cm 2010
047
Benjamin Magot
60 x 42 cm 2010
048
Agathe Piti
42 x 29 cm 2010
049
Camille Rosa
050
Giorgio Silvestrini
21 x 28.3 cm 2010
051
Lise Stoufflet
FID 2010: Winner Public Prize & Nominee Jury Prize
052
Anas Ysebaert
10 x 5 cm 2010
053
Camille Zizi
32 x 57.5 cm 2010
054
Julien Boucq
France: cole rgionale suprieure d'expression plastique, Tourcoing
055
Nicolas Leignel
29.7 x 21 cm 2010
056
Galle Leroyer
23 x 23 cm 2010
057
Jeong Hwa Min
17 x 24 cm 2010
Germany: Universitt der Knste Berlin
058
Ulrike Zllner
24 x 17 cm 2010
Germany: Universitt der Knste Berlin
059
Lea Rochus
42 x 29 cm 2010
Germany: Hochschule fr Bildende Knste Braunschweig
060
Ximena Garca
2010
Germany: Kunstakademie Dsseldorf
061
Ricarda Hoop
21 x 29 cm 2009
Germany: Hochschule fr Bildende Knste Hamburg
062
Natalie Bujok
42 x 29 cm 2010
Germany: Staatliche Akademie der Bildenden Knste Karlruhe
063
Olga Abramova
50 x 32 cm 2011
Italy: Accademia di Belle Arti di Brera
064
Francesca Agnelli
42 x 29.7 cm 2010
Italy: Accademia di Belle Arti di Brera
065
Laura Sassen
19 x 15 cm 2010
Netherlands: Hogeschool voor de Kunsten Utrecht
066
Leonie Van Der Valk
55 x 32 cm 2010
Netherlands: Koninklijke Academie van Beeldende Kunsten Den Haag
067
Marta Gladysz
25 x 33 cm 2009
Poland: Akademia Sztuk Pieknych w Katowicach
068
Bartosz Czarnecki
89 x 140 cm 2009
Poland: Akademia Sztuk Pieknych w Krakowie
069
Agata Kus
30 x 20 cm 2010
070
Dariusz Milczarek
071
Srgio Miguel Sequeira
29.7 x 21 cm 2010
Portugal: Escola Superior Artstica do Porto-Guimares
072
Sara Yan
42 x 60 cm 2010
Portugal: Ar.co Centro de Arte & Comunicao Visual
073
Tnia Caeiro
30 x 21 cm 2010
Portugal: Faculdade de Belas Artes da Universidade de Lisboa
074
Ana Margarida Silva Paulo Coito
65 x 50 cm 2010
075
Andr Lana
17 x 14 cm 2010
076
Elisa Meira
60 x 42 cm 2010
077
Maria Do Carmo Antunes
42 x 59 cm 2009
078
Maria Ins Beires
14.8 x 21 cm 2010
Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP
Selected on Facebook 2011
079
Joo Moura
40 x 60 cm 2005
080
Mafalda Mendona
29.7 x 42 cm 2007
081
David Penela
50 x 33 cm 2010
Portugal: Faculdade de Belas Artes da Universidade do Porto
082
Razvan Anton
60 x 60 cm 2008
Romania: Universitatea de arta si design Cluj-Napoca
083
Claudiu Candea
45 x 65 cm 2010
084
Alice Iliescu
65 x 45 cm 2010
085
Alexandru Radulescu
35 x 45 cm 2010
086
Lidija Delic
19 x 29 cm 2010
Serbia: Faculty of Fine Arts of Belgrade
087
Nina Ivanovic
21 x 29 cm 2010
088
Ivan Milenkovic
35 x 50 cm 2010
089
Aleksandar Mitrovic
23.4 x 25.1 cm 2010
090
Tijana Radenkovic
35 x 25 cm 2010
091
Serafn lvarez Prieto
29.7 x 42 cm 2010
Spain: Facultat de Belles Arts Universitat de Barcelona
092
Carmen Daz Alas
29.7 x 42 cm 2010
Spain: Facultat de Belles Arts Universitat de Barcelona
093
Patricia March Asuncin
50 x 66 cm 2010
Spain: Facultat de Belles Arts de Sant Carles de la Universidad Politecnica de Valencia
094
Alice Bigot
48 x 65 cm 2010
Switzerland: Haute cole d'art et de design, Genve
095
Aurelien Couput
20 x 27 cm 2010
Switzerland: Haute cole d'art et de design, Genve
096
Maria Heritage
42 x 59 cm 2010
United Kingdom: The arts university college at Bournemouth
097
John Patrick Egan
63 x 63 cm 2010
United Kingdom: Central Saint Martins - Byam Shaw University of the Arts London
098
Sarah Ldemann
29.7 x 21 cm 2010
099
Raluca Popa
35 x 50 cm 2009
100
Keke Vilabelda
150 x 200 cm 2009
101
Joana Costa
25.4 x 38 cm 2010
United Kingdom: Slade school of fine art (UCL)
102
Georgie Flood
United Kingdom: Slade school of fine art (UCL)
FID 2010: Nominee Jury Prize, Nominee Public Prize
104
BELGI UM
Ar t esi s koni nkl i j ke academi e voor schone kunst en Ant wer p
Acadmi e royal e des beaux-ar t s de Br uxel l es ( part ner school )
La Cambre col e nati onal e supri eure des arts vi suel s ( part ner school )
col e supr i eure des ar t s pl ast i ques et vi suel s
Acadmi e des beaux-ar t s de l a vi l l e de Tour nai ( part ner school )

CROATI A
Akademi j a pr i mi j enj eni h umj et nost i Sveuci l i st a u Ri j eci

FI NLAND
Kuvat ai deakat emi a ( part ner school )

FRANCE
col e supr i eure des beaux-ar t s d' Anger s ( part ner school )
col e supr i eure d' ar t de Cambr ai ( part ner school )
col e supr i eure des beaux-ar t s de Mont pel l i er Aggl omr at i on
Vi l l a Ar son, Ni ce
I nst i t ut d' ar t s vi suel s col e supr i eure d' ar t et de desi gn d' Or l ans
col e nat i onal e supr i eure des ar t s dcor at i f s, Par i s ( part ner school )
col e nat i onal e supr i eure des beaux-ar t s de Par i s
cole rgionale suprieure d'expression plastique, Tourcoing ( part ner school )
GERMANY
Uni ver si t t der Knst e Ber l i n
Hochschul e f r Bi l dende Knst e Br aunschwei g
Kunst akademi e Dssel dor f
Hochschul e f r Bi l dende Knst e Hamburg
St aat l i che Akademi e der Bi l denden Knst e Kar l r uhe

I TALY
Accademi a di Bel l e Ar t i di Brer a
NETHERLANDS
Hogeschool voor de Kunst en Ut recht
Koni nkl i j ke Academi e van Beel dende Kunst en Den Haag
INDEX OF SCHOOLS
105
POLAND
Akademi a Szt uk Pi eknych w Kat owi cach ( part ner school )
Akademi a Szt uk Pi eknych w Kr akowi e ( part ner school )
PORTUGAL
Ar. co Cent ro de Ar t e & Comuni cao Vi sual ( part ner school )
Facul dade de Bel as Ar t es da Uni ver si dade de Li sboa ( part ner school )
Escol a Super i or Ar t st i ca do Por t o-Gui mar es ( part ner school )
Faculdade de Arquitectura da Universidade do Porto - FAUP ( part ner school )
Facul dade de Bel as Ar t es da Uni ver si dade do Por t o ( part ner school )

ROMANI A
Uni ver si t at ea de ar t a si desi gn Cl uj -Napoca ( part ner school )

SERBI A
Facul t y of Fi ne Ar t s of Bel gr ade ( part ner school )

SPAI N
Facul t at de Bel l es Ar t s Uni ver si t at de Barcel ona ( part ner school )
Facul t at de Bel l es Ar t s de Sant Car l es ( part ner school )

SWI TZERLAND
Haut e col e d' Ar t et de Desi gn Genve

UNI TED KI NGDOM
The ar t s uni ver si t y col l ege at Bour nemout h
Cent r al Sai nt Mar t i ns - Byam Shaw Uni ver si t y of t he Ar t s London
Sl ade school of f i ne ar t ( UCL)

106
Belgium: Acadmie royale
des beaux-arts de Bruxelles
Drawing, as a discipline in its own right,
develops as an open field, expanding,
constantly brimming over its margins. However
much it may try to delineate itself by rallying
round a definition of e.g. the line or the support,
by the very same movement it will open on to
its diversity. It thereby reveals that it has little
to do with imaginary entities such as identity
or identification, contaminated as it is by
multiplicity, otherness, diversity, and this right
from the fibrous layers of its support.

Drawing doubtless proceeds from a withdrawal,
from an opening on to blanks, nothing, absence.
It at first sight it seems to fall within the sphere
of the intimate, at the end of the day it shakes
our self-confidence and leaves us with our
precariousness, our fragility.
Belgium: La Cambre - cole nationale
suprieure des arts visuels
Outre une dizaine de cours de dessin, du plus
gnral au plus spcifique, visant soutenir ou
complter la formation des tudiants inscrits
dans ses divers dpartements, lcole nationale
suprieure des arts visuels de La Cambre
propose une option Dessin, autrement dit une
section ddie principalement ce moyen
dexpression, o il est considr pour lui-mme
et non comme une tape vers une ralisation
qui lui serait extrieure.

Les tudes stalent sur cinq ans et deux
cycles, au cours desquels les tudiants sont
amens lacquisition de connaissances
thoriques et techniques, mais surtout une
rflexion qui leur permette de dvelopper dans
le domaine du dessin des dmarches originales
en phase avec la cration contemporaine.
SCHOOLS PRESENTATIONS
107
Belgium: Acadmie des beaux-arts
de la ville de Tournai
Le dessin est dessein, cest--dire une intention
toujours en mouvement, un processus vivant
qui nest jamais fini ; sans fermeture, la ligne
propose une continuit infinie. Le dessin rpond
au besoin de la vie, son accroissement sans
fin. Lhomme a besoin de raconter, il veut se
faire comprendre, donner sa vision par des
signes graphique. Lhomme est le gardien du
sens.

Pour cheminer vers ce lieu singulier o un
sujet recueille des traces, cherche du sens et
invente un monde, il y a des outils, les moyens
matriels, les formes et les parcours progressifs
ou tumulteux que lon entreprend.

Joseph Beuys disait : Dessiner reprsente
la forme dexpression la plus universelle. Le
dessin est soumis la servitude du langage
comme lcriture : communication dides par
la linature, ce qui peut tre enseign et pens,
le savoir et le souvenir comme dpts dans des
catgories esthtiques.

Dessiner cest tracer.
Saskia Weyts

The weekly Drawing Class at the Finnish
Academy of Fine Arts offers teaching in
traditional drawing based on perception. In
addition, there are intensive experimental
workshops, where the focus is on the
relationship between the tradition of
drawing and phenomena and techniques of
contemporary art, such as animation and digital
media.

As part of the Drawing Class, there are
courses where the processes of artistic work
on a more general level, with out an emphasis
on a particular medium are studied. These
workshops are thus a meeting point for the
different study programmes in the Academy:
Painting, Sculpture, Print making, Time and
Space (new media). Equay, the Drawing Class
offers a forum for colaboration between various
artforms, for example through jointcourses for
students of contemporary dance and drawing.

Stig Baumgartner, Lecturer Drawing and
Perception Finnish Academy of Fine Arts
108
France: cole suprieure
des beaux-arts d'Angers
Le dessin contemporain tient dsormais une
place prpondrante dans le champ de l'art
actuel. Dans notre cole des beaux-arts
Angers, considr comme un enseignement de
base, le dessin est obligatoire jusqu'
la troisime anne.

On ne peut le rduire aux uvres sur papier et
les traditionnels crayons et pinceaux ne sont
pas les uniques outils permettant de tracer.

Champ d'expression dimensions variables, le
dessin contemporain se pratique sur ordinateur,
emploie le non; il est la fois trace d'un
projet, outil et analyse, instrument de pense.
On ne dessine pas pour reproduire le rel, on
dessine pour en comprendre les formes et
questionner les sens. Le dessin ne s'apprend
pas, il se pratique.

Isabelle Lvnez
France: cole suprieure d'art
de Cambrai
En premire anne, les tudiants suivent
un cours hebdomadaire ax sur le dessin
dobservation et lexprimentation graphique.
Ils peuvent ensuite poursuivre la pratique du
dessin travers plusieurs modules : illustration,
dessin de presse, graphisme et latelier
Expression dessine. Ce dernier se veut
un lieu dmergence dides, de formes, de
projets. On y cultive une disponibilit pour que
survienne linattendu.

Chaque tudiant dfinit un axe de recherche
entranant une succession de propositions.
Certaines prendront corps de faon plus
labore, leur finalisation faisant appel au
dessin lui-mme ou dautres pratiques.

Paralllement, une rflexion sur une
prsentation pertinente et contemporaine du
travail fait intervenir le dessin sous dautres
formes : croquis, descriptifs, plans

Christine Bouvier et Gilles Bachelet
109
France: cole nationale suprieure
des arts dcoratifs, Paris
L' cole nationale suprieure des arts dcoratifs
de Paris propose dix secteurs d'activits :
architecture intrieure,art-espace, cinma-
animation, design-graphique/multimdia,
design-objet, design-textile et matire,design-
vtement,image-imprime, photo/video,
scnographie. C'est dire que le rle du dessin y
tient une place fondamentale puisque le dessin
est l'origine du processus de conception de
toute cration dans ces domaines.

"Les dessins", plus justement, car la
perception, l'apprhension et la formulation du
monde au moyen du dessin n'est pas la mme
pour le peintre ou le sculpteur, l'architecte ou le
photographe, le designer textile ou le designer
objet.

Chaque lve dveloppe ainsi l'outil trs
personnel du dessin en fonction de ses
objectifs. En matrisant cette pense mise en
forme qu'est le dessin, il peut ainsi donner
corps et ralit ce qui ne resterait qu' l'tat
d'intuition.

Luc Gauthier, professeur, coordonnateur du
secteur Expression plastique
France: cole rgionale suprieure
d'expression plastique, Tourcoing
Dessin : point de dpart du processus de
cration pour aborder tous les domaines des
arts plastiques et graphiques.

Observer, dcouvrir, analyser, initier,
sensibiliser, ordonner, structurer, organiser,
combiner (la relation du tout aux parties et des
parties au tout), configurer, pratiquer, rflchir
et crer daprs une rduction radicale des
moyens reprsentant le dessin.

Affirmer une pense, une sensibilit, une
individualit, au travers des multiples liens
conscients et inconscients qui nous relient
aux autres, notre environnement, une
collectivit. Cest par la reprise de ce
questionnement et de ces exigences que je
dveloppe mon enseignement, l o pour
chaque tudiant sexprime une singularit qui
noublie jamais la prsence de la multiplicit
dont elle est partie prenante.

Vassilios Michail, professeur de dessin
lERSEP de Tourcoing
110
Poland: Akademia Sztuk Pieknych
w Katowicach
At the Academy of Fine Arts drawing is an
autonomous, obligatory discipline that forms
the foundation of the meaning of each artifact
and each artistic statement.

Following the first year of their education, in the
course of which students learn the rudiments of
the subject, experiencing the rules of structural
discipline as well as the creative possibilities
of drawing, they opt for one of six Authors
Drawing Studios, treating it as a laboratory for
creating realities. The basis of creation is the
ability to declare the autonomy of the figure,
whereas transcending the workshop limitations
to look for ones individual artistic traits springs
from the inventiveness of the students, their
conscious commitment to the perilous course
of searching for their own truth, opening up to
experience and cognition.
Text by Prof. Janusz Karbowniczek
Poland: Akademia Sztuk Pieknych
w Krakowie
The drawing department consists of 6
drawing studios supervised by professors and
professors' assistants (PhD)- all together 9
persons. Each studio is lead by the professors
according to their own, autonomic teaching
program.

Our students have the opportunity to develop
a wide range of drawing abilities. We offer the
nude study to all of them and drawing tasks
that teach and show the connection between
drawing, photography, movies etc. to build up
the personal notions of the nature of reality
and to give them the opportunity to question
the tradition of art as well. The purpose of this
educational offer is to help them to form self -
improved comprehension of art problems.

Our students may submit their final set of
artworks both - paintings or drawings. Some
of them do decide to take drawing as a major
subject to obtain the Master of Art degree. Even
if they decide to present painting as major they
can equally present a drawing appendix.
111
Portugal: Ar.co Centro de Arte
& Comunicao Visual
Founded in 1973 as an independent art school,
Ar.Co is dedicated to the experimentation,
training and divulging of arts, crafts and visual
communication.

The practice of Drawing constitutes the center
of Ar.Cos pedagogical scheme, bringing
together the various different formation areas,
from Graphic Design to Jewellery, from Cinema
to Illustration and Comics, from Sculpture to
Ceramics, etc. As such, its lived reality is not
really that of a mere department or an area of
formation, but the very center of practice the
notion around which the school was built.

Drawing is therefore thought of as the place
where, in the so called Visual Arts, seeing
becomes labour and transformation, following
the derrrida(ist) belief that drawing replaces
sight while returning it, making it possible.
Portugal: Faculdade de Belas Artes
da Universidade de Lisboa
Aujourdhui, le dessin, la facult des beaux-
arts de luniversit de Lisbonne, est devenu
un dpartement qui prend part au processus
de formation initiale dans tous les cours
artistiques, en assurant en mme temps un
parcours cratif et de recherche spcifique,
avec trois cycles dtudes, selon une
perspective rflexive et critique, en rapport avec
le changement et la convergence europenne.

Cest donc avec fiert que nous accueillons la
slection de cinq tudiants en fin de premire
anne pour participer la FID 2011 et nous
remercions lassociation Drawing Spaces pour
son engagement dans cette initiative.

Professor Antnio Pedro Marques
112
Portugal: Escola Superior Artstica
do Porto-Guimares
At ESAP Guimares we think of drawing
as the specific language of the spatial and
global exercise of thought and its instrument
of graphic codification. Its foundations are
based on an irreducible structure of three basic
concepts - point, line and area whose graphic
formalization, allowing to deploy them in a
virtually infinite number, is organized from two
central concepts: differential of visibility and
border relations between elements of the image.

Our teaching is based on intensive workshop
practice - covering the areas of representation
and interpretation of the visible and the
development of creative projects - from which
one seeks to deduce the theoretical principles
and fundamental concepts that allow students
to conceive the creation of drawings as a
process of investigation and conceptualization.
Portugal: Faculdade de Arquitectura
da Universidade do Porto - FAUP
Under a critical perspective, one of the main
goals is to ensure the promotion of specific
competences as far as different manual
and mental instruments are concerned, as
well as the development of techniques of
representation, so as to foment the students
subjective and expressive autonomy in the act
of project building.

Drawing is thought as the creative basis
of a vast economy of formal and heuristic
procedures in the architectural project.
Therefore, the singularity of drawing and its
project condition define the limits of questions
and exercises, which are centered on themes
such as shape, human figure and space. The
students drawings that are now presented are a
sample of an extensive diversity of themes and
pedagogical approaches. The prosaic character
of their drawings resides on the fact that they
were simply made as responses to a real
learning process.
113
Portugal: Faculdade de Belas Artes
da Universidade do Porto
The teaching of Drawing at FBAUP, crosses
with its own history then, Drawing Lesson and
showing Sketch, and the "essentially formative
role of Drawing".

The importance given to the teaching of
Drawing at FBAUP acquires today, a remarkable
level of interest both as a pedagogical practice
and at the level of theoretical systematization.
It is still seen as a fundamental discipline in
the formation of artists. It is a compulsory
subject common to all degree courses, allowing
students to attend different subjects of Drawing
in all the years of their formation. A growing
interest in the discipline has been relevant in
its formative options, providing students and
researchers to continue their Drawing studies
through MA and PhD degrees at FBAUP.
Romania: Universitatea de arta
si design Cluj-Napoca
The basic mission of the University of Art
and Design Cluj-Napoca, Romania is to train
specialists in the fields of visual arts able to
produce a significant impact on the present
culture, commerce and industry, and to improve
the spiritual and material development of
mankind.

Drawing is one of the main subjects taught
within the university, as the basis for all artistic
areas. For drawing, the representation of reality
is a fundamental criterion and the knowledge
of its basic techniques and notions of color
are vital. Based on the theoretical knowledge
of artistic anatomy, drawing is explored in
engraving, composition and color, animation,
lettering and digital image, painting, sculpture,
photography, fashion and design.
114
Serbia: Faculty of Fine Arts
of Belgrade
The transformation of the curriculum meant that
integrated five-year studies have been divided
into three-years BA, two years of MA and, after
that, six semester doctoral studies. On all years
and also in all three departments (painting,
sculpture and printmaking) drawing is strongly
present. The first year of studies is completely
devoted to drawing as the basis of all artistic
practices, and in later years it stays as the very
important part of studio work. It is possible to
choose drawing as the main subject both on MA
studies as well as on the doctoral ones.

Students drawings are shown in all final
exhibitions in our School, and there is the
traditional annual exhibition in one of the most
important public galleries in Belgrade showing
students drawings. For most of the students
that show is the first professional appearance
and its forty years tradition improved the
position of drawing in Faculty for Fine Arts in
Belgrade.

Mileta Prodanovic
Spain: Facultat de Belles Arts
Universitat de Barcelona
Hablar de dibujo dentro del contexto
contemporneo, es hablar de mirada, de
percepcin es hablar de catalogacin,
ordenacin, de repensar lo visto en otro tempo
por tanto, hablar de dibujo en el siglo XXI,
es hablar una vez ms, de la mirada como
pensamiento.

El misterio del dibujo consiste en el hecho de
conjugar el interior del individuo con el entorno
exterior, la reunificacin de objeto y sujeto en
esos instantes donde la percepcin detiene
el tiempo y las estructuras se vuelven ntidas,
consiguiendo as, que: idea, mirada y gesto
coincidan en un solo acto.

Tanto si el dibujo se realiza con medios
tradicionales como si se lleva a cabo con
medios tecnolgicos, se precisa de esa
comunin entre tiempo detenido y pensamiento
fluido. De la misma manera dentro de cada
individuo, co-existen varios formatos de dibujo.

Josep Montoya i Hortelano
Vicedecano de Cultura i Estudiantes
115
Spain: Facultat de Belles Arts Sant
Carles, Universidad de Valencia
The Faculty of Fine Arts of Valencia has had
since its founding a clear vocation for teaching
drawing. It has been one of keys that we
provide to professionals from our school and
who represents us in important places in our
society.

From the Drawing Department we are committed
to continue the tradition of drawing and enlarge
it with new demands for their employability. In
the first courses we stress upon the training
pattern to the subjects of drawing and drawing
from life statue and offer advanced courses in
subjects in which the design is adaptable to the
different profiles such as illustration, animation
or graphic.

We believe that the drawing is the framework
of art education for our students but above all
we believe in the intrinsic value of drawing as a
clear artistic discipline itself.
117
donators and main partners
with the friendly assistance of Sothebys France
Goethe Institut
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Charles Zalber
Galerie LWS
Twilight zone
Salon du dessin
Institut Camos ADAGP
partners
EAC
Centre Culturel Serbe
Chic Dessin
Drawing Spaces
ditions Lelivredart
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Artprice
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Collection Revue
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L ES PLUS BEL L ES UVRES S UR PAPI ER
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Le Conquet, 1924
VENDU 19 950 PARIS EN 2010

GALERIE LUCIE WEILL & SELIGMANN
Charles Zalber

Aprs des annes de participation au Salon du dessin
contemporain, la galerie Lucie Weill & Seligmann
choisit dinvestir des projets innovants tels que la
FID 2011.

La galerie sera heureuse daccueillir le laurat du Prix
du public de la Foire internationale du dessin lors
dune exposition personnelle au mois davril 201l.

+ 33 1 43 54 71 95 6 rue Bonaparte - 75006 Paris
contact@galerie-lws.com http://galerie-lws.com
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