Catalogue FID 2011

F I D 2 0 11
Foire internationale du dessin

3 rd edition
March 31 th April 3 rd 2011
at the Cit internationale des arts, Paris
within the Semaine du dessin
with the friendly assistance of Sothebys France
and in partnership with the Salon du dessin
foireinternationaledudessin.com
couverture.indd 1
978-2-355 3 2 - 1 0 6 - 1
www. lelivred art. co m
FID drawings for the future
03/03/2011 16:13:29
FID 2011 Foire internationale du dessin

FID association culturelle loi 1901
+33 (0)1 46 34 88 08
9 Rue Saint Louis en lle, F-75004 Paris
info@litvin.eu
Catalog:
FID declines all responsibility for any incorrect, incomplete
or missing entries. Exhibitors bear full responsibility for the
content of their entries.
Catalogue based on photographs supplied by the students.
Publisher: Lelivredart
24 Impasse Mousset, F-75012 Paris
+33 (0)9 54 01 24 36
lelivredart.com
Design, layout, production: Serghei Litvin
in co-operation with Milarpa Bacot
Translation: Charles Penwarden
Isbn : 978-2-35532-101-6
Printed in Italy
Foir e
int er na ti o n a l e
du d es s i n
3r d edi t i o n
31 mars 3 avril 2011

Cit internationale des arts Paris
SHOW MANA GEM ENT
Director
Serghei L itv in
C o n s u lta n t s
Nicole Hatt
Charles Pen w a rd e n
Michel Colas
C ata l o g M a n a g e r
Milarpa Bac ot
Web Design Manager

Amalia Wolff d e M onte b e llo
Sponsorship Manager
Alain de Mo nte b e llo
D i r e c t o r s A s s i s ta n t
San dra Bayonne
C o mm u n i c at i o n A s s i s ta n t
Marta Wojt k ie w ic z
L i s t i n g s A s s i s ta n t
Nicolas Pf eiff e r
C ata l o g M a n a g e r A s s i s ta n t
Virginie Bim b e ne t
HONORARY B OA R D
Hlne Mou r a d ia n, S a lon d u d e s s in, FR - Pa r i s
Charles Zalbe r, Luc ie We ill & S e ligma nn G a l l e r y, F R-Pa r i s
Jean- Yves La ngla is , Cit inte r na tiona le d e s a r t s , F R-Pa r i s
ART AMBASS A DOR S
P o r t u g a l , S pa i n
Teresa Car n e iro, Dr a w ing S p a c e s P T- Lis b o n
Belgium
Saskia Weyts , A c a d mie d e b e a ux- a r ts B E -To u r n a i
Editorial & d Efinition
006
prizes 0 0 8
JURY 0 0 9
Exhibitors 0 1 0
Index of schools
104
schools presentations
106
Partners 1 1 7
Editorial
Why drawing? I hear you ask. Because
drawing is everywhere. Its universal, and
its simple, inexpensive to do and to buy.
Young and old, rich and poor, everyone
can do it, and collect it. Just try for
yourself.
There is no theatre in drawing. All it
takes is a pencil, a sheet of paper
and movement of the hand line. No
discourse. Skill, emotion, idea or not.
But why schools? you ask again.
Because schools are the art of tomorrow,
and European schools now represent
the first generation of artists of our 21 st
century.
FID offers schools the practical experience
their students so badly need: exhibiting at
a fair, selling their first drawings, meeting
collectors and gallerists.
My concept of a fair without walls comes
from both the agora and the ancient
fair, as an open place for encounter and
exchange. Europe was created by the
great trade routes. Where they intersected,
fairs grew up. These were the crucibles of
European cultural identity from the year
1000 through to the present day.
The tables oblige exhibitors to lay out their

drawings, all on the same level, without
frames. They encourage dialogue between
visitors and students. This exchange is
both necessary and enriching.
The European system of art teaching is
perhaps over-protective: ateliers, teachers,
grants, hangings in the school for five
wonderful years, life is cosy and sweet.
Then, suddenly, diploma in hand, our
students are ejected from the cocoon.
Its a shock to the system. No network of
collectors. No galleries. No experience of
the art market. No studio. No means of
subsistence.
Students who exhibit at FID will gain
valuable professional experience in
the real world before they leave their
school. They will experience competition
between students from fourteen European
countries. They will also experience
dealing personally with players from the
contemporary art market and with the
demanding public of the Semaine du
Dessin.
Dear partners, participants and visitors,
welcome to FID 2011, the third edition.
Serghei Litvin
dEfinition
Drawing is based
on line, made with
the hand.
Whatever
the support,
tool and material
used to make it,
a drawing is
a single work of art:
not a multiple.
006
Vous vous interrogez peut-tre :

Mais pourquoi le dessin ? Parce que
le dessin est partout, universel. Le dessin
est simple, pas cher produire, pas cher
acheter. Jeunes et vieux, riches et
pauvres, tous peuvent le pratiquer,
le collectionner...
Essayez, vous verrez.
Il ny a aucune mise en scne dans
le dessin. Cest un crayon, une feuille
de papier et un geste : le trait. Aucun
discours, pas de mise en scne. Mtier,
motion, ide sont bien l. Ou pas.
Vous vous interrogez encore peut-tre :
Mais pourquoi les coles ? Parce que
les coles cest lart de demain et les
coles europennes forment, aujourdhui
mme, la premire gnration dartistes de
notre xx e sicle.
La FID propose aux coles les travaux
pratiques si ncessaires aux tudiants :
exposer dans une foire, vendre
ses premiers dessins, rencontrer
les collectionneurs, les galeristes...
Mon concept de foire, sans cloisons,
vient la fois de lagora et de la foire
ancienne : lieu ouvert, lieu de rencontres
et dchanges. Les grandes routes ont fait
lEurope. Au croisement des routes sont
nes les foires. Les foires : ces creusets
de lidentit culturelle europenne, depuis
lan mille et jusqu aujourdhui.
Le dessin est le trait

n du geste de la main.
Ceci indiffremment
du support,
de loutil,
de la matire
qui sert le raliser.
Le dessin
est une uvre dart
en pice unique.
007
Les tables obligent les exposants une

mise plat littrale, sans cadres,
de leurs dessins. Et obligent aussi les
visiteurs dialoguer avec les tudiants.
Un face--face la fois ncessaire
et enrichissant.
Le systme europen denseignement de
lart est, peut-tre, surprotecteur. Ateliers,
professeurs, bourses, accrochages dans
lcole, cest la vie en rose pendant cinq
merveilleuses annes. Puis, brusquement,
les tudiants devenus diplms
quittent la bulle.
Le choc est rude ! Pas de rseau de
collectionneurs, pas de galerie, pas
dexprience du march de lart,
ni atelier ni moyens de subsistance...
Les tudiants-exposants ont avec la FID,
avant de quitter lcole, une premire
exprience professionnelle dans le
monde rel. Ils vivent la comptition entre
tudiants de quatorze pays europens.
Ils exprimentent aussi la confrontation
avec les acteurs du march de lart
contemporain et le public exigeant
de la Semaine du dessin.
Puis-je vous souhaiter tous, partenaires,
participants et visiteurs la bienvenue
la troisime dition de la FID ?
Serghei Litvin
prizes
Jury Prize
solo exhibition at Catherine Putman
Gallery (Paris), Director lonore Chatin
Special mention
solo exhibition at Twilight zone Gallery
(Belgium), Director Rjan Dorval
Public Prize
solo exhibition at Galerie Lucie Weill &
Seligmann (Paris), Director Charles Zalber
LaCourDieu Prize
Three residencies at LaCourDieu (France)
Prix du jury
exposition personnelle la galerie
Catherine Putman (Paris), directrice
lonore Chatin
Mention spciale
exposition personnelle la galerie Twilight
zone (Belgique), directeur Rjan Dorval
Prix du public
exposition personnelle la galerie Lucie
Weill & Seligmann (Paris), directeur
Charles Zalber
Prix LaCourDieu
Trois rsidences LaCourDieu (France)
008
JURY
Serghei Litvin
president of the jury (Romania)
Yves Lecointre
director FRAC Picardie (France)
Teresa Carneiro
director Drawing Spaces (Portugal)
Charles Penwarden
writer, collector (Great Britain)
lonore Chatin
director Catherine Putman Gallery (France)
Ernest Pignon Ernest

artiste (France)
Saskia Weyts
professor Acadmie de Tournai (Belgium)
Emil Sennewald
art critic (Germany)
Vladimir Velickovic
artiste, member of the Institut (Serbia)
009
Exhibitors
Olga Abramova
063
L idija D elic
086
Francesca A gnelli
064
C armen D az Al as
092
Serafn lvarez P rieto
091
Maria D o C armo Antunes
077
Razvan Anton
082
E melyne D uval
020
Priscilla B eccarri
021
J ohn Patrick E gan
097
Maria Ins B eires
078
G eorgie F lood
102
Nina Bernagozzi
037
Amlie F ontaine
036
Alice Bigot
094
Marie -Anne F ran q ueville
040
Mathieu Bonardet
038
Ximena G arc a
060
Julien Bouc q
054
Adrien G renton
032
Natalie Bujok
062
Marta G ladysz
067
Romain Cadilhon
017
Ang le G uerre
041
Tnia Caeiro
073
E veliina H m l inen
026
Claudiu Candea
083
Marion H arduin
042
Amlie Carvalho
031
J ochem H arteveld
012
Petteri Cederberg
025
Maria H eritage
096
Camille Chevrillon
035
W oojung H oh
043
Ana Coito
074
Ricarda H oop
061
Joana Costa
101
Ana H rcan
023
Aurelien C ouput
095
Alice I liescu
084
Bartosz C zarnec ki
068
N ina I vanovic
087
Marie De G euser
028
D ragan Kordic
024
Maya De Mondragon
039
Agata Kus
069
010
Kyoungjoo Kwon
044
C lmentine Po q uet
034
Anne Leclerc
045
Pierre Pozza
015
Junho Lee
046
T ijana Radenk ovic
090
Nicolas Leignel
055
Ale x andru Radulescu
085
Galle Leroyer
056
J ulien Rasle
029
Sarah Ldemann
098
H an Ren
033
Benjamin M agot
047
L ea Rochus
059
Patricia M arch A sunci n
093
Marion Roger
030
Andr Lan a
075
C amille Rosa
049
La Mayer
018
Arthur Sallustrau
019
Elisa M eira
076
L aura Sassen
065
Mafalda M endona
080
Srgio Miguel Se q ueira
071
Dariusz M ilczarek
070
G iorgio Silvestrini
050
Ivan M ilen kovic
088
L ise Stoufflet
051
Jeong Hwa M in
057
Morgane T rouillet
016
Ale k sandar M itrovic
089
L eonie Van D er Valk
066
Hl ne M oreau
013
H l ne Vandenbussche
022
Joo M oura
079
Ke k e V ilabelda
100
Camille Nicolle
014
Sara Yan
072
Jaa kko Pallasvuo
027
Ana s Ysebaert
052
David P enela
081
C amille Z izi
053
Agathe P iti
048
U lri k e Z llner
058
Raluca P opa
099
011
Jochem Harteveld
27 x 29.5 cm 2010
Belgium: Artesis koninklijke academie voor schone kunsten Antwerp
012
Hlne Moreau
Belgium: Acadmie royale des beaux-arts de Bruxelles
FID 2010: Nominee Public Prize
013
Camille Nicolle
42 x 29.7 cm 2009
014
Pierre Pozza
30 x 40 cm 2009
015
Morgane Trouillet
42 x 29.7 cm 2010
016
Romain Cadilhon
48 x 32 cm 2010
Belgium: La Cambre - cole nationale suprieure des arts visuels
017
La Mayer
30 x 50 cm 2010
018
Arthur Sallustrau
30 x 43 cm 2010
019
Emelyne Duval
42 x 29.7 cm 2010
Belgium: cole Suprieure des Arts plastiques et visuels
020
Priscilla Beccarri
29 x 21 cm 2010
Belgium: Acadmie des beaux-arts de la ville de Tournai
021
Hlne Vandenbussche
42 x 29.7 cm 2010
Belgium: Acadmie des beaux-arts de la ville de Tournai
022
Ana Hrcan
50 x 65 cm 2010
Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci
023
Dragan Kordic
39.5 x 30.5 cm 2009
Croatia: Akademija primijenjenih umjetnosti Sveucilita u Rijeci
024
Petteri Cederberg
20 x 20 cm 2010
Finland: Kuvataideakatemia
025
Eveliina Hmlinen
46 x 43 cm 2010
026
Jaakko Pallasvuo
21 x 29.7 cm 2010
027
Marie De Geuser
20 x 20 cm 2009
France: cole suprieure des beaux-arts d'Angers
028
Julien Rasle
12.5 x 17.5 cm 2009
France: cole suprieure des beaux-arts d'Angers
029
Marion Roger
France: cole europenne suprieure de l'image
FID 2010: Nominee Jury Prize & Public Prize
030
Amlie Carvalho
20 x 30 cm 2010
France: cole suprieure d'art de Cambrai
031
Adrien Grenton
11 x 22 cm 2010
France: cole suprieure des beaux-arts de Montpellier Agglomeration
032
Han Ren
65 x 50 cm 2010
France: Villa Arson, Nice
033
Clmentine Poquet
50 x 65 cm 2002
France: Institut d'arts visuels - cole suprieure d'art et de design d'Orlans
034
Camille Chevrillon
25 x 20 cm 2010
France: cole nationale suprieure des arts dcoratifs Paris
035
Amlie Fontaine
29.7 x 42 cm
France: cole nationale suprieure des arts dcoratifs, Paris
036
Nina Bernagozzi
46 x 65 cm 2010
France: cole nationale suprieure des beaux-arts de Paris
037
Mathieu Bonardet
42 x 42 cm 2010
038
Maya De Mondragon
039
Marie-Anne Franqueville
040
Angle Guerre
42 x 59.4 cm 2010
041
Marion Harduin
24 x 32 cm 2009
042
Woojung Hoh
043
Kyoungjoo Kwon
60 x 60 cm 2010
044
Anne Leclerc
40 x 50 cm 2010
045
Junho Lee
60 x 40 cm 2010
046
Benjamin Magot
60 x 42 cm 2010
047
Agathe Piti
42 x 29 cm 2010
048
Camille Rosa
049
Giorgio Silvestrini
21 x 28.3 cm 2010
050
Lise Stoufflet
FID 2010: Winner Public Prize & Nominee Jury Prize
051
Anas Ysebaert
10 x 5 cm 2010
052
Camille Zizi
32 x 57.5 cm 2010
053
Julien Boucq
France: cole rgionale suprieure d'expression plastique, Tourcoing
054
Nicolas Leignel
29.7 x 21 cm 2010
055
Galle Leroyer
23 x 23 cm 2010
056
Jeong Hwa Min

17 x 24 cm 2010
Germany: Universitt der Knste Berlin
057
Ulrike Zllner
24 x 17 cm 2010
Germany: Universitt der Knste Berlin
058
Lea Rochus
42 x 29 cm 2010
Germany: Hochschule fr Bildende Knste Braunschweig
059
Ximena Garca
2010
Germany: Kunstakademie Dsseldorf
060
Ricarda Hoop
21 x 29 cm 2009
Germany: Hochschule fr Bildende Knste Hamburg
061
Natalie Bujok
42 x 29 cm 2010
Germany: Staatliche Akademie der Bildenden Knste Karlruhe
062
Olga Abramova
50 x 32 cm 2011
Italy: Accademia di Belle Arti di Brera
063
Francesca Agnelli
42 x 29.7 cm 2010
Italy: Accademia di Belle Arti di Brera
064
Laura Sassen
19 x 15 cm 2010
Netherlands: Hogeschool voor de Kunsten Utrecht
065
Leonie Van Der Valk

55 x 32 cm 2010
Netherlands: Koninklijke Academie van Beeldende Kunsten Den Haag
066
Marta Gladysz
25 x 33 cm 2009
Poland: Akademia Sztuk Pieknych w Katowicach
067
Bartosz Czarnecki
89 x 140 cm 2009
Poland: Akademia Sztuk Pieknych w Krakowie
068
Agata Kus
30 x 20 cm 2010
069
Dariusz Milczarek
070
Srgio Miguel Sequeira

29.7 x 21 cm 2010
Portugal: Escola Superior Artstica do Porto-Guimares
071
Sara Yan
42 x 60 cm 2010
Portugal: Ar.co Centro de Arte & Comunicao Visual
072
Tnia Caeiro
30 x 21 cm 2010
Portugal: Faculdade de Belas Artes da Universidade de Lisboa
073
Ana Margarida Silva Paulo Coito

65 x 50 cm 2010
074
Andr Lana
17 x 14 cm 2010
075
Elisa Meira
60 x 42 cm 2010
076
Maria Do Carmo Antunes

42 x 59 cm 2009
077
Maria Ins Beires

14.8 x 21 cm 2010
Portugal: Faculdade de Arquitectura da Universidade do Porto - FAUP
Selected on Facebook 2011
078
Joo Moura
40 x 60 cm 2005
079
Mafalda Mendona
29.7 x 42 cm 2007
080
David Penela
50 x 33 cm 2010
Portugal: Faculdade de Belas Artes da Universidade do Porto
081
Razvan Anton
60 x 60 cm 2008
Romania: Universitatea de arta si design Cluj-Napoca
082
Claudiu Candea
45 x 65 cm 2010
083
Alice Iliescu
65 x 45 cm 2010
084
Alexandru Radulescu
35 x 45 cm 2010
085
Lidija Delic
19 x 29 cm 2010
Serbia: Faculty of Fine Arts of Belgrade
086
Nina Ivanovic
21 x 29 cm 2010
087
Ivan Milenkovic
35 x 50 cm 2010
088
Aleksandar Mitrovic
23.4 x 25.1 cm 2010
089
Tijana Radenkovic
35 x 25 cm 2010
090
Serafn lvarez Prieto

29.7 x 42 cm 2010
Spain: Facultat de Belles Arts Universitat de Barcelona
091
Carmen Daz Alas

29.7 x 42 cm 2010
Spain: Facultat de Belles Arts Universitat de Barcelona
092
Patricia March Asuncin

50 x 66 cm 2010
Spain: Facultat de Belles Arts de Sant Carles de la Universidad Politecnica de Valencia
093
Alice Bigot
48 x 65 cm 2010
Switzerland: Haute cole d'art et de design, Genve
094
Aurelien Couput
20 x 27 cm 2010
Switzerland: Haute cole d'art et de design, Genve
095
Maria Heritage
42 x 59 cm 2010
United Kingdom: The arts university college at Bournemouth
096
John Patrick Egan

63 x 63 cm 2010
United Kingdom: Central Saint Martins - Byam Shaw University of the Arts London
097
Sarah Ldemann
29.7 x 21 cm 2010
098
Raluca Popa
35 x 50 cm 2009
099
Keke Vilabelda
150 x 200 cm 2009
100
Joana Costa
25.4 x 38 cm 2010
United Kingdom: Slade school of fine art (UCL)
101
Georgie Flood
United Kingdom: Slade school of fine art (UCL)
FID 2010: Nominee Jury Prize, Nominee Public Prize
102
Index of schools
BE LGIUM
A r t e s is ko n i n k l i j k e a c a d e m i e v o o r s c hone k unst en A nt werp
A c a d m ie ro y a l e d e s b e a u x - a rt s d e B rux el l es ( par tner scho o l )
La Cambre cole nationale suprieure des arts visuels ( par tner scho o l )
c o le s upri e u re d e s a rt s p l a s t i q u e s et vi suel s
A c a d m ie d e s b e a u x - a rt s d e l a v i l l e d e Tour nai ( par tner scho o l )
CROAT IA
A k a de m ija p ri m i j e n j e n i h u m j e t n o s t i S veuci l i st a u Ri j eci
F INLA ND
K uv a t a ide a k a t e m i a ( p a rtn e r s c h o o l)
F RA NCE
c o le s upri e u re d e s b e a u x - a rt s d 'A n gers ( par tner scho o l )
c o le s upri e u re d 'a rt d e C a m b ra i ( par tner scho o l )
c o le s upri e u re d e s b e a u x - a rt s d e Mont p el l i er A ggl omrat i on
V illa A r s o n , N i c e
Ins t it ut d' art s v i s u e l s c o l e s u p ri eure d 'art et d e d esi gn d 'O rl ans
c o le na t io n a l e s u p ri e u re d e s a rt s dcorat i f s, P ari s ( par tner scho o l )
c o le na t io n a l e s u p ri e u re d e s b e a u x- art s d e P ari s
cole rgionale suprieure d'expression plastique, Tourcoing ( par tner scho o l )
GE RM A NY
Univ e r s it t d e r K n s t e B e rl i n
Ho c hs c hule f r B i l d e n d e K n s t e B ra unschwei g
K uns t a k a d e m i e D s s e l d o rf
Ho c hs c hule f r B i l d e n d e K n s t e H a m b urg
S t a a t lic he A k a d e m i e d e r B i l d e n d e n Knst e Karl ruhe
ITA LY
A c c a de m ia d i B e l l e A rt i d i B re ra
NE T HE RLA N DS
Ho g e s c ho o l v o o r d e K u n s t e n U t re c h t
K o ninklijke A c a d e m i e v a n B e e l d e n d e Kunst en Den H aag
104
P OLA N D
A k a d e m i a S z t u k P i e k n y c h w K at owi cach ( par tner scho o l )
A k a d e m i a S z t u k P i e k n y c h w K rak owi e ( par tner scho o l )
P ORTU G A L
A r. c o C e n t ro d e A rt e & C o m u n i cao Vi sual ( par tner scho o l )
F a c u l d a d e d e B e l a s A rt e s d a Uni versi d ad e d e Li sb oa ( par tner scho o l )
E s c o l a S u p e ri o r A rt s t i c a d o P ort o- Gui mares ( par tner scho o l )
Faculdade de Arquitectura da Universidade do Porto - FAUP ( par tner scho o l )
F a c u l d a d e d e B e l a s A rt e s d a Uni versi d ad e d o P ort o ( par tner scho o l )
ROM A N I A
Univ e rs i t a t e a d e a rt a s i d e s i g n C l uj - N ap oca ( par tner scho o l )
S E RB I A
F a c u l t y o f F i n e A rt s o f B e l g ra d e ( par tner scho o l )
S PA I N
F a c u l t a t d e B e l l e s A rt s U n i v e rsi t at d e Barcel ona ( par tner scho o l )
F a c u l t a t d e B e l l e s A rt s d e S a n t C arl es ( par tner scho o l )
S WITZ E R L A N D
Ha ut e c o l e d 'A rt e t d e De s i g n Genve
UNIT E D K I N G DO M
T he art s u n i v e rs i t y c o l l e g e a t Bour nemout h
Ce nt ra l S a i n t M a rt i n s - B y a m Shaw U ni versi t y of t he A rt s Lond on
S la de s c h o o l o f f i n e a rt ( U C L )
105
schools presentations
Belgium: Acadmie royale
des beaux-arts de Bruxelles
Belgium: La Cambre - cole nationale

suprieure des arts visuels
Drawing, as a discipline in its own right,

develops as an open field, expanding,
constantly brimming over its margins. However
much it may try to delineate itself by rallying
round a definition of e.g. the line or the support,
by the very same movement it will open on to
its diversity. It thereby reveals that it has little
to do with imaginary entities such as identity
or identification, contaminated as it is by
multiplicity, otherness, diversity, and this right
from the fibrous layers of its support.
Outre une dizaine de cours de dessin, du plus

gnral au plus spcifique, visant soutenir ou
complter la formation des tudiants inscrits
dans ses divers dpartements, lcole nationale
suprieure des arts visuels de La Cambre
propose une option Dessin, autrement dit une
section ddie principalement ce moyen
dexpression, o il est considr pour lui-mme
et non comme une tape vers une ralisation
qui lui serait extrieure.
Drawing doubtless proceeds from a withdrawal,

from an opening on to blanks, nothing, absence.
It at first sight it seems to fall within the sphere
of the intimate, at the end of the day it shakes
our self-confidence and leaves us with our
precariousness, our fragility.
Les tudes stalent sur cinq ans et deux

cycles, au cours desquels les tudiants sont
amens lacquisition de connaissances
thoriques et techniques, mais surtout une
rflexion qui leur permette de dvelopper dans
le domaine du dessin des dmarches originales
en phase avec la cration contemporaine.
106
Belgium: Acadmie des beaux-arts

de la ville de Tournai
Le dessin est dessein, cest--dire une intention

toujours en mouvement, un processus vivant
qui nest jamais fini ; sans fermeture, la ligne
propose une continuit infinie. Le dessin rpond
au besoin de la vie, son accroissement sans
fin. Lhomme a besoin de raconter, il veut se
faire comprendre, donner sa vision par des
signes graphique. Lhomme est le gardien du
sens.
The weekly Drawing Class at the Finnish

Academy of Fine Arts offers teaching in
traditional drawing based on perception. In
addition, there are intensive experimental
workshops, where the focus is on the
relationship between the tradition of
drawing and phenomena and techniques of
contemporary art, such as animation and digital
media.
Pour cheminer vers ce lieu singulier o un

sujet recueille des traces, cherche du sens et
invente un monde, il y a des outils, les moyens
matriels, les formes et les parcours progressifs
ou tumulteux que lon entreprend.
As part of the Drawing Class, there are

courses where the processes of artistic work
on a more general level, with out an emphasis
on a particular medium are studied. These
workshops are thus a meeting point for the
different study programmes in the Academy:
Painting, Sculpture, Print making, Time and
Space (new media). Equay, the Drawing Class
offers a forum for colaboration between various
artforms, for example through jointcourses for
students of contemporary dance and drawing.
Joseph Beuys disait : Dessiner reprsente

la forme dexpression la plus universelle. Le
dessin est soumis la servitude du langage
comme lcriture : communication dides par
la linature, ce qui peut tre enseign et pens,
le savoir et le souvenir comme dpts dans des
catgories esthtiques.
Dessiner cest tracer.
Saskia Weyts
107
Stig Baumgartner, Lecturer Drawing and

Perception Finnish Academy of Fine Arts
France: cole suprieure

des beaux-arts d'Angers
France: cole suprieure d'art

de Cambrai
Le dessin contemporain tient dsormais une

place prpondrante dans le champ de l'art
actuel. Dans notre cole des beaux-arts
Angers, considr comme un enseignement de
base, le dessin est obligatoire jusqu'
la troisime anne.
En premire anne, les tudiants suivent

un cours hebdomadaire ax sur le dessin
dobservation et lexprimentation graphique.
Ils peuvent ensuite poursuivre la pratique du
dessin travers plusieurs modules : illustration,
dessin de presse, graphisme et latelier
expression dessine. Ce dernier se veut
un lieu dmergence dides, de formes, de
projets. On y cultive une disponibilit pour que
survienne linattendu.
On ne peut le rduire aux uvres sur papier et

les traditionnels crayons et pinceaux ne sont
pas les uniques outils permettant de tracer.
Champ d'expression dimensions variables, le
dessin contemporain se pratique sur ordinateur,
emploie le non; il est la fois trace d'un
projet, outil et analyse, instrument de pense.
On ne dessine pas pour reproduire le rel, on
dessine pour en comprendre les formes et
questionner les sens. Le dessin ne s'apprend
pas, il se pratique.
Isabelle Lvnez
Chaque tudiant dfinit un axe de recherche

entranant une succession de propositions.
Certaines prendront corps de faon plus
labore, leur finalisation faisant appel au
dessin lui-mme ou dautres pratiques.
Paralllement, une rflexion sur une
prsentation pertinente et contemporaine du
travail fait intervenir le dessin sous dautres
formes : croquis, descriptifs, plans
Christine Bouvier et Gilles Bachelet
108
France: cole nationale suprieure

des arts dcoratifs, Paris
France: cole rgionale suprieure

d'expression plastique, Tourcoing
L' cole nationale suprieure des arts dcoratifs

de Paris propose dix secteurs d'activits :
architecture intrieure,art-espace, cinmaanimation, design-graphique/multimdia,
design-objet, design-textile et matire,designvtement,image-imprime, photo/video,
scnographie. C'est dire que le rle du dessin y
tient une place fondamentale puisque le dessin
est l'origine du processus de conception de
toute cration dans ces domaines.
Dessin : point de dpart du processus de

cration pour aborder tous les domaines des
arts plastiques et graphiques.
"Les dessins", plus justement, car la

perception, l'apprhension et la formulation du
monde au moyen du dessin n'est pas la mme
pour le peintre ou le sculpteur, l'architecte ou le
photographe, le designer textile ou le designer
objet.
Affirmer une pense, une sensibilit, une

individualit, au travers des multiples liens
conscients et inconscients qui nous relient
aux autres, notre environnement, une
collectivit. Cest par la reprise de ce
questionnement et de ces exigences que je
dveloppe mon enseignement, l o pour
chaque tudiant sexprime une singularit qui
noublie jamais la prsence de la multiplicit
dont elle est partie prenante.
Chaque lve dveloppe ainsi l'outil trs

personnel du dessin en fonction de ses
objectifs. En matrisant cette pense mise en
forme qu'est le dessin, il peut ainsi donner
corps et ralit ce qui ne resterait qu' l'tat
d'intuition.
Luc Gauthier, professeur, coordonnateur du
secteur Expression plastique
109
Observer, dcouvrir, analyser, initier,

sensibiliser, ordonner, structurer, organiser,
combiner (la relation du tout aux parties et des
parties au tout), configurer, pratiquer, rflchir
et crer daprs une rduction radicale des
moyens reprsentant le dessin.
Vassilios Michail, professeur de dessin

lERSEP de Tourcoing
Poland: Akademia Sztuk Pieknych

w Katowicach
Poland: Akademia Sztuk Pieknych

w Krakowie
At the Academy of Fine Arts drawing is an

autonomous, obligatory discipline that forms
the foundation of the meaning of each artifact
and each artistic statement.
The drawing department consists of 6

drawing studios supervised by professors and
professors' assistants (PhD)- all together 9
persons. Each studio is lead by the professors
according to their own, autonomic teaching
program.
Following the first year of their education, in the

course of which students learn the rudiments of
the subject, experiencing the rules of structural
discipline as well as the creative possibilities
of drawing, they opt for one of six Authors
Drawing Studios, treating it as a laboratory for
creating realities. The basis of creation is the
ability to declare the autonomy of the figure,
whereas transcending the workshop limitations
to look for ones individual artistic traits springs
from the inventiveness of the students, their
conscious commitment to the perilous course
of searching for their own truth, opening up to
experience and cognition.
Text by Prof. Janusz Karbowniczek
Our students have the opportunity to develop

a wide range of drawing abilities. We offer the
nude study to all of them and drawing tasks
that teach and show the connection between
drawing, photography, movies etc. to build up
the personal notions of the nature of reality
and to give them the opportunity to question
the tradition of art as well. The purpose of this
educational offer is to help them to form self improved comprehension of art problems.
Our students may submit their final set of
artworks both - paintings or drawings. Some
of them do decide to take drawing as a major
subject to obtain the Master of Art degree. Even
if they decide to present painting as major they
can equally present a drawing appendix.
110
Portugal: Ar.co Centro de Arte

& Comunicao Visual
Portugal: Faculdade de Belas Artes

da Universidade de Lisboa
Founded in 1973 as an independent art school,

Ar.Co is dedicated to the experimentation,
training and divulging of arts, crafts and visual
communication.
Aujourdhui, le dessin, la facult des beauxarts de luniversit de Lisbonne, est devenu

un dpartement qui prend part au processus
de formation initiale dans tous les cours
artistiques, en assurant en mme temps un
parcours cratif et de recherche spcifique,
avec trois cycles dtudes, selon une
perspective rflexive et critique, en rapport avec
le changement et la convergence europenne.
The practice of Drawing constitutes the center

of Ar.Cos pedagogical scheme, bringing
together the various different formation areas,
from Graphic Design to Jewellery, from Cinema
to Illustration and Comics, from Sculpture to
Ceramics, etc. As such, its lived reality is not
really that of a mere department or an area of
formation, but the very center of practice the
notion around which the school was built.
Drawing is therefore thought of as the place
where, in the so called Visual Arts, seeing
becomes labour and transformation, following
the derrrida(ist) belief that drawing replaces
sight while returning it, making it possible.
Cest donc avec fiert que nous accueillons la

slection de cinq tudiants en fin de premire
anne pour participer la FID 2011 et nous
remercions lassociation Drawing Spaces pour
son engagement dans cette initiative.
Professor Antnio Pedro Marques
111
Portugal: Escola Superior Artstica

do Porto-Guimares
Portugal: Faculdade de Arquitectura

da Universidade do Porto - FAUP
At ESAP Guimares we think of drawing

as the specific language of the spatial and
global exercise of thought and its instrument
of graphic codification. Its foundations are
based on an irreducible structure of three basic
concepts - point, line and area whose graphic
formalization, allowing to deploy them in a
virtually infinite number, is organized from two
central concepts: differential of visibility and
border relations between elements of the image.
Under a critical perspective, one of the main

goals is to ensure the promotion of specific
competences as far as different manual
and mental instruments are concerned, as
well as the development of techniques of
representation, so as to foment the students
subjective and expressive autonomy in the act
of project building.
Our teaching is based on intensive workshop

practice - covering the areas of representation
and interpretation of the visible and the
development of creative projects - from which
one seeks to deduce the theoretical principles
and fundamental concepts that allow students
to conceive the creation of drawings as a
process of investigation and conceptualization.
Drawing is thought as the creative basis

of a vast economy of formal and heuristic
procedures in the architectural project.
Therefore, the singularity of drawing and its
project condition define the limits of questions
and exercises, which are centered on themes
such as shape, human figure and space. The
students drawings that are now presented are a
sample of an extensive diversity of themes and
pedagogical approaches. The prosaic character
of their drawings resides on the fact that they
were simply made as responses to a real
learning process.
112
Portugal: Faculdade de Belas Artes

da Universidade do Porto
Romania: Universitatea de arta

si design Cluj-Napoca
The teaching of Drawing at FBAUP, crosses

with its own history then, Drawing Lesson and
showing Sketch, and the "essentially formative
role of Drawing".
The basic mission of the University of Art

and Design Cluj-Napoca, Romania is to train
specialists in the fields of visual arts able to
produce a significant impact on the present
culture, commerce and industry, and to improve
the spiritual and material development of
mankind.
The importance given to the teaching of

Drawing at FBAUP acquires today, a remarkable
level of interest both as a pedagogical practice
and at the level of theoretical systematization.
It is still seen as a fundamental discipline in
the formation of artists. It is a compulsory
subject common to all degree courses, allowing
students to attend different subjects of Drawing
in all the years of their formation. A growing
interest in the discipline has been relevant in
its formative options, providing students and
researchers to continue their Drawing studies
through MA and PhD degrees at FBAUP.
113
Drawing is one of the main subjects taught

within the university, as the basis for all artistic
areas. For drawing, the representation of reality
is a fundamental criterion and the knowledge
of its basic techniques and notions of color
are vital. Based on the theoretical knowledge
of artistic anatomy, drawing is explored in
engraving, composition and color, animation,
lettering and digital image, painting, sculpture,
photography, fashion and design.
Serbia: Faculty of Fine Arts

of Belgrade
Spain: Facultat de Belles Arts

Universitat de Barcelona
The transformation of the curriculum meant that

integrated five-year studies have been divided
into three-years BA, two years of MA and, after
that, six semester doctoral studies. On all years
and also in all three departments (painting,
sculpture and printmaking) drawing is strongly
present. The first year of studies is completely
devoted to drawing as the basis of all artistic
practices, and in later years it stays as the very
important part of studio work. It is possible to
choose drawing as the main subject both on MA
studies as well as on the doctoral ones.
Hablar de dibujo dentro del contexto

contemporneo, es hablar de mirada, de
percepcin es hablar de catalogacin,
ordenacin, de repensar lo visto en otro tempo
por tanto, hablar de dibujo en el siglo XXI,
es hablar una vez ms, de la mirada como
pensamiento.
Students drawings are shown in all final

exhibitions in our School, and there is the
traditional annual exhibition in one of the most
important public galleries in Belgrade showing
students drawings. For most of the students
that show is the first professional appearance
and its forty years tradition improved the
position of drawing in Faculty for Fine Arts in
Belgrade.
Mileta Prodanovic
El misterio del dibujo consiste en el hecho de

conjugar el interior del individuo con el entorno
exterior, la reunificacin de objeto y sujeto en
esos instantes donde la percepcin detiene
el tiempo y las estructuras se vuelven ntidas,
consiguiendo as, que: idea, mirada y gesto
coincidan en un solo acto.
Tanto si el dibujo se realiza con medios
tradicionales como si se lleva a cabo con
medios tecnolgicos, se precisa de esa
comunin entre tiempo detenido y pensamiento
fluido. De la misma manera dentro de cada
individuo, co-existen varios formatos de dibujo.
Josep Montoya i Hortelano
Vicedecano de Cultura i Estudiantes
114
Spain: Facultat de Belles Arts Sant

Carles, Universidad de Valencia
The Faculty of Fine Arts of Valencia has had

since its founding a clear vocation for teaching
drawing. It has been one of keys that we
provide to professionals from our school and
who represents us in important places in our
society.
From the Drawing Department we are committed
to continue the tradition of drawing and enlarge
it with new demands for their employability. In
the first courses we stress upon the training
pattern to the subjects of drawing and drawing
from life statue and offer advanced courses in
subjects in which the design is adaptable to the
different profiles such as illustration, animation
or graphic.
We believe that the drawing is the framework
of art education for our students but above all
we believe in the intrinsic value of drawing as a
clear artistic discipline itself.
115
donators and main partners
Galerie Lucie Weill & Seligmann

Charles Zalber
Salon du dessin
Galerie Putman
Galerie LWS
Cit internationale des arts
Twilight zone
Goethe Institut
ADAGP
Institut Camos
ditions Lelivredart
La Maison de lEurope
partners
Drawing Spaces
Institut Culturel Roumain
Chic Dessin
Institut Polonais
Centre Culturel Serbe
Institut Finlandais
EAC
Artprice
portals, blogs, press

Artistik Rezo
La Paddytheque
Collection Revue
Adelap.com
Arts magazine
Panoptikon
117
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contemporain, la galerie Lucie Weill & Seligmann
choisit dinvestir des projets innovants tels que la
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La galerie sera heureuse daccueillir le laurat du Prix
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FID11
FID11FID11
F I D 2 0 11
Foire internationale du dessin
3 rd edition
March 31 th April 3 rd 2011
at the Cit internationale des arts, Paris
within the Semaine du dessin
and in partnership with the Salon du dessin
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FID drawings for the future
03/03/2011 16:13:29

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F I D 2 0 11

Foire internationale du dessin

FID drawings for the future

FID 2011 Foire internationale du dessin

31 mars 3 avril 2011

SHOW MANA GEM ENT

Web Design Manager

ART AMBASS A DOR S

Editorial & d Efinition

The tables oblige exhibitors to lay out their

Vous vous interrogez peut-tre :

Le dessin est le trait

Les tables obligent les exposants une

Ernest Pignon Ernest

Serafn lvarez P rieto

Maria D o C armo Antunes

J ohn Patrick E gan

Maria Ins B eires

Marie -Anne F ran q ueville

T ijana Radenk ovic

Ale x andru Radulescu

Patricia M arch A sunci n

Srgio Miguel Se q ueira

Ivan M ilen kovic

Ale k sandar M itrovic

L eonie Van D er Valk

Jaa kko Pallasvuo

FID 2010: Nominee Public Prize

FID 2010: Nominee Jury Prize & Public Prize

FID 2010: Nominee Public Prize

FID 2010: Nominee Public Prize

FID 2010: Nominee Public Prize

FID 2010: Winner Public Prize & Nominee Jury Prize

Jeong Hwa Min

Leonie Van Der Valk

Srgio Miguel Sequeira

Ana Margarida Silva Paulo Coito

Maria Do Carmo Antunes

Maria Ins Beires

Serafn lvarez Prieto

Carmen Daz Alas

Patricia March Asuncin

John Patrick Egan

FID 2010: Nominee Jury Prize, Nominee Public Prize

Belgium: La Cambre - cole nationale

Drawing, as a discipline in its own right,

Outre une dizaine de cours de dessin, du plus

Drawing doubtless proceeds from a withdrawal,

Les tudes stalent sur cinq ans et deux

Belgium: Acadmie des beaux-arts

Le dessin est dessein, cest--dire une intention

The weekly Drawing Class at the Finnish

Pour cheminer vers ce lieu singulier o un

As part of the Drawing Class, there are

Joseph Beuys disait : Dessiner reprsente

Stig Baumgartner, Lecturer Drawing and

France: cole suprieure

France: cole suprieure d'art

Le dessin contemporain tient dsormais une