La Tannerie >> Pézenas

I am writing this almost two months after the event, but the memories are as lucid and as relentless Pezenas sun... They have not faded and will continue to glisten in my thoughts.

I flew away from hectic London to Paris and rushed to catch my connecting flight to Montpelier. In the departure lounge I met Emil Adamec, we know each other previously as participants in another symposium that took place in Izola last year. He has a genuine calming nature about him - I felt at ease. He said two more sculptors should be on the same flight, so on the plane we were both rubbernecking to see if we could locate them. Emil knew Chris Peterson; he described him as very tall and thin. It was then we saw a seated man whose head was way above everyone else's... that was Chris for sure. Emil called to him; his eyes were clear and bright, with a brilliant smile to match. It was monumental talk for the rest of the journey, much to the dismay of the lady seated next to us - all of us beaming and rearing to go. It turns out that Michele Valenza had missed his flight and would arrive later.

Waiting to collect us at arrivals was Dann Cherit, a slim amiable looking French man with dark hair and a calm robust face, his eyes were fixed, but I could sense his tense anticipation. He was very happy to see us and said he had shed a few tears earlier, overwhelmed by the great task that he and his wife, Fabienne, had surmounted. Years of hoping, planning, focused action and organisation were about to take seed and make roots in reality.

 When we arrived at the Tannerie, it was quiet, the sun was harsh and the air was very still. The large interior was cool and shady, there was a permanent exhibition of Dann's erotic art; paintings, sculptures in stone and mixed media - a visual feast for the eyes.

Outside were the stones, which would be chosen on a first come first serve basis. I took my sandals off donned my peak cap and shorts and wandered around alone barefooted, trying to soak in all the new sights. Eyes squinted, I breathed in deeply, the air was warm and fresh - I began pensively to make intimate connections with the surroundings.

The time was here. Thirteen sculptors from across the globe were gathering at La Tannerie, so named because it was previously a slaughterhouse and a place where leather hides were cured. There was no apparent evidence of it's previous use, no death here only more Life...

There would be nine days for each of us to carve a rough block of stone on average a tonne in weight in accordance to the theme 'Messages of the Body'. Work would be done with hand tools only, us sculptors carving side-by-side. It was bewildering to see all the stones paraded in a line, each one with a closed parasol standing guard. There they stood patiently waiting to be touched and changed forever... Admittedly, in that moment I felt a surge of confusion and self-doubt... so I reached in and asked for a strength and guidance, this silenced those quiverings just as quickly as they appeared in my mind. More sculptors began to arrive in ones and twos; some were accompanied by their wives and children, others by their toolboxes and Artworks for display. The moment was ripening and I could taste the sweetness of creative inspiration. There would be no physical work that day.

The stone was a French limestone, known locally as calcite. I'm not sure why I chose the one I did. I suppose liked the oxidized colouration and the three holes made by the industrious quarry drills that had broken into her virgin body... Her flesh was a chalky white, the first time I had worked on stone with so little colour or apparent grain to guide me, light and shadow would be her accent and her dance. When work began, so did the music, each artist playing a percussion of rhythmic beats on their stone that blended together to become one melody.

Beginning work for me, as usual, was a serendipitous affair - I just started chiseling. As part of the application we had to send a sketch of our proposed work. I referred to it as a guide, but it is not what I made, not exactly anyway... those forms were not within the stone and predetermining exactly what I will make is not my way of expression, most especially without seeing and touching the material first hand. So that's how my personal quest began...

For me, an international symposium is not just a meeting of artists; it is a meeting of minds, visions and cultures. It is an opportunity to widen everything about yourSelf, a time of learning and sharing - a chance to open fresh pathways for communication and break down existing barriers using the language of art. Life is the greatest masterpiece there is...

The nine days were as positively intense reflecting the heat of the mid-day sun. We spent every waking and working moment together and became siblings in creativity. In our differences we found many common threads that could bind our individual stories into one... and from there friendships were able to grow and fill the void that in truth probably never existed. And as each stone revealed the Soul of its sculptor so did each day bring us closer together.

Of the three symposiums I have had the privilege of taking part in up to this point, this was the first where I was not the only woman and that for me was glorious. Francoise Kurtz a veteran sculptor in her own right, Natalie Staniforth and mySelf were to bring our diverse feminine energies to stones in a circumstance that in my limited experience is dominated by men. We flexed our muscles and carved with artistic valour to make our imaginations become tangible.

This symposium was also particularly unique, because not only did the public have a chance to see and talk with the artists at work, but every evening we were treated to a fiesta of music from around the globe, from homegrown reggae to indie and samba; plus much more besides... It was a visual and audio delight for us all including the 3,000 visitors that became an integral part of this great experience. Everyone who came through the gates was a participant.

The morning after the last day was somber affair, my aching muscles and blistered hands were bewildered; it had come to an abrupt end. We dispersed as we arrived... in ones and twos, leaving a part of ourselves behind etched in eternity of the stone...

Bon Courage!

Nyanda Yekwai,

published on her Creative journal

13 artistes sculpteurs, 13 performers qui n'ont pas froid aux yeux, et maintenant 13 amis.

Emil Adamec (République Tchèque)

Gadadhar Ojha (Inde, vit en France)

Yuri Tkachenko (Russie)

F. Kurtz (France)

Nyanda Yekwai (Jamaïque, vit en Grande-Bretagne)

Michele valenza (Italie, Sicile)

Laurent Roussely (France)

Chris Peterson (Pays-Bas)

Tapiwa Chapo (Zimbabwe, vit en Slovénie)

Richard Chapo (Zimbabwe)

Benoît Ageron (France)

Lamine Diop dit Dogon (Sénégal, vit en France)

Natalie Staniforth (Grande-Bretagne, vit en Espagne)

C'est parti pour le symposium. Tout le monde est au rendez-vous. Les pièces avancent à grands pas. L'ambiance est tout simplement géniale. L'expo est superbe. Après l'énorme affluence du premier jour (Brouss Dokotor a mis le feu à la Tannerie), le public est assidu et de plus en plus nombreux. Pas le temps d'en dire plus pour l'instant. Venez voir. C'est tout simplement énorme !

A voir : deux nouveaux albums photo (colonne de gauche) histoire de vous donner une idée.

Pierre Actual, magazine professionnel sur la pierre, le marbre et le granit, consacre un article au Symposium International de Sculpture sur Pierre de Pézenas.

Pour voir le sommaire, cliquez ici.

Pour lire l'article, cliquez ici.

L’artiste sculpteur est par définition un entrepreneur. L’infrastructure étant un pré réquisit à son acte créatif solitaire, le cycle de production d’une œuvre est marqué par une lourde implication. Or le temps est fini des ateliers « mécènés ». Désormais les artistes se doivent d’être autonomes. A eux d’inventer la « supply chain » adaptée à leur projet.

Dans ce contexte, l’outil Internet constitue une véritable révolution. On voit ainsi émerger une nouvelle sorte d’artistes, qui ajoutent à leur talent leur capacité d’ouverture sur le monde, leur aptitude à se présenter en tant qu’individu, à créer et financer leur plateforme logistique, à valoriser leur démarche et à mettre  en scène leurs œuvres.

Ces artistes sont le plus souvent nomades. Ils vivent la géographie au fil de leurs rencontres, des opportunités ou de leurs inspirations. Ancrés dans le monde présent, ils deviennent artistes interactifs. Le dialogue s’établit naturellement entre eux et avec le public.

Double culture, double compétence, ils jettent des ponts transversaux entre les disciplines : photographie, peinture, décor, cinéma, vidéo, nouvelles technologies, nouveaux matériaux, land art, body art… Ils produisent leur propre dynamique.

Leur lucidité met à bat le cliché de l’artiste doux rêveur. Confrontés à la cruciale question de l’approvisionnement en matière première et à leurs charges d’atelier, ils n’hésitent pas à  monter leurs propres structures, investir voire acquérir des carrières, bâtir des partenariats, regrouper leurs moyens pour organiser eux-mêmes événements artistiques et circuits alternatifs.

L’artiste sculpteur d’aujourd’hui est donc aussi entrepreneur d’art. C’est à ce prix qu’il peut créer librement.

Tous les participants au Symposium International de Sculpture sur Pierre 2006 à la Tannerie illustreront aussi ce thème... 

Fabienne Chetrit

Présidente de l’association Trans&Arts

International symposium of stone sculpture

"Messages of the body"

July 29 – august 6, 2006

La Tannerie >> Pézenas

A symposium of stone sculpture will take place in Pezenas (Hérault) from the 29^th of July to august the 6^th, 2006.

Twelve sculptors from different cultures (India, Jamaica, Zimbabwe, Russia, Czech Republic, United Kingdom, Netherlands, Italy, Senegal, France) will give their own interpretation of the theme : « Messages of the body ». They will each have a limestone weighing a ton (1/2 cubic meter) and will only use hand tools.

The direct carving is a spectacular and involved style. The public will be able to follow the works in progress over the nine days of the event as well as meeting the artists all of whom will show a selection of their work.

Organised by the non profit organization Trans&Arts, this artist residency will take place at la Tannerie, the “atelier” of Dann Chetrit, the sculptor who initiated the project.

« Apero-concert » (wine degustation and live music) from 18h to 20h.

All the news on the blog : www.dann-art.com

La Tannerie

[ Lieu de création ]

21, rue Calquières-Basses

34120 >> Pézenas

Contact : Dann Chetrit +336 08 67 44 92

 www.dann-art.com

 latannerie@hotmail.fr

Emil Adamec (République Tchèque)

Gadadhar Ojha (Inde, vit en France)

Yuri Tkachenko (Russie)

F. Kurtz (France)

Nyanda Yekwai (Jamaïque, vit en Grande-Bretagne)

Michele valenza (Italie, Sicile)

Laurent Roussely (France)

Chris Peterson (Pays-Bas)

Tapiwa Chapo (Zimbabwe, vit en Slovénie)

Richard Chapo (Zimbabwe)

Benoît Ageron (France)

Lamine Diop dit Dogon (Sénégal, vit en France)

Natalie Staniforth (Grande-Bretagne, vit en Espagne)

Simposium de Escultura sobre piedra 2006

“Los mensajes del cuerpo”

(version française : cliquez ici) (english version : click here)

La asociación Trans & Arts organiza su primero simposium de escultura del 29 de julio al 6 de agosto de 2006 a la Tannerie, en Pézenas (Herault, Languedoc-Roussillon, sur de Francia).

Esta manifestación es una residencia de artistas que tiene por objetivos un intercambio entre escultores de horizontes diferentes y el encuentro con el público en un período estival propicio.

1 - Lugar: en la ciudad de Pézenas (300 metros del centro histórico), un espacio exterior de 1000 m2 está disponible para la creación de las esculturas en presencia del público. El edificio se reservará a la exposición de las esculturas de pequeños formatos de los artistas durante el simposium (ninguna comisión sera requerida por el organizador sobre las posibles ventas).

2 - Fechas: el simposium comenzará a el sábado 29 de julio y terminara el domingo 6 de agosto de 2006.

El sábado 29 de julio mañana recepción de los escultores participantes, instalación de las obras expuestas por los escultores para un comienzo efectivo del simposium por la tarde. El simposium sucederá, lo que sera el clima.

3 – Numero de participantes: máximo 12 escultores.

4 - Tema: “Los mensajes del cuerpo”.

5 - Piedra: 12 bloques idénticos de cerca de una tonelada (tipo de piedra a confirmar). 

6 - Herramientas: cada escultor recibirá el primer día herramientas (a confirmar) para efectuar su escultura. Se aconseja sin embargo preveer también sus herramientas personales. No hay herramientas eléctricas. La posibilidad de suministro de aire comprimido está al estudio.

7 - Selección: envío de las candidaturas antes del 28 de febrero de 2006. El Comité de selección estudiará en marzo los expedientes de los candidatos que incluirán:

• fotografía del artista;
• fotografías de obras o referencias del sitio web;
• datos completos;
• nota biográfica;
• Dibujos o fotografías de maqueta del proyecto;
• Algunas líneas que sitúan el proyecto con relación al tema: “Los mensajes del cuerpo”.

8 - programa del simposium :

Sábado 29 de julio de 2006

• 9 h - 12 h: instauración del espacio exposición-venta con instalación de las esculturas de pequeños formatos
• 12 h -13 h: lanzamiento oficial del simposium en presencia de los artistas, de los huéspedes socios, de los institucionales, de los miembros y de la prensa
• 14h: comienzo efectivo del simposium, apertura al público

Del domingo 30 de julio al sábado 5 de agosto

• Apertura al público todos los días de 10 h a 20 h
• Animación para los niños el miércoles 2 de agosto (taller de modelado)
• Tarde nocturna el viernes 4 de agosto hasta 22 h (durante la tarde nocturna de los comerciantes y artesanos de Pézenas)

Sábado 5 de agosto

• Cena de cierre

Domingo 6 de agosto

• 12h - 13h aperitivo y comidas a la Tannerie: presentación oficial de las obras realizadas en presencia de los artistas, de las huéspedes socios, de los institucionales, de los miembros y de la prensa.
• puesta en venta de las esculturas
• 16h - 18h animaciones y final del simposium

9 - Comunicación: la organización y los socios del simposium administran el plan de comunicación.

El escultor autoriza el simposium a utilizar la imagen de sus obras para la promoción del artista, del simposium y de la Tannerie. El derecho a registrar, rodar o a fotografiar con fines comerciales durante el simposium permanece reservado al organizador.

10 - Recepción: alojamiento en casa particular (solamente para los escultores), comidas y bebidas parcialmente asumidas (solamente para los escultores) por la asociación Trans & Arts del sábado 29 de julio al domingo 6 de agosto de 2006.

El organizador no asume ni el alojamiento, ni la comida de las personas que acompañarían eventualmente a los artistas.

11 - Gastos de transportes: se invita a los artistas seleccionados que no residen en Francia a contactar el organizador para beneficiar al caso pagaderos de ayudas asignadas a las relaciones internacionales.

12 - Seguro: el Comité de organización y los proprietarios del lugar no garantizan a los escultores (accidente, material…), cada artista deberá proporcionar un certificado de seguro responsabilidad civil y todos los documentos por los que se nos garantiza de su protección social. El artista trabaja en su sitio bajo su propia responsabilidad y vela por la seguridad de su ambiente.

13 - Esculturas: En el caso del pago adelantado de la totalidad de las esculturas por un socio, se pagará a cada artista 60% del precio de la venta. En el caso contrario, las obras se volverán la propiedad del artista pero no podrán ser reanudadas por el escultor sino en el plazo de un año. Durante este período, las esculturas permanecerán en venta a la Tannerie. En caso de venta, la asociación Trans & Arts guardará 40% del precio de venta para cubrir sus gastos de producción y de organización.

Si el artista no reanudó su escultura en el plazo de 3 años después del simposium, ésta se volverá la propiedad de la asociación Trans & Arts.

En cambio, ninguna comisión se tomará sobre las obras de pequeño formato aportadas por los artistas que podrán exponerse y venderse durante el simposium a la Tannerie.

14 - Fianza: en caso de selección, los candidatos deberán enviar un cheque de fianza de 500 euros. Este cheque se les volverá íntegramente después de la participación en el simposium. Si no se respetaba el compromiso del artista, si el escultor no podía realizar su obra por absentismo, o por otras razones, el contrato de compromiso se rompería, lo que significaría la anulación del pedido y el cobro del cheque.