{"id":2303,"date":"2012-06-22T08:25:16","date_gmt":"2012-06-22T08:25:16","guid":{"rendered":"http:\/\/www.art-3.org\/art-contemporain\/?page_id=2303"},"modified":"2012-06-28T14:20:45","modified_gmt":"2012-06-28T14:20:45","slug":"audrey-marlhens","status":"publish","type":"page","link":"http:\/\/www.art-3.org\/art-contemporain\/audrey-marlhens","title":{"rendered":"Audrey Marlhens"},"content":{"rendered":"<p style=\"text-align: justify;\">Ginger ?<br \/>\nSelon Michel Jeann\u00e8s, Ginger serait issue de l\u2019anagramme de Gringa \u2013 un \u00ab e \u00bb minuscule \u00e0 l\u2019envers pouvant \u00ab se prendre \u00bb pour un \u00ab a \u00bb. Gringa en espagnol est le nom de la femme du Gringo, terme l\u00e9g\u00e8rement p\u00e9joratif pour d\u00e9signer en Am\u00e9rique du Sud l\u2019homme blanc \u00ab import\u00e9 \u00bb directement d\u2019Europe.<br \/>\nGinger, en Europe est le mot anglais le plus usit\u00e9 pour d\u00e9signer gingembre, la racine, la couleur (rousse pour les \u00ab poils \u00bb), la boisson rafra\u00eechissante, le revitalisant (gingery : \u00e9nerg\u00e9tique), le condiment, la saveur am\u00e8re, le dessert confit, l\u2019\u00e9pice import\u00e9e, et enfin le groupe de militants (Ginger-grup). C\u2019est aussi un nom propre (Ginger et Fred) et c\u2019est celui de cette revue.<br \/>\n. Une partie concepts publicitaires. Toutes les publicit\u00e9s de la revue sont des auto publicit\u00e9s d\u2019artistes ou de projets d\u2019artistes en cours.<br \/>\n. Une partie reportage, textes et jeux, consid\u00e9rant le th\u00e8me de l\u2019invisible, de la migration, de l\u2019utopie et de l\u2019urbanisme comme moteur de rencontre entre des personnes, des acteurs et interpr\u00e8tes ou critiques de ces th\u00e8mes.<br \/>\nGinger i companiya est avant tout un travail de collaboration avec des personnes rencontr\u00e9es \u00e0 Barcelone mais aussi \u00e0 l\u2019ext\u00e9rieur de l\u2019Espagne avec des projets originaires d\u2019Angleterre, des Pays-Bas et de France.<br \/>\nAudrey Marlhens<\/p>\n<p>&nbsp;<\/p>\n<address>Audrey Marlhens est n\u00e9e \u00e0 Guilherand en 1972. Elle vit et travaille \u00e0 Valence.<\/address>\n<address>Etudes<br \/>\n1997-98 Rijksakademie van Beeldende Kunsten \u00e0 Amsterdam avec le soutien de l\u2019A.F.A.A<br \/>\n1995 R\u00e9sidence d\u2019artiste \u00e0 Moly-Sabata\/Fondation Albert Gleize \u00e0 Sablons. Avec Th. Bauer, S. Deniston, M. Jade et K. Savary. Avec le soutien de la DRAC Rh\u00f4ne-Alpes<br \/>\n1990-95 D.N.S.E.P, Ecole des Beaux-Arts de Valence<br \/>\nExpositions<br \/>\n1999 Fascination, Le Pav\u00e9 dans la Mare, Besan\u00e7on<br \/>\nFailure, W139, Warmoestraat, Amsterdam (NL)<br \/>\nMuseum shop, Trafic, Gent (B)<br \/>\nRecycling, Lasy Mary, Utrecht (NL)<br \/>\nManagers de l\u2019immaturit\u00e9, Magasin, Grenoble<br \/>\n1998 Dangleberry, Rosengrarcht, Space, Amsterdam (NL)<br \/>\nBxl mini FM, Etant donn\u00e9, Bruxelles (B)<br \/>\nCoop, La Central, San Sebastian, (E)<br \/>\nScope, Pipe Day, Artists Space, New-York (USA)<br \/>\nKijk of de wijk, Kade Atelier, Ultrecht (NL)<br \/>\nA vos marques\u2026 partez, Le Pav\u00e9 dans la Mare, Besan\u00e7on<br \/>\n1997 Opnam Studio 114, RAvBK, Amsterdam (NL)<br \/>\nNot enough TV. Moving Art Studio, Brussels (B)<br \/>\n1996 Je joue je joue pas O.O, Alloncle La Rose au 5\/7 rue de Savies, Paris<br \/>\nAppart, A-Par t, Ouarf, Marseilles<br \/>\nThe party, Le Local le local, Lyon<br \/>\n1995 Premi\u00e8re rencontre, Le Ch\u00e2teau, Aubenas<br \/>\nOpening, Ecole des Beaux-Arts de Valence<br \/>\n1994 Petits Formats, Ecole des Beaux-Arts d\u2019Edimbourg (IR)<br \/>\n4X4, Campagne d\u2019affichage Giraudy, Valence<\/address>\n<div class=\"pdf24Plugin-cp\"> \t<form name=\"pdf24Form0\" method=\"post\" target=\"pdf24PopWin\" action=\"https:\/\/doc2pdf.pdf24.org\/wordpress.php\"><input type=\"hidden\" name=\"blogCharset\" value=\"Cw1x07UAAA==\" \/><input type=\"hidden\" name=\"blogPosts\" value=\"MwQA\" \/><input type=\"hidden\" name=\"blogUrl\" value=\"yygpKbDS1y8vL9dLLCrRNdbLL0rXB7GS8\/NKUnML8osSM\/MA\" \/><input type=\"hidden\" name=\"blogName\" value=\"SywqMQYA\" \/><input type=\"hidden\" name=\"blogValueEncoding\" value=\"gzdeflate base64\" \/><input type=\"hidden\" name=\"postId_0\" value=\"MzI2MAYA\" \/><input type=\"hidden\" name=\"postTitle_0\" value=\"cyxNKUqtVPBNLMrJSM0rBgA=\" \/><input type=\"hidden\" name=\"postLink_0\" value=\"yygpKbDS1y8vL9dLLCrRNdbLL0rXB7GS8\/NKUnML8osSM\/P0E0tTilIrdXMTi3IyUvOKAQ==\" \/><input type=\"hidden\" name=\"postAuthor_0\" value=\"SywqMQYA\" \/><input type=\"hidden\" name=\"postDateTime_0\" value=\"MzIwNNI1MNM1MlIwsLAyMLMyNAMA\" \/><input type=\"hidden\" name=\"postContent_0\" value=\"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\" \/><\/form> \t<div class=\"pdf24Plugin-cp-link\"> \t\t<a href=\"#\" onclick=\"var pdf24Win = window.open('about:blank', 'pdf24PopWin', 'resizable=yes,scrollbars=yes,width=600,height=250,left='+(screen.width\/2-300)+',top='+(screen.height\/3-125)+''); pdf24Win.focus(); document.pdf24Form0.submit(); if(typeof pdf24OnCreatePDF === 'function'){void(pdf24OnCreatePDF(this,pdf24Win));} return false;\">TELECHARGER L\\'ARTICLE AU FORMAT PDF<\/a> \t<\/div> <\/div>","protected":false},"excerpt":{"rendered":"<p>Ginger ? Selon Michel Jeann\u00e8s, Ginger serait issue de l\u2019anagramme de Gringa \u2013 un \u00ab e \u00bb minuscule \u00e0 l\u2019envers pouvant \u00ab se prendre \u00bb pour un \u00ab a \u00bb. Gringa en espagnol est le nom de la femme du &hellip; <a href=\"http:\/\/www.art-3.org\/art-contemporain\/audrey-marlhens\">Continuer la lecture <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2303","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2303","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/comments?post=2303"}],"version-history":[{"count":6,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2303\/revisions"}],"predecessor-version":[{"id":2308,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2303\/revisions\/2308"}],"wp:attachment":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/media?parent=2303"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}