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            "note": "<p>Pratiques auto-réflexives</p>\n<p>&nbsp;</p>\n<p>affichonsnous.tumblr.com</p>\n<p>etapes.com/affichons-nous-pour-valoriser-la-creation-graphique-contemporaine</p>\n<p><strong>First Things First Manifesto</strong></p>\n<p><img src=\"http://www.designishistory.com/images/publications/manifesto.jpg\" alt=\"http://www.designishistory.com/images/publications/manifesto.jpg\" /></p>\n<p class=\"style1\"><span class=\"style2\">Manifeste pour le design graphique de l’an 2000.</span><br /> <br /> <span class=\"style1_ita\">Ce manifeste a été publié dans les magazines Adbusters, AIGA Journal, Blueprint, Emigre, Eye, Form, Items, entre l'automne 1999 et le printemps 2000.</span><br /> <br /> Nous, soussignés, concepteurs graphiques, directeurs artistiques et plasticiens, avons grandi dans un monde où les techniques et les instruments de la publicité nous ont constamment été présentés comme le moyen le plus lucratif, le plus efficace et le plus séduisant d’exercer nos talents. Nombre d’enseignants et de mentors encouragent cette croyance ; le marché lui apporte son suffrage ; un flot de livres et de publications l’alimentent.&nbsp; Encouragés dans cette voie, les concepteurs appliquent alors leurs compétences et leur imagination à vendre des biscuits pour chiens, du café, des diamants, des détergents, du gel pour cheveux, des cigarettes, des cartes de crédits, des chaussures de tennis, des produits contre la cellulite, de la bière light et des camping-cars résistants. <br /> <br /> L’activité commerciale a toujours payé les factures, mais maintenant beaucoup de designers, dans une large mesure, en font l’essentiel de leur travail quotidien. C’est de cette façon que le monde, à son tour, perçoit la conception. La profession épuise son temps et son énergie à créer une demande pour des choses qui sont au mieux superflues. <br /> <br /> Beaucoup d’entre nous sont de plus en plus mal à l’aise avec cette vision de la conception. Les designers qui se consacrent pour l’essentiel à la publicité, au marketing et au développement des marques soutiennent et approuvent implicitement un environnement mental tellement saturé de messages commerciaux qu’il change la façon même dont les consommateurs-citoyens parlent, pensent, sentent, réagissent et communiquent entre eux. Dans une certaine mesure nous contribuons tous à codifier un discours officiel réducteur et infiniment nuisible. <br /> <br /> Nos compétences seraient mieux utilisées à défendre des causes et à résoudre des problèmes plus importants. Des crises environnementales, sociales et culturelles sans précédent requièrent notre attention. Beaucoup d’interventions culturelles, de campagnes de marketing, de livres, de magazines, d’expositions, d’outils éducatifs, de programmes de télévision, de films, de causes charitables et d’autres projets de conception de l’information exigent instamment notre expertise et notre aide. <br /> <br /> Nous proposons un renversement des priorités en faveur de formes de communication plus utiles, plus durables et plus démocratiques – une prise de conscience éloignée du marketing de produit et tournée vers l’exploration et la production d’une nouvelle forme d’expression. Le champ du débat se resserre ; il doit s’étendre. La défense du consommateur demeure incontestée ; elle doit être mise à l’épreuve par d’autres perspectives exprimées, en partie, par les langages visuels et les ressources de conception. <br /> <br /> En 1964, vingt-deux professionnels de la communication visuelle ont signé un premier appel [#1] pour que nos talents soient mis au service de vraies valeurs. Avec la croissance explosive de la culture commerciale globale, leur message est devenu plus urgent. Aujourd’hui, nous renouvelons leur manifeste dans l’espoir qu’il soit entendu dans les années qui viennent.</p>\n<p class=\"style1\">#1<br /> Egalement intitulé First Things First, il avait été publié dans Design, The Architects’Journal, SIA Journal, Ark, Modern Publicity et The Guardian, en avril 1964.<br /> <br /> <span class=\"style2\">Signataires</span> <br /> Jonathan Barnbrook, Nick Bell, Andrew Blauvelt, Hans Bockting, Irma Boom, Sheila Levrant de Bretteville, Max Bruinsma, Siân Cook, Linda van Deursen, Chris Dixon, William Drenttel, Gert Dumbar, Simon Esterson, Vince Frost, Ken Garland, Milton Glaser, Jessica Helfand, Steven Heller, Andrew Howard, Tibor Kalman, Jeffery Keedy, Zuzana Licko, Ellen Lupton, Katherine McCoy, Armand Mevis, J. Abbot Miller, Rick Poynor, Lucienne Roberts, Erik Spiekermann, Jan van Toorn, Teal Triggs, Rudy Vanderlans, Bob Wilkinson, etc…<br /> <br /> <span class=\"style2\">Traduction française</span><br /> in Art grandeur nature.<br /> Signes extérieurs, éditions Synesthésie. 2004.</p>\n<p class=\"style1\">&nbsp;</p>\n<p class=\"style1\"><strong>Grapus</strong></p>\n<p class=\"style1\"><span class=\"indent\">“Quant au</span> graphisme d’utilité publique, cette notion a été initiée par le collectif Grapus fondé en 1969 par Pierre Bernard, François Miehe et Gérard Paris-Clavel. Dès le départ, ils revendiquèrent un graphisme qui vise <span class=\"italic\">« à réaliser des images sociales, culturelles et politiques »</span>. Ils expliquent leurs intentions dans un texte rédigé collectivement avec d’autres designers graphiques indépendants en 1987 intitulé <span class=\"italic\">La création graphique en France se porte bien, pourvu qu’elle existe</span>. Critiquant une domination du marketing et de la publicité en particulier sur la culture en dépit de la considération de problèmes sociaux, ils sont décidés à <span class=\"italic\">« créer des images de qualité pour tous, et décidés de les produire pour plus d’humanité et de justice, plus de solidarité. »</span>, et sont convaincus que <span class=\"italic\">« l’on ne peut rédiger et énoncer les messages d’intérêt public comme un argumentaire de vente de produit de consommation. On ne peut s’adresser à une assemblée de citoyens, qu’il faut convaincre comme s’il s’agissait d’un quelconque groupe de consommateurs qu’on projette de gaver. »</span> Ils cherchent ainsi à revenir aux origines de la signification du mot <span class=\"italic\">communication</span>, aux antipodes de la conception qu’en font les agences de communication, c’est-à-dire un moyen d’informer la vie sociale, de défendre, diffuser et enrichir la culture et favoriser la transmission des connaissances. Par ailleurs, Grapus est marqué par une esthétique du <span class=\"italic\">« fait main »</span> associé à des images fortes dans le but de produire un graphisme humain et chaleureux. Pour finir, il est important de noter que le collectif ne manquait pas d’afficher leurs convictions politiques en collaborant avec le Parti Communiste Français.”</p>\n<p class=\"style1\">http://www.etienneozeray.fr/libre-blog/tag/4-3-la-libre-circulation-de-linformation/</p>\n<p>&nbsp;</p>\n<p><strong>Guerilla Girls</strong></p>\n<p><span class=\"sub\">reinventing the \"f\" word: feminism! </span></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/advantages.jpg\" alt=\"Poster: Aadvantages of being a woman artist\" width=\"554\" height=\"428\" /></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/1985thesegalleries.jpg\" alt=\"These Galleries 1985\" width=\"781\" height=\"603\" /></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/Naked%20Through%20The%20Ages/Naked1989.jpg\" alt=\"Do Women Have to be Naked to Get Into the Met. Museum? 1989\" width=\"925\" height=\"366\" /></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/1990popquiz.jpg\" alt=\"Guerrilla Girls' Pop Quiz (1990)\" width=\"781\" height=\"607\" /></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/1985theseartists.jpg\" alt=\"What Do These Artists Have In Common? 1985\" width=\"781\" height=\"604\" /></p>\n<p><img src=\"http://www.guerrillagirls.com/posters/images/2015stickercampaign/galleryrecountNEW.jpg\" alt=\"\" width=\"910\" height=\"351\" /></p>\n<p>&nbsp;</p>\n<p><span class=\"st\"><strong>How to work Better </strong>(Fischli &amp; Weiss, 1991)</span></p>\n<p><img class=\"shrinkToFit\" src=\"http://www.ronnestam.com/wp-content/uploads/2009/03/how_to_work_better.jpg\" alt=\"http://www.ronnestam.com/wp-content/uploads/2009/03/how_to_work_better.jpg\" width=\"436\" height=\"666\" /></p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p>Baldessari</p>\n<p>Tips For Artists Who want to sell</p>\n<p><img src=\"http://40.media.tumblr.com/tumblr_m4g9o85Oym1r064gzo1_500.jpg\" alt=\"http://40.media.tumblr.com/tumblr_m4g9o85Oym1r064gzo1_500.jpg\" /></p>\n<p>&nbsp;</p>\n<p><img src=\"http://www.moma.org/wp/moma_learning/wp-content/uploads/2012/07/Baldessari-What-is-Painting-326x395.jpg\" alt=\"http://www.moma.org/wp/moma_learning/wp-content/uploads/2012/07/Baldessari-What-is-Painting-326x395.jpg\" /></p>\n<p>&nbsp;</p>\n<p><img src=\"http://whitney.org/image_columns/0001/7768/2007.121_baldessari_imageprimacy_compressed_800.jpg\" alt=\"http://whitney.org/image_columns/0001/7768/2007.121_baldessari_imageprimacy_compressed_800.jpg\" /></p>\n<p>&nbsp;</p>\n<p>Jeremy Jansen</p>\n<div class=\"item-thumbnail\"><img class=\"attachment-medium wp-post-image\" src=\"http://www.jeremyjansen.nl/site2015/wp-content/uploads/2015/02/GDFB-Poster_Almanak_DEF2-620x875.jpg\" alt=\"GDFB-Poster_Almanak_DEF2\" width=\"620\" height=\"875\" /></div>\n<p>&nbsp;</p>\n<p>Feixen</p>\n<p>http://www.feixen.ch/?p=1855</p>\n<p><span class=\"Text\" style=\"margin-top: -2px; display: block;\"><a rel=\"bookmark\" href=\"http://www.feixen.ch/?p=1855\">Fachklasse:</a> <br /> A brochure for the graphic design school «Fachklasse Grafik» in Lucerne. </span></p>\n<p><img src=\"http://www.feixen.ch/wp-content/uploads/Fachklasse_21.jpg\" alt=\"http://www.feixen.ch/wp-content/uploads/Fachklasse_21.jpg\" /></p>\n<p>&nbsp;http://www.feixen.ch/?p=861</p>\n<p><img class=\"overflowing\" src=\"http://www.feixen.ch/wp-content/uploads/plakat1.gif\" alt=\"http://www.feixen.ch/wp-content/uploads/plakat1.gif\" /></p>\n<p>&nbsp;</p>",
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            "note": "<p>- PAYSAGE GRAPHISME BELGE</p>\n<p>&nbsp;</p>\n<p>WALLONIE</p>\n<p>http://www.lescreatifs.me/ (liège Maroc)</p>\n<p>http://robincreativ.be/contact/</p>\n<p>http://www.curlie.be/ (Brabant wallon • entre Wavre et Namur)</p>\n<p>http://www.davidcauwe.be/spip.php?article191</p>\n<p>étudiante Wallonie Design</p>\n<p>http://cmisdoingthis.tumblr.com/</p>\n<p>http://www.walloniedesign.be/mobile/mobile-module-designer_designer_771.html</p>\n<p>&nbsp;</p>\n<p>AGENCES</p>\n<p>Base</p>\n<p>Coast</p>\n<p>&nbsp;</p>\n<p>STUDIOS (2-3 personnes)</p>\n<p>Kidnap Your Designer</p>\n<p>Sunny-side-up</p>\n<p>Face to Face</p>\n<p>Pleaseletmedesign</p>\n<p>Überknackig</p>\n<p>Coline Sunier &amp; Charles Mazé</p>\n<p>La Villa Hermosa</p>\n<p>&nbsp;</p>\n<p>COLLECTIFS</p>\n<p>OSP Open Source Publishing</p>\n<p>&nbsp;</p>\n<p>INDÉPENDANTS</p>\n<p>Pam &amp; Jenny</p>\n<p>Manuela Dechamps Otamendi</p>\n<p>Harrisson</p>\n<p>Nicolas Rome</p>\n<p>Stéphane de Groef</p>\n<p>Sukrii Kural</p>\n<p>&nbsp;</p>\n<p>GRAPHISTES &amp; EDITEURS</p>\n<p>Pleaseletmedesign</p>\n<p>Théophile Calot</p>\n<p>&nbsp;</p>\n<p>GRAPHISTES &amp; IMPRIMEURS</p>\n<p>Les Tontons Racleurs</p>\n<p>La Villa Hermosa</p>\n<p>Nicolas Storck – Autobahn</p>\n<p>&nbsp;</p>\n<p>GRAPHISTES &amp; TYPOGRAPHES</p>\n<p>OSP</p>\n<p>Sébastien San Filippo</p>\n<p>&nbsp;</p>\n<p>APPROCHE HISTORIQUE</p>\n<p>Coline Sunier &amp; Charles Mazé</p>\n<p>PEINTURE EN LETTRES</p>\n<p><span style=\"color: #000000;\">Le Club Lettreurs</span></p>\n<p>&nbsp;</p>",
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            "note": "<p><strong><span style=\"font-family: 'Courier New', Courier; font-size: 14pt; color: #000000;\">INFOGRAPHIE – TARIFS BELGES</span></strong></p>\n<p>http://www.graphistefreelance.be/</p>",
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            "note": "<p>SCHEMAS</p>\n<p>ON THE ROAD TO F-ABRIC</p>\n<p>Freitag Lab</p>\n<p>http://issuu.com/freitaglab/docs/f-abric_publikation_en_lay_rgb_fina</p>",
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            "note": "<p>COURS MASTER MONS</p>\n<p><span style=\"text-decoration: underline;\">Missions</span></p>\n<ul>\n<li>interview: rencontre avec un studio de graphisme belge et compte-rendu (peut être intégré au projet)\n<ul>\n<li>choisir un studio basé en Belgique</li>\n<li>rédiger une liste de questions (et imaginer une forme)</li>\n<li>réaliser l’entretien</li>\n<li>conception du compte-rendu en fonction de la rencontre</li>\n</ul>\n</li>\n<li>réaliser un projet de promotion du graphisme en Belgique (outil, support/campagne de sensibilisation/…)\n<ul>\n<li>choix d’une thématique, d’un sujet (femmes, genre &amp; graphisme / loi &amp; graphisme / nouvelles technologies, nouvelles approches / rapport à l’histoire / réalités du métier / etc.)</li>\n<li>recherche de fond sur le sujet traité (l’interview peut en faire partie)</li>\n<li>format: affiche, page internet, booklet, …</li>\n<li>concept graphique (attention équilibre: le projet doit faire la promotion du graphisme en général/d’un aspect de la pratique, à travers votre graphisme, mais il ne s’agit pas d’auto-promotion)</li>\n</ul>\n</li>\n</ul>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p><strong>Références</strong></p>\n<p>Associations professionnelles/promotion du design:</p>\n<p>BE http://www.wearegraphicdesigners.be/</p>\n<p>FR http://www.cnap.fr/la-commande-de-design-graphique</p>\n<p>http://www.cnap.graphismeenfrance.fr/article/kit-serie-graphique</p>\n<p>ES http://www.dimad.org/userfiles/di_magazine2015.pdf</p>\n<p>Répertoires:</p>\n<p>http://www.walloniedesign.be/designer.html?full=xl</p>\n<p>http://www.trendlist.org/countries/belgium</p>\n<p>&nbsp;</p>\n<p>(https://www.behance.net/search?country=BE&amp;state=&amp;city=Brussels) pas que des professionels</p>\n<p>&nbsp;</p>\n<p><span style=\"text-decoration: underline;\">Projets étudiants</span></p>\n<p>.txt se présente comme un espace d’écriture proposé aux étudiants de l’option « design graphique » de l’École supérieure d’art et design Grenoble-Valence:</p>\n<p>http://editions-b42.com/books/txt/ et http://editions-b42.com/books/txt-2/</p>\n<p><span class=\"fromtotitre\">Interviews de graphistes:</span></p>\n<p>http://from.esad-gv.fr/to/</p>\n<p>&nbsp;</p>\n<p><span style=\"text-decoration: underline;\">Ressources et articles en ligne</span> (en français)</p>\n<p>http://kitdesurvie.metiers-graphiques.fr/</p>\n<p>http://www.t-o-m-b-o-l-o.eu/</p>\n<p>http://indexgrafik.fr/</p>\n<p>http://etapes.com/</p>\n<p>&nbsp;</p>\n<p><span style=\"text-decoration: underline;\">Autres ressources</span> (multilingue)</p>\n<p>Exemples de questions: sondage sur les conditions socio-économiques des graphistes en Italie (EN/IT)</p>\n<p>http://www.pratichenonaffermative.net/inquiry/en/</p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p>Mail aux graphistes</p>\n<p>Sujet: interview We are graphic designers – pratiques contemporaines du graphisme</p>\n<p>&nbsp;</p>\n<p>Chère/cher […],</p>\n<p>Je vous contacte dans le cadre d’un projet mené dans l’atelier de Master en Communication Visuelle d’Arts2 à Mons — <em>We are graphic designers – pratiques contemporaines du graphisme </em>— visant à identifier et valoriser les pratiques du graphisme contemporain.<br /><br />Dans le cadre de ce projet, nous réalisons des interviews de studio de graphisme, et d’en penser la forme, la publication et la diffusion. <br />Cette interview aura donc une visibilité réelle qui ne restera pas confinée dans l’atelier. <br />À travers cette interview et un travail parallèle sur une des facettes du métier de graphiste, il s’agira principalement de promouvoir le métier graphisme contemporain et également d’en faire connaître les différentes pratiques qui le caractérisent.<br /><br /><br />Merci par avance de réserver un accueil chaleureux à ces étudiants, dont le travail est voué à faire progresser la compréhension du métier de graphiste et ses devenirs.<br /><br />&nbsp;</p>\n<p>&nbsp;</p>\n<p>en collaboration avec le collectif We are graphic designers.<br /><br /></p>\n<p>&nbsp;</p>\n<p>----------------------</p>\n<p>Chers confrères graphistes,<br /><br />Vous venez d’être contactés par un étudiant de l’atelier de Communication Visuelle MASTER 2 des Arts2 à Mons, dans le cadre d’un projet mené en collaboration avec le collectif We are graphic designers.<br /><br />Ce collectif est composé de nombreuses agences et de graphistes indépendants. Si vous ne connaissez pas encore notre démarche nous vous invitons à visiter le site et nous rejoindre en devenant signataire. Il constitue le point de départ d’une démarche globale visant à promouvoir notre profession. Ensemble, nous avons ressenti la nécessité de clarifier sa spécificité. Nous souhaitons sensibiliser nos interlocuteurs à notre démarche de recherche, à notre curiosité, à notre créativité.<br /><br />Dans le cadre d’un projet d’atelier, l’étudiant a été invité à rencontrer un studio de graphisme qu’il apprécie pour son travail. Il vous a choisi avec intérêt et curiosité. Nous lui avons demandé de réaliser une interview, d’en penser la forme, la publication et la diffusion. Cette interview aura donc une visibilité réelle qui ne restera pas confinée dans l’atelier. Il s’agit principalement de promouvoir le métier au travers de votre rencontre et également de faire connaître votre studio.<br /><br />Merci par avance de réserver un accueil chaleureux à nos étudiants, le travail est voué à faire progresser les mentalités sur le graphisme, sa meilleure compréhension et son devenir.<br /><br />Un grand merci par avance pour le temps que vous lui consacrerez.<br /><br />Caroline Dath<br />Enseignante Graphisme BAC 2 ERG<br />Membre du collectif We are graphic designers<br />----------------------</p>\n<p>&nbsp;</p>\n<p><span style=\"text-decoration: underline;\">Notes</span></p>\n<p>Cours 1</p>\n<p>Laura et Marie voudraient travailler sur la notion d’engagement du graphiste, le graphisme critique (cf. textes étapes): à préciser</p>\n<p>Avec Maude, nous avons discuté de “slow design” (cf. texte étapes), et de ce que signifierait ce terme “lenteur” dans le contexte du métier de graphisme. Quel est le rythme d’un projet de graphisme? À quoi ressemble la ligne de vie (schéma) d’un travail, du premier contact client au projet finalisé? Quels seraient les bénéfices de ralentir le rythme, et à quel moment?</p>\n<p>Maude se demandait quels liens on pouvait faire entre ces questions et la technologie: comment la technologie influence le rythme de travail?</p>\n<p>Lola était plutôt intéressée par la relation graphisme et art — le graphiste comme auteur</p>\n<p>Charlotte était intéressée par les “réalités du métier de graphiste”, les processus qui font partie du métier (cf. son projet de 2013 en édition: est-ce que tu peux nous le montrer la prochaine fois?)</p>\n<p>Attention pour tous de bien garder en tête l’objectif de ce projet: valoriser le graphisme auprès d’un public large</p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p>1 oct 2015</p>\n<p>Laura: graphisme politique</p>\n<p>1. 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            "note": "<p>DONUTS → SUNNY-SIDE-UP</p>\n<p>http://donuts.be/ → http://www.sunny-side-up.be/</p>\n<p>Bruxelles</p>\n<p>&nbsp;</p>\n<p>WORKS</p>\n<p><img src=\"http://donuts.be/IMG/jpg/logo01.jpg\" alt=\"2008&nbsp;&lt;u&gt;donuts&lt;/u&gt;&nbsp;donuts\" /></p>\n<p><img class=\"spip_logos\" src=\"http://donuts.be/IMG/moton1.gif\" alt=\"\" width=\"265\" height=\"80\" /></p>\n<p><img class=\"spip_logos\" src=\"http://donuts.be/IMG/moton2.gif\" alt=\"\" width=\"227\" height=\"80\" /></p>\n<p><img class=\"spip_logos\" src=\"http://donuts.be/IMG/moton4.gif\" alt=\"\" width=\"243\" height=\"80\" /></p>\n<p><img class=\"spotlight\" src=\"https://scontent-cdg2-1.xx.fbcdn.net/hphotos-ash2/t31.0-8/s2048x2048/1273829_239116489568813_1349262272_o.jpg\" alt=\"\" width=\"686\" height=\"259\" /></p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p><img src=\"http://donuts.be/IMG/jpg/jap-site-01.jpg\" alt=\"2012&nbsp;&lt;u&gt;jap season 12/13&lt;/u&gt;&nbsp;website 12/13\" /></p>\n<p>&nbsp;</p>\n<p>&nbsp;</p>\n<p><img class=\"spotlight\" src=\"https://scontent-cdg2-1.xx.fbcdn.net/hphotos-frc3/t31.0-8/10531423_366656833481444_2152770552713415220_o.jpg\" alt=\"\" width=\"586\" height=\"439\" /></p>\n<p><img class=\"spotlight\" style=\"width: 960px; height: 643px;\" src=\"https://scontent-cdg2-1.xx.fbcdn.net/hphotos-frc3/v/t1.0-9/600146_239044679575994_2106372710_n.jpg?oh=fb67ab2136a84896ca2f655dc4b4be9f&amp;oe=56A9EF20\" alt=\"\" /></p>\n<p><img class=\"spotlight\" style=\"width: 960px; height: 643px;\" src=\"https://scontent-cdg2-1.xx.fbcdn.net/hphotos-xpf1/v/t1.0-9/1006363_239044702909325_752731669_n.jpg?oh=93c1497fbd4cae22daff7e37863646cc&amp;oe=569942FD\" alt=\"\" /></p>",
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            "note": "<p>Überknackig</p>\n<p>http://www.uberknackig.com/</p>\n<p>Bruxelles</p>\n<p>&nbsp;</p>\n<p>WORKS</p>\n<p><img title=\"ÜBERKNACKIG 2013 - FWB'booth @ WEX\" src=\"http://www.uberknackig.com/sites/default/files/styles/large/public/AHAH%20callback/illustrations/Uberknackig_FWBWEK-2013-06.jpg?itok=H3WskARG\" alt=\"ÜBERKNACKIG 2013 - FWB'booth @ WEX\" width=\"753\" height=\"565\" /></p>\n<p><img title=\"Überknackig project - Year magazine - 2012 - Cover\" src=\"http://www.uberknackig.com/sites/default/files/styles/large/public/%3Cem%3EEdit%20%C3%9Cber%20page%3C/em%3E%20SECOND%20YEAR/illustrations/Uberknackig_YEAR2012-M-cover.jpg?itok=X6W5t6fq\" alt=\"Überknackig project - Year magazine - 2012 - Cover\" width=\"753\" height=\"565\" /></p>\n<p><img title=\"Überknackig project - Year magazine - 2012 - p.24-25\" src=\"http://www.uberknackig.com/sites/default/files/styles/large/public/%3Cem%3EEdit%20%C3%9Cber%20page%3C/em%3E%20SECOND%20YEAR/illustrations/Uberknackig_YEAR2012-M-p24-25.jpg?itok=K4Ypuujv\" alt=\"Überknackig project - Year magazine - 2012 - p.24-25\" width=\"753\" height=\"565\" /></p>\n<p>&nbsp;</p>\n<p><img title=\"Überknackig project - ACCATTONE - 2014 - cover\" src=\"http://www.uberknackig.com/sites/default/files/styles/large/public/illustrations/UBERKNACKIG-2014_ACCATTONE-cover_dp_1.jpg?itok=yh4GGKRH\" alt=\"Überknackig project - ACCATTONE - 2014 - cover\" width=\"753\" height=\"565\" /></p>\n<p><img title=\"Überknackig project - ACCATTONE - 2014 - p.6-7\" src=\"http://www.uberknackig.com/sites/default/files/styles/large/public/illustrations/UBERKNACKIG-2014_ACCATTONE-p6-7_dp_0.jpg?itok=UckU_V8_\" alt=\"Überknackig project - ACCATTONE - 2014 - p.6-7\" width=\"753\" height=\"565\" /></p>",
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            "note": "<p>Pica Pica Atelier</p>\n<p>http://www.picapica.be/</p>\n<p>Bruxelles</p>\n<p>&nbsp;</p>\n<p>WORKS</p>\n<p><img title=\"Pica Pica- c- sergebrison\" src=\"http://www.mons2015.eu/sites/default/files/styles/lemmon-slider/public/image/event/pica-pica-rvb-hd-ok-c-www.sergebrison-342px.jpg?itok=cReQx7UO\" alt=\"Pica Pica- c- sergebrison\" width=\"512\" height=\"342\" /></p>\n<p>Panorama, Mons 2015, Passage Victor Hugo</p>\n<p>http://www.mons2015.eu/fr/panorama</p>\n<p><img style=\"width: 540px; height: 377px;\" title=\"Alice Gallery - Atelier Pica Pica - Pica Pica Studio\" src=\"http://alicebxl.com/typo3temp/pics/36666afd93.jpg\" alt=\"Alice Gallery - Atelier Pica Pica - Pica Pica Studio\" width=\"245\" height=\"171\" /></p>\n<p>Pica Pica Studio</p>\n<p><img style=\"width: 245px; height: 313px;\" title=\"Alice Gallery - Atelier Pica Pica - Untitled, 2012. - Enamel on wood, 95 x 122cm\" src=\"http://alicebxl.com/typo3temp/pics/48d9637059.jpg\" alt=\"Alice Gallery - Atelier Pica Pica - Untitled, 2012. - Enamel on wood, 95 x 122cm\" width=\"245\" height=\"313\" /></p>\n<p>Untitled, 2012.</p>",
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            "itemType": "note",
            "note": "<p>Les Tontons Racleurs</p>\n<p>http://www.lestontonsracleurs.be/</p>\n<p>Charleroi</p>\n<p>&nbsp;</p>\n<p>WORKS</p>\n<p>Projet 6001 is the new 1060</p>\n<p>expo-vente de créateurs en terre Carolo</p>\n<p><img class=\"border\" src=\"http://www.6001isthenew1060.be/images/affiche4_web.jpg\" alt=\"\" width=\"600px\" align=\"middle\" /></p>\n<p>&nbsp;</p>\n<p><img class=\"aligncenter size-medium wp-image-672\" title=\"sac\" src=\"http://www.lestontonsracleurs.be/web/wp-content/uploads/2014/03/sac-450x515.jpg\" alt=\"\" width=\"450\" height=\"515\" /></p>\n<p>http://www.6001isthenew1060.be/</p>\n<p>Le Calendrier</p>\n<div id=\"magicdomid3\">Le Calendrier est <strong>un projet d’édition collectif</strong>, basé à Bruxelles.</div>\n<div id=\"magicdomid4\">Établie sous la forme d’une association, l’équipe concentre son énergie dans la mise en place d’une plate-forme d’illustration contemporaine.</div>\n<div>En déployant un espace temps nécessaire, elle permet la publication de talents, offre aux artistes un nouveau support de création et d’échanges, au public une vitrine artistique fraîche et riche d’univers stylistiques.</div>\n<p>&nbsp;</p>\n<p><img title=\"cal4\" src=\"http://www.lecalendrier.net/wp-content/uploads/2012/09/cal4.gif\" alt=\"\" width=\"370\" /></p>\n<p>http://www.lecalendrier.net/</p>\n<p>&nbsp;</p>",
            "tags": [
                {
                    "tag": "DIY"
                },
                {
                    "tag": "riso"
                },
                {
                    "tag": "sérigraphie"
                }
            ],
            "collections": [
                "GVU8AHEC"
            ],
            "relations": {},
            "dateAdded": "2015-09-28T12:50:48Z",
            "dateModified": "2015-09-28T13:40:59Z"
        }
    }
]