L'Abbatiale de la
Liturgie Apocryphe

Montréal, p.Q.

GIOVANNI GASPARRO 'La Veronica', Olio su specchio, 98 X 73 cm ,2013. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘La Veronica’, Olio su specchio, 98 X 73 cm ,2013. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Attributi iconografici di san Massimo d'Aveia martire Cimasa per l'altare di san Massimo d'Aveia martire.' Olio su tela, 58 X 70 cm, 2011. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Attributi iconografici di san Massimo d’Aveia martire. Cimasa per l’altare di san Massimo d’Aveia martire’, Olio su tela, 58 X 70 cm, 2011. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'La visione di san Giovanni a Patmos. La Donna vestita di sole', Olio su tela, 325 X 180 cm, 2012. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘La visione di san Giovanni a Patmos. La Donna vestita di sole’, Olio su tela, 325 X 180 cm, 2012. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Quum memoranda (Servo di Dio, Papa Pio VII Chiaramonti)', Olio su tela, 90 X 70 cm, 2014. Roma, Fondazione Pio Alferano (Opera vincitrice del Premio Pio Alferano). Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Quum memoranda (Servo di Dio, Papa Pio VII Chiaramonti)’, Olio su tela, 90 X 70 cm, 2014. Roma, Fondazione Pio Alferano (Opera vincitrice del Premio Pio Alferano). Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Santa Thérèse di Lisieux', Olio su tela, 90 X 70 cm, 2014. Ruvo di Puglia (BA), Collezione privata. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Santa Thérèse di Lisieux’, Olio su tela, 90 X 70 cm, 2014. Ruvo di Puglia (BA), Collezione privata. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Santa Elisabetta della Trinità', Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Santa Elisabetta della Trinità’, Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'San Pio X Pontefice Massimo', Olio su tela, 90 X 70 cm, 2015. Bassano del Grappa (VI), Collezione Privata. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘San Pio X Pontefice Massimo’, Olio su tela, 90 X 70 cm, 2015. Bassano del Grappa (VI), Collezione Privata. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'San Biagio vescovo e martire', Olio su tela, 216 X 143 cm, 2011. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘San Biagio vescovo e martire’, Olio su tela, 216 X 143 cm, 2011. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'San Nicola di Bari schiaffeggia l'eresiarca Ario', Olio su tela, 100 X 120 cm, 2016. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘San Nicola di Bari schiaffeggia l’eresiarca Ario’, Olio su tela, 100 X 120 cm, 2016. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'San Nicola di Bari', Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘San Nicola di Bari’, Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'San Francesco d'Assisi ricevuto da papa Innocenzo III', Olio su tela, 199 X 165 cm, 2016. Trani, Chiesa di San Francesco d'Assisi. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘San Francesco d’Assisi ricevuto da papa Innocenzo III’, Olio su tela, 199 X 165 cm, 2016. Trani, Chiesa di San Francesco d’Assisi. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Pio VI Pontefice Massimo', Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Pio VI Pontefice Massimo’, Olio su tela, 90 X 70 cm, 2016. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Labano cerca gli idoli nel baule di Giacobbe', Olio su tela, 119 X 151 cm, 2013. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Labano cerca gli idoli nel baule di Giacobbe’, Olio su tela, 119 X 151 cm, 2013. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Corredenzione', Olio su tela, 80 x 100 cm, 2015. Bari, Collezione privata. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Corredenzione’, Olio su tela, 80 x 100 cm, 2015. Bari, Collezione privata. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'La mano destra che sa cosa fa la sinistra', Olio su tela, 40 X 70 cm, 2011

‘La mano destra che sa cosa fa la sinistra’, Olio su tela, 40 X 70 cm, 2011


GIOVANNI GASPARRO 'In hoc signo vinces. Il sogno di Costantino', Olio su tela, 115 X 207 cm, 2015. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘In hoc signo vinces. Il sogno di Costantino’, Olio su tela, 115 X 207 cm, 2015. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Il canto del tradimento - Il gallo di san Pietro Cimasa dell'altare di san Pietro', Olio su tela, 59 X 80 cm, 2011. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Il canto del tradimento – Il gallo di san Pietro Cimasa dell’altare di san Pietro’, Olio su tela, 59 X 80 cm, 2011. Image copyright © Archivio dell’Arte / Luciano Pedicini


GIOVANNI GASPARRO 'Il sogno di san Giuseppe', Olio su tela, 207 X 155 cm, 2012. Image copyright © Archivio dell'Arte / Luciano Pedicini

‘Il sogno di san Giuseppe’, Olio su tela, 207 X 155 cm, 2012. Image copyright © Archivio dell’Arte / Luciano Pedicini



GIOVANNI GASPARRO


GIOVANNI GASPARRO was born in Bari in 1983. He graduated at the Academy of Fine Arts in Rome in 2007, as a pupil of the painter Giuseppe Modica, with a thesis in art history on the Roman stay of Van Dyck. His Last Supper painting is exhibited in the film Saturno contro by Ferzan Ozpetek. The first solo exhibition in Paris is in 2009. In 2011, the Arcidiocesis of L’Aquila commissioned him 19 works of art between altar and altarpiece for the Basilica of San Giuseppe Artigiano (XIII sec.), damaged by the earthquake of 2009 , which constitute the largest painting cycle of sacred art made in recent years (…)



Merci Yvan Arseneault

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

 

ALFRED KUBIN was an Austrian printmaker, illustrator, and occasional writer. He is considered an important representative of Symbolism and Expressionism.

 

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)

ALFRED LEOPOLD ISIDOR KUBIN (1877-1959)


ALFRED LEOPOLD ISIDOR KUBIN
(April 10, 1877 – August 20, 1959, Autria)



Alfred Leopold Isidor Kubin was one of the major graphic artists of the 20th century who was widely known for his illustrations of writers of the fantastic such as Balzac, E.T.A. Hoffmann, Gustav Meyrink and Edgar Allan Poe. In his combination of the darkly decadent, the fantastic and the grotesque, in his evocations of dream and nightmare, his creation of an atmosphere of mystery and fear he resembles Mervyn Peake. The Other Side is his only literary work. Like Peake’s Gormenghast, it tells of a dream kingdom which becomes a nightmare, of a journey to Pearl, a mysterious city created deep in Asia, which is also a journey to the depths of the subconscious. Or as Kubin himself called it, ‘a sort of Baedeker for those lands which are half known to us’. Written in 1908, and more or less half way between Meyrink and Kafka, it was greeted with wild enthusiasm by the artists and writers of the Expressionist generation. Franz Marc called it a magnificent reckoning with the 19th century and Kandinsky said it was almost a vision of evil, while Lyonel Feininger wrote to Kubin, “I live much in Pearl, you must have written it and drawn it for me.”

 

Kubin is considered an important representative of Symbolism and Expressionism and is noted for dark, spectral, symbolic fantasies, often assembled into thematic series of drawings. From 1906 until his death, he lived a withdrawn life in a small castle on a 12th-century estate in Zwickledt, Upper Austria.

TNZR056 : Guy Thouin, Rien ô tout ou linéaire un

Pochette MAXIME JENNISS



À paraître au mois d’avril MMXVIII sur l’étiquette montréalaise TENZIER

TNZR056 : GUY THOUIN, Rien ô tout ou linéaire un


Environnement sonore conçu pour une structure-lumière constituée de rayons lasers et de faisceaux lumineux. Présenté au MAC Musée d’art contemporain de Montréal, du 21 octobre au 7 novembre 1971, dans le cadre de l’exposition Structure immatérielle du sculpteur ROLAND POULIN.


***


ROLAND POULIN (March 13, 2010)

Rapport annuel, bilan des opérations :




MMXVII



L'ABBATIALE DE LA LITURGIE APOCRYPHE v.1

L'ABBATIALE DE LA LITURGIE APOCRYPHE v.1, premier 'post' décembre 2007

ilmaccompagne.wordpress.com – Première publication le 3 décembre MMVII


L'ABBATIALE DE LA LITURGIE APOCRYPHE v.2

Migration vers la version antérieure, 23 décembre MMIX



MI AMORE

MI AMORE 'Crawlin' Kingsnake' (2002) sur Hérétique Musique (Bandcamp)

MI AMORE ‘Crawlin’ Kingsnake’ (2002) sur le Bandcamp de Hérétique Musique??? Il est même possible d’acheter les chansons. ‘Qu’est-ce que fvck’?



MI AMORE 'Crawlin' Kingsnake' (2002)

MI AMORE 'Crawlin' Kingsnake' (2002)

MI AMORE Crawlin’ Kingsnake‘ (enregistré en 2001 au studio Le Labs à Québec par Louis Dionne durant les premières frappes américaines sur l’Afghanistan — paru sur Cyclop Media en CD, MMII)



MI AMORE


MI AMORE 'The Lamb' (2005)

MI AMORE 'The Lamb' (2005)

MI AMORE The Lamb (enregistré en 2004 au studio Godcity à Salem, MA par Kurt Ballou — paru sur Cyclop Media en CD, MMV)



SURFACE DE RÉPARATION

Affiche pour le film de RALPH ELAWANI


Surface de réparation (2017) de RALPH ELAWANI


Surface de réparation
Ralph Elawani, Canada, 2017



Initialement envisagé comme un portrait impressionniste, une dérive autour du football et de sa «consommation» dans un quartier montréalais à forte densité maghrébine, Surface de réparation devint une fiction à la suite des tragiques événements survenus à la mosquée de Sainte-Foy, en janvier 2017. Court métrage imaginant une conversation entre une journaliste et l’acolyte d’un individu ayant été arrêté quelques temps avant de commettre un attentat dans le Petit-Maghreb, le film mélange trois niveaux de narration.


Surface de réparation (2017) de RALPH ELAWANI

Surface de réparation (2017) de RALPH ELAWANI

Surface de réparation (2017) de RALPH ELAWANI



SOMBRE & AMER

SOMBRE & AMER 'Incitare et Sustinere'


INVASION COCKTAIL - On vous dévoile notre Cocktail Signature pour célébrer le 375e de Montréal !

Invasion Cocktail – ‘On vous dévoile notre Cocktail Signature pour célébrer le 375e de Montréal !



SOMBRE & AMER à l'émission L'épicerie de Radio-Canada, épisode du mercredi 26 juillet 2017, segment LA GOUTTE QUI FAIT TOUTE LA DIFFÉRENCE!

SOMBRE & AMER à l'émission L'épicerie de Radio-Canada, épisode du mercredi 26 juillet 2017, segment LA GOUTTE QUI FAIT TOUTE LA DIFFÉRENCE!

SOMBRE & AMER à l’émission L’épicerie de Radio-Canada, épisode du mercredi 26 juillet 2017, segment LA GOUTTE QUI FAIT TOUTE LA DIFFÉRENCE!

MICHAËL BORREMANS 'The Ear' (2011)

MICHAËL BORREMANS

MICHAËL BORREMANS '10 & 11' (2006)

MICHAËL BORREMANS 'Amenra & Raketkanon' (2017)

MICHAËL BORREMANS

MICHAËL BORREMANS 'Trickland' (2002)

MICHAËL BORREMANS 'The Load' (2008)

MICHAËL BORREMANS 'The Performance' (2004)

MICHAËL BORREMANS 'The Promise' (2016)

MICHAËL BORREMANS

MICHAËL BORREMANS 'Dead Chicken' (2015)

MICHAËL BORREMANS 'The Sleeper' (2008)

MICHAËL BORREMANS 'Tracy' (2015)

MICHAËL BORREMANS 'Devil's Dress' (2011)


MICHAËL BORREMANS est un peintre belge né à Grammont en 1963. Il vit et travaille à Sint-Amandsberg (Gand).

L'Abbatiale de la
Liturgie Apocryphe

"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.

The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.

...

The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".