{"id":1282,"date":"2015-08-28T14:01:09","date_gmt":"2015-08-28T13:01:09","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=1282"},"modified":"2022-01-28T15:56:26","modified_gmt":"2022-01-28T14:56:26","slug":"1282","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=1282","title":{"rendered":"Bibliography\/bibliographie\/bibliografia"},"content":{"rendered":"

Antoine Idier\u00a0: Avant-propos. Construire, d\u00e9truire\u00a0: l’art comme sport de combat, in yann beauvais Agir le cin\u00e9ma<\/i>, Les presses du R\u00e9el, Dijon 2022<\/span><\/span><\/p>\n

Jean-Damien Collin\u00a0: Posface, Poscratch, in yann beauvais Agir le cin\u00e9ma<\/i>, Les presses du R\u00e9el, Dijon 2022<\/span><\/span><\/p>\n

Guillaume Lassere Oh les beaux livres # 3,\u00a0 in <\/span>le Club de m\u00e9diapart,<\/i><\/span> 13 d\u00e9cembre 2021 https:\/\/blogs.mediapart.fr\/560379\/blog\/031221\/oh-les-beaux-livres-3<\/a><\/span><\/span><\/span><\/p>\n

Scott Hammen\u00a0: Editor’s Note, in On Films 1976-1998<\/i>, Eyewashbook Collections Paris Experimental 2021<\/span><\/span><\/p>\n

Antoine Idier, entretien crois\u00e9 avec Thibault Boulvain<\/i>, Mediapart 18 Ao\u00fbt 2021<\/span><\/span><\/p>\n

Antoine Idier, Puret\u00e9 et impuret\u00e9 de l’art Michel Journiac et le sida<\/i>, Sombres torrents, Aurillac, 2019<\/span><\/span><\/p>\n

Sophie Monesi: Tu, sempre, (You, Always) in Documents Collectionner l’art num\u00e9rique Tome 2, 2007-2018<\/i>, Espace Gantner, Les presses su r\u00e9el, 2018<\/span><\/span><\/p>\n

Gen Ueda, Monochrome Contre le retitrage Contre le sous-titrage Contre le doublage<\/i>, Solid \u00e9ditions, Bruxelles 2018<\/span><\/span><\/p>\n

De l’image composite, <\/i>in Esth\u00e9tique de la modernit\u00e9 Pour un cognitivisme non-lin\u00e9aire, sous la direction de Louis-Jos\u00e9 Lestocart, Edtions Hermann, Paris 2017<\/span><\/span><\/p>\n

Jean-Michel Bouhours\u00a0: \u00ab\u00a0yb 150213\u00a0\u00bb version augment\u00e9e, en fran\u00e7ais, in Hypalampuses Hemeras \u00e0 la pointe du jour<\/i>, Gruppen, Paris mars 2016<\/span><\/span><\/p>\n

Mathilde Chassigneux\u00a0:<\/span> Introduction \u00e0 la compr\u00e9hention du film Soft Collision\u00a0: Dream of a Good Soldier de yann beauvais et Frederick Rock, en vue d’une \u00e9tude de conservation et restauration,<\/i><\/span> seminesaa arte et artefactualit\u00e9, <\/i><\/span>jan 2015,<\/span> http:\/\/seminesaa.hypotheses.org\/2801<\/a><\/span><\/span><\/p>\n

Jean-Michel Bouhours\u00a0: \u00ab\u00a0yb 150213\u00a0<\/i>\u00bb in, yann beauvais 40 anos de cinemativismo, organis\u00e9 par Edson Barrus ed B3, Recife 2014\u00a0 <\/span><\/span><\/p>\n

Maria do Carmo Nino\u00a0: Caminhos de Atravessamento yann beauvais e o cinema experimental \/ Travessing Paths<\/i>, in yann beauvais 40 anos de cinemativismo, organis\u00e9 par Edson Barrus ed B3, Recife 2014<\/span><\/span><\/p>\n

Tony Chun-hui Wu\u00a0: The Past and Present of Tawainese Experimental FilmDevelopment<\/i>, in Stranger Than Cinema\u00a0: A Study of Tawainese Experimental Film, ed by Tony Chun-hui Wu, legange editions, Taipei 2013<\/span><\/span><\/p>\n

Philippe Langlois : \u00ab\u00a0Les cloches d’Atlantis, Musique \u00e9lectronique et cin\u00e9ma, Arch\u00e9ologie et histoire d’un art sonore<\/i>\u00a0\u00bb Editions MF, Paris 2012<\/span><\/span><\/p>\n

Cecilia Cotrim\u00a0: Querer a multid\u00e3o\u00a0: arte contempor\u00e2na e dispositivo metropole, em Arte e Arquitetura Balan\u00e7o e Novas Direc\u00f5es<\/i> Funda\u00e7\u00e3o Universidade\u00a0 de Brasilia, editora UnB Brasilia 2010<\/span><\/span><\/p>\n

Bruno Elisabeth,: \u00ab\u00a0Les horizons illusoires des illusions immersives\u00a0\u00bb \u00a0 in <\/span>Pratiques R\u00e9flexions sur l’art n\u00b020<\/i><\/span> : Les images mouvantes. Entre la salle de cin\u00e9ma et l’espace d’exposition. Une tentative d’\u00e9tat des lieux, Presses Universitaires de Rennes, 2009<\/span><\/span><\/p>\n

Roger Hallas : Reframing Bodies, Aids, Bearing Witness, and the Queer Moving Image<\/i>, Duke University Press, Durham and London, 2009<\/span><\/span><\/p>\n

Lo\u00efc D\u00edaz-Ronda\u00a0: La Dif\u00edcil repolitazaci\u00f3n de lo otro. Xperimental ’09. Miradas Contempor\u00e1neas al cine experimental, in Secuencias, Revista de Historia del Cine<\/i>, n\u00b030, Madrid 2009<\/span><\/span><\/p>\n

Cecilia Cotrim\u00a0: Arte e deriva\u00a0: a escrita como processo-inven\u00e7\u00e3o in Arte & Ensaios<\/i> n\u00b0 17, UFRJ, Rio de Janeiro, dezembro 2008 http:\/\/www.ppgav.eba.ufrj.br\/wp-content\/uploads\/2012\/01\/ae17_Cecilia_Cotrim.pdf<\/a>
\n<\/span><\/span><\/p>\n

Herv\u00e9 Z\u00e9nouda\u00a0: Les images et les sons dans les hyperm\u00e9dias artistiques contemporains, de la correspondance \u00e0 la fusion, L\u2019Harmattan, Paris 2008<\/span><\/span><\/p>\n

Sylvie Lin, \u00ab\u00a0Fragmentation, Superimposition, Reflection and Projection\u2026. Image Installations by yann beauvais\u2019, in Artco Monthly, <\/i>no. 188, Taipei, May, 2008<\/span><\/span><\/p>\n

Christophe Bichon\u00a0: \u00ab\u00a0Visions of Reality & Motives and Textures\u00a0\u00bb, in Independent Film Show, 7th Edition<\/i>, e-m arts \/ fondazione morra, Napoli, 2007<\/span><\/span><\/p>\n

Cecilia Cotrim\u00a0: L\u2019inverstase du sucre \u00e0 Metz, Revista Nos Contempor\u00e2nos<\/i> n\u00b050, Barrus MAIMPRESSAO editora, S\u00e3o Paulo, 2007<\/span><\/span><\/p>\n

Olivier Fouchard, \u00ab\u00a0,d\u2019ailleurs\u00a0\u00bb in Revista Nos Contempor\u00e2nos<\/i> n\u00b050, Barrus MAIMPRESSAO editora, S\u00e3o Paulo, 2007<\/span><\/span><\/p>\n

Jacques Virbel\u00a0\u00ab\u00a0 A propos de Hezraellah\u00a0\u00bb in Revista Nos Contempor\u00e2nos<\/i> n\u00b050, Barrus MAIMPRESSAO editora, S\u00e3o Paulo, 2007<\/span><\/span><\/p>\n

Jesse Malmed\u00a0: Big Dogs offer bard bites, barks, in The Bard Free Press<\/i>, Volume VIII, issue 3, Bard 6 Nov 2006<\/span><\/span><\/p>\n

Fabien Texier\u00a0: \u00ab\u00a0Cin\u00e9ma\u00a0:yann beauvais\u00a0\u00bb, in Polystyr\u00e8ne<\/i> n\u00b094, f\u00e9vrier 2006<\/span><\/span><\/p>\n

Fr\u00e9d\u00e9ric Valabr\u00e8gue, \u00ab\u00a0yann beauvais\u00a0\u00bb in Journal Sous Officiel,<\/i> n\u00b0018, Marseille, mars avr. 2004<\/span><\/span><\/p>\n

Hollis Willis\u00a0: \u00abFilm Forum yann beauvais in person \u00bb LA Weekly<\/i>, march 2004<\/span><\/span><\/p>\n

Fr\u00e9d\u00e9ric Prai, \u00ab\u00a0Marseille, sida le silence r\u00e8gne, tout va bien\u00a0\u00bb!, l\u2019agenda de T\u00eatu<\/i>, mars 2004<\/span><\/span><\/p>\n

Julie Vandal , \u00ab\u00a0Sid-Art-tion\u00a0\u00bb in La Marseillaise<\/i>, vendr\u00e9d.i 6 f\u00e9vrier 2004<\/span><\/span><\/p>\n

Flora Loyau\u00a0: \u00ab yann beauvais, Tu, Sempre# 6\u00bb in Offshore<\/i>, Marseille,\u00a0 f\u00e9vrier 2004<\/span><\/span><\/p>\n

Paul Emmanuel Odin\u00a0: Tu sempre # 6, yann beauvais, in pr\u00e9sentation exposition La compagnie, Marseille 2004<\/span><\/span><\/p>\n

Roger Hallas, \u00ab\u00a0The resistant Corpus, Queer Experimental Film and Video and the Aids Pandemic \u00bb in Millennium Film Journal<\/i> n\u00b041, New York, Fall 2003<\/span><\/span><\/p>\n

Genevieve Yue\u00a0: \u00ab How We Talk about Things: Report on the 32nd International Film Festival Rotterdam \u00bb in Senses of Cinema<\/i>, film journal on line, Melbourne,n\u00b0 25, 2003<\/span><\/span><\/p>\n

Marc Bembekoff\u00a0: \u00ab Du sang sur les mains \u00bb in yann beauvais Tu, sempre # 5 <\/i>les livre& Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Muriel Caron\u00a0: \u00ab\u00a0De la d\u00e9perdition temporelle \u00e0 la dissemination spatiale\u00a0\u00bb in yann beauvais Tu, sempre #5<\/i> les livre&, Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Larys Frogier\u00a0: \u00ab Strates de r\u00e9sistances, travail de m\u00e9moire \u00bb in yann beauvais Tu, sempre #5<\/i> les livre& Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Mike Hoolboom\u00a0: \u00ab Non jamais , non pas moi \u00bb in yann beauvais Tu, sempre #5<\/i> les livre& Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Paul Emmanuel Odin\u00a0: \u00ab Dans la nuit obstin\u00e9ment, le sida \u00bb in yann beauvais Tu, sempre #5<\/i> les livre& Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Keith Sanborn\u00a0: \u00ab Ce texte qui n\u2019en est pas un in Tu, sempre de yann beauvais \u00bb in yann beauvais Tu, sempre #5<\/i> les livre& Espace multim\u00e9dia Gantner 2003<\/span><\/span><\/p>\n

Muriel Caron\u00a0: \u00ab\u00a0Quand le cin\u00e9ma exp\u00e9rimental s\u2019expose\u00a0\u00bb in Archistorm #3<\/i> sep-oct 2003<\/span><\/span><\/p>\n

Eric Priou, \u00ab\u00a0yann beauvais\u00a0: ouvrez l\u2019\u0153il\u00a0! une interview\u00a0\u00bb in Franc-Parler<\/i> n\u00b0 57, Tokyo, avril 2003<\/span><\/span><\/p>\n

Pierre Imbert, \u00ab\u00a0Quand le sida s\u2019installe\u2026\u00bb in La Nouvelle R\u00e9publique, 20 f\u00e9vrier 03<\/span><\/span><\/p>\n

Marc Bembekoff\u00a0: \u00ab\u00a0Des cimaises anim\u00e9es \u00bb in Exploding<\/i>\u00a0 # 9 Ecrans, Paris d\u00e9c. 2002<\/span><\/span><\/p>\n

Marc Plas\u00a0: \u00ab\u00a0Widescreens and wild screens \u00bb in Exploding<\/i>\u00a0# 9 Ecrans, Paris d\u00e9c.\u00a0 2002\u00a0<\/span><\/span><\/p>\n

S\u00e9bastien Roncerey\u00a0: \u00ab\u00a0Etirements \u00bb in Exploding<\/i>\u00a0# 9 Ecrans, Paris d\u00e9c. 2002\u00a0<\/span><\/span><\/p>\n

Anne Hourtoule\u00a0: Yann beauvais, Tu sempre, in Parisart<\/i> dec 2002, http:\/\/www.paris-art.com\/art\/critiques\/d_critique\/Yann-Beauvais-Yann-Beauvais-Tu-Sempre-570.html<\/span><\/span><\/p>\n

Elisabeth Lebovici\u00a0: \u00ab\u00a0Epid\u00e9mie de miroirs \u00bb Lib\u00e9ration<\/i> du 30 novembre et 1er<\/sup> d\u00e9cembre 2002<\/span><\/span><\/p>\n

Mark Barani, \u00ab\u00a0Au del\u00e0 du visuel\/ Beyond the Visual \u00bb in Techniques et Architecture<\/i> n\u00b0461, Exp\u00e9rience d’espace, Art:architecture Ao\u00fbt \/sept 2002<\/span><\/span><\/p>\n

Corinne Taeger\u00a0;, \u00ab\u00a0Des rives d\u2019un visionnaire au grand c\u0153ur\u00bb in Urban pass<\/i> n\u00b01 Paris 2001<\/span><\/span><\/p>\n

Pierre-Emmanuel Nyeborg : \u00ab\u00a0Queerologie \u00bb in l’agenda de T\u00eatu <\/i>n\u00b0 53, Paris, f\u00e9vrier 2001<\/span><\/span><\/p>\n

Olivier Schmitt : \u00ab\u00a0A Rennes, jeunes talents et ma\u00eetres anciens partagent l’affiche du festival mettre en sc\u00e8ne \u00bb in Le Monde<\/i> n\u00b0 17672, du 20 nov. 2001<\/span><\/span><\/p>\n

Louise Crawford : \u00ab\u00a0Remembrances of things past \u00bb in Variant, Glasgow, Volume 2 n\u00b013 Summer 2001<\/span><\/span><\/p>\n

Emmanuel Lefrant : \u00ab\u00a0Un cin\u00e9ma de la r\u00e9miniscence. Des Rives de yann beauvais \u00bb in Jeune, dure et pure !<\/i>, sous la direction de Nicole Brenez et Christian Lebrat, Cin\u00e9math\u00e8que fran\u00e7aise, Mazzota 2001<\/span><\/span><\/p>\n

Alain Alcide Sudre, \u00ab\u00a0Performances, cin\u00e9ma \u00e9largi et installations dans le cin\u00e9ma exp\u00e9rimental fran\u00e7ais depuis les ann\u00e9es cinquante\u00bb in Jeune, dure et pure !<\/i>, sous la direction de Nicole Brenez et Christian Lebrat, Cin\u00e9math\u00e8que fran\u00e7aise, Mazzota 2001<\/span><\/span><\/p>\n

Sonia Campagnola, \u00abCampionamenti visivi \u00bb in Kult<\/i>, Febbraio, 2001<\/span><\/span><\/p>\n

Gino Dal Soler \u00ab\u00a0Netmage \u00bb in Blow Up<\/i>, Gennaio 2001<\/span><\/span><\/p>\n

Muriel Caron, \u00abD\u00e9ambulation dans quelques films de yann beauvais \u00bb Mouvement <\/i>n\u00b08, Paris 2000<\/span><\/span><\/p>\n

Madeleine Van Doren, octobre 2000 (apr\u00e8s l’exposition et la performance r\u00e9alis\u00e9es \u00e0 Montr\u00e9al, dans le cadre du festival \u00ab\u00a0nouveau Cin\u00e9ma \/ Nouveaux M\u00e9dias\u00a0\u00bb)<\/span><\/span><\/p>\n

Andrea Lissoni, in Link Project Netmage<\/i>, Piccola enciclop\u00e9d.ia dell\u2019imaginario technolgico M\u00e9d.ia, arte, communicazione, \u00e9d. Oscar Montadori, Milano 2000<\/span><\/span><\/p>\n

Alberte Pag\u00e1n\u00a0: Introduci\u00f3n aos cl\u00e1sicos do cinema experimental 1945-1990,<\/i><\/span> CGAC, Compostela, 1999<\/span><\/span><\/span><\/p>\n

Gilles Royanais, \u00ab DEFILEXHXDEFILMXHXDECADRE \u00bb in Scratch Book<\/i>, Paris 1999<\/span><\/span><\/p>\n

Sermini Salah, \u00abyann beauvais, la crise du cin\u00e9ma \u00bb in Al Fan Al Sebea<\/i> n\u00b022 Septembre, Le Caire 1999<\/span><\/span><\/p>\n

Sermini Salah, \u00abL\u2019esth\u00e9tique des multi \u00e9crans dans le cin\u00e9ma d\u2019avant-garde fran\u00e7ais yann beauvais \u00bb in Al-Qust Al Arabin<\/i> n\u00b03017 du 24-25 07 Londres, 1999<\/span><\/span><\/p>\n

Jean Michel Bouhours\u00a0: \u00ab N\u0153uds d\u2019images \u00bb in Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Denis Chevalier\u00a0: \u00ab\u00a0 Still Life \u00bb Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>,\u00a0 \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Muriel Collin-Barrand\u00a0: \u00ab Esp\u00e8ces d\u2019espaces`\u00bb in Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Jean-Damien Collin\u00a0: \u00ab Pourquoi le rectangle s\u2019effrite \u00bb in Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>,\u00a0 \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Scott Hammen\u00a0: \u00ab A propos de New York Long Distance \u00bb in Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Yung-hao Liu\u00a0: sous la direction de , catalogue\u00a0: Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999 <\/span><\/span><\/p>\n

Yung-hao Liu\u00a0: \u00ab Un r\u00eave une r\u00e9alisation \u00bb in Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Yung-hao Liu\u00a0: \u00ab La folle \u00e9nergie, Still Life \u00bb Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>,\u00a0 \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Philippe Alain Michaud, \u00ab Cher yann \u00bb in : Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Alain Alcide Sudre\u00a0: \u00ab Pour une architecture de l\u2019\u00e9ph\u00e9m\u00e8re \u00bb in : Le cin\u00e9ma d\u00e9cadr\u00e9\u00a0: yann beauvais<\/i>, \u00e9d Tr\u00e9sor, Paris Taipei 1999<\/span><\/span><\/p>\n

Ann Gavaghan, \u00ab Urban Emotion Expos\u00e9d. in Exp\u00e9rimental Films \u00bb in China News<\/i>, 25mai 1999, Taipei<\/span><\/span><\/p>\n

Dominique Noguez, Eloge du cin\u00e9ma exp\u00e9rimental<\/i>, nouvelle \u00e9dition, Paris Exp\u00e9rimental, Paris 1999<\/span><\/span><\/p>\n

Yves Aumont, \u00ab\u00a0Ascenseur pour vid\u00e9os\u00a0\u00bb Ouest-France<\/i>, 31 d\u00e9c. 1998 – 1er<\/sup> janv. 1999<\/span><\/span><\/p>\n

Jennifer Burford , \u00ab Vers une radicalisation du mouvement et de la continuit\u00e9 Robert Breer : peintre, sculpteur et cin\u00e9aste \u00bb Presse universitaire du septentrion Villeneuve d’Ascq 1998<\/span><\/span><\/p>\n

Bernhard Sallmann, \u00ab\u00a0Oberhausen film festival\u00a0\u00bb in Blimp<\/i>, sept. 1998<\/span><\/span><\/p>\n

Alain-Alcide Sudre, \u00ab\u00a0Le film exp\u00e9rimental : un autre regard face \u00e0 l\u2019histoire\u00a0\u00bb in Le Cin\u00e9ma face \u00e0 l\u2019histoire, Vertigo<\/i> n\u00b0\u00a016, Paris, 1997<\/span><\/span><\/p>\n

Alain-Alcide Sudre, \u00ab\u00a0yann beauvais\u00a0\u00bb in L\u2019Art du mouvement, collection cin\u00e9matographique du Mus\u00e9e national d\u2019art moderne<\/i>, sous la dir. de Jean-Michel Bouhours, Paris, Centre Pompidou, 1997<\/span><\/span><\/p>\n

Fabienne Worth, \u00ab\u00a0Le sida et le sacr\u00e9\u00a0\u00bb in Les Temps modernes<\/i>, Paris, f\u00e9v.-mars 1997<\/span><\/span><\/p>\n

Yung-hao Liu, \u00ab\u00a0Dossier sp\u00e9cial Journal film\u00e9\u00a0\u00bb; \u00ab\u00a0Interview de yann beauvais : utiliser le cin\u00e9ma pour \u00e9crire le journal\u00a0\u00bb; traduction du \u00ab\u00a0Je \u00e0 la cam\u00e9ra\u00a0\u00bb de yann beauvais et Jean Michel Bouhours, in <\/span>Film Appreciation Journal, <\/i><\/span>n\u00b0\u00a082, juillet-ao\u00fbt 1996, Taiwan<\/span><\/span><\/span><\/p>\n

Celia Houdart, \u00ab\u00a0Images exp\u00e9rimentales\u00a0\u00bb in Le Journal des Expositions, <\/i>avril 96<\/span><\/span><\/p>\n

Denis Chevalier, \u00ab\u00a0Le Regard pi\u00e9g\u00e9\u00a0\u00bb in yann beauvais, Anne Marie Cornu<\/i>, cat. expo. Rueil-Malmaison, Centre d\u2019art contemporain, 1996<\/span><\/span><\/p>\n

C. Cesbron, \u00ab\u00a0Mire Invite \u00e0 l\u2019exploration\u00a0\u00bb Ouest-France<\/i>, 18-19 nov. 1995<\/span><\/span><\/p>\n

Willem De Greef, \u00ab\u00a0Digressions sur le journal film\u00e9\u00a0\u00bb in Le Je film\u00e9<\/i>, Scratch, Centre Pompidou, Paris, 1995<\/span><\/span><\/p>\n

Alain-Alcide Sudre, \u00ab\u00a0Exp\u00e9rimental (Film)\u00a0\u00bb in Dictionnaire du cin\u00e9ma mondial<\/i>, sous la dir. d’Alain et Odette Virmaux, Paris, Le Rocher, 1994 <\/span><\/span><\/p>\n

Jean Yves Barbichon, \u00ab\u00a0D\u00e9fil\u00e9 de film d\u00e9cadr\u00e9\u00a0\u00bb in NOV’ART,<\/i> n\u00b0\u00a011, 2e trim. 1993<\/span><\/span><\/p>\n

Denis Chevalier, \u00ab\u00a0Vite en vrac\u00a0\u00bb in l’Armateur<\/i>\u00a0 n\u00b0\u00a07, mai-juin 1993<\/span><\/span><\/p>\n

Denis Chevalier, \u00ab\u00a0yann beauvais\u00a0\u00bb in l’Armateur<\/i>\u00a0 n\u00b0\u00a02, Paris, 1992<\/span><\/span><\/p>\n

Guy Goetals, \u00ab\u00a0Experimentele film in Stuc Leuven\u00a0\u00bb in De Morgen<\/i>, 19 nov. 1991<\/span><\/span><\/p>\n

X , \u00ab\u00a0Zum Auftakt multim\u00e9d.iake Spektakel \u00bb Luzern Tagblatt<\/i> 24 oct 1991<\/span><\/span><\/p>\n

Maureen Turim, \u00ab\u00a0The Displacement of Architecture in Avant-Garde Films\u00a0\u00bb in Iris<\/i> n\u00b0\u00a012, Paris, M\u00e9ridiens- Klincksieck, 1991<\/span><\/span><\/p>\n

Urs Hangartner \u00ab\u00a0Zeit, Raum, T\u00f6ne und gefundene filmsachen zur Er\u00f6ffnung \u00bb LNN<\/i> 24 oct 1991<\/span><\/span><\/p>\n

Mike Alexander\u00a0 \u00ab\u00a0Experimental art films \u00bb in Capital Time<\/i>, Wellington sept 10-17 col 17 n\u00b0 15 1991<\/span><\/span><\/p>\n

Anabright Hay\u00a0 \u00abBeauvais makes films without stories\u00a0 for art’s sake \u00bb The Press<\/i>,\u00a0 Christchurch 18 sept 91 <\/span><\/span><\/p>\n

Mark Birch\u00a0 \u00ab Experiments on film owe much to Len Lye, says French visitor \u00bb The Daily News<\/i>, 31 ao\u00fbt 1991, New Plymouth<\/span><\/span><\/p>\n

Peter McLennan, \u00ab\u00a0A bit of yann beauvais, Recent Films by yann beauvais\u00a0\u00bb in Stamp<\/i> n\u00b0\u00a024, oct. 1991, Auckland<\/span><\/span><\/p>\n

Laurence McDonald, \u00ab\u00a0Composing and Performing Film, The Cinema Practice of Yann Beauvais\u00a0\u00bb in Illusions<\/i> n\u00b0\u00a017, printemps 1991, Wellington.<\/span><\/span><\/p>\n

Cameron Bailey, \u00ab\u00a0Beauvais broadens avant-garde visions\u00a0\u00bb in Now<\/i>, vol. 10, n\u00b0\u00a023, 14-20 f\u00e9v. 1991, Toronto<\/span><\/span><\/p>\n

William English, \u00ab\u00a0Three aspects of French Experimental Film\u00a0\u00bb in Millennium Film Journal<\/i> , n\u00b0\u00a023-24, hiver 1990-1991 <\/span><\/span><\/p>\n

Reinhard Wolf, \u00ab\u00a0Film im Bonn\u00a0\u00bb in Kob Info <\/i>n\u00b0\u00a093\/94, Mayence, 1990<\/span><\/span><\/p>\n

Deke Dusinberre, \u00ab\u00a0Recent Films from Britain and the Continent\u00a0\u00bb in International Film Congress<\/i>, Art Gallery of Ontario, Toronto, 1989<\/span><\/span><\/p>\n

Willem De Greef\u00a0 \u00abScrifturen. Woord en tesk in film\u00a0 Nota bij VO\/ID van yann beauvais \u00bb in programme stuc<\/i>, Leuven 1989<\/span><\/span><\/p>\n

Alain-Alcide Sudre, \u00ab\u00a0L’\u00e9criture comme mat\u00e9riau filmique\u00a0\u00bb in Mot : dites, image, <\/i>Paris, Scratch et Mus\u00e9e national d’art moderne, 1988<\/span><\/span><\/p>\n

Malgorzata Kapuscinska\u00a0 \u00ab\u00a0Leitmotivy francuskiej awantgardy filmowej\u00bb in Illuuzjon<\/i> n\u00b03\u00a0 Varsovie, 1987<\/span><\/span><\/p>\n

Fr\u00e9d\u00e9rique Devaux, \u00ab\u00a0Scratch Again\u00a0\u00bb in Kanal magazine, <\/i>n\u00b0\u00a025-26, oct.-nov. 1986<\/span><\/span><\/p>\n

Rapha\u00ebl Bassan, \u00ab\u00a0L’occulte du cin\u00e9ma\u00a0\u00bb in Lib\u00e9ration<\/i>, Paris, 29 janv. 1986 <\/span><\/span><\/p>\n

Deke Dusinberre, \u00ab\u00a0Lundi soir 9 d\u00e9cembre 85\u00a0\u00bb r\u00e9trospective yann beauvais, Centre Pompidou, Paris, 1986<\/span><\/span><\/p>\n

Michael Maziere et Gillian Swanson, \u00ab\u00a0yann beauvais Interview\u00e9d.\u00a0\u00bb in Undercut<\/i> n\u00b0\u00a012, Londres, 1984 <\/span><\/span><\/p>\n

Rapha\u00ebl Bassan, \u00abEtat du cin\u00e9ma exp\u00e9rimental en France\u00bb in Imagine n\u00b04<\/i>, f\u00e9vrier Paris 1984<\/span><\/span><\/p>\n

Paolo Bertotto \u00ab\u00a0L’eidetico e il ceremoniale nel cinema sperimentale francese \u00bbin Il gergo inquieto Trent’anni di cinema francese (1950-1980)<\/i> a cura di Ester de Miro e Dominique Noguez, Bonini \u00c9d.itore, Gen\u00e8ve, f\u00e9vrier 1983<\/span><\/span><\/p>\n

Rapha\u00ebl Bassan \u00ab\u00a0Alcune tappe nel percorso del cinema sperimentale francese \u00bb in Visuel n\u00b07<\/i>, Carte Segrete, Turin 1983<\/span><\/span><\/p>\n

Paolo Bertotto, \u00ab\u00a0Alle origini del cinema sperimentale in Francia i film dada\u00bb in Visuel n\u00b07<\/i>, Carte Segrete, Turin 1983<\/span><\/span><\/p>\n

Rapha\u00ebl Bassan, \u00ab Biennale de Paris 1982 : le cin\u00e9ma de recherche \u00bb in La Revue du cin\u00e9ma<\/i>, Paris 1983<\/span><\/span><\/p>\n

Dominique Noguez, Trente ans de cin\u00e9ma exp\u00e9rimental en France 1950-1980<\/i>, Paris, Arcef, 1982<\/span><\/span><\/p>\n

Dominique Noguez, \u00ab Le cin\u00e9ma exp\u00e9rimental en France \u00bb in L’avant-sc\u00e8ne – Cin\u00e9ma<\/i>, Paris, f\u00e9vrier 1980<\/span><\/span><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Antoine Idier\u00a0: Avant-propos. Construire, d\u00e9truire\u00a0: l’art comme sport de combat, in yann beauvais Agir le cin\u00e9ma, Les presses du R\u00e9el, Dijon 2022 Jean-Damien Collin\u00a0: Posface, Poscratch, in yann beauvais Agir le cin\u00e9ma, Les presses du R\u00e9el, Dijon 2022 Guillaume Lassere Oh les beaux livres # 3,\u00a0 in le Club de m\u00e9diapart, 13 d\u00e9cembre 2021 https:\/\/blogs.mediapart.fr\/560379\/blog\/031221\/oh-les-beaux-livres-3 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[177,2],"tags":[],"class_list":["post-1282","post","type-post","status-publish","format-standard","hentry","category-about-sobre-sur","category-biographie"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1282"}],"version-history":[{"count":8,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1282\/revisions"}],"predecessor-version":[{"id":1737,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/1282\/revisions\/1737"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}