Long identified with the spray paint Levi uses both on canvases and directly on walls, the painting itself has become the motif. The major interventions put one in mind of ornament and abstraction. Surface and frame, wall and exhibition venue play a central role, creating for viewers a modified perception of space. Yet the works she proposes are neither spectacular nor sensational. The artist is showing her latest works at Crédac. Fluorescent spray paint has yielded to a broad brush and colors like blue or even more simply white. The instability and volatility of spray paint have been traded in for the thickness of pigment applied with a brush. And working directly on the wall has given way to the return of frame-mounted canvas.

At the beginning of next year, Julien Beneyton is hosted by la Maison des Arts for his first solo exhibition in a public institution. His work is mainly centred on his environment to develop his own view of the reality; to exceed his own perception of the reality. Julien Beneyton is founded by street culture, mainly hip hop culture. In his work, he is using this personal background to express his own view of every day life.

For the 6th consecutive year, the institution will be taking part in the collaborative venture entitled Semaine du dessin (‘Drawing Week’).

This year, the exhibition will display a selection of around thirty drawings: sketches, studies of shapes or preparatory drawings, which will be linked to the porcelain designs that they prefigure. This will provide an extremely useful insight into how the ideas, shapes and drawings come together to produce the design for an elegant piece of porcelain or the creation of a new shape. The selection will range from the early designs of the 1770’s up to more recent ones and aims to take a fresh look at this unique collection.

There will be drawings from the 18th century (Pithou Jeune, Duplessis), the 19th century (Leloi, Develly, Legay), the 20th century (d'Herbès, Bethmont, Barbéris, Beaumont, Gensoli, Gébleux, Né, Roubille, Bureau, etc.) and the 21st century (Zao Wou ki).

Since ten years, La Vitrine is the exhibition space of the Ecole Nationale Superieure d'Arts Paris-Cergy. Located in Paris, it is a laboratory, a place to test the signs of an outbreak of contemporary art. It is also a toolbox dedicated to students of ENSAPC, working closely with the educational instruction of the school. For Drawing Now l Le Parcours, La Vitrine is the relay of student’s productions who question the very practice of drawing, including in calling other disciplines. What La Vitrine is showing is primarily a work of opening to the world and an alive commitment.

Of its permanent attraction for the drawing, the singularity of the Fonds regional of d’art contemporain de Picardie and its artistic action proceeds.

Since October, 1985, the paper, the wall and the movement are some some of the generic registers opened to all the varieties of shape, origin and thought there. Offered to the discovery of public, convenient to the dialogue of the ideas, they contribute to an attempt of inventory and definition of the current practices of the drawing, which enjoys an unpublished renewed interest these quite last years.

In Picardy, number of exhibitions reports these stakes by leaning on partners' network constituted in association with museums, cultural centers as well as galleries fitted out in high schools and middle schools. Several exhibitions in Amiens, Beauvais and Soissons will give evidence of this double commitment.

"We are all cannibals.  The simplest way to identify with another is still to eat them." Claude Lévi-Strauss, La Repubblica, 1993.

From February 12th to May 15th, la maison rouge is staging an exhibition on anthropophagy and its representations in contemporary visual art.

The exhibition's curator has chosen pieces for the most part by young artists working independently of each other on the concept of incorporation.  A body of contemporary works (photography, video, installation, sculpture, drawing and painting) finds echoes in a historic perspective (illustrations, illuminated texts, engravings and ritual objects).  Together, they show how the theme of anthropophagy has persisted and evolved through time and place.   

Corinne Mercadier is one of those artists who uses photography to express her vision of the world without using habitual codes to reveal her artistic logic. The series " Black screen drawings " and the photographs titled " Long distance " give a particular introduction to the world of photographer Corinne Mercadier.

Very different from preparative researches linked to photographs, these drawings reveal a theatrical space as a slow surprise: a dream from a well of ink which allows forms to appear in colour, little by little, just as you find this use of dramatic light in the photographs here presented. The figures live in these exterior views, looking at a familiar world from a distance, like a stranger. Far away from the nearest world.

 The exhibition draws on an unprecedented encounter between Diogo Pimentão (Portugal) and Thorsten Streichardt (Germany). These two artists share a passion for drawings, which they turn into three-dimensional volumes, movements and sounds. The Art Centre becomes an actual laboratory, where they carry out more and more scientific, recreational and poetic experiments. Choreographic movements allow them to showcase their creative process - forms appear and disappear, drawings turn into actions, bodies leave their mark...

No given hunting ground and no pre-established limits; humor and ingenuity. In his own way Julien Nédélec looks at the question of representation. He mocks territories in art and borders in general, manipulating and twisting the signs that surround us. Focusing on language(s), he inevitably slides from the serious to the absurd, from image to sound. Working in publication, sculpture, installation and drawing, more than ever, here is an artist of variable geometry.