{"id":2507,"date":"2012-11-29T14:11:24","date_gmt":"2012-11-29T14:11:24","guid":{"rendered":"http:\/\/www.art-3.org\/art-contemporain\/?page_id=2507"},"modified":"2012-12-12T15:24:56","modified_gmt":"2012-12-12T15:24:56","slug":"pierre-leguillon-dubuffet-typographe","status":"publish","type":"page","link":"http:\/\/www.art-3.org\/art-contemporain\/pierre-leguillon-dubuffet-typographe","title":{"rendered":"Pierre Leguillon, Dubuffet typographe"},"content":{"rendered":"

Intitul\u00e9e \u00ab Dubuffet typographe \u00bb,\u00a0cette nouvelle exposition\u00a0s\u2019inscrit \u00e0 la suite de diff\u00e9rents projets de Pierre Leguillon qui,\u00a0depuis une quinzaine d\u2019ann\u00e9es,\u00a0\u00ab r\u00e9active \u00bb des uvres majeures de l\u2019art du XXe si\u00e8cle qu\u2019il juge paralys\u00e9es dans les carcans de l\u2019histoire : \u00ab\u00a0la Barre de bois rond\u00a0\u00bb d\u2019Andr\u00e9 Cader\u00e9 (depuis 1996), \u00ab\u00a0la Roue de bicyclette\u00a0\u00bb de Marcel Duchamp qu\u2019il fait tourner dans les mus\u00e9es (depuis 1999), ou plus r\u00e9cemment le \u00ab Triangle bleu \u00bb de Blinky Palermo qu\u2019il peint\u00a0\u00e0 la demande\u00a0au dessus des portes (depuis 2009), sa \u00ab R\u00e9trospective imprim\u00e9e \u00bb de Diane Arbus (depuis 2008), ou encore les \u00ab Non-Happening after Ad Reinhardt \u00bb \u00e0 partir des diapositives du peintre am\u00e9ricain (depuis 2011).
\nA partir de nombreuses photos prises dans diff\u00e9rentes archives priv\u00e9es et publiques (notamment la Fondation Dubuffet \u00e0 Paris, la Biblioth\u00e8que Kandinsky du Centre Pompidou, l\u2019IMEC \u00e0 Caen),\u00a0Pierre Leguillon propose autant de \u00ab recadrages \u00bb dans l\u2019oeuvre de Jean Dubuffet (1901-1985) et au sein de ses ephemeras<\/em> : invitations, affiches, catalogues, livres d\u2019artistes, tracts, logotypes,\u00a0billets de spectacles,\u00a0pochettes de disques ou correspondance.En grand communicateur \u0096 en homme de publicit\u00e9 m\u00eame \u0096 Dubuffet apportait toujours le plus grand soin aux titres, aux slogans, ainsi qu\u2019\u00e0 leur graphie et leur composition, qui paraissent pourtant tr\u00e8s spontan\u00e9es\u00a0\u00e0 premi\u00e8re vue. On pourrait dire que pour chaque projet, Dubuffet inventa, sur un mode qui semble souvent relever de l\u2019improvisation, une nouvelle mani\u00e8re d\u2019\u00e9crire et de composer le texte. Il rejette ainsi la standardisation qu\u2019impose les modes de production de l\u2019imprimerie \u0096 ou ceux de la dactylographie \u00e0 laquelle il s\u2019\u00e9tait lui-m\u00eame form\u00e9. A travers livres et lithographies, il s\u2019attaque plus m\u00e9ticuleusement encore \u00e0 saboter l\u2019\u00e9criture, \u00e0 la\u00a0morceler, la distordre, parachevant visuellement son entreprise de destruction du langage.<\/p>\n

A partir d\u2019un film, Pierre Leguillon dresse un inventaire subjectif de formes typographiques qui semblent avoir \u00e9chapp\u00e9 au patient travail de catalogage qu\u2019initia Dubuffet\u00a0d\u00e8s 1964\u00a0avec la publication du Catalogue des Travaux<\/em>. Il montre aussi comment le proc\u00e9d\u00e9 de reproduction m\u00e9canique de l\u2019\u00e9criture manuscrite, faisant de chaque caract\u00e8re une image, et non plus une empreinte, interroge aujourd’hui le \u00ab devenir image \u00bb de tout caract\u00e8re typographique affich\u00e9 sur nos \u00e9crans. Au texte, encore frapp\u00e9 au plomb par la machine \u00e0 \u00e9crire, se substitue sa propre image. Contrairement au plomb, cette image ne doit plus \u00eatre rang\u00e9e dans une casse, et Dubuffet d\u00e9j\u00e0, inventait des formes typographiques non-standard.<\/p>\n

——————————-<\/p>\n

Biographie de Pierre Leguillon<\/address>\n
Pierre Leguillon, n\u00e9 en 1969, vit et travaille \u00e0 Paris.<\/address>\n
Il est repr\u00e9sent\u00e9 par Motive Gallery, Amsterdam.<\/address>\n
Expositions personnelles, performances, workshops<\/address>\n
2012 \u00a0\u00a0 Dubuffet typographe,\u00a0 art3, Valence<\/address>\n
La Grande \u00c9vasion (tableau vivant), Mus\u00e9e de la danse, Rennes<\/address>\n
<\/strong>Non-Happening after Ad Reinhardt (with Margit Rowell), ERG, Halles Shaerbeck, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bruxelles<\/address>\n
2011 <\/strong>Non-Happening after Ad Reinhardt (with Ute Meta Bauer), Murray Guy, New York<\/address>\n
<\/strong>Non-Happening after Ad Reinhardt (with Seth Siegelaub), Raven Row, London<\/address>\n
<\/strong>La Promesse de l\u2019architecture, Station exp\u00e9rimentale\/CNAP, Palais de Chaillot, Paris<\/address>\n
Non-Happening after Ad Reinhardt (with Peter Selz), Kadist, San Fransico<\/address>\n
Drawings on Site, Prelinger Library, San Francisco<\/address>\n
Les Grandes Orgues de la Promesse de l\u2019\u00e9cran, Le Mur, \u00c9cole d\u2019Arts plastiques, Mayenne<\/address>\n
Solo show, Motive Gallery at Fruits, Flowers and Clouds, MAK, Vienna<\/address>\n
Non-Happening after Ad Reinhardt (avec Barbara Rose), Maison Rouge, Paris<\/address>\n
<\/strong>Diane Arbus: A Printed Retrospective, 1960\u20131971, CAC, Vilnius, Lituania<\/address>\n
Diane Arbus: A Printed Retrospective, 1960\u20131971, Mercer Union, Toronto<\/address>\n
2010\u00a0\u00a0\u00a0 Danse libre<\/em>, Mamco, Gen\u00e8ve, Suisse<\/address>\n
Pierre Leguillon features: Diane Arbus, a Printed Retrospective, 1960\u20131971<\/em>,<\/address>\n
De Hallen, Haarlem, Pays-bas<\/address>\n
Pierre Leguillon features: Diane Arbus, a Printed Retrospective, 1960\u20131971<\/em>,<\/address>\n
Moderna Museet, Malm\u00f6, Su\u00e8de<\/address>\n
A Silent Show<\/em>, Motive Gallery, Amsterdam, Pays-Bas<\/address>\n
2009\u00a0\u00a0\u00a0 La promesse de l\u2019\u00e9cran. La promesse de l\u2019architecture<\/em>, in a private house by Rem<\/address>\n
Koolhaas (with capc, Mus\u00e9e d\u2019Art contemporain de Bordeaux), Floirac<\/address>\n
Blinky Palermo, Blaues Dreieck<\/em>, 1969\u20132009, ten private houses, various places<\/address>\n
La promesse de l\u2019\u00e9cran<\/em>, Josef Albers. Saul Bass\/Sacha Guitry, (sic), Bruxelles, Belgique<\/address>\n
Table d\u2019h\u00f4tes<\/em>, Lyon, France<\/address>\n
Diaporama\/Vestiaire<\/em>, Mus\u00e9e du Louvre, Paris, France<\/address>\n
La promesse de l\u2019\u00e9cran<\/em>. Nouveaux medias, mon oeil, Centre Pompidou, Paris, France<\/address>\n
La promesse de l\u2019\u00e9cran<\/em>, capc, Mus\u00e9e d\u2019Art contemporain, Bordeaux, France<\/address>\n
Pierre Leguillon pr\u00e9sente : Diane Arbus, r\u00e9trospective imprim\u00e9e, 1960\u20131971<\/em>, Centre<\/address>\n
r\u00e9gional de la Photographie, Douchy-les-Mines, France<\/address>\n
Slideshow\/Cloakroom<\/em>, Artists Space, New York, Etats-Unis<\/address>\n
2008\u00a0\u00a0\u00a0 The Song Song Speechless Show<\/em>, Song Song, Vienna, Autriche<\/address>\n
Slideshow\/Bookstops <\/em>(with Conny Purtill), Temple Gallery, Philadelphia, Etats-Unis<\/address>\n
Diaporama\/Vestiaire<\/em>, Life, Saint-Nazaire, France<\/address>\n
Works on Paper, 1660\u20132008, Collection Pierre Leguillon, eBay<\/em>, Air de Paris, Paris, France<\/address>\n
e-commerce<\/em>, France Fiction, Paris, France<\/address>\n
La promesse de l\u2019\u00e9cran<\/em>. Josef Albers, Galerie Xippas, Paris, France<\/address>\n
Pierre Leguillon pr\u00e9sente : Diane Arbus, r\u00e9trospective imprim\u00e9e, 1960\u20131971<\/em>, Kadist<\/address>\n
Art Foundation, Paris, France<\/address>\n
2007\u00a0\u00a0\u00a0 La promesse de l\u2019\u00e9cran<\/em>, Atelier Tr\u00e9vise, Paris, France<\/address>\n
Flat Stuff<\/em>, workshop at University of Windhoek, Namibie<\/address>\n
Je m\u2019voyais d\u00e9j\u00e0. L\u2019image du candidat \u00e0 l\u2019\u00e9lection pr\u00e9sidentielle, 1848\u20132007<\/em>, Passage<\/address>\n
de Retz, Paris, France<\/address>\n
2006\u00a0\u00a0\u00a0 cneai = pierre leguillon, cherchez l\u2019auteur<\/em>, cneai, Chatou, France<\/address>\n
Diaporama\/Vestiaire<\/em>, Le Pavillon, ADAC, Paris, France<\/address>\n
Le diaporama des familles<\/em>, Morogues, France<\/address>\n
Porter une image l\u2019\u00e9cran, in Cession 6<\/em>, Les Laboratoires, Aubervilliers, France<\/address>\n
2005\u00a0\u00a0\u00a0 Diaporama Pompier<\/em>, Caf\u00e9 Pompier, \u00c9cole des Beaux-Arts, Bordeaux, France<\/address>\n
Diaporama <\/em>(with Bernadette Lafont), La Maison Rouge, Paris, France<\/address>\n
2004\u00a0\u00a0\u00a0 Slideshow, workshop Future Academy<\/em>, Vistar, Bangalore, Inde<\/address>\n
Diaporama<\/em>, A\u00e9roport Metz-Nancy, La Synagogue, Centre d\u2019art, Delme, France<\/address>\n
Diaporama <\/em>(with Claude Closky), La M\u00e9nagerie de Verre, Paris, France<\/address>\n
2003\u00a0\u00a0\u00a0 Secession Slideshow<\/em>, Secession, Vienne, Autriche<\/address>\n
Diaporama disparate<\/em>, Palais du Rhin, esad, Strasbourg, France<\/address>\n
2002\u00a0\u00a0\u00a0 Slideshow<\/em>, Casco, Utrecht, Pays-Bas<\/address>\n
Diaporama, Diaporama<\/em>, Galerie de l\u2019Universit\u00e9 Paris 1, Fontenay-aux-Roses, France<\/address>\n
Diaporama<\/em>, Cin\u00e9ma Le Balzac, Centre national de la Photographie, Paris, France<\/address>\n
Diaporama<\/em>, Lac de Vassivi\u00e8re, Centre d’Art et du Paysage, Vassivi\u00e8re Diaporama,<\/address>\n
Museum d’Histoire naturelle de Nantes, Le Labo, Nantes, France<\/address>\n
2001\u00a0\u00a0\u00a0 Diaporama<\/em>, Centre d\u2019art d\u2019H\u00e9rouville Saint-Clair, France<\/address>\n
Diaporama<\/em>, ensci-Les Ateliers, Paris, France<\/address>\n
Diaporama<\/em>, Cin\u00e9ma Studio Le chapeau rouge, Le Quartier centre d’Art, Quimper, France<\/address>\n
Diaporama<\/em>, \u00c9cole des Beaux-Arts, capc, Mus\u00e9e d\u2019art contemporain, Bordeaux, France<\/address>\n
Diaporama<\/em>, \u00c9cole d\u2019art, Valence, France<\/address>\n
Slideshow<\/em>, Maison Descartes, Amsterdam, Pays-Bas<\/address>\n
Diaporama<\/em>, Galerie Erna H\u00e9cey, Luxembourg, Luxembourg<\/address>\n
2000\u00a0\u00a0\u00a0 Diaporama<\/em>, Galerie Francesca Pia, Bern, Suisse<\/address>\n
Diaporama<\/em>, \u00c9cole d\u2019art, Valence, France<\/address>\n
Diaporama<\/em>, \u00c9cole r\u00e9gionale des Beaux-Arts, Nantes, France<\/address>\n
Endless is More <\/em>(with Conny Purtill), Espace +, Luxembourg, Luxembourg<\/address>\n
Critique de la s\u00e9paration<\/em>, Galerie Kreo, Paris, France<\/address>\n
1999\u00a0\u00a0\u00a0 Diaporama<\/em>, Kunst-Werke, Berlin, Allemagne<\/address>\n
Diaporama<\/em>, Frankfurter Kunstverein, Frankfurt, Allemagne<\/address>\n
Diaporama<\/em>, 8e bim, Centre pour l\u2019Image contemporaine, Geneva, Suisse<\/address>\n
Diaporama<\/em>, screening room, Minist\u00e8re de la Culture et de la Communication, Paris, France<\/address>\n
Flat Stuff (Survival)<\/em>, Walker Art Center Library, Minneapolis, Etats-Unis<\/address>\n
Magnetism (After Images) <\/em>(with Bertrand Lavier), Galerie Vivienne, Paris, France<\/address>\n
1998\u00a0\u00a0\u00a0 Diaporama<\/em>, \u00c9cole d\u2019art, Grenoble, France<\/address>\n
Diaporama<\/em>, \u00c9cole nationale des Beaux-Arts, Lyon, France<\/address>\n
1997\u00a0\u00a0\u00a0 Diaporama<\/em>, Universit\u00e9 Rennes 2, Rennes, France<\/address>\n
Diaporama<\/em>, \u00c9cole des Beaux-Arts, Aix-en-Provence, France<\/address>\n
Diaporama<\/em>, Frac des Pays de la Loire, Nantes, France<\/address>\n
Diaporama <\/em>(with Radio Mentale), Le Bar Mobile, Paris, France<\/address>\n
Diaporama<\/em>, \u00c9cole des Beaux-Arts, Nuremberg, France<\/address>\n
Diaporama<\/em>, Villa Medici, Rome, Italie<\/address>\n
Diaporama<\/em>, Cinema House, Tbilissi, Gr\u00e8ce<\/address>\n
1996\u00a0\u00a0\u00a0 Up Hill & Down Dale<\/em>, Obala Art Center, Sarajevo, Bosnie-Herz\u00e9govine<\/address>\n
Par monts et par vaux<\/em>, \u00c9cole r\u00e9gionale des Beaux-arts, Tourcoing, France<\/address>\n
Par monts et par vaux<\/em>, Encore Bruxelles, Bruxelles, Belgique<\/address>\n
Par monts et par vaux<\/em>, Universit\u00e9 Paris 8, Saint-Denis, France<\/address>\n
1995\u00a0\u00a0\u00a0 Par monts et par vaux<\/em>, Universit\u00e9 Rennes 2, Rennes, France<\/address>\n
Par monts et par vaux<\/em>, coavn, Rekalde Area 2, Bilbao, Espagne<\/address>\n
Up Hill & Down Dale<\/em>, Stedelijk Museum Bureau, Amsterdam, Pays-Bas<\/address>\n
1994\u00a0\u00a0\u00a0 Par monts et par vaux<\/em>, \u00c9cole des Beaux-Arts, S\u00e8te, France<\/address>\n
Par monts et par vaux<\/em>, \u00c9cole r\u00e9gionale des Beaux-Arts, Nantes, France<\/address>\n
Up Hill & Down Dale<\/em>, Galerie Bograshov, Art Focus, Tel Aviv, Isra\u00ebl<\/address>\n
1993\u00a0\u00a0\u00a0 Par monts et par vaux<\/em>, \u00c9cole nationale sup\u00e9rieure des Beaux-Arts, Paris, France<\/address>\n
Expositions collectives<\/address>\n
2012\u00a0\u00a0\u00a0 The Umbrella Corner (cur. Moritz K\u00fcng), ProjecteSD, Barcelona.<\/address>\n
I Proclaim, You Proclaim, We Proclaim (cur. Capucine Perrot), Stroom, The Hague.<\/address>\n
Nuit blanche (cur. Laurent Le Bon), Pont Alexandre III, Paris<\/address>\n
La Demeure Joyeuse II (cur. Anne Dressen), Galerie Francesca Pia, Zurich.<\/address>\n
Les Prairies (cur. Anne Bonnin), Biennale d\u2019art contemporain de Rennes<\/address>\n
Anarchism Without Adjectives. On the Work of Christopher d\u2019Arcangelo, 1975\u20131979,\u00a0\u00a0 Extra City Kunsthal, Antwerpen, Belgique.<\/address>\n
Pindorama Suit (cur. Estelle Nabeyrat), RongWrong, Amsterdam, Pays-Bas
\n<\/address>\n
Photo*, Mus\u00e9e de la danse, Rennes<\/address>\n
2011 <\/strong>Speak and Spell, Coco, Vienna Art Week, Vienne<\/address>\n
Le r\u00eave de surplomber, Galerie Dohyang Lee, Paris<\/address>\n
Plateforme Mutations*, Paris Photo (cur. Chantal Ponbriand), Grand Palais, Paris<\/address>\n
Obs\u00e9d\u00e9s textuels (cur. Jean-Fran\u00e7ois Guillon), Galerie RDV, Nantes<\/address>\n
Codex, Live in Your Head, Gen\u00e8ve <\/address>\n
2011\u00a0\u00a0\u00a0 Incidents of Mirror Travel in Yucatan and Elswhere* (cur. Pablo Leon de la Barra), Museo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tamayo, Mexico<\/address>\n
Sir Thomas Trope (cur. Aur\u00e9lien Mole and Julien Tib\u00e9ri), L\u2019histoire de l\u2019\u0153il, Marseille<\/address>\n
Anarchisme sans adjectif, sur le travail de Christopher D\u2019Arcangelo, 1975\u20131979<\/address>\n
(cur. Dean Inkster and S\u00e9bastien Pluot with Pierre Bal-Blanc), CAC, Br\u00e9tigny-sur-Orge<\/address>\n
Vue sur la mer (cur. Romain Legros), HEAD, Gen\u00e8ve<\/address>\n
Convivio* (cur. Sophie Auger and Fabien Valloz), Centre d\u2019art de L\u2019Onde, V\u00e9lizy<\/address>\n
Homo Ludens, Motive Gallery, Amsterdam<\/address>\n
Qui admirez-vous ?* (cur. Isabelle Lenormand and Florence Ostende), La Box, Bourges<\/address>\n
La Nuit des images (cur. Pauline Martin and Sam Stourdz\u00e9), Mus\u00e9e de l\u2019\u00c9lys\u00e9e, Lausanne<\/address>\n
Cabaret (Karina Bisch and Nicolas Chardon), L\u2019Escalier, Paris<\/address>\n
Que-Sais-Je ? (cur. Ricardo Nicolau), Vera Cortes, Lisbon<\/address>\n
2010 \u00a0\u00a0 Papier Photo (cur. Sophie Berrebi and Fr\u00e9d\u00e9rique Valentin), Galerie Chez Valentin, Paris<\/address>\n
Perpetual Interview (cur. Ricardo Nicolau), Cristina Guerra, Lisbonne<\/address>\n
In Progess* (cur. Nestor Perkal, Jeanne Qu\u00e9heillard, Laurence Salmon), Grand Hornu, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mons, Belgique<\/address>\n
Speakeasy Medicine Show, A Construted World, Biennale de Belleville, Paris<\/address>\n
2009\u00a0\u00a0\u00a0 La Suite<\/em>, Air de Paris, Paris, France<\/address>\n
Living Archive <\/em>(cur. S\u00e9bastien Pluot), San Francisco Art Institute, San Francisco, Etats-Unis<\/address>\n
Le Nouveau festival <\/em>(cur. Bernard Blist\u00e8ne), Centre Pompidou, Paris, France<\/address>\n
The Efficiency of the Frame <\/em>(cur. Corinne Diserens and Edi Muka), Tirana<\/em><\/address>\n
Contemporary Art Biennial<\/em>, Tirana, Alabanie<\/address>\n
Flowers & Books (Salon Light), <\/em>Galeria Vermelho, S\u00e3o Paolo, Br\u00e9sil<\/address>\n
Sinais de Fuma\u00e7a<\/em>, Centro Cultural S\u00e3o Paolo, Br\u00e9sil<\/address>\n
Villa Aperta <\/em>(cur. Neville Rowley), Villa Medici, Italie<\/address>\n
Now that we know that the center could be empty, as part of A corps et \u00e0 textes <\/em>(cur.<\/address>\n
Francesco Pedraglio), La Galerie, Noisy-Le-Sec, France<\/address>\n
One Minute Film and Video Festival<\/em>, Narrowsburg, Etats-Unis<\/address>\n
La Collection du XXe si\u00e8cle <\/em>(cur. G. Longueville & N. Chardon), La Vitrine, Paris, France<\/address>\n
Retracing Exhibitions <\/em>(cur. K. Conte & F. Ostende), Royal College of Art, London, Angleterre<\/address>\n
Fugues <\/em>(cur. Latifa Echakhch), Galerie Ghislaine Hussenot, Paris, France<\/address>\n
2008\u00a0\u00a0\u00a0 Intricare<\/em>, (cur. Diogo Piment\u00e3o), Ant\u00f3nio Henriques Gallery, Viseu, Portugal<\/address>\n
Zapping Unit <\/em>(cur. Keren Detton et Marie Auvity), La Ferme du Buisson, Noisiel, France<\/address>\n
Now Jump <\/em>(with Aur\u00e9lien Froment), Nam June Paik Art Center, Seoul, Cor\u00e9e du sud<\/address>\n
Le troisi\u00e8me Paradis<\/em>, Glassbox, Paris, France<\/address>\n
The Space of Books <\/em>(cur. Conny Purtill), Temple Gallery, Philadelphia, Etats-Unis<\/address>\n
Il faut d\u00e9truire Carthage <\/em>(cur. B\u00e9atrice M\u00e9line), Lieu Commun, Toulouse, France<\/address>\n
La forme th\u00e9orie <\/em>(cur. Manuel Cirauqui), Centre d\u2019Art le lait, Albi, France<\/address>\n
Le dernier qui parle <\/em>(cur. Fran\u00e7ois Quintin), Frac Champagne-Ardenne, Reims, France<\/address>\n
Ultramoderne<\/em>, Centre d\u2019art La Passerelle, Brest, France<\/address>\n
Multiplo 5, \u201c…E quindi uscimmo a riveder le stele\u201d, <\/em>N.O. Gallery, Milan, Italie<\/address>\n
2007\u00a0\u00a0\u00a0 Ultramoderne<\/em>, Espace Paul Wurth, Luxembourg, Luxembourg<\/address>\n
Documentation C\u00e9line Duval<\/em>, Arko, Nevers, France<\/address>\n
The Man who Shooted Liberty Valence, <\/em>La Galerie Ext\u00e9rieure, Harmony, Etats-Unis<\/address>\n
Curating the Library, in Soci\u00e9t\u00e9 Anonyme<\/em>, Le Plateau Frac \u00cele-de-France, Paris, France<\/address>\n
2006\u00a0\u00a0\u00a0 L\u2019Ecole de St\u00e9phanie <\/em>(cur. S. Moisdon), La Force de l\u2019Art, Grand Palais, Paris, France<\/address>\n
2003\u00a0\u00a0\u00a0 Context, Form, Troya <\/em>(cur. Daniel Bauman), Secession, Vienna, Autriche<\/address>\n
1999\u00a0\u00a0\u00a0 Xn 99<\/em>, Espace des Arts, Ch\u00e2lons-sur-Sa\u00f4ne, France<\/address>\n
Prix et r\u00e9sidences<\/address>\n
2011\u00a0\u00a0\u00a0 Kadist, San Francisco<\/address>\n
2007\u00a0\u00a0\u00a0 Cit\u00e9 internationale des Arts, Paris, France<\/address>\n
2004\u00a0\u00a0\u00a0 Villa Medici, Rome, Italie<\/address>\n
1998\u00a0\u00a0\u00a0 Fiacre<\/em>, cnap, round trip through United States: New York, Chicago, Minneapolis, Etats-Unis<\/address>\n
Collections publiques<\/address>\n
Fonds national d\u2019Art contemporain, CNAP, Paris<\/address>\n
Fonds municipal d\u2019Art contemporain, Ville de Paris<\/address>\n
Grand Hornu, Mons, Belgium<\/address>\n
Mus\u00e9e de la danse, Rennes<\/address>\n
\t
<\/form> \t
\t\tTELECHARGER L\\'ARTICLE AU FORMAT PDF<\/a> \t<\/div> <\/div>","protected":false},"excerpt":{"rendered":"

Intitul\u00e9e \u00ab Dubuffet typographe \u00bb,\u00a0cette nouvelle exposition\u00a0s\u2019inscrit \u00e0 la suite de diff\u00e9rents projets de Pierre Leguillon qui,\u00a0depuis une quinzaine d\u2019ann\u00e9es,\u00a0\u00ab r\u00e9active \u00bb des uvres majeures de l\u2019art du XXe si\u00e8cle qu\u2019il juge paralys\u00e9es dans les carcans de l\u2019histoire : \u00ab\u00a0la … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-2507","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2507","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=2507"}],"version-history":[{"count":7,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2507\/revisions"}],"predecessor-version":[{"id":2525,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/2507\/revisions\/2525"}],"wp:attachment":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/media?parent=2507"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}