About the school
Le Café Pompier
The Jean-Claude Reynal Foundation, under the auspices of the Foundation of France, in collaboration with the Fine Arts School of Bordeaux, offers an annual grant of 10,000 euros to enable a young artist, who works directly on paper, to travel to a country of his/her choice for a period of 6 months maximum.
Candidates must be between 20 and 30 years of age and have had an artistic practice on paper for at least two years. All artists are eligible regardless of educational background or nationality.
50 % of the scholarship money will be paid before departure and 50 % at the time and place of the residency.
The prize winner authorizes the Reynal Foundation to use a work of his/her choice on the media announcing the following year’s scholarship competition. The chosen work will be approved by the executive committee.
Registration only online on the web page http://www.rosab.net/bourse-reynal that allows to:
Deadline for online registration: 15th of November 2009.
A first examination and selection will take place in the beginning of December.
The selected artists will have to send three original works on paper (drawings or prints of all kinds), the dimensions of which must not exceed 40 × 60 cm (15-3/4 × 23-5/8 in.).
Works must be sent or hand-delivered no later than the 20th of December 2009 to:
Candidates will be informed of results (first examination and final selection) by e-mail.
Original works will be returned within a reasonable time frame.
Works will be examined by the following jury:
« Faut-il sortir la grande échelle ? » (Get out the big ladder) with graphic artists Vier5 in conjunction with the exhibition Mathematicus Groteske at the Frac Collection Aquitaine in Bordeaux.
Café Pompier - 7, place Renaudel - 33800 Bordeaux
Annexe de l’école des Beaux-Arts de Bordeaux
Tél : 05 56 91 65 28
Signs and pictograms which organize the flow of movement in cities and towns according to graphic “pie charts” and other diagrams, which serve to guide political decisions and economic diagnoses – a multitude of visual norms which are ignored and “invisible” and have been chosen by some unknown person at some arbitrary time – control and direct our daily lives. Only when new supports appear (on internet in particular) is our attention drawn to this world of norms and codes which generally remain unquestioned. Why?
— Is it possible to believe that a pictogram or table of statistics is neutral?
— It’s time we reconsidered these supports as artifacts and questioned their constitution. The 20’s were an era of intense creativity in which the ASA and DIN norms (amongst others) were established as well as the Isotypes, the Futura norms… technocrats, artists, businessmen and political reformers took part in the formulation of this new world. With the aid of the technological revolution, will the beginning of this 21st century see a complete redistribution of the normative paradigms?
— What part do graphic designers and artists play in the invention of norms and in influencing movement and flow in the public space? What does their work consist of today?
Participants will include:
The symposium will take the form of preparatory sessions open to researchers only and public meetings and debates. This symposium is open to students, researchers and professionals in the fields of art, design, and architecture, as well as sociology, anthropology, law, management, media and journalism. The symposium will produce a publication.
This symposium is offered in the context of the feasibility study of a graduate program called “Edit!” proposed by the Ecole des beaux arts of Bordeaux which concerns edition and its various supports.
The Ecole des beaux-arts (Fine Arts School) is an establishment of higher education in the fields of Art and Design.
The school provides artistic and design training to future artists, designers, graphic artists, authors and creators in every sense of the word. The school’s primary mission is to offer to students and public alike access to contemporary artistic practices and to further develop their knowledge of art.
Furthermore, the Beaux-Arts strives to place its graduates on the current job market in the various fields of art and design and to prepare them for a professional future. A strong commitment to interdisciplinary teaching which encourages transversal processes results in many of our graduates inventing new projects on the frontiers of art.
Curator: Haizea Barcenilla, student at Goldsmith University, London.
The exhibition is a joint project with the Credit Agricole d’Aquitaine Bank which awards a prize for best project to one of the young artists.
"The searching researcher is not spectacular", remarks Eric Duyckaerts in his conference la main à deux pouces. This is an apt description of the experience which awaits the 4th and 5th year students at the Ecole des beaux-arts. After the euphoria of obtaining one’s DNAP and finding the idea for an artistic project, a research process is undertaken with a commitment to a life in the arts and a professional future in mind. At the end of two years and numerous experiences in the arcs (ateliers of research and creation) as well as in-depth seminars, the artistic project is presented for the DNSEP jury examinations. This year the arcs PNCI, Mixte, Etats de corps, A fond la forme, Entrer / sortir and the seminars Post-media, Les usages, La norme et le support, Langages & écriture and La boîte noire explore the themes of public space, edition and multiple productions.
Daniel Dewar, Jill Gasparina, Florence Doléac, Marie-Inès Rodriguez, Vier5, Etienne Hervy, Thomas Boutoux, Guillaume Leblon, Georges Molinié, Laurent Montaron, Société Réaliste are the exceptional guest artists and professionals who will participate in the research programs at the school this semester.