{"id":385,"date":"2014-03-24T23:38:45","date_gmt":"2014-03-24T22:38:45","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=385"},"modified":"2023-10-15T13:02:48","modified_gmt":"2023-10-15T12:02:48","slug":"critiques-criticas-texts","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=385","title":{"rendered":"Critiques \/ Criticas \/ Texts"},"content":{"rendered":"

369 HELGA FANDERL SUPER 8 CINEMA<\/em>, in Helga Danderl Constellation, Re-Voir Paris 2023<\/p>\n

368 LOVE STINKS,<\/em> in Viva Birgit Hein,<\/i> ed by Mike Hoolboom, Con<erSalon, Toronto, 2024<\/span><\/span><\/p>\n

367 AN INTERVIEW WITH YANN BEAUVAIS,<\/em> in Viva Birgit Hein,<\/i> ed by Mike Hoolboom, Con<erSalon, Toronto, 2024<\/span><\/span><\/p>\n

366 S<\/em>OCIAL SCOURGE Before and After New Queer Cinema, in Cinematek, Bruxelles 2023 <\/span><\/span><\/p>\n

365 IMBURANINHA<\/em> in catalogue exposition Imburaninha Edson Barrus & yann beauvais, Ygrec ENSAPC, Experimento Produ\u00e7\u00e3o, Paris 2022<\/span><\/span><\/p>\n

364 On B3<\/em>, in BCUBICO, org by Edson Barrus – yann beauvais, TXT, S\u00e3o Paulo, 2022<\/p>\n

363 ON FILMS ,1976 -1998 by yann beauvais<\/em> , edited by Scott Hammen Eyewash Books \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 http:\/\/www.paris-experimental.fr\/project\/e-book-on-films-1976-1998-by-yann-beauvais\/<\/p>\n

361\/362 UNE DECOUVERTE (pr\u00e9face) et AUTOUR DE CECILE FONTAINE (Postface) in L\u2019\u00e9mulsion fantastique\u00a0 le cin\u00e9ma selon C\u00e9cile Fontaine,<\/em> organis\u00e9 par yann beauvais Light Cone \u00e9ditions Paris\u00a0 Les presse du re\u0301el 2021<\/p>\n

360 YOU BELONG TO ME, in B.H.Yael\u00a0: Family States<\/em>, edited by Mike Hooldoom, Con<erSalon, Toronto, 2021<\/span><\/span><\/span><\/p>\n

359 MICHEL NEDJAR\u00a0: DESIR ET LIBERTE, in Demeter Th\u00e9ories & pratiques artistiques contemporaines #3<\/em>, 2019 <\/span><\/span><\/span><\/p>\n

358 KENGN\u00c9 T\u00c9GUIA \u2013 ECHOES OF SILENCE, in Gruppen n\u00b014<\/i> Paris, mai 2019<\/span><\/span><\/span><\/p>\n

357 INTRODUCCI\u00d3N in Anatom\u00eda de la imagen Notas de Teo Hern\u00e1ndez editado <\/i>por Andrea Ancira Garc\u00eda et Neil Mauricio Andrade, Bur\u00f3 -Bur\u00f3 Tumbalacasa ediciones, Mexico 2019<\/span><\/span><\/span><\/p>\n

356 INTRODUCTION in Anatomie de l’image Notes de Teo Hern\u00e1ndez<\/i>, \u00e9dit\u00e9 para Andrea Ancira Garc\u00eda et Neil Mauricio Andrade, Bur\u00f3 -Bur\u00f3 Tumbalacasa ediciones, Mexico 2019<\/span><\/span><\/span><\/p>\n

355 I AM ALWAYS CONNECTED in Strange Machines The films of Phillip Barker<\/i>, editor Mike Hoolboom, Pleasure Dome, Toronto 2018<\/span><\/span><\/span><\/p>\n

354 DU NUAGE AU P\u00c9N\u00c9TRABLE, UNE INCURSION DANS LE TRANSCINEMA, in Gruppen, Paris 2017<\/p>\n

353 DE L’IMAGE COMPOSITE, in Esth\u00e9tique de la modernit\u00e9. pour un cognitivisme non-lin\u00e9aire, sous la direction de Louis-Jos\u00e9 Lestocart, \u00c9ditions Hermann, Paris 2017
\n<\/span><\/span><\/span><\/p>\n

352 CAPITALE PAYSAGE, A QUOI R\u00caVE L’ARAIGNEE ?, in Michel Nedjar introspective, catalogue ed Corinne Barbant et Jean Michel Bouhours, Lam Lille M\u00e9tropole, 2017<\/p>\n

351 STORIES ABOUT PAUL SHARITS, in I Was a Flawed Modernist Collected Writtings by Paul Sharits, Collected Stories about Paul Sharits, edited by Sarah Margraft, The New American Cinema Group, The Film-Maker’s Coop, New York, 2017<\/p>\n

350 DE LA REPRESENTATION DE SOI \u2026 QUELQUES JALONS ou l’intermittence du sujet au travers de quelques journaux film\u00e9,\u00a0 in\u00a0 (The Diary Film and Subjectivity of the Self: Taiwan – New York – Paris)\u00a0 \u5f9e\u81ea\u6211\u7684\u518d\u73fe\u5230\u5e7e\u90e8\u65e5\u8a18\u96fb\u5f71: \u5e7e\u500b\u6a19\u6e96\u6216\u662f\u4e3b\u9ad4\u7684\u9593\u65b7\uff0cpp.177-200, translated by Yung Hao Liu. : \u53f0\u7063\u3001\u8de8\u570b\u8207\u81ea\u6211\u7684\u4e3b\u9ad4: \u65e5\u8a18\u96fb\u5f71\u7814\u7a76\u3002Published date: 2016\/12\/31.
\nTaipei: Le Ganges edition \/ISBN: 978-986-90242-2-8<\/p>\n

349\u00a0 Participation to Underground The Untold Story of The Funnel Film Collective, ed by Mike Hoolboom, Canadian Film Institute , 2016<\/p>\n

348 BAILLIE \/SHARITS: Cuidado con el abismo, no est\u00e0 donde parece estar, Semana 6 del Film Experimental, La Plata 2016<\/p>\n

347: COISAS de VIADOS, Coisas de Bichina !, FAGOT STUFF, SISSY STUFF, Seass\u00e3o Corredor = Extra, Prosac SP, Ateli\u00e9 297, S\u00e3o Paulo 2016<\/p>\n

346. ImProVISatioN, l’aCciDeNt Ma\u00eeTRis\u00e9, in Hypalampuses Hemeras \u00e0 la pointe du Jour, Gruppen Paris 2016 <\/span><\/p>\n

345. BAILLIE \/ SHARITS Mind The Gap It is not were it appears to be, La furia Umana \/ 26 http:\/\/www.lafuriaumana.it\/?id=443<\/a><\/span><\/span><\/span><\/p>\n

344.LETTER to ANDY WARHOL, in La Furia Umana n\u00b025, http:\/\/www.lafuriaumana.it\/index.php\/58-lfu-25\/392-yann-beauvais-letter-to-andy-warhol<\/a><\/span><\/span><\/p>\n

343. <\/span><\/span>O NEW QUEER CINEMA EM RELA\u00c7\u00c3O AO CINEMA EXPERIMENTAL E A VIDOARTE NO COMBATE \u00c0 AIDS, in New Queer Cinema, Cinema Sexualidade e Pol\u00edtica, organiza\u00e7\u00e3o Lucas Murari e Mateus Nagime, Caixa Cultural, S\u00e3o Paulo, 2015<\/span><\/span><\/span><\/p>\n

342. LADISLAV GALETA ET LA QUESTION DE LA SYMETRIE, in Sole Medere Pede Ede Perede Melos<\/em>, Gruppen, Paris, F\u00e9vrier 2015<\/span><\/span><\/p>\n

341. LE TEMPS DES IMAGES, in Malcolm LeGrice Le temps des images<\/em>, \u00e9dit\u00e9 par yann beauvais, Les Presses du R\u00e9el & Espace Gantner Dijon, 2015<\/span><\/span><\/p>\n

340.\u00a0CECILE FONTAINE in Experimentalelfilme aus dem Light Cone Archiv<\/em>, Filmkollektiv Frankfurt, Publikation n\u00b03 Deutesches Filminstitut, (reprint de Ich etc. Tagebuch Filme, Film Tageb\u00fccher<\/em>, edited by Matthias M\u00fcller und Christiane Menwikel, Kuntshalle Bielfield 1997) Deutsches Filmmuseum, 2014<\/span><\/span><\/p>\n

339.\u00a0O SUPER 8 \u00c9 LIBERDADE: uma revis\u00e3o do cinema de gesto pequeno, in Cinema \u00e9 Liberdade : Derek Jarman<\/em>, ed Raphael Fonseca,\u00a0Jurubera Produ\u00e7\u00f5es, Rio de Janeiro,\u00a02014\u00a0<\/span><\/span><\/p>\n

338. RYAN TRECARTIN : internet comme mode de vie,\u00a0Gruppen n\u00b09<\/i>, Paris, Juin 2014<\/span><\/span><\/p>\n

337. FADE TO BLACK\u00a0http:\/\/www.forumpermanente.org\/revista\/numero-5\/textos\/fade-to-black<\/a>, Rio de Janeiro, Maio 2014<\/span><\/span><\/p>\n

336. IMAGENS ROUBADAS, OU COMO TORNAR A VIDA EM IMAGENS FIXAS, em Perdeu a mem\u00f3ria e matou o cinema<\/em>, Solon Ribeiro, +2 Editora, Rio de Janeiro 2013\/14<\/span><\/span><\/p>\n

335. DANIEL EISENBERG\u00a0: Du fragment et de la persistence, Gruppen n\u00b08<\/i>, Mont de Marsan, Jan 2014<\/span><\/span><\/p>\n

334. CINEMA IN TAIWAN, in Stranger Than Cinema A Study of Taiwanese Experimental Film<\/i>, ed Tony Chun-Hui WU, Taipei 2014<\/span><\/span><\/p>\n

333. THE FUNNEL, a short contribution, http:\/\/mikehoolboom.com\/?p=15146<\/a><\/span><\/span><\/p>\n

332. ENTREVISTA yann beauvais\u00a0: A tentativa de uma sinestesia real, in Continente # 155,<\/em> Recife 2013<\/span><\/span><\/p>\n

331. Jos\u00e9 Agrippino de PAULA, http:\/\/bcubico.com\/jose-agrippino-de-paula\/<\/a>
\n<\/a><\/span><\/span><\/p>\n

330. DANIEL EISENBERG e a Produ\u00e7\u00e3o do Sentido da Hist\u00f3ria a partir de Displaced Person,\u00a0http:\/\/bcubico.com\/daniel-eisenberg-e-a-producao-do-sentido-da-historia-a-partir-de-displaced-person\/<\/a><\/span><\/span><\/p>\n

329. A influ\u00eancia de GUY DEBORD no cinema experimental e na videoarte 2,http:\/\/bcubico.com\/a-influencia-de-guy-debord-no-cinema-experimental-e-na-videoarte-2\/<\/a><\/span><\/span><\/p>\n

328. A influ\u00eancia de GUY DEBORD no cinema experimental e na videoarte 1,\u00a0http:\/\/bcubico.com\/a-influencia-de-guy-debord-no-cinema-experimental-e-na-videoarte-1\/<\/a><\/span><\/span><\/p>\n

327. J\u00d3SEF ROBAKOWSKI UN ARTISTE POLYVALENT, in\u00a0Gruppen n\u00b07<\/i>, \u00e9t\u00e9 2013<\/span><\/span><\/p>\n

326. \u00ab\u00a0it’s all the same, you’re queer anyhow\u00a0\u00bb OS FILMES DE MARK MORRISROE,\u00a0http:\/\/bcubico.com\/its-all-the-same-you-youre-queer-anyhow\/<\/a><\/span><\/span><\/p>\n

325. Mudan\u00e7a do privado do CINEMA EXPERIMENTAL \u00c0 INTERNET http:\/\/bcubico.com\/mudanca-do-privado\/<\/span><\/span><\/p>\n

324. FILMS SOUS INFLUENCES , in\u00a0In Situs,Th\u00e9orie, Spectacle, Cin\u00e9ma chez Guy Debord et Raoul Vaneigem<\/i>\u00a0\u00e9ditions Gruppen Mont de Marsan 2013<\/span><\/span><\/p>\n

323 Mostrar o que n\u00e3o se v\u00ea SU FRIEDRIECH & o cinema,\u00a0http:\/\/bcubico.com\/mostrar-o-que-nao-se-ve\/<\/a><\/span><\/span><\/p>\n

322. O expanded cinema de VALIE EXPORT,\u00a0http:\/\/bcubico.com\/o-expanded-cinema-de-valie-export-uma-resposta-ao-esgotamento-do-cinema-estrutural\/<\/a><\/span><\/span><\/p>\n

321. Filmes de viagem ENTRE TURISMO E COLONIALISMO, http:\/\/bcubico.com\/seminario-2\/<\/span><\/span><\/p>\n

320. PAUL SHARITS E O CINEMA EXPANDIDO, B3 http:\/\/bcubico.com\/seminario-1-23-de-abril-2013\/<\/span><\/span><\/p>\n

319. JUSTE UN BOUT DANS UN AUTRE- EN CONTEXTE AB\u00ceME, A LITTLE SOMETHING IN ANOTHER CONTEXT \u2013 WITHIN ANOTHER CONTEXT in\u00a0eRikm,<\/i>\u00a0Les presses du r\u00e9el Dijon 2013 <\/span><\/span><\/p>\n

318. MONTER CE QU\u2019ON NE VOIT PAS\u00a0: SU FRIEDRICH ET LE CINEMA in\u00a0Gruppen n\u00b0 6<\/i>\u00a0Hiver 2013<\/span><\/span><\/p>\n

317. TESTIMONY, in\u00a0Oskar Fischinger 1900-1967 Experiments in Cinematic Abstraction<\/i>, ed by Cindy Keefer & Jaap Gudelmond, Eye Filmmuseum & Center for Visual Music, Amsterdam 2012<\/span><\/span><\/p>\n

316. SUR LES BORDS DE LA CAMERA, entretien Jean Damien Collin Yann Beauvais, in\u00a0Hiero Colmar vingt ans de rock et de cin\u00e9ma<\/i>, Hiero Colmar Nov 2012<\/span><\/span><\/p>\n

315. O EXPANDED CINEMA de Valie EXPORT, Uma Resposta ao esgotamento do cinema structural, in\u00a0Tatu\u00ed n\u00b013<\/i>, Recife Julho 2012<\/span><\/span><\/p>\n

314. HARRY SMITH: UN ALCHIMISTE AMERICAIN, in\u00a0Gruppen n\u00b05<\/i>, Et\u00e9 2012, Mont de Marsan, 2012<\/span><\/span><\/p>\n

313. FONOGRAFIA de THELMO CRISTOVAM in\u00a0Vaz\u00e3o Revista N\u00f3s Contempor\u00e2neos n\u00b074, <\/i>Barrus M\u00c0IMPRESSE\u00c3O editora, Recife Junho 2012<\/span><\/span><\/p>\n

312. IT’S ALL THE SAME, YOU ARE QUEER ANYHOW! Les films de Mark Morrisroe, in\u00a0Gruppen 4<\/i>, Hiver 2012, Mont de Marsan, 2012<\/span><\/span><\/p>\n

311. Projeto BCUBICO, com Edson Barrus, Cesar Barros, in Cardenos de Subjetividade anos 8,\u00a0n\u00b0 13,<\/i> PUC, S\u00e3o Paulo, 2011<\/span><\/span><\/p>\n

310. NOTICE FRED WORDEN http:\/\/collection.centrepompidou.fr\/mediaNavigart\/oeudoc\/fra\/GE\/NE\/GENERATIONAUTO-I030840000339.htm<\/a><\/span><\/span><\/p>\n

309. NOTICE AL RAZUTIS in http:\/\/collection.centrepompidou.fr\/mediaNavigart\/oeudoc\/fra\/GE\/NE\/GENERATIONAUTO-I030176300253.htm<\/a><\/span><\/span><\/p>\n

308. NOTICE ANDREW NOREN in http:\/\/collection.centrepompidou.fr\/mediaNavigart\/oeudoc\/fra\/GE\/NE\/GENERATIONAUTO-I030250500259.htm<\/a><\/span><\/span><\/p>\n

307. NOTICE GUSTAV DEUTSCH, in http:\/\/collection.centrepompidou.fr\/mediaNavigart\/oeudoc\/fra\/GE\/NE\/GENERATIONAUTO-I033940100340.htm<\/a><\/span><\/span><\/p>\n

306. CINEMA PARA PENSAR, catalogue\u00a013 Festival Internacional de Curtas de Belo Horizonte<\/i>, oct 2011<\/span><\/span><\/p>\n

305. ENTREVISTA Anthony McCALL por yann beauvais\u00a0MAMAM \/ B\u00b3<\/i>, Recife sept 2011<\/span><\/span><\/p>\n

304. UNE NOUVELLE EXPERIENCE B\u00b3,\u00a0Revue & corrig\u00e9e n\u00b088<\/i>\u00a0, juin 2011<\/span><\/span><\/p>\n

303. RENCONTRE AVEC yann beauvais, par Yves Tenret D\u00e9rives autour du cin\u00e9ma, f\u00e9v 2011<\/span><\/span><\/p>\n

302. POLITIQUES PUBLIQUES E PRIVEES DE PRODUCTION, Archimages Institut National du Patrimoine, Paris nov 2010, http:\/\/mediatheque-numerique.inp.fr\/index.php\/actes_de_colloque\/archimages\/de_la_creation_a_l_exposition_les_impermanences_de_l_oeuvre_audiovisuelle\/politiques_publiques_et_privees_de_production<\/a><\/span><\/span><\/p>\n

301. ENTRETIEN avec yann beauvais, Marc Bembekoff Les belles images premi\u00e8res hypoth\u00e8se, http:\/\/www.lesbellesimages.net\/chapitres\/premiere-hypothese<\/a><\/span><\/span><\/p>\n

300. CODE SOURCE OUVERT, Pr\u00e9face \u00e0 l\u2019\u00e9dition fran\u00e7aise de\u00a0Le Langage des nouveaux m\u00e9dias<\/i>, de Lev Manovich, Les presses du R\u00e9el, Dijon 2010<\/span><\/span><\/p>\n

299. TU, SEMPRE # 9\u00a0\u00bbin <\/span>Vivre l\u2019intime (dans l\u2019art contemporain)<\/i><\/span> sous la direction de Diane Watteau, Thalia \u00e9dition, Paris 2010<\/span><\/span><\/span><\/p>\n

298. COISAS DE VIADO in Retrato do Brasil Homossexual, Fronteiras Subjectividades e Desejos<\/i>, Horacio Costa et al, edusp. Imprensaoficial, S\u00e3o Paulo 2010<\/span><\/span><\/p>\n

297. MARCELLE THIRACHE, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

296. JOSE ANTONIO SISTIAGA, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

295. PIERRE ROVERE, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

294. DIETER ROTH, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

293. NORMAN MCLAREN, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

292. TAKAHIKO IIMURA, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010<\/span><\/span><\/p>\n

291. CECILE FONTAINE, in\u00a0Zelluloid Film ohne Kamera<\/i>, Shirn Kunsthalle Frankfurt, Kerber Verlag, Bielefeld, 2010 <\/span><\/span><\/p>\n

290. AVANT PROPOS, in\u00a0Quel Cin\u00e9ma<\/i>\u00a0de Jean Michel Bouhours, Les Presses du R\u00e9el & JRP Ringier, Dijon 2010<\/span><\/span><\/p>\n

289. EDITORIAL, Le quai n\u00b0 37<\/i>, Mulhouse Juin 2010<\/span><\/span><\/p>\n

288. DU CINEMA SELON JOSE AGRIPPINO DE PAULA, La Furia Humana n\u00b0 4, Avril 2010\u00a0<\/span><\/span>http:\/\/www.lafuriaumana.it\/index.php?option=com_content&view=category&id=48&Itemid=65<\/span><\/span><\/a><\/p>\n

287. A GENTE SA\u00cdA DE MANH\u00c3 SEM TER ID\u00c9IA, in\u00a0Lugar Comun<\/i>\u00a0n\u00b0 28<\/i>, Estudos de m\u00eddia, cultura e democracia, Rio e Janeiro, 2009<\/span><\/span><\/p>\n

286. LE CINEMA D’EXPOSITION, N\u00f3s Contempor\u00e2neos<\/i>\u00a0n\u00b0 25 video 24 Cinema barrus M\u00c0IMPRESS\u00c3O editora, SP\/Paris 2009<\/span><\/span><\/p>\n

285. FILMS A VENIR initialement publi\u00e9 en allemand in Notation, <\/span><\/span>N\u00f3s Contempor\u00e2neos<\/i><\/span><\/span>\u00a0n\u00b0 25 video 24 Cinema barrus M\u00c0IMPRESS\u00c3O editora, SP\/Paris 2009<\/span><\/span><\/p>\n

284. DEUX OU TROIS CHOSES QU’ON SAIT DE LUI, in\u00a0<\/span><\/span>La Furia Umana n\u00b02<\/i><\/span><\/span>, sep 2009<\/span><\/span>\u00a0 \u00a0 \u00a0<\/span><\/span>http:\/\/www.lafuriaumana.it\/index.php?option=com_content&view=article&id=91:yann-beauvais&catid=25:rapporto-confidenziale&Itemid=27<\/span><\/span><\/a><\/p>\n

283. A SENDING WITHOUT ANY RECIPIENT, in\u00a0Life Without death, The Cinema of Frank Cole<\/i>, ed par Mike Hoolboom et Tom McSorley, Canadian Film Institute , 2009<\/span><\/span><\/p>\n

282. LA VIDEO SELON EDSON BARRUS 2,\u00a0Revue & Corrig\u00e9e<\/i>\u00a0n\u00b078, janvier 2009<\/span><\/span><\/p>\n

281. Showing Pictures<\/i>: a conversation with yann beauvais and Mike Hoolboom, Art Gallery of York University, Toronto, 2009<\/span><\/span><\/p>\n

280. El SOPORTE INESTABLE, Instabile materie de J\u00fcrgen Reble, in Cosmos En Busca de los or\u00edgenes, de Kupka a Kubrick, Tenerife espacio de las artes, Tenerife, 2008<\/span><\/span><\/p>\n

279. LE SUPPORT INSTABLE Instabile materie de J\u00fcrgen Reble, in Cosmos En Busca de los or\u00edgenes, de Kupka a Kubrick, Tenerife espacio de las artes, Tenerife, 2008<\/span><\/span><\/p>\n

278. K\u00dcNFTIGE FILME, in\u00a0Notations, Kalk\u00fcl und form in den K\u00fcnsten<\/i>, Akademie der K\u00fcnste, Berlin, ZKM Zentrum f\u00fcr K\u00fcnst und Medientechnologie Karlsruhe, 2008<\/span><\/span><\/p>\n

277. LA VIDEO SELON EDSON BARRUS 1,\u00a0Revue & Corrig\u00e9e<\/i>\u00a0n\u00b077, septembre 2008<\/span><\/span><\/p>\n

276.<\/span><\/span> Showing Pictures<\/i><\/span><\/span>: a conversation with yann beauvais and Mike Hoolboom\u00a0http:\/\/http:\/\/www.mikehoolboom.com\/r2\/section_item.php?artist=159 \u00a0 2008<\/a><\/span><\/span><\/p>\n

275. FIGMENT, in\u00a0Paul Sharits<\/i>, English ed yann beauvais, Espace Multim\u00e9dia Gantner, Les Presses du R\u00e9el, 2008<\/span><\/span><\/p>\n

274. FIGMENT, in\u00a0Paul Sharits<\/i>, fran\u00e7ais ed yann beauvais, Espace Multim\u00e9dia Gantner, Les Presses du R\u00e9el, 2008<\/span><\/span><\/p>\n

273. L\u00c1SZL\u00d3 MOHOLY-NAGY PHOTOGRAPHIES, in\u00a0Le Quai<\/i>\u00a0n\u00b0 13, Mulhouse janvier 2008<\/span><\/span><\/p>\n

272. A SINGLE FRAME \/ UN PHOTOGRAMME in\u00a0Vertov From Z to A<\/i>, ed Peggy Ahwesh &\u00a0Keith Sanborn, Ediciones La Calavera, New York 2007<\/span><\/span><\/p>\n

271. HELIO, in\u00a0N\u00f3s Contempor\u00e2neos<\/i>\u00a0n\u00b0 50 barrus M\u00c0IMPRESS\u00c3O editora, Paris 2007<\/span><\/span><\/p>\n

270. WAYNE YUNG INTERVIEWED by yb in\u00a0<\/span><\/span>N\u00f3s Contempor\u00e2neos<\/i><\/span><\/span>\u00a0n\u00b0 50 barrus M\u00c0IMPRESS\u00c3O editora, Paris 2007<\/span><\/span><\/p>\n

269. TONY CONRAD INTERVIEWED by yb NY NOV\/DEC 83, in\u00a0N\u00f3s Contempor\u00e2neos<\/i>\u00a0n\u00b0 51 barrus M\u00c0IMPRESS\u00c3O editora, SP\/Paris 2007<\/span><\/span><\/p>\n

268. \u0152UVRES DE CINEMA de Maurice Lema\u00eetre et CINEMA ET ABSTRACTION de Rapha\u00ebl Bassan, in\u00a0Critique d\u2019Art\u00a0<\/i>n\u00b0 30, Automne 2007<\/span><\/span><\/p>\n

267. LUX, LUMI\u00c8RE, in\u00a0revue de lux<\/i>\u00a0, n\u00b01 Valence Automne 2007<\/span><\/span><\/p>\n

266. FOUND FOOTAGE ON SOME FILMS I HAVE MADE, in Caballero 3\u00a0: \u2026 comme un grand m\u00e9nage de printemps,<\/i> avec des courants d\u2019air, editions La valise, Nantes d\u00e9cembre 2007<\/span><\/span><\/p>\n

265. KEITH SANBORN\u00a0: Copyrighter c\u2019est pill\u00e9,\u00a0revue et Corrig\u00e9<\/i>\u00a0n\u00b070 Dec 2006<\/span><\/span><\/p>\n

264. CINEVIVENDO ou le cin\u00e9ma selon Jomard Muniz de Britto, on line, \u00a0<\/span><\/span>www.yannbeauvais.fr<\/span><\/span><\/a>\u00a0septembre 2006<\/span><\/span><\/p>\n

263. MANIFESTEMENT, Journal de l\u2019Ecole sup\u00e9rieure des Beaux Arts de Mulhouse,\u00a0Le Quai<\/i>\u00a002, Nov Dec 2006<\/span><\/span><\/p>\n

262. DU MOT, DE L’IMAGE DU MOT, in \u00a0Spirit # 23\u00a0<\/i>, Octobre, Bordeaux 2006<\/span><\/span><\/p>\n

261. LIKE A SONG, Anna Thew\u00a0<\/span><\/span>www.luxonline.org<\/span><\/span><\/a>. uk\/artists\/anna_thew\/essay(1).html\u00a02006<\/span><\/span><\/p>\n

260. UNE INTERVIEW avec ROBERT BREER (augment\u00e9e), + INTERVIEW WITH ROBER BREER in catalogue\u00a0Robert Breer, Films, Floats & Panoramas<\/i>, \u00e9ditions de l\u2019\u0153il, Montreuil 2006<\/span><\/span><\/p>\n

259. TRANSBRASILIANA, incatalogue Paysages en travaux, des chemins de traverse entre Art Vid\u00e9o & Documentaire<\/i>, Galerie Parisud, Cachan, 2006<\/span><\/span><\/p>\n

258. ,D’AILLEURS, in La montagne Sainte-Victoire, vue(s) et revue(s)<\/i>, K Livres, Aix en Provence 2006<\/span><\/span><\/p>\n

257. C’EST TOUJOURS DU CINEMA in Film Appreciation Journal n\u00b0 127,<\/i> Taipei, April\/May 2006<\/span><\/span><\/p>\n

256. INTERVIEW WITH yann beauvais in Film Appreciation Journal n\u00b0 127,<\/i> Taipei, April\/May 2006<\/span><\/span><\/p>\n

255. THREE PUBLICATIONS ON EXPERIMENTAL CINEMA n\u00a0Critique d\u2019Art<\/i>\u00a0n\u00b0 27, Rennes 2006<\/span><\/span><\/p>\n

254. TROIS PUBLICATIONS, in\u00a0Critique d\u2019Art<\/i>\u00a0n\u00b0 27, Rennes 2006<\/span><\/span><\/p>\n

253. \u00a9opilleurs, in\u00a0Polystyr\u00e8n<\/i>e n\u00b094, Strasbourg, f\u00e9vrier 2006<\/span><\/span><\/p>\n

252. DES CONSTRUCTIONS, in\u00a0Film Appreciation Journal<\/i>\u00a0n\u00b0 123, April June, Taipei, 2005<\/span><\/span><\/p>\n

251. C\u2019EST TOUJOURS DU CINEMA, in Catalogue,\u00a0<\/span><\/span>Taipei Golden Horse Film Festival<\/i><\/span><\/span>, 2005<\/span><\/span><\/p>\n

250. LA TOILE d\u2019EDSON BARRUS,\u00a0on line,\u00a0<\/span><\/span>www.yannbeauvais.fr<\/span><\/span><\/a>\u00a0mars 2006<\/span><\/span><\/p>\n

249. Introduction,\u00a0<\/i>in\u00a06<\/i>\u00e8me<\/i>\u00a0tourn\u00e9e du cin\u00e9ma exp\u00e9rimental japonais<\/i>, MalteseCrossVision ,& [des’ka]neto, Dijon 2005<\/span><\/span><\/p>\n

248. Introduction,\u00a0M\u00e3o Dupla<\/i>, escola de artes visuais do Parque Lage, Rio de Janeiro, 2005<\/span><\/span><\/p>\n

247. MIKE HOOLBOOM, in Reprocessing Reality,<\/i> ed Claudia Spinelli, Eng, Fr, Deut, PR\/Ringier 2005<\/span><\/span><\/p>\n

246. MARYLENE NEGRO, Carefou,\u00a0ArtPress<\/i>, Paris n\u00b0 310, 2005<\/span><\/span><\/p>\n

245. MONTER\/SAMPLER diario de uma exposi\u00e3o cancelado, N\u00f3s Contempor\u00e2neos 23, Barrus M\u00e1 Impress\u00e3o editora, Rio de Janeiro 2004<\/span><\/span><\/p>\n

244. ISAAC JULIEN: Snow Queen,\u00a0 \/ ISAAC JULIEN\u00a0: BLACK DIASPORA PROJECTIONS Artpress<\/i>, Paris n\u00b0 305, 2004<\/span><\/span><\/p>\n

243. TRIBUTE TO A FRIEND BILL MORITZ, in Animation World Magazine Tribute to Dr. William Moritz<\/i>, Los Angeles 2004<\/span><\/span><\/p>\n

242. BURLESQUE, in\u00a0L\u2019horreur comique, esth\u00e9tique du slapstick<\/i>, ed du Centre Pompidou, Paris 2004<\/span><\/span><\/p>\n

241. SANOJA AINA VAIN SANOJA, traduction augment\u00e9 et corrig\u00e9 de des Mots encore des mots, in Nuori Voima 1-2\/05 Helsinki 2004<\/span><\/span><\/p>\n

240. FILMES DO ARQUIVOS en\u00a0REcine<\/i>\u00a0Ano 1 n\u00b01, Rio De Janeiro sept 2004<\/span><\/span><\/p>\n

239. L\u2019AUTOPORTRAIT AU CINEMA,\u00a0Zeuxis<\/i>\u00a0n\u00b014, Paris 2004<\/span><\/span><\/p>\n

238. \u00a0DA GALPAO DA DONA ANA DAS CARRANCAS EM PETROLINA\u00bb in 34 internationales forum des jungen films<\/i>, Berlin 2004<\/span><\/span><\/p>\n

237. POLITIQUE DE L\u2019UNDERGROUND, in\u00a0La revue forum des images<\/i>, n\u00b02 jan 2004<\/span><\/span><\/p>\n

236. SUR ORGIA, in Jean Lambert-wild, Phenomena,\u00a0les cahiers de l\u2019espac<\/i>e 2, Bourogne, 2004<\/span><\/span><\/p>\n

235. CINEMA St\u00e9phan Gu\u00e9neau & Louise Crawford, (fr\/eng) Street Level Photoworks, Glasgow 2003<\/span><\/span><\/p>\n

234. DEMONTER LE CINEMA , Film Appreciation Journal n\u00b0117, Taipei Oct-Dec 2003<\/span><\/span><\/p>\n

233 DANS L’ESPACE\u00a0: L’IMAGE, in Exp\u00e9rimentations cin\u00e9matographiques : une vision de l’art \u00e9largie, Pratiques R\u00e9flexions sur l’art n\u00b0 14<\/i>, Presses Universitaires de Rennes, Automne 2003<\/span><\/span><\/p>\n

232. SB, in\u00a0Stan Brakhage<\/i>, exhibition catalogue, Mistral, Tokyo, Nov 2003<\/span><\/span><\/p>\n

231. FILMS D\u2019ARCHIVES, Archives sous la direction de Val\u00e9rie Vignaux, in\u00a01895<\/i>\u00a0n\u00b041 oct 2003 <\/span><\/span><\/p>\n

230. FAMILY JEWELS. THE INFLUENCE OF COCTEAU ON EXPERIMENTAL CINEMA in JEAN COCTEAU Paul Holbertson Publishing, London, 2003<\/span><\/span><\/p>\n

229. BIJOUX DE FAMILLE, in catalogue\u00a0Jean Cocteau<\/i>\u00a0ed Centre Georges Pompidou, Paris 2003<\/span><\/span><\/p>\n

228. WATSON ET WEBBER\u00a0: UN CINEMA HYBRIDE,\u00a0in La premi\u00e8re avant-garde<\/i>, ed centre Georges Pompidou Paris 2003<\/span><\/span><\/p>\n

227. D\u2019UN BORD A L\u2019AUTRE LE REGARD\u2026 in\u00a0Chine(s) vid\u00e9oart et cin\u00e9ma exp\u00e9rimental de chine populaire et de ta\u00efwan<\/i>, ed Scratch Paris 2003<\/span><\/span><\/p>\n

226. Werner SHROETER, in\u00a0Dictionnaire des cultures Gays et Lesbiennes<\/i>, sous la direction de Didier Eribon, Larousse, Paris 2003<\/span><\/span><\/p>\n

225. Rosa Von PRAUHEIM, in\u00a0Dictionnaire des cultures Gays et Lesbiennes<\/i>, sous la direction de Didier Eribon, Larousse, Paris 2003<\/span><\/span><\/p>\n

224. Bruce LA BRUCE, in\u00a0Dictionnaire des cultures Gays et Lesbiennes<\/i>, sous la direction de Didier Eribon, Larousse, Paris 2003<\/span><\/span><\/p>\n

223. Joe DALLENSANDRO, in\u00a0Dictionnaire des cultures Gays et Lesbiennes<\/i>, sous la direction de Didier Eribon, Larousse, Paris 2003<\/span><\/span><\/p>\n

222. CINEMA GAY ET LESBIEN, LES GAYS AU CINEMA, in\u00a0Dictionnaire des cultures Gays et Lesbiennes<\/i>, sous la direction de Didier Eribon, Larousse, Paris 2003<\/span><\/span><\/p>\n

221. INTERVISTA A YANN BEAUVAIS E MILES MCKANE, Jean-Damien Collin e Lo\u00efc Diaz Ronda, in Tendanze del cinema francese contemporaneo, 39\u00b0 Mostra Internazionale del nuevo cinema<\/i>, Planete, Pesaro 2003 <\/span><\/span><\/p>\n

220. URBAN LIGHTS REMINISCENCES, in Videoex Internationales experimentalfilm & videofestival , Zurich, 2003 <\/span><\/span><\/p>\n

219. VAST GROUND FOR EXPLORATION,\u00a0Image Forum Festival catalogue<\/i>, Tokyo 2003,<\/span><\/span><\/p>\n

218. PAS A MA PLACE \/ NOT IN MY SHOES, in\u00a0H\u00e9l\u00e9na Villovitch<\/i>, Ed eof, Paris 2003<\/span><\/span><\/p>\n

217. PREFACE, in 5<\/i>\u00e8me<\/i>\u00a0tourn\u00e9e du cin\u00e9ma exp\u00e9rimental japonais en France<\/i>, ed [des’ka] 2003, Besan\u00e7on<\/span><\/span><\/p>\n

216. DOES ONE FILM TO FORGET, in http:\/\/www.artbrain.org\/does-one-film-to-forget<\/a>\/<\/a> <\/span>Cinema and the Brain Journal of Neuro-Aesthetic Theory #2<\/span><\/span><\/span><\/p>\n

215. DU SIDA ET DE LA VIDEO, in\u00a0Vid\u00e9o Topiques<\/i>, \u00c9d. Les Mus\u00e9es de Strasbourg \/ Paris Mus\u00e9es, 2002<\/span><\/span><\/p>\n

214. DE L’UN A LA SERIE, in L’Image en mouvent 25 ans d’activit\u00e9 pour la d\u00e9fense du cin\u00e9ma comme art visuel,<\/i> ed AFEA, Avignon, 2002<\/span><\/span><\/p>\n

213. VIVIAN OSTROVSKY, in\u00a0catalogue des rencontres de cin\u00e9ma de Paris<\/i>, 2002<\/span><\/span><\/p>\n

212. STATEMENT, in\u00a0The films of Jack Chamber<\/i>, ed by Kathryn Elder, Cinematheque of Ontario, Toronto 2002<\/span><\/span><\/p>\n

211. REMARQUES AUTOUR DE QUELQUES IMAGES DE TEO HERNANDEZ, in\u00a0revue d’esth\u00e9tique<\/i>\u00a041, ed Jean Michel Place, Paris 2002<\/span><\/span><\/p>\n

210. PREFACE, 4e Tourn\u00e9e du cin\u00e9ma exp\u00e9rimental japonais en France<\/i>, Maltese Cross Vision & [des’ka]neto, 2001<\/span><\/span><\/p>\n

209. FOUND FOOTAGE, in\u00a0Groupes mouvements tendances de l’art contemporain depuis 1945<\/i>, ed ENSBA, Paris 2001<\/span><\/span><\/p>\n

208. CINEMA EXPERIMENTAL, in\u00a0Groupes mouvements tendances de l’art contemporain depuis 1945<\/i>, ed ENSBA, Paris 2001 <\/span><\/span><\/p>\n

207. CINEMA D’EXPOSITION, in\u00a0Groupes mouvements tendances de l’art contemporain depuis 1945<\/i>, ed ENSBA, Paris 2001<\/span><\/span><\/p>\n

206. UNE TRAVERSEE DU DESERT, in\u00a0Trafic<\/i>, n\u00b0 40, P.O.L. Paris hiver 2001<\/span><\/span><\/p>\n

205. DE LA MASCARADE ET DU RAVISSEMENT, in\u00a0Episodic<\/i>, n\u00b07 Paris 2001<\/span><\/span><\/p>\n

204. DE L’EXPOSITION AU SAMPLING, LE CINEMA AUJOURD’HUI,\u00a0in Experimental cinema 3, generazione media<\/i>, Milano, 2001<\/span><\/span><\/p>\n

203. LEN LYE, exposition au Fresnoy,\u00a0Art Press<\/i>\u00a0n\u00b0 264, Paris, jan 2001<\/span><\/span><\/p>\n

202. CINEMAGICA, in LinkProject Netmage,\u00a0Piccola enciclopedia dell\u2019imaginario technolgico Media, arte, communicazione<\/i>, a cura di Andrea Lissoni ed Oscar Montadori, Milano 2000<\/span><\/span><\/p>\n

201. MONTER\/SAMPLER L’ECHNATILLONAGE GENERALISE, entretien avec yann beauvais et Miles McKane, par Philippe Langlois in Musica Falsa # 13<\/i>, Hiver 2000<\/span><\/span><\/p>\n

200. JE COPIE, TU RECYCLES, ILS CREENT, Monter \/ Sampler entretien avec yann beauvais & Jean-Michel Bouhours par Olivier Michelon, in Le Journal des Arts n\u00b0 115,<\/i> Nov 2000<\/span><\/span><\/p>\n

199. LA PROPRIETE C’EST LE VOL, co \u00e9crit avec Jean Michel Bouhours in\u00a0 monter\/sampler<\/i>, ed Scratch & Centre Georges Pompidou, Paris 2000<\/span><\/span><\/p>\n

198. DEMONTER LE CINEMA \u2013 Deconstructing Cinema, in\u00a0Artpress<\/i>\u00a0n\u00b0 262, Paris, Nov 2000<\/span><\/span><\/p>\n

197. ODRADEK traduction italienne dans in\u00a0experimental cinema 2<\/i>, ed Link project, Bologna 2000<\/span><\/span><\/p>\n

196. LES DIFFERENCES ENTRE LE CINEMA EXPERIMENTAL ET CINEMA DES PLASTICIENS, yann beauvais, Pierre Bismuth, Vincent Dieutre, Stephan Gu\u00e9neau, Olivier Michelon, Helga Fanderl, Philippe-Alian Michaud, Light Cone, Acc\u00e8s Local, Paris 2000<\/span><\/span><\/p>\n

195. Exposer le cin\u00e9ma ENTRETIEN r\u00e9alis\u00e9 par Muriel Caron et Gloria Ferreira, in Mouvement n\u00b08, Paris, 2000<\/span><\/span><\/p>\n

194. DE ROBERT FRANK A ANDY WARHOL, in\u00a0La mise en sc\u00e8ne<\/i>, sous la direction de Jacques Aumont, Arts et Cin\u00e9ma, Editions De Boeck Universit\u00e9, Bruxelles, 2000<\/span><\/span><\/p>\n

193. FREE RADICALS, in\u00a0Len Lye<\/i>, Centre Georges Pompidou, Paris Centre Georges Pompidou, Mars 2000<\/span><\/span><\/p>\n

192. IL Y A-T-IL UNE AVANT GARDE DANS LA SALLE, in Rep\u00e9rages # 9, Dec 199-Jan00<\/span><\/span><\/p>\n

191. D’UNE IMAGE, L’AUTRE, publication en fran\u00e7ais et espagnol in\u00a0Doce Notas<\/i>\u00a0n\u00b03, Barcelona Dec1999<\/span><\/span><\/p>\n

190. CADRE ARRAISONNE. AMORCE, in\u00a0Scratch Book,<\/i>\u00a0ed yann beauvais & Jean Damien Collin & ed Scratch Light Cone 1999<\/span><\/span><\/p>\n

189. NOTE DE PROGRAMME DU 6 MAI 1997, in yann beauvais le cin\u00e9ma d\u00e9cadr\u00e9,<\/i> ed Yanh-hao Liu, ed Tr\u00e9sor Paris\/Taipei 1999<\/span><\/span><\/p>\n

188. A PROPOS D’INSTALLATION, in yann beauvais le cin\u00e9ma d\u00e9cadr\u00e9,<\/i> ed Yanh-hao Liu, ed Tr\u00e9sor Paris\/Taipei 1999<\/span><\/span><\/p>\n

187. ENTRETIEN avec yann beauvais par Alain Alcide Sudre, in yann beauvais le cin\u00e9ma d\u00e9cadr\u00e9,<\/i> ed Yanh-hao Liu, ed Tr\u00e9sor Paris\/Taipei 1999<\/span><\/span><\/p>\n

186. LE MUSICAL,\u00a0in Film Appreciation Journal<\/i>\u00a0special issue Audio In Video Out, March April 99, Taiwan 1999<\/span><\/span><\/p>\n

185. ENTRETIEN yann beauvais \/ David Christophel Paris 21 Ao\u00fct 199, 12h, in Tais-Toi L\u00e0 n\u00b0006<\/i>, Nantes 1999<\/span><\/span><\/p>\n

184. CINEMA EXPERIMENTAL, UN RENOUVEAU,\u00a0les voix<\/i>\u00a0n\u00b0 86, printemps 99, Kyoto<\/span><\/span><\/p>\n

183. UN ART DU MOUVEMENT,\u00a0Vacarme<\/i>\u00a0n\u00b08, mai, Paris1999<\/span><\/span><\/p>\n

182. REMINISCENZE\u2026in\u00a0experimental cinema 1<\/i>, ed Link project, Bologna 1999<\/span><\/span><\/p>\n

181. DARE D’ARTE, in\u00a0experimental cinema 1<\/i>, ed Link project, Bologna 1999<\/span><\/span><\/p>\n

180. CINEMA UN MODE D’EMPLOI, in\u00a0Odradek<\/i>\u00a0n\u00b01, revue on line, mai 1999 <\/span><\/span><\/p>\n

179. AVANT PROGRAMME, in Cin\u00e9ma d’avant-garde fran\u00e7ais et Films exp\u00e9rimentaux fran\u00e7ais , Maltese Cross vision, Tokyo Nov 1998<\/span><\/span><\/p>\n

178. SUR LE CINEMA EXPERIMENTAL, Le Clebs n\u00b0 19<\/i>, Kyoto, avril-mai 1998179. CUTTINGS de Miles McKane, ed Mire, Nantes 1999<\/span><\/span><\/p>\n

177. AVANT PROGRAMME, in Cin\u00e9ma d’avant-garde fran\u00e7ais et Films exp\u00e9rimentaux fran\u00e7ais , Maltese Cross vision, Tokyo Nov 1998<\/span><\/span><\/p>\n

176. INTRODUCTION, in Cinema d’avant-garde fran\u00e7ais et film exp\u00e9rimental fran\u00e7ais<\/i>, Maltese Cross Vision, Tokyo 1998<\/span><\/span><\/p>\n

175. JACK SMITH, in\u00a0revue & corrig\u00e9e<\/i>. n\u00b038 dec, Grenoble 1998<\/span><\/span><\/p>\n

174\u00a0: SANS TABOUS, Cin\u00e9ma Underground des ann\u00e9es 60 \u00e0 nos jours, Forum des images, Paris Juin 1998<\/span><\/span><\/p>\n

173. NOTES SUR LE JOURNAL FILME, NOTES ON THE FILM DIARY in\u00a0Printemps de Cahors<\/i>, Acte Sud, Arles 1998<\/span><\/span><\/p>\n

172. INTERVENTION, in\u00a0Les gays savoirs<\/i>, sous la direction de Patrick Mauri\u00e8s, Le Promeneur, Paris 1998<\/span><\/span><\/p>\n

171. Erik WESSELO, in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

170 Erik WESSELO, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

169. David SHERMAN in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

168. David SHERMAN, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998163. Jennifer RIVES 167. Jennifer REEVES in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

166. Jennifer REEVES, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

165. TARIQ ALVI in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

164. TARIQ ALVI, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

163. Sacha DIEU, in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

162. Sacha DIEU, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

161. Didier COURBOT, in\u00a0De tr\u00e8s courts espaces de temps, Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

160. Didier COURBOT, in English Biennale de l’image<\/i>\u00a0Paris, CNP Actes Sud, 1998<\/span><\/span><\/p>\n

159. POUSSIERE D’IMAGE, recueuil d’articles, collection sine qua non, Ed Paris Exp\u00e9rimental, Paris 1998<\/span><\/span><\/p>\n

158. FRANZ\u00d6SISCHER EXPERIMENTALFILM VON 1945 BIS HEUTE, FRENCH EXPERIMENTAL FILM FROM 1945 TO NOW, in\u00a0Elfter Stuttgarter<\/i>\u00a0Filmwinter<\/i>, Stuttgart, 1998<\/span><\/span><\/p>\n

157. Extrato de Entrevista de yann beauvais e Miles McKane in catalogue\u00a0Artecinema Filmes experimentais \/ Filmes de artistas plasticos<\/i>, Centre Cultural Banco do Brasil, Rio de Janeiro, 1997<\/span><\/span><\/p>\n

156. INTRODUCTION ARTECINEMA in catalogue\u00a0Artecinema Filmes experimentais \/ Filmes de artistas plasticos<\/i>, Centre Cultural Banco do Brasil, Rio de Janeiro, 1997<\/span><\/span><\/p>\n

155. REMEMBRANCES – VISIBLE CITIES, in catalogue\u00a03 Internationale Biennale<\/i>, film+arc- gratz, Gratz 1997<\/span><\/span><\/p>\n

154. HOMAGE TO MARIO MONTEZ, in\u00a011th Mix Festival<\/i>, New York, 1997<\/span><\/span><\/p>\n

153. MOUVEMENT DE LA PASSION, in\u00a0Projection<\/i>s, les transports de l’image, catalogue exposition, ed Hazan, Le Fresnoy, AFAA, 1997<\/span><\/span><\/p>\n

152. WALDEN, D’UNE SEQUENCE, in\u00a0Walden Le Livre<\/i>, Light Cone Video & Paris\u00a0Exp\u00e9rimental, Paris, 1997<\/span><\/span><\/p>\n

151. ENTRETIEN \/ YANN BEAUVAIS, in\u00a0Episodic<\/i>\u00a0N\u00b02, Paris, Printemps 1997<\/span><\/span><\/p>\n

150. SGUARDO SULLE ULTIME ESPERIENZE DEL CINEMA SPERIMENTALE IN FRANCIA, \u00a0intervista a Yann Beauvais e Miles McKane a cura di Claudio Fausti, Rubens Machado, Serafino Murri, in\u00a0Close Up\u00a0Storie della visione n\u00b01<\/i>, Roma, Mars 1997<\/span><\/span><\/p>\n

149. LE JE FILME, in\u00a0Images en Mouvement, Ecoles des Arts d\u00e9co Journal<\/i>\u00a0n\u00b011, Paris, Juin 97<\/span><\/span><\/p>\n

148. LA CITATION PRIVILEGIE : L’IMAGE EN MOUVEMENT, in 1 Minute scenario,\u00a0Catalogue Printemps de Cahors<\/i>, Actes Sud, 1997<\/span><\/span><\/p>\n

147. D’UN MONDE A L’AUTRE, in German and English, Hyper Media Gestern und Morgen,\u00a043 Internationale Kurzfilmtage<\/i>\u00a0Oberhausen 1997<\/span><\/span><\/p>\n

146. Carte Blanche \u00e0 yann beauvais, Found Footage Film Festival Bielefeld, Nov 1996<\/span><\/span><\/p>\n

145. EDITORIAL avec Nicole Fernandez Ferrer, 3 e Festival de films gays et lesbien de Paris Dec 1996<\/span><\/span><\/p>\n

144. Wolf VOSTELL, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

143. Thierry VINCENS,in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

142. Jacques de La VILLEGLE, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

141. SCHMELZDAHIM, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

140. Martine ROUSSET, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

139. Peter ROSE, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

138. Jurgen REBLE, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

137. Ronald NAMETH, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

136. Matthias MUELLER, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

135. Lazlo MOHOLY-NAGY, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

134. Len LYE, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

133. Andrea KIRSCH, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996 <\/span><\/span><\/p>\n

132. Scott HAMMEN, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

131. C\u00e9cile FONTAINE, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

130. Daniel EISENBERG, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

129. yann beauvais Alain Alcide Sudre, in\u00a0L’art du Mouvement Collection cin\u00e9matographique du Mus\u00e9e national d’art moderne<\/i>, sous la direction de Jean Michel Bouhours, Ed Centre Pompidou, Paris 1996<\/span><\/span><\/p>\n

128. SCENES FROM THE LIFE OF ANDY WARHOL, in Il cinema e il suo oltre<\/i>, a cura de Adriano Apr\u00e0 e Bruno di Marino, Pesaro Oct 1996<\/span><\/span><\/p>\n

127. KISS in Il cinema e il suo oltre,<\/i> a cura de Adriano Apr\u00e0 e Bruno di Marino, Pesaro Oct 1996<\/span><\/span><\/p>\n

126. HIROYUKI OKI, Film Appreciation Journal, n\u00b0 83\/84<\/i>\u00a0Taiwan Nov\/Dec 96<\/span><\/span><\/p>\n

125. LE JE A LA CAMERA , Film Appreciation Journal n\u00b0 82<\/i>\u00a0, Taiwan Jui\/Aug 96<\/span><\/span><\/p>\n

124. A FEW NOTES ON THE SUBJECT OF AUTOBIOGRAPHY IN FILM, De autobiografie in de film\u00a0: enkele opmerkingen, in\u00a0Impakt Festival<\/i>\u00a0Catologus<\/i>, Utrech 1996<\/span><\/span><\/p>\n

123. CHARAKTERISIERTE INFORMATIONEN \/ CHARACTERIZED INFORMATION, in\u00a042 International Kurzfilmtage catalogue<\/i>, Oberhausen 1996<\/span><\/span><\/p>\n

122. KEN JACOBS Das Kino Als Geisterbild in catalogue\u00a042\u00e8me international short film festiva<\/i>l Oberhausen 1996<\/span><\/span><\/p>\n

121. KENNETH ANGER, GREGORY MARKOPOULOS ET JEAN GENET, in Feminin Masculin,\u00a0Vertigo n\u00b0 14<\/i>, Paris 1996<\/span><\/span><\/p>\n

120. DARE – D’ART, in\u00a03e Biennale d’art contemporain de Lyon<\/i>, R\u00e9union des Mus\u00e9e Nationaux, 1995, <\/span><\/span><\/p>\n

119. SPEED READING, in\u00a03e Biennale d’art contemporain de Lyon<\/i>, R\u00e9union des Mus\u00e9e Nationaux, 1995<\/span><\/span><\/p>\n

118. DAVID WOJNAROWICZ, ed American Center, Paris 1995<\/span><\/span><\/p>\n

117. LA REPRESENTATION DE LA SEXUALITE AVANT ET APRES LE SIDA, in\u00a02e festival<\/i>\u00a0de film gays & lesbiens de paris<\/i>, Paris 1995<\/span><\/span><\/p>\n

116. LE CHANT DU POETE, in\u00a0Gregory J. Markopoulos r\u00e9trospective<\/i>, Ed American Center, Paris 1995<\/span><\/span><\/p>\n

115. FOUND FOOTAGE entretien avec yann beauvais par Dieter Meyer, Journal des Expositions n\u00b0 28<\/i> Sep 1995<\/span><\/span><\/p>\n

114. TRAVAIL DE LA COULEUR, in\u00a0Po\u00e9tique de la couleur<\/i>, ed Auditorium du Louvre \/ Institut de l’Image, Paris 1995<\/span><\/span><\/p>\n

113. PLUS DURE SERA LA CHUTE, ed Galerie Nationale du Jeu de Paume, Paris 1995<\/span><\/span><\/p>\n

112. KEN JACOBS, in\u00a0Revue et Corrig\u00e9<\/i>\u00a0, N\u00b024 Juin Juillet 1995<\/span><\/span><\/p>\n

111. ANDY WARHOL, VOM SIEDBRUCK zum KATHODENSTRAHL, in Europeaan Media Art Festival<\/i> Osnabruck 1995<\/span><\/span><\/p>\n

110. MONSIEUR PHOT JOSEPH CORNELL, in\u00a0Anthologie du Cinema Invisible<\/i>\u00a0ed Christian Janicot, Jean Michel Place et Arte editions, Paris 1995<\/span><\/span><\/p>\n

109. EXPERIMENTATION CINEMATOGRAPHIQUE ET DOCUMENTAIRE, in\u00a0Revue<\/i>\u00a0documentaires n\u00b0 10<\/i>, Paris 1995<\/span><\/span><\/p>\n

108. HIROYUKI OKI, in\u00a0Le je film\u00e9<\/i>, ed Centre Georges Pompidou, Scratch, Paris 1995, <\/span><\/span><\/p>\n

107. JACK CHAMBERS, in\u00a0Le je film\u00e9<\/i>, ed Centre Georges Pompidou, Scratch, Paris 1995<\/span><\/span><\/p>\n

106. LE JE A LA CAMERA, co-\u00e9crit avec Jean Michel Bouhours, in\u00a0Le je film\u00e9<\/i>, ed Centre Georges\u00a0Pompidou, Scratch, Paris 1995, <\/span><\/span><\/p>\n

105. JOURNAUX FILMES texte avec J.M Bouhours pr\u00e9sentation de l’exposition le Je film\u00e9, in Actualit\u00e9 5, Centre Georges Pompidou,avril\/juin 1995<\/span><\/span><\/p>\n

104. JOURNAUX FILMES Cin\u00e9ma du Mus\u00e9e, Centre Pompidou mai 1995<\/span><\/span><\/p>\n

103. TEMPS DE METRE in\u00a0D\u00e9fil\u00e9 de film re cadr\u00e9<\/i>, ed Scratch la zonm\u00e9ee, Montreuil 1995<\/span><\/span><\/p>\n

102. DEFILE DE FILM RE CADRE, in\u00a0D\u00e9fil\u00e9 de film re cadr\u00e9<\/i>, ed Scratch la zonm\u00e9ee, Montreuil 1995<\/span><\/span><\/p>\n

101. LE CINEMA COMME IMAGE FANTOME, in\u00a0Ken Jacobs<\/i>, Ed American Center, Paris 1994 <\/span><\/span><\/p>\n

100. FROM SILVER SCREEN TO THE CATHODERAY TUBE,\/ DE L’ECRAN ARGENTIQUE AU TUBE CATHODIQUE in\u00a0Warhol Film & Television<\/i>, Ed American Center, Paris 1994<\/span><\/span><\/p>\n

099. MUSICALITE DU SILENCE, in\u00a0Music Film<\/i>, Textes r\u00e9unis par Cecilia Hausheer, ed Viper syklop\/verlag, Luzern 1994<\/span><\/span><\/p>\n

098. ALWAYS FAIR WEATHER, in Mesh film\/video\/media:art n\u00b04<\/i>, Spring Victoria 1994<\/span><\/span><\/p>\n

097. ALWAYS FAIR WEATHER,\u00a0revue de l’Institut Fran\u00e7ais de Bilbao N\u00b01<\/i>, Octobre 94<\/span><\/span><\/p>\n

096. DEREK JARMAN, in\u00a0Revue et Corrig\u00e9e<\/i>\u00a0, N\u00b0 21 Septembre Octobre 94<\/span><\/span><\/p>\n

095. LE FILM NOIR DANS LE FILM EXPERIMENTAL, in\u00a0L’Armateur n\u00b012<\/i>\u00a0Juin 1994<\/span><\/span><\/p>\n

094. CLIN D’\u0152IL, Le phare n\u00b02<\/i>, Light Cone, mai 1994<\/span><\/span><\/p>\n

093. LEN LYE, in\u00a0L’Armateur n\u00b0 11<\/i>\u00a0Avril Mai 1994<\/span><\/span><\/p>\n

092. LE CINEMA DECOLLE, (r\u00e9trospective C\u00e9cile Fontaine) Centre Georges Pompidou Paris Avril 94<\/span><\/span><\/p>\n

091. REMINISCENCES… Sur les soir\u00e9es Jonas Mekas et Andy Warhol vu par Yann Beauvais, in\u00a0Limelight n\u00b0 26<\/i>\u00a0Avril 94, <\/span><\/span><\/p>\n

090. HOMMAGE \u00e0 PAUL SHARITS, in l’Armateur n\u00b0 8 Paris Octobre Novembre 93<\/span><\/span><\/p>\n

089. UN CINEMA MINEUR, DE MOEURS, D’HUMEUR, in Un second si\u00e8cle pour le cin\u00e9ma,\u00a0Hors s\u00e9rie n\u00b014, Art Press<\/i>\u00a0sp\u00e9cial Cin\u00e9ma , Paris 1993<\/span><\/span><\/p>\n

088. LE CINEMA S’INSTALLE in Nov Art n\u00b0 11<\/i> ed Art 3000, 1993.<\/span><\/span><\/p>\n

087. LE CINEMA S’INSTALLE, catalogue de l’exposition\u00a0Images en sc\u00e8ne installations vid\u00e9o cin\u00e9ma<\/i>, Palais de Tokyo, ed Art 3000 Juin 1993 et<\/span><\/span><\/p>\n

086. FADE TO BLACK, De Film Noir in de experimentele cinema,\u00a0Andere Sinema n\u00b0 115<\/i>, Mei\/Juni, Antwerp 1993 <\/span><\/span><\/p>\n

085. ALWAYS FAIR WEATHER, in catalogue\u00a0Innovation 93<\/i>, Manchester 1993<\/span><\/span><\/p>\n

084. INSIDE OUT-TAKES Desmontaje: Film, Video Apropiacion, Reciclaje<\/i>, ed IVAM Centre Julio Gonzalez Valencia,1993<\/span><\/span><\/p>\n

083. RE-NATOS DESCARTES, in\u00a0Desmontaje: Film, Video Apropiacion, Reciclaje<\/i>, ed IVAM Centre Julio Gonzalez Valencia,1993<\/span><\/span><\/p>\n

082. IL N’EST JAMAIS TROP TARD POUR MATER L’ART, in\u00a0l’Armateur n\u00b0 6<\/i>, Paris Mars Avril 93<\/span><\/span><\/p>\n

081. BRUCE CONNER: Une esth\u00e9tique de la diversion, in\u00a0l’Armateur n\u00b0 5<\/i>, Jan Fev 93<\/span><\/span><\/p>\n

080. \u00dcber die Verwendung von Found Footage in einigen meiner Filme\u00a0, ON THE USE OF FOUND FOOTAGE IN SEVERAL OF MY FILMS, in Found Footage Film<\/i>, sous la dir. de Cecilia Hausheer, Christoph Settele, Viper\u00a0\/\u00a0Zyklop Verlag , Lucerne, 1992<\/span><\/span><\/p>\n

079. LOST AND FOUND, VERLOREN und WIEDERGEFUNDEN in\u00a0Found Footage Film<\/i>, Textes r\u00e9unis par Cecilia Hausheer et Christophe Settele, ed Viper syklop\/verlag, Luzern 1992<\/span><\/span><\/p>\n

078. SINK OR SWIN de Su Friedrich, dans\u00a0l’Armateur n\u00b01<\/i>, Paris 1992<\/span><\/span><\/p>\n

077. RAPPORTS ENTRE LASZLO MOHOLY NAGY ET LEN LYE, \u00e9dit\u00e9 par MA DAI et Fonction Cin\u00e9ma, Gen\u00e8ve, Mai 1992<\/span><\/span><\/p>\n

076\u00a0. CECILE FONTAINE, Blimp Zeitschrift f\u00fcr Film, Heft 16<\/i>, Fr\u00fchjar 1991<\/span><\/span><\/p>\n

075. FOUND FOOTAGE Von Wandel der Bilder,\u00a0Blimp Zeitschrift f\u00fcr Film, Heft 16<\/i>, Fr\u00fchjar 1991<\/span><\/span><\/p>\n

illus 22. SI FILM DA, City Monitor Auckland<\/i> 1991<\/span><\/span><\/p>\n

074. A bit of yann beauvais, in Stamp n\u00b024<\/i>, Auckland 0ct 1991<\/span><\/span><\/p>\n

Illus 21. New Queer Cinema Ica conference, London, Sep 1991<\/span><\/span><\/p>\n

Illus 20. Composing & performing film the cinema practice of yann beauvais by Lawrence McDonald, Illusions, issue 17,<\/i> Aukland 1991<\/span><\/span><\/p>\n

073. NOUVELLES TENDANCES, catalogue\u00a0Cin\u00e9ma Exp\u00e9rimental, Mois du Graphisme<\/i><\/span><\/span><\/p>\n

d’Echirolles<\/i>, Art Toung! Echirolles, Mai 1991<\/span><\/span><\/p>\n

072. NOUVELLES TENDANCES, catalogue\u00a0 Mois du Graphisme d’Echirolles<\/i>, Art Toung! Echirolles, Mai 1991<\/span><\/span><\/p>\n

071. EINE KUNST ENTSTECHT: MUSIK und AVANTGARDE der ZWANZIGERJAHRE, in\u00a0Kameradschaft-Querelle, Kino zwischen Deutschland und Frankreich,<\/i>\u00a0Cicim\/ Institut Fran\u00e7ais de Munich 1991<\/span><\/span><\/p>\n

070. UN ART SE CONSTITUE, in\u00a0Tendres ennemis, Cent ans de cin\u00e9ma entre la France et l’Allemagne<\/i>, \u00e9dit\u00e9s par Heike hurst et Heiner Gassen, Editions L’Harmattan, Paris 1991<\/span><\/span><\/p>\n

069. THREE ASPECTS OF FRENCH EXPERIMENTAL FILM: INTERVIEW WITH YANN BEAUVAIS AND ROSE LOWDER AND ALAIN-ALCIDE SUDRE, by William English in\u00a0Millennium Film Journal N\u00b0 23-24<\/i>\u00a0Winter 90-91<\/span><\/span><\/p>\n

068. yann beauvais INTERVIEW, in Revue & Corrig\u00e9e n\u00b06<\/i>, Grenoble 1990<\/span><\/span><\/p>\n

067. FIXER DES IMAGES EN MOUVEMENTS, in\u00a0Andy Warhol, Cin\u00e9ma<\/i>, ed Carr\u00e9 et Centre G. Pompidou Paris 1990<\/span><\/span><\/p>\n

066. UN CINEMA DE L’ECART, (r\u00e9trospective M. Rousset) C. G. Pompidou, Paris 1989<\/span><\/span><\/p>\n

065. COUP DE FOUDRE, in\u00a0Hello HappyTaxpayersn\u00b08<\/i>, Bordeaux 1989<\/span><\/span><\/p>\n

064. INTERVIEW AVEC yann beauvais, in Hello HappyTaxpayersn\u00b07<\/i>, Bordeaux 1988<\/span><\/span><\/p>\n

063. DES MOTS ENCORE DES MOTS, in\u00a0Mots: dites, image<\/i>\u00a0C. G.Pompidou et Scratch, Paris 1988<\/span><\/span><\/p>\n

062. Mots\u00a0: dites, image Cin\u00e9ma du mus\u00e9e, Centre Georges Pompidou<\/i>, nov 1988<\/span><\/span><\/p>\n

061. BRIEF NOTE: FRENCH SUPER 8,\u00a0International Forum of S.8 Exit Art<\/i>, New York 1988<\/span><\/span><\/p>\n

060.CINEMA JE\/CINEMA JEU, (r\u00e9trospective V. Ostrovsky) C.G.Pompidou<\/i>, Paris 1988<\/span><\/span><\/p>\n

059. EXPERIMENTAL,\u00a0Gaipied n\u00b0341<\/i>, Paris 1988<\/span><\/span><\/p>\n

058. LA PETITE MODULATION, (r\u00e9trospective R. Lowder) ed C. G. Pompidou Paris 1987<\/span><\/span><\/p>\n

057.LE CINEMA DE DEREK JARMAN, in\u00a0Gaipied\u00a0<\/i>n\u00b0299\/300, Paris 1987<\/span><\/span><\/p>\n

056. NOTATIONS in\u00a0Musique Film\u00a0<\/i>ed Scratch\/ Cin\u00e9math\u00e8que Fran\u00e7aise Paris 1986<\/span><\/span><\/p>\n

055. AVANT PROPOS Musique Film\u00a0<\/i>ed Scratch\/ Cin\u00e9math\u00e8que Fran\u00e7aise Paris 1986<\/span><\/span><\/p>\n

054. CINEMA EXPERIMENTAL ET MUSIQUE, La Cin\u00e9math\u00e8que Fran\u00e7aise n\u00b09<\/i> mai 1986 <\/span><\/span><\/p>\n

053. MANIFESTLY,\u00a0Undercut n\u00b016<\/i>, London 1986<\/span><\/span><\/p>\n

052. HOLLIS FRAMPTON RECOLLECTIONS RECREATIONS, in Scratch n\u00b08,<\/i>\u00a0oct 1985<\/span><\/span><\/p>\n

051. SP\u00cfRAL n\u00b02, 3 et 4, AVANGUARDIA CINEMATOGRAFICA LETTRISTA, UNE RENAISSANCE DU CINEMA LE CINEMA UNDERGROUND AMERICAIN, OCTOBER 29, MILENNIUM 14, 15, UNDERCUT n\u00b013, VIEWS n\u00b0 2, Scratch n\u00b08,<\/i>\u00a0oct 1985<\/span><\/span><\/p>\n

050. CORRRESPONDA(E)NCE ADELE FRIEDMAN \/ yann beauvais\u00a0Scratch n\u00b08,<\/i>\u00a0oct 1985<\/span><\/span><\/p>\n

049. INTERVIEW DE BARBARA HAMMER\u00a0Scratch n\u00b08<\/i>, oct 1985<\/span><\/span><\/p>\n

048. CONVERSATIONS avec Martine Rousset, David Wharry yann beauvais\u00a0Scratch n\u00b07\u00a0<\/i>juil 85045\u00a0.<\/span><\/span><\/p>\n

047. Le Cin\u00e9ma des Plasticiens, ed Scratch,<\/i> Paris1985<\/span><\/span><\/p>\n

046. L’EX STA5S)DE DU MIROIR, in Artzine n\u00b03<\/i>, Paris 1985<\/span><\/span><\/p>\n

045. ROBERT BREER A Study of his work in the context of the modernist tradition,\u00a0Scratch n\u00b06<\/i>\u00a0jan 1985<\/span><\/span><\/p>\n

044. THE BAUDELAREAN CINEMA,\u00a0Scratch n\u00b06<\/i>\u00a0jan 1985<\/span><\/span><\/p>\n

043. INTERVIEW DE PETER GIDAL avec Rose Lowder,\u00a0Scratch n\u00b06<\/i>\u00a0jan 1985<\/span><\/span><\/p>\n

042. CADRE RAISONNE… in Artzine n\u00b01, Paris 1985<\/span><\/span><\/p>\n

041. APER\u00c7U SUR LE CINEMA EXPETRIMENTAL AUJOURD’HUI, ENTRETIEN AVEC YANN BEAUVAIS, Alain Alcide Sudre, Cin\u00e9ma 84, n\u00b0 30<\/i>, Sept 1984<\/span><\/span><\/p>\n

040.QUESTIONS DE SIMULACRE, catalogue\u00a0Alibis<\/i>, sous la direction de Bernard Blist\u00e8ne, Centre G. Pompidou Paris 1984<\/span><\/span><\/p>\n

039. RICHARD SERRA, in\u00a0Scratch n\u00b0 4\/5<\/i>\u00a0Avr 1984<\/span><\/span><\/p>\n

038. L’AFA MINE L’AUTRE C\u00d6TE in\u00a0<\/span><\/span>Scratch n\u00b0 4\/5<\/i><\/span><\/span>\u00a0Avr 1984<\/span><\/span><\/p>\n

037. THE FUNNEL in\u00a0Scratch n\u00b0 4\/5<\/i>\u00a0Avr 1984<\/span><\/span><\/p>\n

036. HOWARD GURRENPLAN une interview\u00a0Scratch n\u00b0 4\/5<\/i>\u00a0avr 1984<\/span><\/span><\/p>\n

035. ROBERT BREER Une interview,\u00a0Scratch n\u00b0 4\/5<\/i>\u00a0avr 1984<\/span><\/span><\/p>\n

034. AN INTERVIEW WITH YANN BEAUVAIS Cantrills Filmnotes n\u00b043,44, Melbourne, Feb 1984<\/span><\/span><\/p>\n

033. DISJET\u00a0Scratch n\u00b0 3<\/i>\u00a0nov 1983<\/span><\/span><\/p>\n

032. LOT IN SODOM,\u00a0Scratch n\u00b0 3<\/i>\u00a0nov 1983<\/span><\/span><\/p>\n

031. SUR LES PROPOSITIONS DE JOHN WHITNEY,\u00a0Scratch n\u00b0 3<\/i>\u00a0nov 1983 <\/span><\/span><\/p>\n

030. Art Cinema, ed. Scratch <\/i>1983<\/span><\/span><\/p>\n

029. EDITORIAL Scratch n\u00b02<\/i>\u00a0avr 1983<\/span><\/span><\/p>\n

028. BRAKHAGE SCRAPBOOK,\u00a0Scratch n\u00b02<\/i>\u00a0avr 1983<\/span><\/span><\/p>\n

027. 10 YEARS OF LIVING CINEMA,\u00a0Scratch n\u00b02<\/i>\u00a0avr 1983<\/span><\/span><\/p>\n

026. CONVERSATIONS AVEC PAUL SHARITS HYERES 1980,\u00a0Scratch n\u00b01<\/i>\u00a0oct1982<\/span><\/span><\/p>\n

025.TEMPS DE METRE, Le Lumen,<\/i> Beauvais 1981 <\/span><\/span><\/p>\n

024. Adicinex Cin\u00e9matographies Exp\u00e9rimentales notes programmes\u00a0: Edouard BEUX, Jean-Michel BOUHOURS, Robert BREER, Jaques CURTY, Tony CONRAD, Philip DUBUQUOY, Taka IIMURA, Peter KUBELKA, Christian LEBRAT, Rose LOWDER, Jacques MONORY, Robert NELSON, Georges REY, Paul SHARITS, Kirk TOUGAS, Philippe VIGOUREUX, Andy WARHOL, Dominique WILLOUGHBY, Avignon, Juillet 1981 <\/span><\/span><\/p>\n

024. Note programme Adicinex, Couch + Blonde Cobra, mai 1981<\/span><\/span><\/p>\n

023. JACOBS \/ WARHOL,\u00a0in GaiPied n\u00b026<\/i>\u00a0Paris, Mai 1981<\/span><\/span><\/p>\n

022. Note programme Adicinex Philippe Vigoureux, Christian Lebrat, Peter Kubelka, Hans Richter, Fev, Mars, 1981 <\/span><\/span><\/p>\n

021. EVASION IMAGINAIRE, Reprise d’Un chant d’amour de Jean Gen\u00eat, in\u00a0GaiPied n\u00b021<\/i>, Paris D\u00e9c 1980<\/span><\/span><\/p>\n

020. Paul SHARITS , Adicinex, Nov 1980 <\/span><\/span><\/p>\n

018. Articles in\u00a0Cin\u00e9matographies exp\u00e9rimentales<\/i>, ed Pr\u00e9a \/ Adicinex, Avignon 1981<\/span><\/span><\/p>\n

017. GAY WASHINGTON MARCH et IXE, 3oct, FILMS DE JONAS MEKAS 17oct, Adicinex Paris 1980 <\/span><\/span><\/p>\n

016. FESTIVAL D’HYERES 1980, Cin\u00e9ma diff\u00e9rent, in\u00a0Cin\u00e9matographe n\u00b060<\/i>, Paris 1980<\/span><\/span><\/p>\n

014. MACADAM BODY, co ecrit avec Patrick Sarfati,\u00a0GaiPied n\u00b011\u00a0<\/i>fev 1980<\/span><\/span><\/p>\n

013. SEDUCTION ET DON JUAN, in\u00a0GaiPied n\u00b010<\/i>\u00a0Jan 1980<\/span><\/span><\/p>\n

012. NOUS ETIONS UN SEUL HOMME, in\u00a0GaiPied n\u00b09\u00a0<\/i>d\u00e9c 1979<\/span><\/span><\/p>\n

011. THE SERVANT, in\u00a0GaiPied n\u00b09<\/i>\u00a0d\u00e9cembre 1979<\/span><\/span><\/p>\n

010. LA LUNA nouveau Bertolucci GaiPied n\u00b08<\/i>\u00a0nov 1979<\/span><\/span><\/p>\n

009. SURREALIST QUEEN\u00a0GaiPied n\u00b08<\/i>\u00a0nov 1979<\/span><\/span><\/p>\n

008. LA RACE d’EP une interview de SOUKAZ et HOCQUENGHEM,\u00a0GaiPied n\u00b07<\/i>\u00a0Oct 1979<\/span><\/span><\/p>\n

007. APOCALYPSE NOW de F.F.COPPOLA\u00a0GaiPied n\u00b07<\/i>\u00a0Oct 1979<\/span><\/span><\/p>\n

006. CITES DE LA NUIT, GaiPied n\u00b07<\/i>\u00a0Oct 1979<\/span><\/span><\/p>\n

005. NEW YORCK CITY in\u00a0GaiPied n\u00b03<\/i>, Juin 1979<\/span><\/span><\/p>\n

004. KENNETH ANGER, in\u00a0GaiPied n\u00b02<\/i>, Paris Mai 1979<\/span><\/span><\/p>\n

003. PARLONS-EN DE SUPERMAN, in\u00a0GaiPied n\u00b01<\/i>\u00a0Avr 1979<\/span><\/span><\/p>\n

002. ABSTRACT FILM AND BEYOND de Malcolm LEGRICE, in\u00a0Melba n\u00b0 4\/5<\/i>\u00a0Paris, Dec 1977<\/span><\/span><\/p>\n

001. R et FUGUE CHROMATIQUE, Melba n\u00b0 3<\/i>\u00a0Paris1977<\/span><\/span><\/p>\n