By way of both familiar and unusual stagings, her work suggests a formal and referential dissonance between industrial artisanal and organic elements. In repurposing objects to other ends than their primary use. Bui gives shape to an occasionally raw sensuality that bears witness to the absurdity with which the everyday is tinged.
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Materials and various objects are thus assembled in photographic or sculptural form with the aim of seducing viewers and transporting them to a slightly off-beat and subtly perverse place. She is currently preparing two solo exhibitions that will be shown at Parisian Laundry in April and at Circa in May, Les figures du socle. Emmanuel Galland has a practice as an artist and curator, two functions he sometimes combines. The exhibition unfolded in an ongoing and cumulative manner and was relayed by eleven disseminators in Quebec, over a nine-year period. In , Galland will be the curator in residency at LOBE in Ville de Saguenay, where he will invite artists, creators, writers and communities to focus on the artist Jean-Jules Soucy.
The artist Emmanuel Galland has thus been hard to spot. Voir le reportage d'Yves Tremblay sur la Fabrique Culturelle. The exhibition will run until June 21, The 7 partner artist-run centres share the geographical situation of being located at the periphery of large urban centres, and the selected artists made the choice of pursuing their practice in a regional context.
This interregional exchange program between Centre SAGAMIE and six co-producing centres also makes it possible to develop structuring partnerships by encouraging communication and sharing between the participating artist-run centres. Steve Leroux. He is particularly fond of a practice borrowed from documentary photography—intimate, free and spontaneous—that allows him to explore various avenues.
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Presented mainly under the guise of photographic series, his image associations suggest new ways of grasping the notion of time and space. Since the emergence of the digital image in the s, he has examined its impact on the perception of reality, the repurposing that it makes possible and its influence on photographic activity. He quickly became involved the artist-run centre milieu, which provided him with an enriching experience both as an artist and cultural worker. His initial sketches are continually recut, recombined and digitally manipulated as he works towards the final painting.
His most recent series of paintings come from an exploration of instantaneous, and sometimes explosive, moments of chaos. For over 20 years, his work has been exhibited in Canada and abroad including several exhibitions at Joyce Yahouda Gallery in Montreal.
His most recent solo show was at Outremont Art Gallery in Worsnip has participated in artist residences in Quebec, France and Sweden. Through a meticulous drawing practice, I take an interest in the various representations of the nude body as observed on an everyday basis. I work with reference images taken from websites, porn sites or personal photos of which I trace the outlines. I then superimpose them without the aid of digital tools. The accumulated tracings on the paper delimit the spaces from which I work to reveal the relations between the elements that I combine.
The meditative approach that the observation drawing induces leads me to reflect on the contrast between this and the current media treatment of the body: is reproducing the body in drawing form enough to subtract it from its pornographic reference? In repeating the gestures of the porn industry by cutting out, enlarging the image and drawing over it, I search for an opposite result, i.
In drawing all this flesh, I seek to strip the skin of its erotic character and to thus contribute to the construction of a seductive realism and to render its various inflections less exposed: mature, hairy, marked and padded skins. She contributes to artist-centre centres as a member and cultural worker.
Her artworks have been shown in various groups exhibitions. His works are envisaged as a response to its context, often taking the risk of revealing their parameters without however seeking to change them. Bruno Marceau lives and works in Chicoutimi. He recently exhibited the results of his research at the Supermarket Art Fair in Stockholm, the artist-run centre le Lobe, the contemporary art centre Bang and the Saguenay artist centre.
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Christian Leduc. English follows. The key concept, in the spirit of mediation, is collaboration, particularly with content teachers who are generally unaware of language considerations, but also with decision makers in order to secure the indispensable political mandate to mediate. Since objective hard data are a key tool in encouraging institutional change, a well thought-out institution- or PRES - wide survey will provide irrefutable explicit, written evidence and answers.
Specific questions, by rubric, should address:. Is it planned to be truly dual focus i. How are these defined? For French nationals as well as international students? For non-native as well as native speakers? Is any incentive offered to teachers undertaking CLIL? The answer to this question necessarily determines the pedagogical approach adopted and the didactic translation of same. Language-oriented partial CLIL also points favourably towards collaboration with content teachers. Discipline-driven partial CLIL, on the other hand, may constitute a real challenge since language aims and outcomes are generally taken for granted in an environment where there is no language instruction and where collaboration in any form with content teachers is rare.
How will the specific role of language be assessed by the language teacher i. Or will there be joint criteria adopted by both content and language teachers in their respective assessments? In this form of CLIL, students must receive credits for both language and content classes. What challenges will they represent for students from varying language and cultural origins strategies for listening, reading, writing, speaking, note-taking; learning appropriating discourse conventions and vocabulary? Is plagiarism likely to be a cultural problem? What feedback will there be for teachers?
What adaptations might be necessary for teaching materials? Assessment may take multiple forms, but must include mutually established content and language aims. What balance will be defined between target language fluency and accuracy? How will both content and language mastery be handled i.
What three-way collaboration will there be with decision makers? What role will the different stakeholders academic senate, programme director, teaching staff, students have i. What administrative infrastructure and support will there be? Is content-related support available for language specialists? What language or study skills support is offered to students, and when pre-sessional, in parallel to content courses?
What formative evaluation procedures will be put into place? Our many years observing HE in France and participating in pedagogical and didactic exchanges in an international context, however, have shown us that constructive reflection can indeed be institutionally implemented from a bottom-up perspective, followed by appropriate action often in an action research context , as long as the playing field is clearly understood. But certain characteristic French and in part, Latin historical and national traditions do exist. Among such identified possible challenges to implementation of CLIL in France are, for example, the propensity for a theoretical rather than an applied or practical approach to learning and study.
This includes the concept of foreign language acquisition and language teacher training designed to implement the latter. A final characteristic of French HE which makes feedback on quality CLIL a challenge is the lack of tradition for systematic institutional internal and external formative assessment. Ministerial efforts have been made for several years in this direction, but the top-down, prescriptive and summative spirit, particularly of recent measures under the government in power from to , did little to encourage the reciprocal confidence and accrued language awareness which effective CLIL requires.
This means first exploring the international savoir and savoir-faire of effective and less effective CLIL. The CLIL field, once opened up, can then offer a multitude of possibilities for quantitative and qualitative action- research using a number of analytical tools questionnaires, interviews, etc. We would like to thank the two anonymous referees for their helpful comments and suggestions in preparing this text for publication.
Bartik, Kristin et alii. Burger, Sandra et alii. In Tedick, D. Christian and T. Williams Fortune eds. Practices, Policies, Possibilities. Multilingual Matters: Bristol, UK. Paris: Riveneuve. Coleman, James A. Council of Europe, Common European Framework of Reference for Languages: learning, teaching, assessment. Paris: Seuil. Flowerdew, John and Lindsay Miller. Hall, Edward. Beyond Culture. Hellekjaer, Glenn Ole and Robert Wilkinson. InVan Leeuwen, C.
Wilkinson eds. Hickson, David J. Management Worldwide. London: Penguin. Hofstede, Gert, Cultures and Organizations: Software of the mind.
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