expography 1
Sylvain Sorgato
SYLVAIN SORGATO
organic
Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities.
Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine.
My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions.
I was born in 1965 in Paris.
anonyme
Paul Cézanne s’en allant peindre, 1877
Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities.
Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine.
My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions.
I was born in 1965 in Paris.
Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities.
Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine.
My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions.
I was born in 1965 in Paris.
Even before obtaining my DNSEP, at the Villa Arson in Nice in 1991, I put myself at the service of the artists I met there and with whom I could sense some affinities.
Necessity making the laws that we know, I was able to gradually broaden the scope of my skills in terms of technical services for contemporary art, by assuming in turn the responsibilities of exhibition organizer, manager or technical director. Exclusively at the service of contemporary art, and for all public or private formats that it is possible to imagine.
My relationship with art, which also involves the development of my work as an artist, is realized noticeably in the shadow of the aforementioned roles, and which willingly takes up aesthetic, artistic and social considerations which make life more interesting than art without which it would be a very dreary plain. It is these attentions that led me to develop specific teaching formats and to formulate proposals for unique exhibitions.
I was born in 1965 in Paris.
anonyme
Gusto Gräser, vers 1950
Il ne s’agit ici ni de fournir des modèles ni de déclarer aucune matrice. L’histoire de ces décrocheurs est celle d’un débat tellement engagé dans des voies bien nommées mais mal connues (l’universalité, la détermination individuelle) qu’il a conduit aux polarisations et aux divergences irréconciliables qui ont fait les pages les plus sombres du XXème siècle en Europe, et dont l’ombre est loin d’être dissipée.
Cette histoire montre un point extrême de la polarisation des idées et de leur réalisation, rappelant si besoin était que cette histoire est contemporaine, c’est-à-dire: en prise, avec celle de l’Europe depuis la fin du XIXème jusqu’au milieu du XXème. Les tentations et versants de cette séquence de l’histoire européenne sont ici lus depuis le début du troisième millénaire, et ne présentent aucun modèle soutenable, seulement quantité de tentatives qui toutes ont contribué à la vivacité du débat portant sur la place et le rôle de l’Humanité dans la relation à son milieu et dans la construction de son organisation sociale.
De fait: nous pensons que les faits et les personnages cités ici sont des exemples inspirants pour quiconque s’intéresse aujourd’hui, au monde qui l’entoure.