La Lettre Volee – förlag

This fourth book by Agnes Geoffray La Lettre Volée offers a constellation of images and texts. The visuals of Agnès Geoffray's artistic work are set in dialogue with short notes by J. Emil Sennewald, more poetic than critical, revealing the singularity of her writing. At the end of the book, an analytical text that takes an innovative look at the question of the act of image concludes all the exchanges. The story of the image could be summarized as that of violent acts. The image penetrates, the eye devours, the body undergoes, the gaze pierces.

Agnès Geoffray's work explores these violent acts: starting from photographs found, she experiments this induced latency of images, which supposes a dramatic event to come. For the photographic image, this latency will be at the closing of the diaphragm of the camera or that of the eye looking at the photographed image. Incarnated by the flapping of the eyelid, this brief moment is the one before the eyelid arises. It is a pause. An intermediate moment between object and image, vision and look. A moment when one holds one's breath.

Text in English, French and German.

The Botanique Art center (Brussels) presents an exhibition by the artist who has explored, researched, and worked for almost 30 years around the world to raise awareness of nuclear power and the management of its waste, both in our landscapes and in our soil.

As the debate to shut down or keep nuclear power plants rages, we no longer have time for carelessness or to listen to the experts who assure us – at no cost to them – of the safety of their installations when we know – irrespective of the energy policies that will be favoured from now on – that radioactive waste poses a threat to our planet and to future generations alike once it is stored in underground galleries, where it will remain buried for the thousands of years to come. Since 1994, Cécile Massart has roamed the sites intended for the burial of our radioactive waste and relentlessly engages in dialogues with scientists and officials in charge of these operations throughout the world (particularly those at onDrAF/nirAs in Belgium). She proposes durable and visible markers for these sarcophagi that will stand the test of time, as well as laboratories and shelters where we can accommodate our budding thoughts and awareness of a nuclear culture that is very much our own, albeit unwillingly and all too often unbeknownst to us. Film‐maker and semiologist Aldo Guillaume Turin has accompanied her in this quest for many years, and together, they have written several books. Here, he shares his most interesting reflections with us, while engaging in a fertile dialogue with the artist.

Text in English, French and Dutch.

Nicole Callebaut (1935) is an internationally renowned Belgian visual artist who has tirelessly explored for 50 years the relationship between line and surface, between light and colour in a desire for both pictorial and intellectual research. After studying decorative arts at the Academy of Fine Arts in Ghent, she became a journalist for Belgian radio and television, co‐wrote the book on Rites and Mysteries in the Near East published by Robert Laffont, co‐directed films for ethnographic character before settling for several years in New York where she reconnected with painting, then founded an art school in Loulé in Portugal and continued tirelessly to make her paper in the tank, to paint and to exhibit on both sides of the Atlantic, testifying to an apparently inexhaustible vitality. Her works are among others in the collections of the Center Pompidou (Paris), the National Museum for Women in the Arts (Washington DC), the Museum of Sharjah (USA), the French Community of Belgium, the Museum of Mons, the Museum of Ixelles (Brussels), the Centro Cultural Loulè and the Centro Cultural Faro (Portugal).

Text in English and French.