The fourth and last project of the year 2022, ¨IDENTITÉS REMARQUABLES ¨

( 2023 program to be found in the ¨NEWS¨ section.

„Remarkable identities, definition: Factor. Expanding our expressions. Our multiple languages. Accelerating our processes to facilitate the emergence of a hybrid creation. Polyphonies. Switching our creative identities into a common body.

 The Remarkable Identities device is an exercise in cartography on a 1:1 scale, the application of a plot in situ, on the site itself. This intention structures the protocol that we applied in Bourbonne-les-Bains from 18 to 30 July through a series of transdisciplinary performances in the public space as well as a workshop of body expression. During the choreographies, the bodies, dressed in painted clothes, and set to the rhythm of the music, become highlighter strokes on the landscape, the sculptures are beacons, lines and curves, dotted lines between the lines of the bodies, their directions and twists, those of the buildings and streets, and the inhabitants themselves. These interventions create moments apart in the habits of the city, and propose, through dance, its temporality, a shifted look at the architecture and life of a roundabout, an abandoned facade, living places or sometimes themselves out of time. Movements become attitudes, mimics, voices, in order to invest, look at and say something about these spaces, and open up their playful and poetic possibilities.

The installation offered in this exhibition presents an archive of the performances carried out during these two weeks in Bourbonne-les-Bains and others, preparatory to the project, as well as a snapshot of the sculptures, psychopompic objects, somewhere between the dead material, the carcass of a branch that was once alive, and whose temporality has been captured in the varnish, and the imaginary images of human life sculpted and painted on their surfaces, like a reliquary, a witness, sometimes adorned with metal parts, mirages of a past or new function.

Artistic direction: Emily Holmes and Jérémy Dussaussoy

Choreography: Emily Holmes

Sculpture: Jérémy Dussaussoy

Lyrical singing: Alice Cathelineau 

Clown and contortion: Francesco Gabrieli

Sound creation: DJ_Reïne

Costumes : Bernard Bousquet

A project by the Watkaz collective

Performed by Emily Holmes, Jérémy Dussaussoy, Alice Cathelineau and Francesco Gabrieli 

Texte par Jérémy Dussaussoy et Emily Holmes

Photos par Jérémy Dussaussoy, Daniela Belinga et Lucile.

The third project of the year 2022 , ¨C’EST PARTY ¨was conceived and carried out by eight students from Lucerne University of the Arts over a period of 6 weeks. The aim was to use all kinds of actions to persuade the extended neighborhood to enter our exhibitions informally and then even bring in their own ideas. :

Projects/works by Zoé Lynn Wymann, Gianluca Maruccio, Ljubia Kohlbrenner, Sania Nascarella, Giuliana Gjorgjevsky, Margot Ida Maria Vieli, Luana Brönnimann, MiaBodenmüller

The second exhibition of the the year 2022 ¨NATTER¨ shows works of Flora Vachez and her invited guests: The poet Lou Désario, Floras grandmother Janine Gatecel, the Haute Marne ceramiste Coralie Lesage and the painter and scenographer Bernard Michel

Flora Vachez, installation 2022. Les gants de boxe sont brodées par Janine Gatecel, sa grand-mère, les lames de scie circulaire données par un fabricant de meuble de Bourbonne.
Flora Vachez, Installation 2022. Les lames de scie à ruban sont données par une scierie de la région.

Collaboration Flora Vachez/ Yifan Shi à Shanghai 2017

The first exhibition of the year 2022 ¨FAMILIER¨ shows the works of the artist Helene Sperandio. They were created during her artist residency. She used materials that were found in the neighbouring nature.

Helene Sperandio *1970 Biel, CH

1986/87 HGK Zürich.1989–93 HGK Luzern. Lives and works in Au (Wädenswil) und Walenstadtberg Switzerland.

Member of Visarte Switzerland. The artist has been showing nationally and internationally.

Copyright Helene Sperandio
Copyright Helene Sperandio
Copyright Helene Sperandio


The fourth exhibition of 2021 ¨La poésie des herbes¨, shows works by the artist Lee Eun Young. Those were created during the artists residency. She used materials found in the surrounding nature and some objects were created in exchange with local children.

Lee Eun Young and  her work in Bourbonne-Les-Bains:

Some may see her as a fairy, exercising her magic and telling her tales. For Eun Young herself, when Corona began, she  had no more places to go, everything was closed, no places left, exept the forests were still available for long walks each day. There she observed and found the beautiful dead leaves, branches, temporarely dying by the wind, rain, snow. All this dying in nature together with the dread of Corona made her want to blow new life into, to give them new clothes, create  new forms with colorful threads. When Eun Young created them, spiders and their nets entered her mind, cocooning caterpillars and worms, spider moth veils. Different kinds of transformations happened. Finally Eun Young was able to travel now in summer and finds her material in the surrounding, blooming Bourbonne nature. She  includes six children and one young teacher in her transformational work and all together is shown in the exhibition.

Those were contributing: Camille, Chloé, Isaure, Octavie, Rose, Sacha and the young teacher, Lucile.

The following text about Lee Eun Youngs work was written by Max Meijer:
(Former Director Museum of Modern Art Arnhem
Director of TiMe Amsterdam, art and heritage consultant)

Eun Young is a very special artist. She works steady on an ever increasing oeuvre of great depth and impressive diversity. Her artistic position is actually quite hard to describe as Eun Young’s attitude and oeuvre does not fit within any pigeonhole. She is a cross-over artist in the most sincere sense. In this respect her personal multicultural background and artistic identity might reflect this as well. Grown up in Korea, educated in Paris and working for quite some time now in The Netherlands, Eun Young produces original and non conformist, un-fashionable, lively and even humorous works with a most serious undertone. Sometimes she takes position as a true autonomous artist, and then she feels quite well as an applied artist, fashion designer, poet and even performer. Creating and re-creating, based on a permanent search for identity, connections between now and then, here and there.

In her work Lee Eun Young goes back to her Korean, Confusianistic roots in which history, and especially family-history plays such an important role. In her assembly pieces she adds new layers to existing objects. That may be photographs from her personal past, ordinary everyday ustensils of clothes. She revitalises these by various interventions. Elements in old photographs  are accentuated by adding contours or shades by pencil or with ink on transparent paper attached to the original picture. Common appliances or objects (such as typewriters, bottles, toys, shoes or clothes, piggybanks) are covered up with leaf silver, foil, adhesive tape, needles and at one time even with margarine. As an artist settled in The Netherlands, Eun Young shapes her personal history, past and present in an emotionally rich and most associative way. And not to forget, the enormous energy and pushing power she puts in her projects. One of her last extraordinary and highly original projects is a series of installations, or rather inventions, in particular locations: the offices of Mayors of various Dutch cities. Offices that symbolize local history tradition and universal standards such as power and democracy: those offices are metaphors of public spaces that are usually kept closed and inaccessible for most inhabitants of those cities. With her objects, photo works, pieces of fashion or extravagant shoe-related designs intermingling with the usual rather formal office inventory Eun Young transforms these offices to subtle temporary installations: deranging, commenting, provocative, causing confusion and gaining praise. Eun Young’s strength is her persistence and strict discipline, together with her original mind and authentic talent to shape and reshape, forms this rich source with seems to produce a never-ending stream of personal, colourful, subtle and multilayered messages for the world. That makes her a very special and talented artist that deservers our interest and support.


Childhood and young adulthood in Busan, South of Korea

Hongik University dept. Education of Art
Sorbonne University, Paris 4, Paris 8 dept. Arts Plastiques

Eun Youngs work has been exhibited in museums, galleries and art spaces all over the world.

Lee Eun Young Bourbonne-Les-Bains 2021
Lee Eun Young, Bourbonne-Les-Bains 2021
Lee Eun Young: ¨The Sixth Sence¨ in Artoll, Germany, 2018

The third exhibition of 2021 ¨Ziele Setzen¨, shows works by the artist Lena Lapschina in exchange with local actors/ producers:

Lena studied art and art sciences and gratuated with a doctorate. Awarded a state grant for video and media art by the Republic of Austria, she lives and works in Vienna. She took part in important biennals around the world and her work was exhibited in various museums. Lena uses a wide variety of artistic techniques. She tries to ¨feel out¨what is essential for a place or a landscape and to develope and show her personal interpretation of it in her work. Wherever and whenever possible, the local population influences this ¨interpretation¨. For her exhibition ¨Ziele Setzen¨, embedded in her artist-in- residence stay in Bourbonne, she chose painting in the style of the middle european shooter tradition in order to reflect the appearence – and conquest!- of a huge ¨Zeppelin¨airship, at the time of the so called 1st World War and, if neccessary, to target the associated legends. In the second, smaller room, the artist takes up two core elements of the french lifestyle, cheese and wine- here the products of regional producers as ¨expressions¨of the landscape that bears them.

The heroic farmer from the Bourbonne district, child of this landscape, who at that time prevented the burning of the lost ¨Zeppelin¨ with his rifle drawn and helped arrest the pilot, be honored with the reinterpreted shooting targets.

¨Ziele Setzen¨

¨Ziele Setzen¨

Lena Lapschina ¨Bring me to the stars¨ Kunsthaus Zürich

Elise Tak and her works:

Elise shows two different works in ¨Danse Sylvestre¨ : ¨Suicide Notes¨ and ¨Devils in Motion¨.

What is most striking about Elise Tak’s body of work is her boldness and fearlessness. She blends visual beauty with a boundless imagination, a socially conscious mindset, and a continuous striving for new technical developments and possibilities within the arts. Always looking for new challenges, since the early 1980s Elise Tak has evolved from a traditional draughtsman and painter into a full-fledged 3D artist, specializing in digital character creation. While at the same time remaining true to the basic premise of her work: the creation of a visually stunning, multifaceted imaginary world blending fiction with reality and focusing on the underlying themes of diversity and social justice.

In this way her work is (and always has been) highly political. Long before the hashtags #metoo and #BLM have been trending, she already used her art to address issues like the lack of diversity and the misrepresentation of women and people of color in film, theater, the visual arts and in society at large. To this end she created a cast of 11 (and the number is still growing) fictional actors, from a variety of (ethnic) backgrounds, both male and female. She features her ‚character actors‘ in movie stills, lobby cards and posters from fictional films, currently presented as glossy computer prints or digital projections. In her imaginary world the characters get opportunities which more often than not will be denied to them in the real world, where the battle against racism, sexism or ageism is still being fought.

Tak was born in the Netherlands and lives and works in Brooklyn, New York. Since the early 1990s her work has been shown in leading galleries, museums and art institutes like Museum Boijmans van Beuningen, Stedelijk Museum Bureau Amsterdam, Frans Hals Museum/De Hallen, Museum Helmond (The Netherlands); Palm Beach Institute of Contemporary Art (USA); Musée de Luxembourg, Musée d’Art Moderne Contemporain Strasbourg, FRAC Poitou-Charentes, Le Consortium (France). Elise Tak also has several large- scale public art projects to her credit. Her animation short Suicide Notes (2006) was produced in collaboration with the two-time Emmy-award winning composer Patricia Lee Stotter. Tak was also was the projection designer for the play Flashback, which ran in a New York City theater in 2007. Her series of stills illustrating Gogol’s The Nose originally was made for the short film Here’s What I Like… Russian Literature. And Now I’ll Tell You Why (2011), directed by Abigail Zealy Bess and written and conceived by Amy Staats. Elise Tak is also active as a curator. Het latest exhibition A New York State of Mind (Stories from the Unusual Suspects) was presented at De Cacaofabriek in The Netherlands in 2018 and featured a selection of artists from New York. 

Elise Tak ¨Suicide Notes¨( music Patricia Lee Strotter) at left and ¨Devils in Motion¨ at right, small charcoal drawing on top right by J.-J. Pierrotte shown in ¨Danse Sylvestre¨ 2021
Elise Tak out of the series ¨Devils in Motion¨ ( In ¨Danse Sylvestre¨ 2021)
Elise Tak, Stroom Den Haag 2003, out of the series ¨The Principal Head¨ Elementary school ’t Palet, Doedijnsstraat 4, The Hague

Jérémy Dussaussoy and his work:

Jérémy Dussaussoy is a visual artist and graduated from the European School of Image of Angoulême. He mainly explores the medium of performative installations and installations, with an interest in thought patterns, contradictions and language.


Why do trees have branches? Because in the course of their evolution, they have acquired it, of course, but what advantage does a larger, more extensive antler provide in practice? As a whole, a tree is a space shared between the void and the plant, the border of which is not clearly defined: we sometimes say that we are climbing „in“ a tree, but that does not mean that we are opening it. trunk to enter it, we simply access a roughly described volume, suggested by the multiplication of its increasingly thin limbs. The stake of the momentum of a tree is not the mass, nor really the volume, but the space. The more space it covers, the further and higher it expands, the more its foliage, which is just a two-dimensional exchange surface, can capture light. Trees have branches because it is the most efficient method of capturing electromagnetic radiation from the Sun which is a source of energy for plants.

In the animal kingdom, on the other hand, light is often sight. Therefore, as the trees grew, their branches grew longer, they conquered more and more territory in our landscape. Some tree species spend most of their lives in this space, and it is certainly one of these species that we have inherited our hands, excellent for holding onto. Our body has been partly shaped by the branches of the trees, then we have in turn transformed, cut, sculpted into tools, weapons, living space for our exclusive use. We have become so used to disposing of them that it becomes easy to forget that before we got hold of them, they might have been the first, in fact, to get hold of us.

Just as trees are trees before being symbols, hunters are first and foremost people, with their stories, their dreams, their mourning. One cultivated life by raising birds that were half pigeons and half works of art, another was able to continue his life far from war where his brother was not so lucky. The last was a father, living in two cultures, two languages. A Naturmensch.

Jérémy Dussaussoy ¨Pourquoi les arbres ont -ils des branches? ¨Pour Danse Sylvestre Bourbonne 2021
Jérémy Dussaussoy ¨Pourquoi les arbres ont -ils des branches? ¨Pour Danse Sylvestre Bourbonne 2021
Jérémy Dussaussoy ¨Orgue à Néon¨ 2014

Jouve-Jeanne Pierrotte stays incognito, as her installations are included in the exhibition exclusively to link Elise and Jérémy, the hunters and Bourbonne.

Jouve-Jeanne Pierrotte, ¨DANSE SYLVESTRE¨ Bourbonne 2021

The first artist in residency was Samson Kambalu. His work for this duo show together with Gabrielle du Mêntelet-Laumont ( incognito) is based on what he filmed in Bourbonne and region during his short residency some months before. The title of this exhibition is ¨Premier Vol¨-¨Early Flight¨

Dr Samson Kambalu is an Associate Professor of Fine Art and MFA Course Tutor at the Ruskin; he is a fellow at Magdalen College.

Samson Kambalu is an artist and writer working in a variety of media, including site-specific installation, video, performance and literature. His work is autobiographical and approaches art as an arena for critical thought and sovereign activities. Born in Malawi, Kambalu’s work fuses aspects of the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the protestant tradition of inquiry, criticism and dissent. He has developed a praxis around Cinema which includes site specific installations, lectures and intervention on social networking sites online. His PhD at Chelsea (UAL) looked at how the problematic on the gift and non-linear time animates various aspects of his work and its contexts.

Kambalu’s writing has included “The Museum and the Individual’, for the Tate, looking at aspects of the gift economy in Meschac Gaba’s Museum of Contemporary African Art. His first book, an autobiographical novel of his childhood upbringing in Africa, The Jive Talker, was published by Jonathan Cape in 2008 and went on a performative reading tour around Europe. Kambalu has been featured in major exhibitions and projects worldwide, including the Dakar Biennale (2014, 2016), Tokyo International Art Festival (2009), and the Liverpool Biennial (2004, 2016). Kambalu has won research fellowships with Yale University and the Smithsonian Institution, and was included in All the World’s Futures, Venice Biennale 2015, curated by Okwui Enwezor. Samson Kambalu has been shortlisted for the Fourth Plinth Commission. His next solo exhibition will be at Modern Art Oxford:¨New Liberia¨

Exhibition views ¨Premier Vol¨ – ¨Early Flight¨

2020 Artists in Residency :

Ton Zwerver was the second resident of 2020. He brought a group of works from Holland, installed them in the first week of his stay and showed them to the vernissage guests along with a performance. During the remaining 4 weeks of residency he constantly moved around his works also creating completely new ones, often composed of ¨found¨ every day objects , collected from nearby ¨Brocantes¨. For the finissage partly new installations will be shown to the guests.

Ton Zwerver is an artist living and working in Amsterdam. He was born in 1951. He is married and the father of two daughters. From 1982 to 1987 he studied at the Gerrit Rietveld Akademie and from 1987 to 1989 he was artist in residence at the Rijks akademie van beeldende kunsten in Amsterdam. Since 1989 he has been teaching sculpture at the Gerrit Rietveld Akademie. In sites that reveal stories of occupation and abandonment, he creates installations and produces photographs of them – achieving a remarkable quality of frozen narrative. The best display powerful, albeit obscure, symbolism that often incorporates striking sensuality. Zwerver’s works can be found in numerous public and private art collections in the Netherlands and abroad. His photographic art has been exhibited extensively around the world.

Varda Getzow was the first resident artist of the year. Because of covid 19 everything had and has to be rescheduled different times.

„The Story of Elsa and Felix“, Varda Getzow, Bourbonne-les-Bains, 2020 (Picture by Daniela Belinga, Bourbonne-Les-Bains 2020)
„Did you forget something?“ Varda Getzow, created in 2010, ( in a loop with 2 other videos: „Das Pferd nicht ich“2014, + „Lomsha“2002, shown in Bourbonne-Les-Bains, 2020, picture D.B.)

Her work for the Art Space is called “ Le Soleil Brillait, L’Acacia Fleurissait“ . Those words are pieces of a poem written by Haim Nahman Bialik, who is considerd the initiator of modern hebrew poetry. The poem was inspired by the 1903 Kishinev pogroms.

Those excerpts of a text by Esther Dischereit describe Vardas way to work well:

Getzow’s works seem to be sated, satiated with history; objects appear as identification or proof
of human “nature”; relicts which have become nature, landscapes branded by what has happened, that cannot be placed as belonging here or there without a doubt. Are they “landscapes” or “humanity?” How did it happen that these conditions are intertwined and dealt with archeologically? The work of the artist would then be to free the individual “layers.”

Picture by Varda Getzow made in Höxter, Germany 2019:

וְהַשָּׁמַיִם שָׁמוּ “ Vehashamayim shamu”
Werke der isralischen Künstlerin Varda Getzow
31. März – 26. Mai 2019. Forum Jacob Pins, Höxter, Germany

2019 Artists in Residency presented in chronological order:

Sithabile Mlotshwa is a visual artist, curator, designer and producer.

Her project for Bourbonne-les-Bains:

Sithabile, who also participated in the first inaugural exhibition early this year, where she presented her project ¨The Primitive State of Ernest Noirot¨, will begin her two months artist in residency in Bourbonne, where she continues to connect the dots through researching the french part linking to her long term Dutch Golden Age Project. Sithabile is a visual Artist, Artistic Director Collector’s Weekend, Executive Director Thamgidi Foundation, Producer & Artistic Director IFAA Art Platform, President IFAA Global, Owner IFAA Contemporary Gallery, Owner 360Strategies, Independent Curator and Designer.

Links to Sithabiles projects:

Many thanks to her for setting up the website and connecting dots!

Picture of her work by Sithabile Mlotshwa:

Orna Oren Izraeli is a visual artist, curator, producer and professor.

Her project for Bourbonne-les-Bains will be developed here according to circumstances and material to be found and local people willing to be part of the process, built up on her main theme, being a dialogue between four interrelated generations and the Israeli ambient;  with the changes and transformation that the individual and the culture  lived in go through; with the yearning for continuity; and with the forces of life and revival which coexist with fear of loss and annihilation:

Her project for Bourbonne-les-Bains:

Picture of Orna’s work by D. Belinga:

The Roots of Heaven
(„The Roots of Heaven“ is an ecological novel written by Roman Gary. The storyline follows the journey of Morel, who sets out to stop the hunting of elephant herds, and to protect them).

Northeast France, a tiny gem of a town that harbors under its ass, Pardon my French, bubbling underground baths rich with healing waters. The water flows from the corner of every street and path, probably underneath the houses too, and bring with it ancient memories related to the eternal transparent fluid, and myths, goddesses and ideas that have been here since forever and overwhelm the memory while you’re busy with everyday activities. Rivers, springs, streams, and brooks rush side by side, meeting and separating again and again beneath the azure sky, flying with the wind  mid-August, rinsing thoughts and feelings until they become clear, purging like fragrant white laundry before Saturday. It’s quiet and cozy. Green leaves are budding everywhere, soft hills painted with a blend of cobalt blue and yellow are growing sprouts and ferns and tall tall trees that thouch the beyond. Something about growth and change and the right forces and the far and near days that come closer to each other down here.  I came for one month and I am drawing little lonely people on old library cards in Hebrew and French, playing with the idea of a cross-cultural encounter. The miniature platform bears the names of writers and books and people who borrowed the books to read. The library book they took home was with them on the chair, on the table, on the armchair, in bed, wherever they read, wherever they lived, wherever they dreamed and fantasized about worlds and stories within the text. To this great little literary space, I add images, portraits that come from the stock on my cellphone. Images of people with constant presence in my life, images of new recent people as well as those who appeared before my eyes for just a moment, here and now in and around this small town. Further in the process, I gather the images into groups on large formats, in order to establish other literary pictorial spaces, attempting with all my might, regardless and despite everything, to connect roots to heaven.

Picture of Orna’s work by D. Belinga:

Charles François Duplain is a  visual artist, curator, producer and professor.

His projects for Bourbonne in late summer/until end of 2019 and some following years ( when he initiates his associated project at Hotel La Mézelle B.l. B.) will, the first, be about  two lieutenants from B. l. B. belonging to Napoleons‘ army.  He found out about them when he was participating in the inaugural expo ¨Departure and Arrrival¨ in spring 2019. The second is finding its form actually.

CHFD is interested in historical characters, fictitious and imaginary. For the first EAC Les Thermes expo he found Ltcol of the 1st Empire, Charles-Nicolas Mercier and Joseph Armand, half pay like the first and resident in Bourbonne at the fall of the Empire. The arrangement proposed by CHFD was a performance linking the author to the natives of the place. Other characters were also summoned for a strange ceremony where spirits of the great men were gathered in the room. The death of some brings others back to life around birth and death dates. The remains of the dinner were there to testify to the manifestation of their presence, just like the hat, the umbrella and the coat of the author. CHFD also wrote an invitation to the event at the last known addresses of both LCol, Mercier and Armand. If the post does not find them or their descents, the letters will be returned to the sender, CHFD, and will be placed on the fireplace in the exporoom.

Picture of Ch.-F. Duplain’s work at right and Philippe Queloz work at left by D.Belinga:

Together with Philippe Queloz he also created the in situ work at Hotel La Mézelle B.l.B. LUBI#17:

Ètang de la Mézelle LUBI#17, 2019 (CHFD and PHQU) 

Picture by Ch.-F. Duplain:

25 LUBI’s inflatables, equidistance 10m, total distance, 250m. LUBI: Familiar designation of the so-called „Lübeck“ traffic cone. Explanation: The itinerant project LUBI-503025 continues its development with a 17th stage at the contemporary art space of Les Thermes de Bourbonne-les-Bains, a spa resort in the Grand-Est region located on the borders of Champagne and Burgundy, a few steps from the Vosges. This new stage marks the inauguration of this place of creation and experimentation. Daniela Belinga Agossa, artist and founder of this new space invited Charles François Duplain and Philippe Queloz to design a specific project for the venue. The project Lubi -503025 continues its vocation of marker, revealing a place, an event. For the occasion, the two artists CHFD & PHQ intervene with a seaside and playful proposal: Les Lubis inflatable created specifically for the occasion bearing the coat of arms of Bourbonnes-les-bains. The pieces were designed according to the principle of the buoy, weighted, they are like beacons. They mark a path. The procedure is to put 25 pieces consecutively. The alignment defines a trajectory that changes with the wind.

Picture by D. Belinga:

Ans Verdijk is a visual artist, initiator, curator, producer and professor. 

Picture of a part of Ans Verdijk’s installation by D.Belinga:

Her project for Bourbonne-les-Bains: 

B. l. B. is known for its natural thermal bath. The warm thermal water rises up from a crack in the rocks about 2000 meters deep under ground. This crack in the earth is like a big wound of the earth. It is a very old wound: already in antiquity people made use of the medicinal water to heal their own illnesses. But also today the town bears the mark of many scars in the form of cracks, holes, peeling paint, twisted metal or missing elements. These are all marks that time has ingrained in them. The artist wants to heal the wounds of Bourbonne-les-Bains with artistic interventions. She interferes with the scars that time inflicted on the city, and puts a new layer of time on top of it, that covers or transforms the original elements. She walks around, searching for artefacts that can be transformed to a new form.

Picture of her work in the studio by Ans Verdijk:

Rona Shahar is a  visual artist and adventuress.

Picture of Rona’s work by herself:

In her project for Bourbonne-les-Bains she traces the story of old houses,  houses that need renovation or are crumbling totally, are left to the mercy of rain, wind and sun.  As supports she uses local material, found in the near surroundings. With her drawings the memory will not fade entirely. Things change, for now it seems like a sad thing, people are leaving, but it is part of nature. There will be plant seeds in the ruins, interference through art creates a magical moment enabling the lifeless to become alive again. Tell the story of a place – however this story reveals itself. 

Picture of her work by Rona Shahar:

Pierre Bongiovanni is a visual artist, initiator, curator and producer.

Picture of Pierre’s work by D. Belinga:

In his project for EAC Les Thermes he concentrates on the relationship between artists / inhabitants / nature. He photographed some of the Bourbonne merchants, as a first action, to invite them to enter this new world of contemporary art. As a second action he asks them to return with old photos of their families to expose those also in the artspace, thus initiating the mixing of the two worlds. In photography / video he is particularly interested in portraits of the people he meets everyday. In his portraits he focuses only on making visible the mystery of beings without revealing it.

Picture of Pierre’s work by himself:

Yves Tauvel is a visual artist, initiator, curator, producer and professor

Picture of Yves displaced work by D. Belinga:

In his project for Bourbonne-les-Bains  he showed art in public space, called: Parcours – Le Havre – Paris – Sion – Tokyo – Bourbonne-les-Bains, 2019. Material is plated metal. The artist works on the idea of ​​the territory, the geographical space of a place that he visits and will lead him to reflect and make re-discover the viewer a city map through an object, a video , a sculpture. His intervention for the EAC consists of setting up five cut out Vauban Barriers on the Place des Bains in Bourbonne-les-Bains, revealing the re-drawn outline of the cities plan like Le Havre, Paris, Sion, Tokyo and Bourbonne-les-Bains. The viewer can discover through „the objects“ his city and wonder about the place where he evolves. There is a certain ambiguity in the artist’s work when the form can reveal an abstract „thing“ while revealing the idea of ​​the territory, which weaves the link between the social and the place where it lives

Picture of Yves work by himself:

Philippe Queloz is a visual artist, curator and producer.

His projects for Bourbonne-les-Bains:

Together with Charles François Duplain he created the in situ work at Hotel La Mézelle B.l.B. LUBI#17, as described above.

Picture of the LUBIs by Philippe Queloz:

The starting point of his second work inside the EAC was the installation / performance of CHFD entitled Dinner & Invitations: An Oval Table on which the cover is set for 4 people. 4 napkins with rings, oyster shells, glasses and a bottle of vodka, suggest an event, a reception took place. The guests disappeared or were absent as evidenced by the hat and the umbrella suspended from the fireplace and the mantle on the back of one of the chairs. The private, intimate nature of the room that hosts the staging makes it possible to target the interventions in a precise way. The style of the building atmosphere of the room are all elements that contribute to fuel a plausible scenario. The circular shape of the subject of the big photograph (RDN # vinyl) corresponds to the oval shape of the table. A painting in a private space gives some indications on the personality of the owner of the place. The simplicity and austerity of the black disc, while resembling the oval shape of the table is consistent with the other elements that constitute CHFD’s room: hat, umbrella and coat. Faced with these elements, slightly set back in a cupboard, a monitor broadcasts a video that shows a luminous disc, held between thumb and index, oscillating, moving slightly on a repetitive sound background. Some guitar notes are looping just like the sequence.

The repetition, short, hypnotic, reinforces the notion of timelessness. A magnifying mirror seeks the reflection of the circular lamp that is nearby. The magnifying effect distorts at times the reflected image, to give the object the appearance of a luminous disc. The brilliance of light then assumes a mysterious, mystical or spiritual dimension. He intervenes in response to the black disk. In the context of a potential narrative, he intervenes as the mind. Like the „shining“ of the room, which necessarily influences CHFD’s central room.The situation of the monitor placed in the cabinet whose door is half open avoids firstly that the camera as an object produces contemporary technology, interferes in the staging, and on the other hand, its manifestation is subtle but very present (sound and light).The third element is a dichromated gum print made using the principle of the camera obscura. This is a direct exposure through a magnifying glass, a light emission on a receiving medium that records or captures this situation. In this case the workshop window projected or reproduced on a support that is the canvas previously emulsified. The interest lies in the lag between the present moment that emits the luminous flux (daylight) and the notion of timelessness fixed on the canvas. The duration of exposure in this case is a full day and each time the operation is repeated, one or more days are added, focuses on the canvas. The receiver takes care of information and keeps it. It becomes memory.

Picture of Philippes work by D. Belinga:

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