Deaf Art Magazine
Transcription
Deaf Art Magazine
AUTUMN 2014 / www.art-pi.fr / DEAF ART MAGAZINE FREE Deaf Art Magazine N°8 "My profession is the theater, my soul belongs to the stage." Maxim Fomitchev SPECIAL REPORT Deaf-blind: sensitive art ART'PI! JUNIOR Prehistoric Times the origins of art the tribe The film that revolutionized cinema AGENDA Festivals, shows, exhibitions... ESCAZAL FILMS présente Isabelle Carré un film de BRIGITTE CATILLON Ariana Rivoire Jean-Pierre Améris NOÉMIE CHURLET GILLES TRETON LAURE DUTHILLEUL PHILIPPE BLASBAND ET JEAN-PIERRE AMÉRIS SCÉNARIO ET DIALOGUES imageVIRGINIE SAINT MARTIN montage ANNE SOURIAU son LAURENT LAFRAN, OLIVIER WALCZAK, ANNE GIBOURG, EMMANUEL CROSET décors FRANCK SCHWARZ costumes DANIÈLE COLIN-LINARD casting TATIANA VIALLE, arda musique SONIA WIEDER-ATHERTON directeur de production PASCAL METGE directeur de post-production EMMANUEL SAJOT produit par SOPHIE RÉVIL et DENIS CAROT une production ESCAZAL Films en coproduction avec FRANCE 3 CINÉMA, RHÔNE-ALPES CINÉMA avec la participation de la Région Rhône-Alpes et du Centre National du Cinéma et de l’image animée avec la participation de FRANCE TELEVISIONS, CINÉ + en association avec CINEMAGE 8 et LA BANQUE POSTALE IMAGE 7 distribution DIAPHANA ventes internationales INDIE SALES Art’Pi! / READ IT IN ISL / 3 Art’Pi! 3 Read it in ISL Citation du mois « Rêvez ! C’est gratuit ! » vient de la réunion de l’art et du " typique Sourd " que l’on traduit en signe par Pi. Emmanuelle Laborit, comédienne et directrice de l’International Visual Theatre Festival Clin d'Oeil Notre partenaire Your magazine is now available in ISL (International Sign Language). On your computer, simply click on the QR code to access the videos. Sourd est utilisé pour désigner ce qui est relatif à la culture Sourde. sourd est utilisé d'un point de vue général ou médical. With a hard copy of the magazine, with your smartphone, here are the instructions: Edito D 1 Download an application. e nombreux mois se sont écoulés depuis la sortie du numéro hors-série dédié au tricentenaire de l’abbé de l’Épée. Nous espérons qu’il vous a satisfaits, tant au niveau du contenu et de la qualité graphique qu’au niveau de l'innovation. En rendant les textes accessibles en LSF grâce aux flashcodes, nous avons franchi un cap que nous espérions depuis longtemps et nous sommes fiers d’être arrivés au bout de ce challenge. 2 Dans ce numéro, nous avons consacré notre dossier spécial au Festival Clin d’Oeil. Je tiens à saluer sa persévérance et sa philosophie car, au fil des années, il est devenu l’un des plus grands viviers artistiques mondiaux, offrant une évolution professionnelle pour chaque artiste et un bain culturel pour le public... L’organiser et le rendre pérenne relève de l'exploit! Mes félicitations à l’équipe de Clin d’Oeil et particulièrement à son fondateur David de Keyzer qui contribue à l’enrichissement et à la stimulation de la communauté Sourde. Personne ne peut nous Après ce numéro, nous avons dû prendre du temps afin de retrouver nos forces. Mais nous n’avons jamais cessé de croire en notre magazine et nous revoilà, avec le numéro 7. Vous avez aimé lire le magazine en version papier et voir les articles en langue des signes grâce aux flashcodes, vous avez souhaité qu’ Art’Pi ! continue d’exister ainsi, nous l’avons fait ! Open the application. enlever nos rêves. Les obstacles sont pour nous des défis que nous avons plaisir à relever ! Il y a, bien sûr, des conséquences inévitables : le coût et le temps de préparation qui s’allongent... Nous continuons à avoir comme objectif de vous offrir plus de régularité dans les délais de parution. Il faut juste être encore patients et continuer à nous soutenir, croire en nous, le temps de poser des fondations de plus en plus solides. LECTEUR FLASHCODE 3 4 Scan the code. Watch the video. Emmanuelle Laborit demanda un jour à de jeunes élèves sourds quel était leur rêve. Pas un ne répondit. La comédienne les encouragea alors : « Clin Rêvez Festival d'Oeil ! Notre partenaire C’est gratuit ! » Personne ne peut nous enlever nos rêves et il ne faut autoriser personne à le faire. Voyez : David de Keyzer a rêvé son festival, Jacques Sangla son D Websourd, Alfredo Corrado son IVT, Patrice Gicquel ses livres... La liste est loin d’être finie, prenez la suite ! Citation du mois « Rêvez ! C’est gratuit ! » Emmanuelle Laborit, comédienne et directrice de l’International Visual Theatre vient de la réunion de l’art et du " typique Sourd " que l’on traduit en signe par Pi. Edito Sourd est utilisé pour désigner ce qui est relatif à la culture Sourde. sourd est utilisé d'un point de vue général ou médical. e nombreux mois se sont écoulés depuis la sortie du numéro hors-série dédié au tricentenaire de l’abbé de l’Épée. Nous espérons qu’il vous a satisfaits, tant au niveau du contenu et de la qualité graphique qu’au niveau de l'innovation. En rendant les textes accessibles en LSF grâce aux flashcodes, nous avons franchi un cap que nous espérions depuis longtemps et nous sommes fiers d’être arrivés au bout de ce challenge. Dans ce numéro, nous avons consacré notre dossier spécial au Festival Clin d’Oeil. Je tiens à saluer sa persévérance et sa philosophie car, au fil des années, il est devenu l’un des plus grands viviers artistiques mondiaux, offrant une évolution professionnelle pour chaque artiste et un bain culturel pour le public... L’organiser et le rendre pérenne relève de l'exploit! Mes félicitations à l’équipe de Clin d’Oeil et particulièrement à son fondateur David de Keyzer qui contribue à l’enrichissement et à la stimulation de la communauté Sourde. Personne ne peut nous enlever nos rêves. Après ce numéro, nous avons dû prendre du temps afin de retrouver nos forces. Mais nous n’avons jamais cessé de croire en notre magazine et nous revoilà, avec le numéro 7. Vous avez aimé lire le magazine en version papier et voir les articles en langue des signes grâce aux flashcodes, vous avez souhaité qu’ Art’Pi ! continue d’exister ainsi, nous l’avons fait ! Noémie Churlet Directrice de publication Les obstacles sont pour nous des défis que nous avons plaisir à relever ! Il y a, bien sûr, des conséquences inévitables : le coût et le temps de préparation qui s’allongent... Nous continuons à avoir comme objectif de vous offrir plus de régularité dans les délais de parution. Il faut juste être encore patients et continuer à nous soutenir, croire en nous, le temps de poser des fondations de plus en plus solides. Emmanuelle Laborit demanda un jour à de jeunes élèves sourds quel était leur rêve. Pas un ne répondit. La comédienne les encouragea alors : « Rêvez ! C’est gratuit ! » Personne ne peut nous enlever nos rêves et il ne faut autoriser personne à le faire. Voyez : David de Keyzer a rêvé son festival, Jacques Sangla son Websourd, Alfredo Corrado son IVT, Patrice Gicquel ses livres... La liste est loin d’être finie, prenez la suite ! Noémie Churlet Directrice de publication Erratum Hors-série : Page 16 : le père de l’abbé de l’Épée était architecte de Louis XIV et non de Louis XVI. / Page 18 : illustration page de gauche « Planche préparatoire, crayonnée avec lettrage, propriété Dano ». / Page 19 : le personnage en bas de page est Deseine et non Desloges. / Page 25 : photo de Felix Plessis et non Paul Choppin. / Page 49 : Les enfants du silence, Levent Beskardes était co-metteur en scène. Si vous avez remarqué d’autres erreurs n’hésitez pas à nous le faire savoir. Erratum Hors-série : Page 16 : le père de l’abbé de l’Épée était architecte de Louis XIV et non de Louis XVI. / Page 18 : illustration page de gauche « Planche préparatoire, crayonnée avec lettrage, propriété Dano ». / Page 19 : le personnage en bas de page est Deseine et non Desloges. / Page 25 : photo de Felix Plessis et non Paul Choppin. / Page 49 : Les enfants du silence, Levent Beskardes était co-metteur en scène. Si vous avez remarqué d’autres erreurs n’hésitez pas à nous le faire savoir. Directrice de publication Noémie Churlet Rédactrice en chef Sophie Laumondais Secrétaire de rédaction Jeanne Bally Rédacteurs Arnaud Balard OURDS Véronique Berthonneau Yann Cantin Pierre Schmitt Pauline Stroesser NTERPRETES Directrice de publication Noémie Churlet Rédactrice en chef Sophie Laumondais Secrétaire de rédaction Rédactrices agenda Sylvaine Beaughon Célia Giglio Traducteurs français/ anglais Véronique Féau Illustrateurs Adrean Clark Catherine Cointe Jean-Marie Hallegot Daniel Le Coq Photographes Webmaster Jax Prod'Art Studio Assistant de communication David De Filippo Rédactrices agenda Sylvaine Beaughon Célia Giglio Traducteurs français/ anglais Véronique Féau Sébastien Giozzet Priscilla Newell Pierre Schmitt Directrice artistique Jessica Boroy Maquettiste Sabine Salha Illustrateurs Adrean Clark Catherine Cointe Jean-Marie Hallegot Daniel Le Coq Photographes Alex Sambe Richard Zampolini Assistant artistique Fabien Chanut Maquilleuse Sophia Ballester OURDS NTERPRETES Webmaster Jax Prod'Art Studio Assistant de communication David De Filippo Assistante de publicité Céline Hayat Bufarull Association porteuse du projet Art’Sign 254, rue Saint-Jacques 75005 Paris www.art-sign.org N°SIRET : 4900848030025 Impression CPI Aubin Imprimeur Toutes les publicités concernent des services accessibles ou destinés aux sourds. Nous échangeons toujours avec les publicitaires pour que leur discours respecte notre philosophie et la culture Sourde, cependant nous ne sommes pas responsables des services ou messages inscrits dans leurs encarts. Impression CPI Aubin Imprimeur Toutes les publicités concernent des services accessibles ou destinés Art’Pi! 5 4 / Art’Pi! Columnists YANN CANTIN JULIE CHATEAUVERT ALEXIS DUSSAIX ELSA POTTIER PERRINE ROSENZWEIG PIERRE SCHMITT Pauline Stroesser CÉCILE TUARZE Partners comes from the combination of "art" and "typical Deaf", which is translated by the sign Pi. Director of publication Noémie Churlet Editor-in-chief Sophie Laumondais Secretary to the editors Jeanne Bally Columnists Yann Cantin Julie Chateauvert Alexis Dussaix Elsa Pottier Perrine Rosenzweig Pierre Schmitt Pauline Stroesser Cécile Tuarze Interns to the editors Laurène Loctin Carine Meyssignac Art director Jessica Boroy Layout designer Sabine Salha Translators French/English Véronique Féau Priscilla Newell Illustrators Margot Carrër Aleksi Cavaillez Dano Domas Jean-Marie Hallegot Rudy McLoughlin Elza Montlahuc Émilie Ramain Alex Sambe Photographers Marion Fregeac Richard Zampolini Translators LSF and LSI Alexandre Daniel Carine Meyssignac Webmaster Jax Prod'Art Studio Partnerships and communications Perrine Rosenzweig Communications assistant David De Filippo Advertisements Mathieu Baron Élise Cadiou Pierre Roujon Contributors Niels Barraud Véronique Berthonneau Igor Casas Jakye Churlet Pierre Cosar Ariane Cousin Amanda Everitt Delphine Goiran Céline Hayat-Bufarull Jean-François Laumondais Brigitte Philbert-Vivet Sophie Pierozzi Project management Art’Sign à l'INJS 254, rue Saint-Jacques 75005 Paris www.art-sign.org N°SIRET : 49008480300025 ISSN 2118-5948 Tri-annual magazine Legal deposit on publication All rights reserved All ads concern services accessible to or directed toward the Deaf. We always discuss with our announcers to insure that their approach respects our philosophy and Deaf culture. However, we are not responsible for the services or messages written in their ads. Art’Pi! / EDITORIAL / 5 Deaf is used to designate that which is relative to Deaf culture. deaf is used from a general or medical point of view. I Editorial "I create sculptures with my heart." Jean-Pierre Malaussena, sculptor "Break those too conventional rules!" n this new issue, Art’Pi ! Junior, the column devoted to young people, is by far the one of which we are most proud. Childhood is an auspicious time for imagination, creativity and keenness of expression. The more stimulation, the more depth artistic works will have later in life! One should "trust one’s identity, one’s culture and one’s language", insists Maxim Fomitchev, the mime and clown. This is true at any age, as the collective SPILLPROpagation understands. These Canadian Deaf artists break rules that have become all-too conventional, in order to evolve in their art, true to their own vision. If Deaf art is in full effervescence at the moment, a delicate compromise remains to be found in order to combine it with hearing culture. Les Amours inutiles (Unnecessary Loves), by the Companies MaMuse and L’inutile, rises to the challenge. Deaf and hearing audiences have been given the rare satisfaction of being able to truly share their impressions. Keep an eye on Toulouse: there’s promising artistic potential there. Art is forever surprising us with the force of its impact. Adina Tal, director of the Israeli company Nalaga’at, whose actors are deaf-blind, asserts: art transforms, and allows one to be "in a position of giving to others". But also to receive, as Nicole Troyano et Naji Hellal explain to us: with other senses, like touch, art brings other impressions. Cover : photograph by Marion Fregeac Numerous treasures are awaiting you in this issue, I’ll let you discover them! But before leaving you, give a special thought to Jean-Pierre Améris, director of the film Marie Heurtin. He accomplished what no other film director of his stature has done: to provide professional film-shooting conditions for Deaf actors, without having "second thoughts"! Might France be in the process of opening its arms to Deaf artists? . Noémie Churlet Director of publication p.3 • Arnaud Balard, occupied with his profession as artist, leaves the Art Ticket adventure. Our thanks accompany him. Alexis Dussaix picks up the torch with this issue! • Welcome to all the new writers! Which means… new articles and columns! • This issue is coming out more than a year after n°7, for financial reasons. No matter what our frequency of publication, we will persevere. New areas are open: information videos on Facebook, a new look and new functions on our site… Surprises never end! Erratum n°7: Adrean Clark is not the creator of the writing technique she uses in her comics. 6 / CONTENTS / Art’Pi! Contents OUR FAVORITES Les Amours inutiles 05 Editorial 09 What's new? What is the difference between mime and VV? 10 Our favorites © Eric Vanelle Les Amours inutiles: an astonishing bilingual concept 12 Backstage... BACKSTAGE... at the video-clip of Clin d'Oeil 2015 ...at the video-clip of Clin d’Oeil 2015 14 Art Ticket The Virgin of the Rocks 17 © Marie Hyvernaud THE SOUND OF SEEING Carmen Beyond Boundaries: Canada When Canadian Deaf art spreads 18 On the trail of FFO Maxim Fomitchev Gustave Nicolas Hennequin, sculptor 20 Bubbles and Signs Les témoins silencieux, a sequel to the comic book AT A GLANCE Malaussena 22 The Sound of Seeing Carmen, if the opera were signed... © Valentyn Vasyanovych 24 CAMERA, ACTION! The Tribe The Fabulous Fate of... Maxim Fomitchev, clown artist, mime and physical actor 30 At a glance Malaussena, a timeless sculptor Art’Pi! 7 34 Camera, Action! Art’Pi! / CONTENTS / 7 SPECIAL REPORT Deaf-blind © Michael Crotto The Tribe, the film that revolutionized cinema 36 Special Report Deaf-blind: sensitive art 48 ART'PI ! JUNIOR Prehistoric Times Art'Pi ! Junior Prehistoric Times, the origins of art 52 Agenda The calendar of events not to be missed from October to December. © Mellie Valénat AGENDA Performing Arts 53 Where is it all happening? In the blink of an eye, find all the Deaf events region by region and abroad. AGENDA Film and Video Theater, puppets, music, stories... 56 Film and Video Documentaries, fictions, videos, festivals... 58 Art/Culture Architecture, History, sculpture... 60 Multimedia Sites, blogs... everything to be seen on the net 62 Publishing Youth, essays, biographies, novels... 64 And if this was for you? Casting, training course, call to author... AGENDA Art/Culture AGENDA Multimedia LES QUATRE CENTS COUPS, BAISERS VOLÉS AGENDA Publishing DOMICILE CONJUGAL, L’AMOUR EN FUITE... L ’ E X P O S I T I O N 8.10.14 / 25.01.15 BILLET COUPE-FILE : CINEMATHEQUE.FR - FNAC.COM © Signes de sens Performing Arts François Truffaut lors de la promotion de Baisers volés, 1968, Pierre Zucca François © Sylvie Truffaut Quesemand-Zucca. lors de la promotion de Baisers volés, 1968, Pierre Zucca © Sylvie Quesemand-Zucca. 54 POLICE GENDARMERIE SAMU SAPEURS POMPIERS Une urgence ? ou Envoyez un SMS au 114 URGENCE Conception/création : groupe-curious.com / RÉF. : MAI13 - CM2014 114, numéro d’urgence pour les personnes avec des difficultés à entendre ou à parler. 114, le numéro unique et gratuit pour les sourds, malentendants, aphasiques, dysphasiques pour contacter par SMS ou fax les services d’urgence : SAMU (15), Police-Gendarmerie (17) et Sapeurs-Pompiers (18). SI VOS PROCHES SONT CONCERNÉS INFORMEZ-LES + D’INFOS www.urgence114.fr Art’Pi! 9 Art’Pi! / WHAT'S NEW? / 9 p.3 IN BRIEF STREET SIGNS What is the difference between mime and VV (Visual Vernacular/Virtual Vision)? Rocco Both hearing and Deaf people are able to express themselves through mime. However VV is generally more often used by Deaf people. VV is a magnificent art that consists in presenting rhythmic and rhyming images, it enables the telling of a story in a visual way exclusively. Ezio When you tell a story in VV, there’s an interaction between the person who is telling the story and the topic of the story: object, animal or character. The narrator performs a transfer from the representation of the object to an interpretation of the object, unlike mime where the object is solely represented. WEBSERIES Starting in November, Les AAAHS, a webseries about the world of the Deaf, and that of the hearing. Funny, zany and accessible to all, this series is produced by Melting Signes. meltingsignes.fr Vincenzio Imagine a scene from a film: the same situation is filmed from different angles, and then the shots are edited according to the different rhythms. That’s how VV works. On the other hand, mime relies more on physical expression, and does not integrate the different view points. NORWAY New performance by Teater Manu! Directed by Mira Zuckermann, it brings together nine international artists and will be presented at the Deaf Culture Festival from November 7 to 9, 2014, in Bergen. www.bgds.no/kulturdager/eng DE’VIA Anne Mime is just a means of communication that allows everyone, particularly people who speak two different languages, to use gestures to communicate. While VV is the art of creating, integrating and expressing images and drawings, in an iconic way and with a poetic form. Pascal Mime enables us to symbolize an object, a movement, and to relate an event through body movement in space. VV, which is a more recent art form, concentrates on the description of forms using iconicity and by integrating a role. But it has nothing to do with LSF. Guiseppe Mime is only about staging a physical action. You mime the action of turning on a faucet, holding a glass and filling it. Whereas with VV, you’ll illustrate the faucet using your hands, and the water flowing through the faucet, going down the drain, the shape of the glass, the water filling it… COMIC STRIP De'VIA (Deaf View/Image Art) is celebrating its 25th anniversary in October! This movement gave rise to a manifest about Deaf cultural arts, created at the Deaf Way arts festival in Gallaudet. www.deafart.org/ Deaf_Art_/ deaf_art_. html p.3 © Mona Le clou dans la planche 10 / OUR FAVORITES / Art’Pi! OUR FAVORITES LesanAmours inutiles astonishing bilingual concept What is the magic formula that allows a theater play in Sign Language and French to keep its panache, without being weighted down by the bilingual challenge it proposes? With two languages on stage, the task is difficult, and can lead to frustration on one side or the other, whether for a signer or hearing person. To see Les Amours inutiles (Unnecessary Loves), is to discover a new concept that surprises, seduces and, especially, speaks to the heart of the passionate, but often frustrated, lover of theater that I am. The play unfolds through four short stories by Maupassant. After an oral version, and then one in Sign Language, it was presented in its bilingual form for the first time last April, in Toulouse. Six actors move about the stage. Each character has his or her twin, speaking or signing. The languages cross paths, reassemble, mix together. The pairs come together and part within the same space. No matter what the method of expression, everyone takes a chance at the game of love! The subterfuge is craftily led thanks to the actors’ talents, and unusual directing choices. Four short stories, and as many opportunities to diversify the types of dialogue and spatial settings. A movable set, synchronized movements, sensual dances, interchanging couples, the surprises follow Languages pass by each other, the couples interchange one after the other, each different from the preceding ones. An unusual stage direction that, far from creating confusion, unites the spectators, both Deaf and hearing, around a common understanding. This diversity of styles gives a special energy to the piece, and the actors play with it, reacting to an ironic, tender or cruel line. For an hour and a half, love is looked at in all shapes and forms: love at first sight, deception, routine, jealousy… with, at times, the glimmer of a welcome feminism! . When love exposes itself, and transposes itself, on stage and with Signs, words and music, it becomes a delightful cocktail of emotions and sensations offered up to the spectators, Deaf and hearing alike. PAULINE STROESSER p.3 Art’Pi! / OUR FAVORITES / 11 3 questions for Éric Vanelle, director and actor How did this project of a bilingual play come about? Why did you choose Maupassant for this first bilingual creation? For the last ten years, we’ve worked together with the association Act’s. We started by translating the plays using Sign Language interpreters. At the same time, more and more of the Deaf became interested in theater. In Toulouse, the number of Deaf actors has gone up constantly. This has convinced us to widen our outreach toward this population. We wanted to achieve two things: a play entirely performed in Sign Language, and not based on the subject of LSF (French Sign Language) or deafness, and a play that was entirely bilingual, LSF/ French. Maupassant is an author that I admire a great deal. He is part of our patrimony and his works should be known. In addition, texts from classical theater are not always accessible to the Deaf. We wanted to help a large public discover this author. p.3 Les Amours inutiles Company MaMuse and Compagnie de l'Inutile Direction, Éric Vanelle With Lucie Lataste, Martin Cros, Delphine Saint Raymond, Corinne Mariotto, Éric Vanelle and Lætitia Bos. To find out the upcoming performance dates, go to the site: http://association-ecluse.blogspot. fr/p/blog-page_10.html © Mona Le clou dans la planche Bilingual or accessible theater? The terms often lead to confusion. The phrases "accessible play" and "bilingual play" are used more and more in programming, at times indiscriminately. The two concepts are quite different however. An accessible play is one that simply translates the text with the help of a Sign Language interpreter or Deaf translator, who is often placed on one side of the stage. Other possibilities might be a system of surtitles, or yet again a creation that is 100% visual. Whereas, a bilingual play integrates both languages in its stage direction. Each line is conveyed in its entirety by both means of expression, which become complementary elements of a common artistic approach. In France, there are numerous theatrical laboratories seeking to create bilingual plays. So many paths waiting to be explored! © Pablo Barbetti Good to know This is the first time you’ve directed a bilingual play. Did this involve certain limitations? Sign Language is a limitation like any other, and which offers even more possibilities. It feeds the imagination both for the acting and the stage direction. And in any case, if there are no limitations, there’s no point in creating. On the contrary, to have to manage two languages, a visual one and an oral one, opens up new perspectives for the directing. The language even becomes a tool for creating. © J. Perrin Photographie 12 / BACKSTAGE / Art’Pi! BACKSTAGE ...at the video-clip of Clin d’Oeil 2015 At the end of April 2014, Maxim Fomitchev, Guiseppe Guiranna, Chantal Liennel and several other international known artists were in Reims. The reason for their presence? The filming of a video-clip to promote the next Clin d’Oeil festival, scheduled for the summer of 2015. "Quiet! No more photographs, no more signing in the background. Lights! Camera! Action!" Equipped with our camera, we mingled discretely with the crew. A film shoot masterly directed by the festival director David de Keyzer and the English film director Louis Neethling. How moving to see Deaf professionals from so many countries wandering in and out of the offices of ASRCA*, between the statues of the Abbé de l’Épée and Émile Mercier! The adorable, nine-year-old Lukas Pélissier won over the entire crew with his ease and charm. This budding actor first became known alongside Jean Reno, in the film Avis de Mistral (Mistral Warning). And as guest star, Jean-Marc Barr, the charismatic actor and French film director, came accompanied by the actress Dorothée de Silguy. Together, they play the roles of a hearing couple, and thus demonstrate the will of the Clin d’Oeil festival to be open to all. At the end of the shooting, champagne flowed freely. A special opportunity to raise our glasses with our colleague journalists from Écho Magazine and L’Acclameur. For the first time, the three media from the French Deaf press were brought together. Clin d’Oeil succeeded in its mission: to bring together and celebrate. Clin d’Oeil succeeds in its mission: to bring together and celebrate. . PAULINE STROESSER & p.3 LAURÈNE LOCTIN * Association des Sourds de Reims et de Champagne-Ardenne (Deaf Association of Reims and Champagne-Ardenne) To watch the backstage videos again, presented by Laurène Loctin and Pauline Stroesser, click on the QR code or flash it. To watch the video-clip: www.clin-doeil.eu 14 / ART TICKET / Art’Pi! > Leonardo da Vinci’s The Virgin of the Rocks (1483-1499) © RMN-Grand Palais (Louvre museum) / Franck Raux ART TICKET The Virgin of the Rocks Leonardo da Vinci is one of the most famous and admired artists in the world. Considered a genius and ahead of his time, he took inspiration from the Deaf and Sign Language in his works (see Art’Pi ! Hors-série n°1). One of his paintings, The Virgin of the Rocks, is filled with symbols, and has a somewhat peculiar story. This work was commissioned from Leonardo da Vinci, and the two de Predis brothers, in 1483, by the Brotherhood of the Immaculate Conception, to be exhibited in a chapel in Milan. Created between 1483 and 1486, and considered unfinished, it is kept at the Louvre. Leonardo da Vinci uses the technic of sfumato, here, which he himself invented. This consists of dissolving the lines and of superimposing several layers of paint in A meticulous organization of gaze and gesture. The sponsors were not satisfied with the painting’s composition, and the lack of religious symbols: neither the identity nor the intentions of the characters were clearly defined. As a consequence, a second version was painted between 1495 and 1508. Today, this second and more famous version is kept at the National Gallery of London. order to create a hazy artistic effect: the outlines are softened, the shadows faded. This subtle optic effect gives relief and depth to the painting, a naturel air to the faces and radiance to the landscape. A stunning landscape The secret of the hands The scene represents the Virgin Mary and baby Jesus who, fleeing to escape the massacre of the Innocents, meet Saint John the Baptist, accompanied by the archangel Uriel. The fascinating background of caves and rocks, water and plants, painted by Leonardo da Vinci, replaces the desert that is traditionally depicted. The pyramidal structure of the painting is very innovative. The Virgin, in the central position, dominates the figures of Saint John the Baptist, whom she seems to push with her hand toward Jesus, in the foreground, and the archangel Uriel, who is kneeling to the right, his eyes turned toward the onlooker. This original composition bears witness to a meticulous organization of gesture and gaze. If we focus on the positions of the figures’ hands, a stunning feature reveals itself. The archangel, pointing its finger toward John the Baptist, seems to be shaping the letters L and D in fingerspelling. The baby Jesus, in turn, is making a gesture of benediction in which we can detect the letter V. These three signs together represent the initials of Leonardo da Vinci! . This work, in its time, received an immense and immediate success. Let’s hope that the discovery of this signature sparks a similar enthusiasm throughout the Deaf community. ALEXIS DUSSAIX p.3 Aviva sourds, AV I votre assurance en Langue des Signes Française S RD SOU VA Contactez-nous ! CULTIVONS NOS DIFFÉRENCES PAR L’ÉCHANGE Elision : 09 70 26 02 34 du lundi au vendredi - de 9h à 13h Pseudo : Aviva_sourds 01 76 62 52 22 SMS et VISIO : 06 04 50 63 97 [email protected] 01 76 62 64 07 Service Aviva Assistance par SMS dédié à ses clients sourds et malentendants En cas de sinistre, les clients Aviva sourds bénéficient d’un service d’assistance routière, habitation et de service à la personne accessible par SMS 24h/24 et 7j/7. Rejoignez-nous sur aviva.fr, Accueil sur rendez-vous par une personne sourde du lundi au vendredi de 14h à 18h 80 avenue de l’Europe 92270 Bois-Colombes et Aviva Assurances - Société Anonyme d’Assurances Incendie, Accidents et Risques Divers - Capital social : 178 771 908,38 euros - Entreprise régie par le Code des assurances - 13 rue du Moulin Bailly - 92270 Bois-Colombes R.C.S. NANTERRE 306 522 665. Aviva Vie - Société Anonyme d’Assurance Vie et de Capitalisation - Capital social : 1 205 528 532,67 euros - Entreprise régie par le Code des assurances - 70 avenue de l’Europe - 92270 Bois-Colombes - R.C.S. NANTERRE 732 020 805 Document non contractuel à caractère publicitaire, à jour le 6 juin 2014. Autorité de Contrôle Prudentiel et de Résolution (ACPR) : 61 rue Taitbout - 75436 Paris Cedex 09. Organisme pour le registre des intermédiaires en assurance (ORIAS) - www.orias.fr Vous cherchez des solutions ? Nos mains vous répondent www.sourdline.com La relation client faite pour vous [email protected] facebook.com/sourdline Information et Sensibilisation à la LSF : Sensibilisation de 1 ou 2 jours dans les entreprises ou les collectivités recevant du public Formations professionnelles pour salariés sourds : Gestion du temps de travail, Maîtrise du stress, Confiance en soi, Tuteur et Maître d’apprentissage, Accueil de la personne sourde, la petite enfance en LSF, accueil de l’enfant en situation de handicap Apprentissage de la Langue des Signes Française, tous niveaux Spectacles de promotion de la LSF : - BB Sign : Jusqu’à 3 ans - La Fée des Signes : A partir de 3 ans - La Princesse et le Monstre circonflexe, récompensé par la DDJS, à partir de 6 ans - Chant Sign : Concert traduit en LSF, à partir de 12 ans Services pour les personnes sourdes et malentendantes : - Interface de Communication : Qualité de la traduction, souplesse de mise en place et rapidité dans l’organisation. - Hôtesses d’accueil en LSF, pour vos évènements et salons accueillants du public sourd - Assistance aux personnes sourdes et malentendantes, dans les démarches privées ou publiques - SIGN EVENTS + : formule sur mesure ou nous écoutons vos besoins pour vous proposer une solution adaptée 4 place Louis Armand 75012 PARIS Tel : 01 73 75 53 41 @ : [email protected] www.sign-events.net SIRET : 79976240600012 Art’Pi! / BEYOND BOUNDARIES: CANADA / 17 © Michael Mcguire BEYOND BOUNDARIES: CANADA When Canadian Deaf art spreads SPILL-PROpagation, a multidisciplinary collective of Deaf artists in Canada, hosted the first Canadian Deaf Arts Forum this past May. The objective?For one week, to offer a place for meetings, exchanges and reflections around the theme: "Phonocentrism: A Deconstruction of Deaf Art Practices". Behind this phrase, which appears complex, hides a precise objective: deconstruct given acquisitions, in order to better reconstruct, recreate. "Society is based on the perspective that puts sound and words at the center of human perception. As Deaf artists, it is imperative to deconstruct this perspective in order to propose a new one, enriched by our own world view," asserts the artist Jolanta Lapiak*. She was able to share this reflection with eleven other artists, coming from four Canadian provinces. While exploring the prejudices and unconscious ideas about the representation of the spoken word in art, a reflection began What is SPILL-PROpagation? around the identification and construction of a new artistic practice stemming from a Deaf perspective. Different workshops took place, and gave rise to a written manifesto, a pact to develop a shared creative process. Transforming dominant culture Taking its roots in the history and heritage of the De’Via movement, the group aspired to help emerge and create a new movement, under the name of "Phonocentrism Deconstruction". Created in 2009, the collective is made up today of about forty Signing artists, from diverse disciplines (visual arts, theater, literature, poetry, cinema…), and coming from all different parts of Canada. "To exchange, inform, share and produce art collectively. SPILL-PROpagation helps artists assert themselves more fully," states Tiphaine Girault, co-founder of the organization. For those who wish to know more, or join the movement, information can be found on http://spill-propagation.ca/ The manifesto calls upon artists from all disciplines to make proposals aimed at transforming dominant culture. Tiphaine Girault and Paula Bath, co-directors and founders of SPILL, are enthusiastic: "We have a great need for such a gathering of Deaf artists in Canada. It’s a dream coming true! We hope, thanks to this manifesto, that other meetings and other events will follow." . JULIE CHATEAUVERT & PAULINE STROESSER * http://lapiak.com Good to know In Canada, four languages are used: French, English, Quebec Sign Language (LSQ) and American Sign Language (ASL). Which is why the collective’s name is both in English (SPILL) and in French (PROpagation). In Sign Language, it’s the same poetic sign: two fists that start at the heart and spread outward, hands open, like waves. p.3 18 / ON THE TRAIL OF / Art’Pi! ON THE TRAIL OF Gustave Nicolas Hennequin (1834-1918) If you pass in front of the Institut Saint-Jacques in Paris, continue walking a bit further to see the sculptures of marine animals on the façade of the Institut Océanographique. They are the work of Deaf sculptor, Nicolas Hennequin. Born in Metz in 1834, Hennequin is one of the artists that made a great contribution to Deaf art during the Belle Époque. Unfortunately, information about him is rare. It appears that between 1840 and 1855, he and his brother studied at the Deaf-Mute Institute, created by Joseph Piroux (today called the Malgrange Deaf Institute), in Nancy. One of the best students, he then left the establishment in order to continue his studies of art. Hennequin was the student of Pierre Louis Rouillard and Georges Jacquot, sculptors that taught at the free Royal School of Drawing and Mathematics, which is today the École nationale supérieure des Arts Décoratifs (National School of Decorative Arts). It is therefore probable that this is where Hennequin received his training to become a sculptor. He may also have spent some time at the Beaux-Arts in Paris (School of Fine Arts), but there is no evidence that allows us to know this for sure. Between 1852 and 1914, he received numerous commissions from the State, assuring him a confortable financial situation. As of 1869, Hennequin participated in the French Art Shows in Paris. He thus paved the way for young Deaf sculptors, such as Choppin and Hamar, who took inspiration from his work, and benefitted from his professional network. These three sculptors became friends, and together they participated in the association, Amicale des Sourdsmuets de la Seine (The Seine Friends of the Deaf-Mute). His marriage to Jenny Geoffroy gave him a place in one of the wealthy Parisian families, the Martin-Guersant family. He thus became a cousin by marriage to the Deaf sculptor Félix Martin. He had four hearing children. His second daughter, Félicie, married one of the most famous and wealthy Deaf activists, Émile Mercier. His son, Léon, was the architect for the Home for the Deaf in Paris. And yet, the works of this unjustly unknown artist are available to all: one can contemplate the Trophy of Arms carved in high relief on the Ney Barracks in Metz, or take a walk in the Paul-Painlevé square across from the Sorbonne in Paris to discover others! YANN CANTIN . DRAWING BY Rudy Mcloughlin Bibliography FOLCHI Anna ; ROSSETTI Roberto. Il colore del silenzio. Electa, 2007. p.3 Art’Pi! 19 Decorative sculptures on each side of the crown above the door, facade of the Maison des Océans (Oceanographic Institute), Paris. Art’Pi! / ON THE TRAIL OF / 19 Contribution to the Monument to Octave Gréard, square Paul-Painlevé, Paris. Art’Pi! / BUBBLES AND SIGNS / 21 Art’Pi! 21 < v Draft pages-extracts, from Témoins silencieux, Vol. 2 © Art’Sign / Monica Companys v Jean le Sourd's portrait © Art’Sign / Monica Companys BUBBLES AND SIGNS Les témoins silencieux a sequel to the comic book In 2012, for the tricentennial of the Abbé de l’Épée, the association Art’Sign and the publisher Monica Companys collaborated on the creation of the comic book Jean le Sourd (John the Deaf), the first volume of the series Les témoins silencieux (Silent Witnesses). Today, this team is in the process of concocting a sequel to that adventure. In the first volume, the story took place in the 1780s. We were introduced to Jean, a young, deaf, apprentice cabinetmaker, who was faced with the difficult reality imposed upon him by his dual condition, that of a deaf worker. At a time when the Deaf community was completely ignored, he had the opportunity to meet leading figures such as the Abbé de l’Épée and Pierre Desloges, who contributed to the evolution of the Deaf in French society. Jean was also a privileged witness to the historical events that shook France during the Ancien Régime. Jean le Sourd, a privileged witness to History We are delighted to announce that a sequel is currently being prepared and should be released very soon. In this second volume, we meet up again with Jean, in 1790, who has taken over the business of his cabinetmaker master, and who is awaiting the birth of his second child. The historical context is still ever present and turbulent: the Revolution is following its course. And as for the future of the Abbé de l'Épée’s school, it is quite uncertain. Rather than disclosing the content of the story, I’ll settle for underlining the delicious mixture between fiction and reality. Born of the imagination of these authors, Jean, the silent witness to our past, guides us through history. It was important for Yann, Céline and Dano to transmit a just and documented vision of the Deaf community in the XVIIIth century. Archives of the Deaf from that time being rare, it involved ongoing work and long hours of research that bring so much authenticity to this comic book. We catch ourselves thinking that Jean actually existed. ELSA POTTIER . p.3 22 / THE SOUND OF SEEING / Art’Pi! THE SOUND OF SEEING Carmen if the opera were signed… © Marie Hyvernaud The company Danse des Signes (Sign Dances), based in Toulouse, explores the relationship between Sign Language, the body and rhythm. Their works go beyond the boundaries between the worlds of Deaf and hearing, to turn the stage into a meeting place. The performance Carmen, adapted from the famous opera, is music for the eyes that the actor-dancers have composed for us. The company’s artistic adventure began in Toulouse, in 2005, with workshops organized with the association Act’s. Over time, Lucie Lataste*, who is hearing and bilingual, brought together a group of Deaf actor-dancers. Since then, professionals and amateurs have progressed side by side. Today, they make up a steady group whose works are consistently original. As a laboratory in constant effervescence, the secret of this alchemy lies surely within the collaborative work conducted in Sign Language. Choreographing a classic Carmen, opéra sauvage (Carmen, an untamed opera) with no orchestra, is inspired by the work of Georges Bizet, composed in 1875, and one of the most performed operas in the world. The story takes place in Spain, in Seville. Carmen, a gypsy with a fiery temper, is arrested and put in prison. There, she seduces the sergeant Don José, and promises to love him if he helps her escape. This woman, victim and predator, rebellious and modern, deprived of her freedom, pulls us into a whirlwind of devastating passion and love. Voice meets choreographic and rhythmic signs For the first time, this famous gypsy doesn’t seduce with her voice, but in Sign Language. An opera singer and six sign singers perform this daring work, an opera with no orchestra and in signs. The singing, accompanied by a drum, taped music and surtitles, is joined by the choreographic and rhythmic signs that are the hallmark of the company, Dance des Signes. A unique alchemy Sign dance, the stage language developed by the company of that name (Danse des Signes), brings dance and Sign Language together using their common means of expression, the body and movement. It thus breathes new energy into Carmen by a very free appropriation of operatic codes. This appropriation is first achieved by synthesizing the story and it’s characters. From the adaptation of Bizet’s opera in four acts, which originally lasts nearly three hours, a performance of approximately one hour is created. If some of the subtleties disappear, the play doesn’t strive to follow the original one identically. It remains a creation. This untamed opera, as its name suggests, strays in part, therefore, from the work that provides it’s inspiration. However, it preserves the "color", the universe and the imagination. The actor-dancers worked around the themes of bullfighting and flamenco, immersing themselves with Art’Pi! 23 readings, videos, and workshops. In this respect, the duel between the bull and the matador is astounding. This solo, by Martin Cros, uses the creative qualities of Sign Language to the fullest. Some spectators may see the link with VV, linguists will see a virtuosic combination of "transfers". Martin Cros manages to sublimate this struggle, whose outcome is unknown, and to incarnate both the bull and its executioner, while death continues to hesitate to choose sides. Underneath the phrasing there is grace This moment also highlights the contrast between the chorus and the soloist, which we find in the traditional operatic form: voices or signs in unison are carried by the chorus’ multitude, while our attention turns toward the soloist’s performance. Whether it’s the solo score or the refrain being repeated by the chorus in different musical styles, the resulting tension is common in vocal-language singing; until now, though, it had not often been used in performances that included sign singing. For the company Danse des Signes, between singing and singing dialogues, the work of adapting into Sign Language is a continuation of the experimentation involved with their first play, Les Survivants (The Survivors): majestic signs, slow and elongated, ready to be dissolved into the bodies’ movements, but also rhythmic, at times repeated, phrases. Sign dance, a stage language of body and movement Art’Pi! / THE SOUND OF SEEING / 23 capable of moving the audience. This performance resonates like an invitation: to discover or rediscover famous works through a new and vibrant outlook, and to see Sign Language as a vehicle for musicality, by its encounter with dance and rhythm. The daring wager of the company Danse des Signes to adapt classical works is a success. Let’s wish a similar fate for their new work in preparation, Hiroshima, mon amour** (Hiroshima My Love). . PIERRE SCHMITT * Read an interview with Lucie Lataste in the first issue of the magazine L'Acclameur. ** To be performed in Toulouse, Espace Roguet, January 24, 2015, and in the city of Castanet January 31, 2015. p.3 A musicality of Sign Language emerges from these variations in tempo that is © Marie Hyvernaud 24 / THE FABULOUS FATE OF MAXIM FOMITCHEV / Art’Pi! THE FABULOUS FATE OF... Maxim Fomitchev Clown artist, mime and physical actor "When I discovered mime, it was like an electric shock: for the first time I understood eveyrthing!" Max-I-Mime or Maxim? Two personalities sharing the same body. Max-I-Mime, his stage name, Maxim, his given name. While one is outgoing, playful, the other is more discreet and reserved. Spotlight on Maxim Fomitchev, quite simply an exceptional man. Art’Pi! 25 "As a physical actor, I express myself solely with the movement of the body and facial expressions." Art’Pi! / SOMMAIRE / 25 26 / THE FABULOUS FATE OF MAXIM FOMITCHEV / Art’Pi! You present yourself as both clown artist and mime artist. What is the difference between the art of being a clown and that of mime? As a clown, you have more interaction with the audience. You have to know how to react to the laughter, to the spectator’s emotions. And then, you concentrate more on developing the physical and psychological details of a character: his personality, his expressions, his way of walking. But you can’t be schematic in the same way, illustrating a symbol, on object, like you can in mime. three and a half years with the Cirque du Soleil? I encountered Storm for the first time in 2000, when I went to see the piece Alegría in Vancouver, out of curiosity. I was immediately taken by this character, and this is what inspired me to become a clown. Slava Polunin, a famous clown, had created the character Storm in 1994, for the creation of the play with director Franco Dragone. The story talks about solitude and love. When I was chosen to take over the role, I couldn’t believe it! Even though I had plenty of experience as an actor and a mime, I had to immerse myself in the role of Storm and learn to do the make-up on my own. The advantage of doing the same role for a long time is that you can progress, perfect your performance. I played the role until the show ended, in December 2013. "Sign language has helped me make progress in theater and mime." You also call yourself a "physical actor"? What does that expression mean to you? It means that I express myself solely with the movement of the body, and facial expressions. For example, I recently played several roles in a film, Night at the museum 3: an animal, a Greek god and a mummy. The goal was to perform the movements and expressions of these characters in front of the camera. Then these images were transformed into 3D animation. For me, who loves the cinema, it was very interesting to be part of such a big film shoot! How did your encounter with Storm come about, the character from the show Alegría that you played for Before becoming a clown, you first worked as a mime. How did this vocation come to be? I grew up in Moscow. As a child I watched television, of course, which at the time had no subtitles. Even if I understood nothing, I was mesmerized by the funny faces and actions of the actors, which I loved to imitate. One evening, I stumbled upon a famous mime artist, Anatoly Elizarov. It was like an electric shock for me: for the first time I understood everything! From then on, I Art’Pi! / THE FABULOUS FATE OF MAXIM FOMITCHEV / 27 Since the beginning of his tour with Alegría, Maxim has established a ritual in each city that he visits: jump! Even if the performances have ended, the photo series continues… spent my time imitating, in front of my mother. So she looked for classes where I could progress. You grew up during the Communist period. Was artistic training widespread? Was it encouraged? It’s true that during that time, training in the arts and in sports was strongly encouraged. My first classes took place in a communist center for children, a Palace for Young Pioneers, alongside hearing people. After one year, I had learned so quickly that I had to change my place of training. At 13 years old, I was admitted to university, in a mime class given for professionals and amateurs. I was by far the youngest! I spent three years learning all the fundamental techniques of movement: how to move, how to control the different parts of the body independently, different techniques for walking, etc. Throughout this training, you never exchanged or created with other Deaf artists? To be honest, I grew up neither meeting the Deaf, nor practicing Sign Language. As an adolescent, I changed direction, and went looking for the Deaf, having heard of a theater group. I learned Sign Language in one or two months! This also helped me to make progress in the theater and in mime. I could improve my expressions, my techniques for humor. The other Deaf taught me Sign Language, and I taught them mime techniques. I stayed three years there. 28 / SOMMAIRE / Art’Pi! "Being a clown means creating a character: his personality, his expressions, his way of walking." Art’Pi! / THE FABULOUS FATE OF MAXIM FOMITCHEV / 29 After six years of training, you were then ready to head out professionally! Not yet! At that time, I learned that a theater school was opening at the university, with a group of Deaf actors. Becoming part of that group was a big change for me. It required a great deal of effort on my part, since the way of working, and techniques of expression, were very different from what I was used to! Whereas in mime, I exaggerated everything, here I had to make my acting smaller. It wasn’t easy, and created a certain amount of conflict. I felt like I was starting all over again, like a beginner. But I stuck with it, and by the end of five years, I was considered a professional actor. Since 1998, you have been a Canadian citizen. How did you end up on the North American continent? When I finished the theater school in 1989, together with my troupe I went to Deaf Way I, the first international conference on Deaf culture, which took place in the United States. It was a shock for me, a revelation! It was at this precise moment that I truly felt, for the first time, a feeling of Deaf pride, of belonging to a culture, a community. And of course… this gave me a taste for the American dream, and European as well. At the time, in Russia, it was the beginning of the end of Communism, but we weren’t yet completely free. There were certain limits on artists and creative people like me. In 1992, I went to Vancouver for a theater festival with the Deaf troupe from Russia, and I decided to stay. I obtained Canadian citizenship and have lived there ever since. I’ve returned to Russia occasionally, but since then my life is in Canada. What are your upcoming projects? Having been on tour non-stop for the last three and a half years, I haven’t seen my children grow up. Today, I am taking advantage of this time to be with them. But I dream of being able to perform again with the Cirque du Soleil. For the moment, I’m waiting for them to call. But I don’t lose hope. In any case, I know that I can’t do any other profession. Cook, cabinetmaker…? Impossible for me. My profession is the theater, my soul belongs to the stage. I am currently preparing a new clown performance. Alone or as a duet? I’m thinking about it, and hope to be able to present it at the Clin d’Oeil festival in 2015. Do you have a last word for readers and Deaf artists? No matter what setbacks or pitfalls you encounter, always keep a positive attitude. Keep moving forward and believe in yourself. Have an open mind: a world shared by Deaf and hearing is possible. But first, believe in your own identity, your culture and your language. And then make your own way. . INTERVIEW BY PAULINE STROESSER PHOTOS MARION FREGEAC p.3 Max-I-Mime in 7 dates 1964 I was born! 1976 My first steps in mime at the palace of young pioneers in Moscow. 1984 I enter the Schukin Theatre School to study the dramatic arts. 1989 First trip to the United States to attend Deaf Way I at Gallaudet University in Washington, DC. A revelation. 1998 I become a Canadian citizen! 2002 Deaf Way II: I return as Master of Ceremonies, an honor and intense emotion for me. 2010 I become a clown with the Cirque du Soleil for the play Alegría: a dream comes true. 30 / At a glance / Art’Pi! At a glance Malaussena, a timeless sculptor > Combat, 1964, plaster, 140 x 120 x 80 cm. With this work, he was close to winning the Rome prize (which gives young artists the opportunity to study in Italy), but a jury refused his name because of his deafness. Art’Pi! / At a glance / 31 > Pont sacré à Nara, Japon (Sacred bridge of Nara, Japan), 2010, resin/wood, 55 x 95 x 50 cm. "I never look at my past, or my future, I only live in the present", JeanPierre Malaussena confides to us. And yet, we wander throughout his studio as if travelling through time, meandering among statue pedestals, accompanied by the odor of glue. Women, landscapes in wood and resin, geometrical sculptures, his eclectic works are carefully organized according to periods. His sources of inspiration spring up during a walk, a journey, or in connection with the objects he finds in his path. "To philosophize about my work is useless, other than just to analyze the technique. For my part, I photograph images in my head, and then I return to my studio to make works with my heart." His first artistic love at first sight took place with African and Egyptian sculptures, which he discovered as an adolescent at the Louvre museum, and which would determine his style. Up until a decisive trip to Japan, in 1994. Ever since, his works are resplendent with Japanese colors and landscapes. Umbrellas, temple doors and Japanese bridges accompany his sculptures of women, whose hips are narrower than in his earlier works. World-renowned in the art world, he has won many prizes, including the Gold medal for Arts, Sciences and Letters, and has produced eighteen monumental works, commissioned by the State, between 1979 and 2011. Today, his passion doesn’t diminish. "I will paint and sculpt until the end of my days, like Auguste Renoir", he proudly confides. Jean-Pierre Malaussena (born, 1935) . LAURÈNE LOCTIN & PAULINE STROESSER Photos Richard Zampolini p.3 32 / At a glance / Art’Pi! Art’Pi! / At a glance / 33 < Passage à la pluie, (Passage in the Rain), 2010, resin/wood, 45 x 70 x 25 cm. First work after his return from Japan. 34 / CAMERA, ACTION! / Art’Pi! CAMERA, ACTION! The Tribe the film that revolutionized cinema © Valentyn Vasyanovych Release an over two-hour film, entirely in Sign Language, with neither voice nor subtitles, on the big-screen: mission impossible? Myroslav Slaboshpytskiy, a Ukrainian film director, dared to do it. And it worked. A marketing trick? Cinematic research and innovation? Art'Pi ! investigates. "Bizarre, disturbing... Brilliant", "A cinematic feat", "A breathtaking and incredible ballet", "An absolute shock for the senses", there were numerous reactions in the international press last June, after the screening of The Tribe at the Cannes Film Festival. The film won three prizes during the Critic’s Week, including Grand Prize. An idea from the past The Tribe refers to a group of Deaf youths in an isolated boarding school in the Ukraine. These adolescents survive by reproducing what resembles a silent mafia. Sergei, the most recent to arrive, must make a place for himself in the group and endure the rites of passage. In the process, he discovers violence, trafficking and prostitution, and falls in love with Anna, an adolescent who prostitutes herself to try and flee the country. With this film, Myroslav Slaboshpytskiy has made a double hit: to bring to the screen an entire crew of Deaf actors, and to film a large section of society that is still too often taboo. Stalinka, a working-class suburb of Kiev with atypical architecture, and home of the director, was used for the set. No spoken word, only emotions and signs. Cinema for cinema’s sake. The filming took place in 2013, in a particularly unstable political context. "We began shooting under the Yanukovych regime, then continued during Maidan*, and the last frame was filmed when Russia invaded Crimea", says Myroslav with irony. But that didn’t stop him from seeing this project, which he’d been thinking about for a long time, through to the end. Already as a child, Myroslav was in contact with the Deaf: a school for the Deaf was just next to his. There were frequent encounters, and often fights, among the young. Fascinated by Sign Language, he dreamt early on of making a "silent film". "Since already as a child I knew I wanted to become a director, you could say that the idea was born at that time", he explained. Nonconformist and innovator Myroslav is no novice. Deafness **, a short film that came out in 2010, takes its inspiration from the same idea. Confident from the success encountered by this short film (it was nominated at the Berlinale Festival, and has received several international prizes), he set out to create a full-length film, The Tribe, which is in effect the continuation of his research for the "pantomime film", as he himself likes to call it. "This project is an ambitious task, a challenge. I didn’t want to make just a film Art’Pi! 35 Art’Pi! / CAMERA, ACTION! / 35 in Sign Language, he insists. I wanted to make a film with Deaf actors whom one could understand without translation. Only emotions and gestures. No spoken word, only the sound of the natural environment. It’s a very nonconformist idea, a thing in itself. Cinema for cinema’s sake." All the actors in The Tribe are amateurs, which only reinforced the dynamics during filming, according to Yana. "We rehearsed quite a lot. Of course the work was difficult, we aren’t professional actors. But we felt ourselves to be serving Cinema. All together, through to the end." aren’t silent—they speak quite a bit, but in Sign Language. The audience accepts these rules, they hang onto the images with heightened attention. And the action, the emotion in the characters, and the dynamics of the plot, don’t let them relax and get bored. We achieve total immersion." All together, through to the end The scenes with sex and violence weren’t easy, as is the case for any young, beginning actress. "The abortion scene was particularly difficult, because I didn’t know what to do, how to move, to be accurate. We sought advice from a doctor, who showed us the proper gestures." Dogville, by Lars Von Trier, one of his favorite films, inspired him a great deal: "The director got rid of the scenery, but after five minutes, a real miracle occurs: we forget its absence. I had similar goals." In preparation for filming, nearly three hundred young people, between the ages of 19 and 23, passed the audition. The crew got help in its search from the Cultural Center of the Ukrainian Deaf People’s Society, in Kiev. However, finding the actress who would play Anna, Yana Novikova, happened almost by accident. Having moved to Kiev to try her luck in theater, Yana was auditioning for another project, where Myroslav had come to scout. It was love at first sight for the director: the presence and intense involvement of the "Byelorussian Audrey Hepburn" won him over. For Yana, it was a dream come true. On the director’s advice, Yana watched many films in preparation for the role, from The Last Tango in Paris to Antichrist. But the one that seems to have helped her the most was La vie d'Adèle (Blue is the Warmest Color), by Abdellatif Kechiche, with Adele Ekzarkopulos. This scene is no doubt the most poignant in the film, and the one that drew the most reactions. Filmed from a fixed point, it lasts more than ten minutes. Inventing codes for a new cinema The style of framing gives dimension to the film: wide, static shots that emphasize the dramatic atmosphere and offer an overall view of the dialogues in Sign Language. With The Tribe, Slaboshpytskiy invents a new code for cinema by establishing his own rules. "I took away the basic component of film, verbal speech. But the characters By daring to use an unprecedented concept, Myroslav Slaboshpytskiy is following in the footsteps of his mentor, Lars Von Trier, considered one of the most innovative directors of European cinema. To discover this exceptional film, go quickly to see The Tribe, currently playing in movie theaters. . PAULINE STROESSER p.3 *Independence Square in Kiev, where protest movements were violently repressed but nevertheless brought about the fall of the president and the establishment of a new government. **https://www.youtube.com/ watch?v=PZ08TZOhYWo © Valentyn Vasyanovych 36 / SPECIAL REPORT / Art’Pi! SPECIAL D ea blin sensiti CONTENTS 38 Marie Heurtin, idyllic filming 42 Nalaga'at, an out of the ordinary theater company 44 Annie Sullivan & Helen Keller, illustration of a rebirth 46 Art: please don't touch Art’Pi! / SPECIAL REPORT / 37 REPORT af nd: ive art Films, books and comic books, in which they are the heroes, theater plays in which they perform throughout the world… There’s no doubt, the deaf-blind have people talking about them. Forget your preconceived ideas, the art world has no limits. Art’Pi ! offers you an immersion into the heart of darkness and silence, to a universe where art is intuitive and sensitive. 38 / SPECIAL REPORT / Art’Pi! marie heurtin MARIE HEURTIN idyllic filming tournage idyllique For an extraordinary character, an extraordinary film shoot: Marie Heurtin is one of these. The story of the education of a young deaf-blind girl, at the end of the XIXth century, and of a teacher’s determination, this film and its shooting are also a model for a commitment to accessibility. A look at a unique human experience. Title: Marie Heurtin Released: November 12, 2014 Director: Jean-Pierre Améris Production/ Distribution: Escazal Films & Diaphana Principal Actors: Isabelle Carré, Ariana Rivoire Synopsis: Born deaf and blind in 1885, Marie Heurtin is unable to communicate. At the age of 10, she is admitted to Larnay’s religious institution, near Poitiers, where young deaf girls are being taken care of. One young nun, Sister Marguerite, decides to do everything she can to help Marie out of her darkness. Despite some failures and feelings of despondency, she will succeed thanks to her joyful faith and her love. http://culturebox.francetvinfo.fr/cinema/ tournages/isabelle-carre-decouvre-la-languedes-signes-pour-marie-heurtin-141441 A story of giving The film Marie Heurtin is built around the idea of passing on. It tells of a Sister’s efforts, day after day, to educate a young deaf-blind girl, who is completely closed up in her own world. By teaching her Sign Language, by allowing her to feel it with her fingers, the teacher establishes communication with her, and opens her up to the world. An adult who gives a child the whole world, in the palm of her hand: it is the archetype of human transmission that defines education. This passing on is also historical. Everyone knows Helen Keller, but no one knows Marie Heurtin, even in the Deaf world. And yet, they were contemporaries: Helen Keller was born in 1910, Marie Heurtin in 1885. And while the first was American, the second was… French. According to Sandrine Schwartz, the Tactile Sign Language coach for the shooting, and French/LSF (French Sign Language) interpreter, Marie’s journey was Art’Pi! 39 just as remarkable as Helen Keller’s. These two women received different educations, but they ended with the same result: access to knowledge. Marie’s unusual education is a lovely story, brought back from oblivion in the film by Jean-Pierre Améris, a director attentive to the accuracy of his characters, and the actors’ performances. So many challenges to face Marie Heurtin is a story about overcoming obstacles, of surpassing oneself, of faith that everyone can succeed, as emphasized by Jean-Pierre Améris and Isabelle Carré, one of the principal actresses of the film. The actual filming itself was faced with numerous challenges. To begin with, the choice of actress to play Marie Heurtin. At first, Jean-Pierre Améris wanted her to be deaf-blind. But he had to abandon that idea because Art’Pi! / SPECIAL REPORT / 39 of the difficulties that that would have caused. In order to perfectly orient oneself in one’s environment, a deafblind person has a crucial need for the objects around him to be stable. But on a film set, everything moves and changes constantly. "The actress will be Deaf, then". It was imperative for the director, since the character expresses herself in Sign Language. A yearlong national casting followed, at the end of which he met Ariana Rivoire, from the INJS in Chambéry. The choice was immediately obvious: "She had what we were looking for. She was going be Marie Heurtin because she had in her that strength, feeling, energy." The next challenge was to arrive at a full communication between Deaf and hearing people on the set. Since there were many Deaf actresses, it made sense to call in interpreters. Hired locally from the Lyon area, six professional interpreters, in addition to Sandrine Schwartz, took turns throughout the seven weeks of filming. "They were an integral part of the crew", insisted the director. "Marie gives a very positive, optimistic image of the deaf-blind. She shows that they are capable of doing things just like other people." Ariana Rivoire Ariane Rivoire Marie Heurtin © Michael Crotto 40 / SPECIAL REPORT / Art’Pi! "LSF was extremely moving for me, I found it very beautiful. I miss it now!" Isabelle Carré Isabelle Carré Accessibility: a social concern Another challenge was to overcome the apprehensions of those involved in financing and distributing the film. The producers, Sophie Révil and Denis Carot, very open to things outside of the norm, didn’t hesitate to invest from the beginning. However, the subject made the film difficult to finance. Jean-Pierre Améris admits that the story of a young deaf-blind person could scare away investors. He had to work hard to convince the television stations that the story of Marie Heurtin could be of interest to a large public. The producers persisted, until they met with Diaphana, who joined in on the financing. The film nevertheless was made with a modest budget. By choice—the director wished to make a film as closely as possible to its characters—and by necessity. In virtue of which, the entire crew accepted a lower salary. Proof that this film is the result of a genuine collective effort. The last challenge was the accessibility of the film for a Deaf public. For Jean-Pierre Améris, this was truly a Sœur Marguerite social concern: it was imperative that the Deaf and/or blind have access to the film, particularly because it deals with their history, their world. Without which, this project would be nothing more than a "shot in the dark". Fortunately, the film will be subtitled, thanks to Diaphana, and with the participation of Sandrine Schwartz and CinéST. A "body to body" communication In the end, Marie Heurtin is above all the story of a different form of communication, of Tactile Sign Language. For Jean-Pierre Améris, this is an essential element of the film, leading the actors to play differently, by "engaging their bodies entirely". In order to show on the screen the level of expertise that Sister Marguerite had in Sign Language, Isabelle Carré learned LSF, through intensive training over four months with a personal coach, Alexeï Coica. She then worked on Tactile Sign Language with Sandrine Schwartz during the filming, and admits that this is the role that has required the most preparation for her. Art’Pi! / SPECIAL REPORT / 41 "This means of communication, which I call 'the hand and the world', is a wonderful cinematic motif." Jean-Pierre Améris Isabelle Carré thus discovered "a communication from body to body, heart to heart." The actress discovered a passion for LSF, which was less an aspect of her acting than a genuine means of expression. She made it completely her own, so much so that she could conduct entire conversations with Deaf actresses, and with no interpreter. Ariana Rivoire, however, though accustomed to LSF, had to learn the specific reflexes used in deaf-blind communication: touching the other person’s hand, keeping contact with him in order to call him, making slight vibrations on his hand to show that one is listening… She also had to restrain herself, by acting with an expressionless, neutral, face: a real challenge for her, since she is particularly expressive. Indeed, the face of deaf-blind people is often without expression, since they aren’t aware of the visual indications they might convey. The meeting of two worlds The crew participated as well. Technicians, actors, make-up artists, cooks… all learned some elements of LSF, first from an initiation by the interpreters, then from interacting on a daily basis with the Deaf actresses. Also, sheets with signs and the fingerspelling alphabet were handed out by Sandrine, which offered points of reference. Nils Hamelin, the director’s first assistant, then had the excellent idea to add a few signs, together with their meaning, to the work sheet that the crew received every morning. A lovely proposition, that only proves to what extent the crew’s attitude was welcoming, and the atmosphere incredible. The Deaf and hearing worlds mixed together very easily. "It was much simpler than one would have imagined", observed Isabelle Carré.. By way of Marie Heurtin, a whole world opens up to us. A new outlook on deaf-blindness awaits filmgoers. But also another idea about the Deaf, as professional actors, as speakers of another language, as members of the audience. An idyllic exception, or the beginning of a welcome evolution? CÉCILE TUARZE PHOTOS MICHAEL CROTTO & DIAPHANA ILLUSTRATIONS ALEX SAMBE p.3 © Michael Crotto CinéST CinéST is a website created by Emmanuelle Aboaf and Bénédicte Nguyen in October, 2010, that indexes the screenings of French films with subtitles, in movie theaters throughout France. It also raises awareness among distributors and cinema managers about subtitles. Its goal is to make French culture accessible for all. CinéST participated in the finalization of the subtitles for Marie Heurtin, and joined Diaphana, IVT and Art'Pi ! to provide publicity for the film. www.cinest.fr 42 / SPECIAL REPORT / Art’Pi! Nalaga'at Nalaga'at an out of the ordinary une compagnie thtrale theater company hors du commun Nalaga'at means "Please touch" in Hebrew. It’s the name chosen by an Israeli theater company, the only one in the world whose actors are all deaf-blind. Riding on its success, the troupe now has its own "home": the Nalaga'at Center. A meeting place for the Deaf, blind and deaf-blind, but also for the general public, by way of a cultural and artistic experience that is out of the ordinary. An experience unique in the world Adina Tal is a theater director, originally from Switzerland, who studied in Israel during the 1970s. After working with different companies, she created, in 1984, a company that specialized in interactive theater, with a strong sense of social commitment. The idea was to treat serious problems (violence, ageing, Jewish identity…) with humor. interacted one on one, through interpreters using Tactile Sign Language. The objective was two-fold: to transform these individuals into actors, but also to create a coherent troupe that worked well together. The second challenge was to move on to another level of communication, that with the audience. A total success: Light is Heard in Zig Zag, a performance both light and serious, unclassifiable in its form as well as its content, was presented in several theaters, in Israel as well as internationally, through 2005. Adina Tal and Eran Gur, convinced that the group deserved to perform in the most professional conditions possible, cofounded the association Nalaga'at and sought a permanent space to perpetuate the experience and continue their activities. The Nalaga'at Center was inaugurated in 2007, opening with the première of Not by Bread Alone with which the company continues to tour throughout the world. "It’s the right time to continue to dream" In 1999, an association for the deafblind came to her, asking her to create a theater workshop for its members. Twelve deaf-blind individuals participated in the workshop, which led to a performance based on their stories and personal dreams. That experience being a first wordwide, Adina Tal had no model for inspiration, and had to start from scratch. The first challenge, she explains, was to find ways of communicating within the group, whose members only Art’Pi! / SPECIAL REPORT / 43 Art’Pi! 43 All nationalities, religions, genders to develop similar workshops elsewhere in Israel and throughout the world. In addition to the theater, the Center houses the Café Kapish (where the waiters, Deaf and hard of hearing, encourage communication beyond oral language), and the restaurant BlackOut (where patrons dine in darkness, served by blind waiters). It is also a place for the Deaf and the blind to train to become waiters. Based on the principle that "all human beings are equal but different and that each person has the right to add his or her personal contribution to society", the Center employs people of all nationalities, religions and genders. Adina stresses the revolutionary aspect of what was, in the beginning, a simple theater class: the actors who had until then been in a situation of dependency, a position of receiving (help, pity) found themselves in a position to give, offering to others a performance, and art. "We believe we need, can and deserve to change and improve our reality”, one can read on the Center’s internet site. And indeed, the Center provides a unique environment offering support for Deaf, blind and deaf-blind people in their desire to develop their own talents and skills. Other initiatives connected to theater have been developed: the waiterapprentices created, in 2009, "Give Me a Sign!", a theater workshop built around Sign Language. The same year another troupe was formed, made up of Jews, Muslims and Samaritans, either Deaf or blind. In 2010 the play Prince Rooster was created, a show for children in which some of the waiters perform; also that year, a clay sculpture workshop was started, which takes place in darkness. In 2011, rehearsals began for The Banquet, a new play performed by blind, Deaf and deaf-blind actors. In order to share the values that have been developed by the Center, all efforts are used To this day, the company has had more than 600 000 spectators throughout the world. "It’s the right time to continue to dream", says one of the characters in Not by Bread Alone. A beautiful phrase that encourages us to believe in ourselves and in the possibility of a better world for all, where each individual has a place! ELSA POTTIER www.nalagaat.org.il/ theater.php p.3 44 / SPECIAL REPORT / Art’Pi! Annie Sullivan Annie Sullivan & &Helen Keller Helen Keller illustration of a rebirth illustration d'une renaissance If you’ve ever run into Helen Keller in your life, as a reader or audience member, her story no doubt left a deep impression on you. The remarkable comic book by Joseph Lambert tells the story of when this little, deaf-blind girl met Annie Sullivan, the private tutor who introduced Helen to the world, and about whom we know less. Their friendship, as well as their individual lives, inspires emotion and admiration. Perceptions that can be drawn… Talking first about form: one may like or dislike the drawing itself, but the choice of artistic medium is nevertheless very judicious. Indeed, one of the major strong points of this comic book concerns the graphic choices used to visually transcribe Helen’s perceptions. We begin the story immersed in Helen’s world, through the use of a black background, simple shapes and a minimalist décor: the feeling of confinement is palpable. The famous story about the water pump–the instant when Helen comes to the understanding that for each object that surrounds her there is a corresponding word–is brilliantly rendered. Each time she learns how to name an object, it appears in the drawing. The world around her takes shape little by little, for her as well as the reader. The drawings become graphically richer in their shapes and colors as the little girl makes progress. This ingenious procedure leaves plenty of room for emotion, and allows us to share the two protagonists’ enthusiasm. The story of an education © Çà et Là/Cambourakis As far as the content, we are easily immersed in the story, and hooked till the very end! One can only applaud the fact that Helen’s initial confinement is not described as a logical consequence of her deaf-blindness, but as stemming from the inability of those around her to find a way to enter into communication with her. It’s the lack of connection with others that makes her a "little wild child", not the fact that she’s blind and deaf. In addition, it’s interesting to note that the original title, Annie Sullivan and the trials of Helen Keller, places the teacher in the role of the main character in the story. We aren’t introduced to the woman that Helen will become, but we are told of the child that Annie once was. Her journey is also worth knowing about, and while it may be less spectacular than that of Helen, it illustrates just as well the importance of perseverance, and the magic in special encounters. Both women (and thanks to each Art’Pi! / SPECIAL REPORT / 45 © Çà et Là/Cambourakis Art’Pi! 45 From blackness to color, a world takes shape. other) succeed in transcending a deep solitude and selfdestructive anger, and taking hold of their destiny. By transforming their way of contemplating the world, they participate in changing it, and making it a better place. Exhilarating! For those of you whose curiosity is aroused by this book, I suggest discovering the rest of Helen Keller’s life: an extraordinary woman, the first deaf-blind person to receive a diploma, a militant feminist, and the creator of a foundation against malnutrition! ELSA POTTIER p.3 Annie Sullivan & Helen Keller Joseph Lambert Original title: Annie Sullivan and the trials of Helen Keller (United States) Translated from the English by Sidonie van Den Dries Co-edited Çà et Là/Cambourakis Format: 20 x 30 cm, bound 96 pages color Helen Keller, who became deaf-blind at the age of 18 months, used fingerspelling, whereas Marie Heurtin, deaf-blind from birth, used signs. Annie Sullivan taught Helen what she herself had learned at the Perkins School for the Blind, from Laura Bridgman, the first deaf-blind person known in the United States to have received a higher education. Coming from a blind environment, Annie didn’t seek to learn Sign Language. On the contrary, Marie, having grown up in France in a school for young deaf girls, used Tactile Sign Language. 46 / SPECIAL REPORT / Art’Pi! Art ART please don’t priere de ne touch pas toucher Art appeals to all our senses. So then how do we perceive it without the senses of hearing or eyesight? Can we even be sensitive to it? Nicole Troyano, Deaf and with Usher syndrome, and Naji Hellal, deaf-blind, share their feelings and impressions. NAJI I am deaf-blind. Therefore, I have three senses at my disposition (touch, taste, smell). These are more developed than usual. I’ve also acquired a sixth sense, a "sensation" or "intuition" that rarely fails me. I like to "see" performances with someone’s help; I can get a good sense of the acting when it is explained to me. And when it’s possible to touch a work of art, I can at times understand the artist’s intentions. NICOLE I’ve already felt the wings of an angel, at the tactile gallery at the Louvre. All the explanations are in Braille. And the white sculptures, very luminous, are presented in front of a dark wall, which makes it possible to perceive the outlines. NICOLE In public museums, we are only allowed to touch the base of the sculptures, which is of little interest! I had the opportunity to visit the Delacroix museum one day when it was closed. We were given gloves so that we could touch the sculptures. I could discover the shapes, but it was impossible to feel the materials. Art’Pi! / SPECIAL REPORT / 47 NAJI Even if I manage to do some sculpting and pottery, touching them doesn’t give me any particular impressions or pleasure. However, an experience with dance really moved me. I especially liked the feeling of dancing together with the teacher as partner. NICOLE In 2012 I discovered, for the first time, an exhibition adapted to my senses. Toucher pour voir (Touch in order to see) presented the tactile paintings of Adelio Sarro, a Brazilian painter. It was very moving, to be encouraged to touch the paintings. The outlines of the shapes were in relief, and the materials changed according to the colors being represented: black was sharper, white very soft… INTERVIEW BY VÉRONIQUE BERTHONNEAU & DELPHINE GOIRAN illustrations Elza Montlahuc NAJI During one performance, Ramesh Meyyappan allowed me, BEFORE the show, to touch and explore the elements of his set. During the show, thanks to the person accompanying me, who "translated" for me, I was able to fully appreciate the play, using the memory of the elements I’d touched beforehand. p.3 Their dreams Nicole My dream: to go to the South of France and do the tactile itinerary proposed by the MuCEM (Museum of European and Mediterranean Civilizations), in Marseille. A guided visit conceived to help discover archeological works through a multi-sensory approach. Naji I wish for three important measures to improve accessibility: • have the right to touch art works when possible; • be able to touch the stage and the sets before a performance; • be accompanied by tactile interpreters during performances. To know more: http://www.louvre.fr/pistes-de-visite/ decouverte-de-la-galerie-tactile http://www.mucem.org/fr/node/1512 http://www.adeliosarro.com/home2.php http://www.musee-delacroix.fr/fr/le-musee/ infos-pratiques/informations-pratiques NICOLE I like to wander in public gardens or at archeological sites, there where everything is permitted. My best memory is the site at Pompeii. The smell of the lava, the roughness of the stones, cold and hot, soft and rugged, helped me relive the history of that place. 48 / ART'PI ! JUNIOR / Art’Pi! 8-12 years ART'PI ! JUNIOR Prehistoric Times, origins of art Let’s start with a journey far, very far, back in time, to discover humankind’s first museums: caves! AT THE VERY BEGINNING © MCC-CNP © MCC-CNP Buffalo Horse Pre Over 30,000 years ago, during prehistoric times, prehistoric Man painted on cave walls to tell the stories of what he saw, what he lived or the animals he hunted. It is believed these paintings were sacred and magic rituals. television c i r to s i h Prehistoric animals Mammoth Painting on the cave walls is one of the first arts created by Man. We call it © MCC-CNP cave art. Art’Pi! / ART'PI ! JUNIOR / 49 HAIR AND DUST Prehistoric st What did prehistoric Men use to paint? art i Paintbrushes made of horse hair tied to wooden sticks. Their fingers. Feathers. Tools There was no paint in tubes as there is today. Prehistoric Men used to rub stones together in order to get colored dust; these are called mineral pigments. The stencil technique In the paintings dating back from this era, many prints of hands were found. To draw these on cave walls, prehistoric Men stuck their hands to the rocks and blew colour around them with their mouth. This is called the stencil technique. It is believed that cave Men used to communicate with signs. Signs could be the first language known to mankind! What does it mean? Cave art Paintings, drawings, engravings or sculptures, cave art refers to all art forms represented on cave walls. Pigments Generally a powder, a pigment is the substance used to give colour to paints. It can be made of vegetals (coming from plants), of synthetics (man-made) or of minerals (coming from stones). 50 / ART'PI ! JUNIOR / Art’Pi! AND TODAY? Nowadays, people no longer paint inside caves but artists continue to be attracted by the idea of painting on walls. In the streets, walls are still being used as a medium to express daily life, as well as dreams and creativity. is fit f a gr P r e his t or ic © Rocky Zéro Today, painting on street walls in simply called street art. Several techniques are used to paint in the streets. Amongst them, the stencil technique as used by our prehistoric ancestors is still being used. Blek le rat's stencil © Rosine Klatzman, 1983, Paris Several thousand years later, this technique has evolved: artists no longer use their mouth, and instead they use sprays which release colours without getting their teeth dirty. What does it mean? Street Art Street art refers to all works of art found in the streets ̶drawings, graffiti, stickers... Graffiti A graffiti is a writing or a drawing on a wall, a monument or an object which is not usually used as an art material. This is also an art form. Art’Pi! 51 Art’Pi! / ART'PI ! JUNIOR / 51 YOUR TURN! You too can also enjoy drawing your own frescos or street art! • thick paper or cardboard 1 • thin paper or the background downloaded from the the Art'Pi ! website • a pair of scissors • a sponge with water paint or crayons 1. On a thick piece of paper or cardboard, draw an animal of your choice or the outline of your hand (in your favourite SL configuration) and cut this drawing out. 2. Lay this drawing on a thin sheet of paper or on a Art'Pi!design (to be downloaded on artpi.fr). 2 3 3. Dab around the drawing with a sponge wet with paint or draw the outline with a crayon. 4. Use your imagination to finish your work of art! Take a picture of your drawing and send it to [email protected]. Your drawing will be part of the Art’Pi! fresco which will be on our website for our next issue! Did you know? You can discover prehistoric frescos in the cave Lascaux II, France. The paintings there do not date back 18,000 years but are only 31 years old! To preserve the 'real' Lascaux cave, the original drawings were copied in another cave that anybody can visit. More info Visit the L ascaux ca ve in LSF at: www.lasc in 3D and aux.cultu re.fr. Find out m ore about Prehistor and othe r historica y l ages wit L’Histoire h à premièr es vues (A frist glan ce at hist o r y) by Sign de Sens É es ditions: www.apr emieresv ues.org p.3 PERRINE ROSENZWEIG & AMANDA EVERITT Illustrations Margot carrër & émilie ramain 52 / SOMMAIRE / Art’Pi! Agenda 54-55 Performing Arts Theater, puppets, music, stories... 56-57 Film and Video Documentaries, fictions, videos, festivals... 58-59 Art/Culture Architecture, History, sculpture, fashion... 60-61 Multimedia Sites, blogs... everything to be seen on the net 62-63 Publishing Youth, essays, biographies, novels... All materials or events are available in French and/or LSF only unless otherwise indicated. Art’Pi! / WHERE IS IT ALL HAPPENING? / 53 Where is it all happening? 5 3 4 2 In the blink of an eye, find all the Deaf events region by region and abroad. 8 1 6 1 7 5 AQUITAINE ÎLE DE FRANCE Paris (75) Qui a peur du loup ? (p.54) Versailles (78) Citoyen(ne)s, et vous ? (p.58) (Chateau & cloister) (Who is afraid of the wolf?) (Citizens, and you?) Périgord (24) Château & cloître (p.58) Permanent. 2 BOURGOGNE Dijon (21) La Vapeur (p.55) Permanent. 3 BRETAGNE Brest (29) Festival Européen du film court (Short movie European festival) (p.57) November 11 to 16. 4 CENTRE La Ville-aux-Dames (37) Signes & sons (p.54) (Signs and sounds) November 14. Tours (37) Signes & sons (p.54) (Signs and sounds) October 19 at 4 p.m. October 5, 12, 19 and 26. October 15, 20 to 24 and 27 to 31 at 3 p.m. Heure du conte (p.54) (Story time) October 8, November 12 and December 10 at 10.15 a.m., 10.45 a.m. and 4 p.m. October 11, November 15 and December 13 at 11 a.m. François Truffaut (p.56) From October 8 to January 25. Les années 50 (p.58) (The Fifties) October 9 at 6.30 p.m. and October 18 at 2 p.m. Festival du film lesbien & féministe (p.56) (Lesbian and Feminist Film Festival) October 30 to November 2. L'étoile de Uatu (p.54) (The Uatu Star) November 12 at 2 p.m. and 3.30 p.m. Franck Gehry (p.58) November 15 at 2.30 p.m. Histoires en voix et en doigts (Voice and finger stories) (p.54) November 30 at 4 p.m. Jeff Koons (p.58) December 13 at 2.30 p.m. Until October 12. Cergy (95) Au-delà du Silence ! (p.54) (Beyond silence!) October 11 and 12. Villarceaux (95) Bois et hameaux oubliés (p.58) (Forgotten woods and hamlets) October 12 at 2 p.m. 6 MIDI PYRÉNÉES Toulouse (31) Mon Brassens (p.55) (My Brassens) From December 9 to 13 at 7 p.m. 7 PROVENCE ALPES CÔTE D'AZUR Nice (06) These books are made for walking... (p.54) November 15 at 3 p.m. Marseille (13) Galerie de la Méditerranée (p.58) Permanent. 8 RHÔNE ALPES St Cyr sur Menthon (01) Contes de Bresse et d'ailleurs (Tales from Bresse and other places) (p.58) November 9 at 10 a.m. Lyon (69) Catharsis (p.55) October 30 to November 9. Un étrange cadeau (p.54) (A strange present) From December 11 to 30. ARGENTINA Buenos Aires Festival Internacional de Cine Sordo (p.56) 2015. BELGIUM Liège Sourd, et alors ? (p.55) (Deaf, so what?) October 19 at 5 p.m. Performing Arts Film and Video Art/Culture 54 / AGENDA / Art’Pi! © Gilles Aguilar © Mellie Valénat PERFORMING ARTS READING CLOWN Signes & sons Au-delà du Silence ! Colours in the eyes, shades in the voices, hands painting space. A reading session where music and signs combine to become a rainbow. 3 years old onwards. When LSF meets speech. Nana and Yaya ponder about their differences. They want to know each other better, but how can this be achieved when there is no common language? A family show. (Signs and sounds) October 19 at 4 p.m. Hôtel de ville, Tours (37) November 14 October 11 and 12 FESTIVAL VIVA LA VIDA, CERGY (95) www.rayondecrits.fr PUPPETS Un étrange cadeau (A weird present) The decor is a ton of books for this silent modern circus show, during which two characters will stamp, dance and ponder. Adults and children 3 years old onwards. A box with a mystery inside. A box with a world, a world to be delved into. Silent theater and puppets, by the ppcmART Collective. 1 year old onwards. November 15 at 3 p.m. December 11 to 30 Maison des associations, Nice (06) www.signes-roya.org Théâtre des Clochards célestes, Lyon (69) www.clochardscelestes.com STORIES PUPPETS STORY NURSERY RHYMES Heure du conte L'étoile de Uatu David with his hands, Anne Laurence and Fabio with their voice tell stories. For the very young ones, the Joli Rêve (Sweet Dream) company offers an imaginary universe made of soft lights, animated and spoken, in LSF and French, for this show full of mystery and gentleness. 2 years old onwards. The 10 Doigts Company offers a time of physical poetry, and tells stories in signed words and in spoken words! Bilingual French/LSF 4 years old onwards. Meet up with Val Tarrière and Bachir Saïfi in a signed musical journey. The wolf is the central character of these stories and nursery rhymes in LSF and French. 4 years old onwards. November 12 at 2 p.m. and 3.30 p.m. November 30 at 4 p.m. Théâtre Astral, Paris (75) (Story time) October 8, November 12 and December 10 at 10.15 a.m. and 10.45 a.m. for 2-4 years old. and at 4 p.m. for 5 years old onwards. October 11, November 15, December 13 at 11 a.m. for 2-4 years old Bibliothèque Chaptal, Paris (75) (The Uatu star) IVT, Paris (75) compagniejolireve.over-blog. com Histoires en voix et en doigts © Art'Sign © Maxime Bouhours La Ville-aux-Dames (37) www.cie100voix.fr (Beyond silence!) CIRCUS These books are made for walking... (Voice and finger stories) Bibliothèque Chaptal, Paris (75) Registration: [email protected] Qui a peur du loup ? (Who is afraid of the wolf?) October 5,12,19 and 26 October 15, 20 to 24 and 27 to 31 at 3 p.m. La Baleine Blanche, Paris (75) www.art-sign.org Art’Pi! / AGENDA / 55 Art’Pi! 55 © Gilles Aguilar PERFORMING ARTS CONCERT Mon Brassens (My Brassens) A convergence of Brassens’ songs, virtual poetry in Sign Language and Sale Petit Bonhomme’s musical world, the trio highlights the colours hidden in these songs. December 9 to 13, 7 p.m. Théâtre du Grand Rond, Toulouse (31) www.grand-rond.org Show ONE MAN SHOW Catharsis With this show full of charm, Sigrid Flory aimed to share his life and his experience. Three interpreters (song, Sign Language, dance) in three scenes full of humour. From October 30 to November 9. Théâtre des Clochards Célestes, Lyon (69) www.compagniecatharsis.com ADAPTATION LSF Les théâtres du réseau Accès Culture vous proposent des spectacles adaptés en LSF par un comédien Sourd ou un comédien-interprète LSF. Une belle programmation à découvrir ! Tel quel ! Thomas Lebrun Maison de la Danse Lyon Centre Culturel Jean-Gagnant Limoges Centre Chorégraphique National de Tours Tours Théâtre 71 Malakoff Warm David Bobée CDN de Haute-Normandie Rouen n De passage Johanny Bert Le Fracas Montluçon Comédie De l’Est Colmar Culture Commune-Scène Nationale du bassin-minier du Pas-de-Calais et la Scène du Louvre-Lens Lens A.B.C-Festival À pas contés Dijon Pour recevoir gratuitement la brochure [email protected] www.accesculture.org Sourd, et alors ? MUSIC La Vapeur Jef’s takes his inspiration from his daily life, his thoughts and our absurdities. With his interpreter, he takes us for a show which appeals to everyone, Deaf, hearing, old, young or blonde. This venue, mostly a stage for contemporary music, regularly offers events accessible to the Deaf: tours of the venue in LSF, adapted parties with bar and reception in LSF, selected concerts using light effects, vibrating drums on disposal… Voo Rire de Liège, Belgique www.voorire.be La Vapeur, Dijon (21) www.lavapeur.com (Deaf, so what?) October 19 at 5 p.m. Aladin Matèj Forman Théâtre du Jeu de Paume Aix-en-Provence Paradis Lapsus Pierre Rigal Théâtre National de Chaillot Paris Tandem Douai-Arras / Théâtre d’Arras Arras Le Petit Chaperon rouge Joël Pommerat Le Trident Cherbourg-Octeville Théâtre de l’Agora-Scène Nationale d’Évry et de l’Essonne Évry Le grand R La Roche-sur-Yon Un chien dans la tête Olivier Letellier Théâtre national de Bretagne Rennes Une année sans été Joël Pommerat Le Carreau-Scène Nationale de Forbach et de l’Est mosellan Forbach Frankenstein Paul Desveaux Théâtre de Sartrouville et des Yvelines-CDN Sartrouville Le Grand T Nantes La Mélancolie des dragons Philippe Quesne Nanterre Amandiers Nanterre Centre dramatique régional de Tours Tours Contact Philippe Decouflé Théâtre National de Chaillot Paris The Elephant in the room Cirque Le Roux La Criée, Théâtre national de Marseille Marseille 56 / AGENDA / Art’Pi! FILM AND VIDEO 26e FESTIVAL INTERNATIONAL du CINEFFABLE présente FILM LESBIEN & FEMINISTE de PARIS Quand les lesbiennes se font du cinéma www.cineffable.fr du 30 octobre au 2 novembre 2014 Espace Reuilly 21 Rue Antoine-Julien Hénard 75012 Paris métro Montgallet DOCUMENTARY Avec nos yeux (With our eyes) A journey into the Deaf world. This chronicle, filmed over several years, follows the International Visual Theatre fight to build its site in the heart of Paris: the life of the theatre crosses the Deaf comedians‘ personal stories. www.avecnosyeux-film.com FILM That's not all of me EXHIBITION François Truffaut This year marks the thirtieth anniversary of François Truffaut’s death. Together with a complete retrospective of his work, a major exhibition is dedicated to the film director. From October 8 2014 to January 25 2015 Visits in LSF: Check on the website, Cinémathèque, Paris (75) www.cinematheque.fr DVD Roméos The British association Life & Deaf gathered poems written by Deaf children, expressing their feelings on their identity. Weaved together, these texts form the basis of a film in which authors, actors and technicians are all young Deaf. Lukas has just turned 20. He tries to keep his secret from everybody–Lukas is transgender, a girl who became a boy. www.lifeanddeaf.co.uk/film www.outplay.fr/romeos.html A delicate and appealing film by Sabine Bernardi, subtitled for the Deaf and hard-of-hearing. ANIMATION Le sens du toucher (The sens of touch) Chloé and Louis love each other in secret. Signs replace words, and each meeting is a choreography. When Louis invites Chloé, he uncovers his dark sides… A short film by JeanCharles Mbotti Malolo. TEASER www.youtube.com/ watch?v=gSYGwkJHRIY DVD/CD Silent Shout WOMEN Festival du film lesbien & féministe (Lesbian and Feminist Film Festival) An explosive cocktail, fighting self-righteousness and generating of different ideas. Subtitles for the Deaf, interpretation for presentations, meetings and debates. October 30 to November 2 Espace Reuilly, Paris (75) www.cineffable.fr ARGENTINA Festival Internacional de Cine Sordo Changing the world with his rap in Sign Language and his exceptional stage performances, the famous rapper Signmark was the first Deaf artist to sign with an international production company. His third album, Silent Shout is now out. The very first International Festival of Deaf Cinema in Argentina will take place in Buenos Aires in 2015. Another opportunity to discover exceptional artistic creations. www.signmark.biz www.ficsor.com.ar Art’Pi! 57 Art’Pi! / AGENDA / 57 © Le Collectif Informel FILM AND VIDEO THRILLER FILM The plots focusses on five characters, Deaf, hard-of-hearing or hearing, in a post-apocalyptic setting. With humour, emotion and realism, this movie shows how essential communication is for our common survival. Laura wants to have a baby. Oussmane wants to become a known artist but becomes deaf. Kahina wants to see her son again. They will all meet while chasing their dream. How is love built? How to make love? A film by Djinn and Salomé. Lake Windfall www.rusticlanternfilms.com/ films.html FLA www.lecinemaquejaime.com COMEDY Four Deaf Yorkshiremen Four Deaf Yorkshiremen go to Blackpool is a comedy about four old grumpies who go to Blackpool to meet other Deaf people. But their holiday does not quite go as planned! www.bslzone.co.uk/watch/ four-deaf-yorkshiremen-goblackpool-promo SHORT FILMS 29e Festival Européen du film court de Brest (29th Brest European Short Film Festival) This year as previously, three sessions are translated in LSF, thus allowing Deaf audiences to discover a wide range of films, in selection and in competition. From November 11 to 26 www.filmcourt.fr/ 58 / AGENDA / Art’Pi! ART/CULTURE BàBDP PAROLES CITOYENNES Langue des signes française (LSF) et Français Appel à récits de vie des personnes sourdes et entendantes côtoyant des sourds V#9 21* =72=:21V882*:21/2*]e\] 279ON\bda\^a\^e Email : [email protected] / Site : www.babdp.org VIDEOS Citoyen(ne)s, et vous ? (Citizens, and you?) A video installation shows testimonies designed to fight prejudice and better understand one another despite differences. Until October 12 C3M/Théâtre de l'Octroi, Versailles (78) www.orpheefestival.com/ orphee_2014_citoyennes_et_ vous.htm ARCHITECTURE SCULPTURE & PAINTING A retrospective dedicated to Franck Gehry’s work, one of the major figures in twentieth-century contemporary architecture. It recounts the evolution of the artist’s plastic language. Art works from the world over contribute to this retrospective which showcases the controversial American artist’s various work cycles, from 1979 to this day. Visit in LSF on November 15 at 2.30 p.m. Centre Pompidou, Paris (75) Visit in LSF on November 13 at 2 p.m. Centre Pompidou, Paris (75) Franck Gehry www.centrepompidou.fr/ handicap Jeff Koons www.centrepompidou.fr/ handicap HISTORY Galerie de la Méditerranée The multimedia guide enables a free visit in Sign Language. Through a selection of major objects commented by the museum curators, specialists and artists, it encourages to observe better and understand more. MuCEM, Marseille (13) www.mucem.org LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES LES GRAN DS SITES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE PÉR IG O R D DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE DU CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC -LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC D OCHÂTEAU S S I E R DE BOURDEILLES - LASCAUX II - LES JARDINS DU - LE CLOÎTRE DE CADOUIN - LE 2014 MANOIR D’EYRIGNAC - CHÂTEAU - LA GROTTE DU GRAND ROC - LE CLOÎTRE D EDE PMONBAZILLAC R ES S E DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II MIDDLE AGE & RENAISSANCE Les années 50 In order to visit these two monuments of exceptional architecture, a visioguide in LSF can be rented or an application be downloaded. Bodices, petticoats, bustier dresses: such was the fashion in the fifties, while, at the same time, the baby boomers followed a relaxed fashion. Château de Biron AND Cloître de Cadouin, Périgord (24) Visits in LSF on October 9 at 6.30 p.m. and October 18 at 2 p.m. Palais Galliera, Musée de la mode, Paris (75) Monuments www.semitour.com/ site-touristique/ cloitre-de-cadouin#tabs2 FASHION (The Fifties) www.palaisgalliera.paris.fr NATURE Bois et hameaux oubliés (Forgotten woods and hamlets) VISIT & STORY Contes de Bresse et d'ailleurs (Tales from Bresse and other places) In Ile-de-France, The French Vexin is a preserved territory which offers surprising landscapes. So many environments where rather unexpected fauna and flora develop. Discover the listed Bressan farm and the show Conte et signes du jardin (Tales and signs from the garden), translated by the company La Main Tatouée. www.pnr-vexin-francais.fr [email protected] Walk in LSF on October 12 at 2 p.m. Parc naturel du Vexin, Villarceaux (95) Visit and story in LSF on November 9 at 10 a.m. Musée départemental de la Bresse, St Cyr sur Menthon (01) More informations Art’Pi! / AGENDA / 59 Art’Pi! 59 ACCESSIBILITY WEEK at the musée du quai Branly Visits • Workshops • Storytelling Events • Tactile paths Screenings • Conferences Nov. 29th - Dec. 7th, 2014 free and open access www.quaibranly.fr Physical disability Magnetic induction loop Visual disability Mental disability People with reduced mobility Hearing disability French Sign Language (LSF) Accessibility week. River tour. The River (La Rivière) is a museographical experience intended for a wide audience and in particular for people with a disability – sponsored by Schneider Electric © musée du quai Branly, photo by Cyril Zannettacci / Visit adapted for disabled people © musée du quai Branly, photo by Cyril Zannettacci / Accessibility week. Adventure of a work in the dark © musée du quai Branly, photo by Didier Gauducheau / Sign language guided tour. The permanent exhibition area © musée du quai Branly, photo by Pomme Célarié / A tour with the museum LSF video guide for deaf and hearing-impaired visitors © musée du quai Branly, photo by Pomme Célarié 60 / AGENDA / Art’Pi! MultimEdia LITERARY CRITIC Une École du Regard (A school of look) LANGUEDOC APPLICATIONS (Culture without boundaries) Ways to learn LSF evolve with time and new technology. Although the best way to learn Sign Language remains to meet with Deaf people, here are a few applications that will help you increase your vocabulary. www.francosourd.com/profiles/ blogs/10-apps-pour-apprendrela-langue-des-signes Culture Hors Limites Inspired by our desire to improve our knowledge of narrative creation in signed languages, we created this V/Blog in order to share our analyses of artists’ works and collectively develop research tools. Accessible cultural places, the agenda for all adapted events, useful links and accounts can all be found on this community platform. This is LanguedocRoussillon’s website on accessibility for all. ecoleduregard.wordpress.com www.culture-hors-limites-lr.fr MOTION CAPTURE Sign3D Mocaplab, IRISA and Websourd teamed up together to offer tools to capture and treat Sign Language, with restitution through a virtual character. www.3dvf.com/actualite9147-sign3d-motion-captureau-service-langue-signes.html USA Deaf Spotlight Deaf Spotlight inspires, encourages and showcases creations of, by and for the Deaf in the North-West Pacific. It organises events which celebrate Deaf Culture and American Sign Language. Site in English. www.deafspotlight.com LSF SCULPTURE Jean Léger "My life had no meaning the way it used to be. I only came to life at the age of 42, when I started to sculpt." According to Jean Léger, being an artist is no choice but rather fate. mapage.noos.fr/magnin. florence/jeanleger/index.html PROFESSIONALS Signes et compétences (Signs and Skills) The ‘Mes signes, tes compétences’ Association has set up a video directory of professionals using Sign Language. Each professional presents his/her activity on video, using Sign Language. signesetcompetences.fr/ category/culture-5 COMEDIAN Jag DeafBlind Entertainer This deaf-blind comedian entertains crowds thanks to his wonderful ability to tell comic or poetic stories with his hands, face and body in American Sign Language. Site in English. www.jagdbe.com Art’Pi! / AGENDA / 61 Art’Pi! 61 multimEdia COMIC BOOK CINEMA SHORT FILM (Pretty May) This film director splits his time between his job as a producer for the BBC and his personal projects in film-making. On his website, you can discover his short films: whether comedies or drama, he aims to provoke emotion, and he succeeds! Site in English. wlmager.com Tournesols Le Joli Mai Sandrine Allier-Guepin is a comic book author and painter. Through her blog, she wishes to share with the Deaf and hearing the pleasure she gets from drawing, explain why and how she works and express her pride in being Deaf. Le Joli Mai aims to encourage encounters between the Deaf and hearing world though cinema. It misex audiences in venues and allows complete and adapted access to cinematographic events, whether they be French or foreign. www.lejolimai.org (Sunflowers) tournesols.over-blog.fr WLMager TELEVISION FocusFive FocusFive is a Swiss Webtv and a pioneer in its field. Founded in 2003, it aims to broadcast news, sports and cultural programmes in Sign Language, with subtitles and voice. A bridge between Deaf and hearing. Site in German. focusfive.tv Permettre aux Sourds de communiquer et d’accéder à l’emploi Cliquez et entrez en contact ! Un accès gratuit au téléphone Le 1er site pour l’emploi accessible aux sourds Lyon Toulouse Chambér y Chambéry : Médiathèque Jean-Jacques Rousseau Lyon : ex aequo Toulouse : Médiathèque José Cabanis Maison de la citoyenneté Saint-Agne Niel Maison de la citoyenneté Saint-Cyprien Maison de la citoyenneté Minimes quartier Nord AGEFIPH Crédit Agricole 31 RATP SAUR SNCF Véolia Eau Déposez votre CV ! www.jobsourd.fr 62 / AGENDA / Art’Pi! Action et mobilisation S’exprimer, découvrir, échanger Tout ce qu’il faut savoir sur Numér o 3 la de n Man Nelso Avril 2014 MAG Pâtissier ou magicien ? ter Surmon sa peur . LE DOSSIER ACTI-MOBS. S PUBLISHING Vous ne connaissiez LES pas le Chili Magazine édité par le MAGAZINE Les Acti-Mobs ! This participative magazine aimed at the youth, and especially the young Deaf, is designed to become a medium made by and for the young. Its objective is to promote communication and common projects. Publisher: CNFEDS www.univ-savoie.fr/index. php?id=1713 CHILDREN BOOK/DVD Les Histoires à mimer (Stories to mime) CHILDREN COMIC BOOK Madame L'Émue, Peur (Mrs Emotional, Fear) In an adventure told with colours, drawings and hands, in sketched Sign Language and French, Madame l’ Émue meets with fear… Authors: Olivia Le Divelec & Benoît Rivals Co-Publishers: Éditions Goater & 10 doigts cie www.10doigtscompagnie. jimdo.com AUTOBIOGRAPHY Je suis né deux fois, fragments d'identité (I was born twice, pieces of identity) Thanks to this book collection, children can tell stories anyway they wish, using mime, words, voice and pictures. Three volumes to tell stories differently! From 2 years old onwards. A republication which re-uses the original title. The author himself has added, revised and illustrated his autobiography with many photographs. Only available in digital format. www.signesdesens.org www.2-as.org/editions-du-fox Publisher: Signes de sens Éditions Author: Joël Chalude Publisher: Éditions du Fox BIOGRAPHY Jeunesse de Laurent Clerc (Laurent Clerc's youth) A fictionalised biography which tells the early years of Laurent Clerc–hero of the French Deaf– at the INJS (National Institute for the Young Deaf), who later went to America with ThomasHopkins Gallaudet. A book accessible to all. Author: Cathryn Carroll Publisher: Airelle Éditions www.airelle-editions.fr ESSAI Deaf Gain Several academics contributed to this work based on the idea of "Deaf Gain” or how society can benefit from Deaf culture. Language: English Authors: H-Dirksen L. Bauman & Joseph J. Murray Publisher: Minnesota www.upress.umn.edu/ book-division/books/ deaf-gain SPORT La vie en courant (Living and Running) This lively account, written as a conversation, is full of information about running and in particular about Laurent Marsollier's life, a Deaf marathon runner who made his dream come true... Words collected by Patrice Gicquel Publisher: Édilivre www.edilivre.com www.patricegicquel.fr CHILDREN BOOK/DVD Balbu'Signes Ten nursery rhymes in French and LSF who raise awareness among Deaf and hearing children of what difference is all about. They use oil painting, percussions, voice and sign song. Illustrations: Benoît Rivals Sign song: Damien Mignot Music: Karl Bonduelle Publisher: 100 Voix édition www.cie100voix.fr Art’Pi! 63 Art’Pi! / AGENDA / 63 PUBLISHING MA PAROLE de Jean-Yves Augros Lecture en Langue des signes et en Langue Française Lecteur Jean-Yves Augros Avec Un interprète LSF ACCOUNT Ma Parole (My speech) Following his success with his show, Jean-Yves Augros wished to continue his experience by writing a book. Through his account, he continues to explore the meaning of the verb "communicate". Author: Jean-Yves Augros Publisher: Éditions IVT www.ivt.fr ESSAI Les sourds, le français et la langue des signes (The Deaf, French language and Sign language) This work confronts language acquisition in hearing children and Deaf children, with the perspective of an educated teaching of language. Authors: Philippe Geneste & Philippe Séro-Guillaume Publisher: CNFEDS www.lcdpu.fr/editeurs/edus DICTIONARY Tu vois ce que je veux dire ? (See what I mean?) 592 expressions explained and translated in LSF: designed for the Deaf, this bilingual dictionary is also an invitation to discovery for the hearing. Author: Monica Companys Illustrations: Domas Publisher: Monica Companys www.monica-companys.com AUTOBIOGRAPHY Un jour, je serai sourd (One day, I will be deaf) Losing one’s natural condition is a real challenge. Julien became deaf at 36. He feels he belongs neither to the Deaf community nor to the hearing one. Author: Julien Laigre Publisher: Airelle Éditions www.airelle-editions.fr 64 / AGENDA / Art’Pi! AND IF THIS WAS FOR YOU? Artists and performers The Incloodu Deaf culture festival (London) is looking for Deaf or hard-of-hearing artists and performers, who sign or oralise, for January, 24 2015. Performances, exhibitions, films, music and many more will take place throughout the day for families and into the night for adults. [email protected] www.incloodu.co.uk Author Course I am looking into creating a book on art and the Deaf for my collection "L’air du Temps". This book would aim to gather information, accounts as well as reproductions of Deaf artists’ works. Do you work in culture, welcoming and exchanging with the Deaf? Through our course "Accueillir le public Sourd” (Welcoming Deaf public), you will learn the basics of Sign Language and gestural communication. You will also be introduced to what Deafness is about. The Signes Association is organizing a first professional course for Deaf comedians. It is taking place on October 22-23 in Nice. The coach will be Ramesh Meyyappan, a great Deaf artist whom you all know. October 13-14 2014 December 11-12 2014 February 16-17 2015 If you are interested in this course, we will send you the programme and all details. If an author with credentials wishes to work towards this, please contact: [email protected] [email protected] www.signesdesens.org Course for comedians www.signes-roya.org Deaf Art Magazine + + Announce your events! Receive Art'Pi ! magazine by email! Send your news, press releases, and photographs (in 300 dpi format) about any cultural or artistic production concerning Deafness and Sign Language (in France and abroad) to [email protected] + + Don't miss anything about Deaf culture: go to www.art-pi.fr, and click on "Subscribe". Have them talking about you in Art'Pi ! Receive Art'Pi ! magazine at home! You can receive the paper version of the magazine at your home for 5 €! Go to the site www.art-pi.fr, and click on "Home delivery". You want to promote a new product or service for the Deaf? You are a cultural institution and you think your announcement in the calendar isn’t enough? Our advertising spaces are for you! Don’t wait! Contact us at [email protected] + Help Art'Pi !’s circulation! AVRIL / MA I 201 2• N°5 • ww w.a rt-pi.f r t/ l / Ar t/ vivan cle ta Spec visue GR el ltur cu ine agaz Spec tacle COUP IT M eUr CO e de vie d aie ill La vr t Ham Mat BILL ne Céliayat H art 09 9 77 21 18 59 40 09 da aGeNcles, ta s, Spec expoa... m ciné 59 40 e cu vivan t / Au diovis uel / Ar t / Éd lture ée l N°5 GRATUIT TEND Ni Checuolas cle d daN teN et d' urd, ? t So L'ar i cela ait-il qu cerner con azin La thET D'ART éori du Cr abe e SOUr Ce alent ? iv équ Siri Un urd de So COUP Bill N°4 Mag Leve DE CO la pe nt ou EUR nsée visu alis , iste s art n. " sen isa me pas art " Je 18 2012 w.art - ww 21 9 77 IER FÉVR édia ultim /M U AT -pi.fr 4 - N° on Éditi Audio Sw ANCE SO motivl, un doURD or votr isé po ck e iP ur hone «L son es ma formt des oins, le co idab utils rps les. » SpecAGENDA tacl ex es, cinémpos, a... fr -pi. www.art ition / Mu ltim édia Today, Art'Pi ! magazine is present in numerous cultural institutions. Do you belong to an association, a specialized company, a library, a theater, a museum, a festival…? Help Art'Pi !’s circulation in your area by making it available at your institution! Write us at [email protected] p.3 66 / ART'PI ! COMIC STRIP / Art’Pi! © Jean-Marie Hallegot L CAL N O D OR F Six historical paintings kept at the INJS (National Institute for the Young Deaf) are deteriorated. These paintings are of great value to the Deaf Community. They need care and deserve to return to their original splendor. Take care of their preservation, and support the INJS. Make a donation (5 euros and more), by cheque only, payable to Agent comptable de l’INJS de Paris , and send it to INJS de Paris, bibliothèque, 254, rue Saint Jacques, 75005 PARIS. www.injs-paris.fr/evenement/ souscription-pour-restaurationtableaux S N O I T A Support the preservation of historical paintings