{"id":143,"date":"2025-04-22T00:00:57","date_gmt":"2025-04-21T22:00:57","guid":{"rendered":"http:\/\/wp.martinesgard.com\/wordpress\/referenzen\/"},"modified":"2025-04-28T13:43:13","modified_gmt":"2025-04-28T11:43:13","slug":"references","status":"publish","type":"page","link":"https:\/\/martinesgard.com\/fr\/references\/","title":{"rendered":"R\u00e9f\u00e9rences (extraits)"},"content":{"rendered":"

[vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]<\/p>\n

Ouvrages sp\u00e9cialis\u00e9s<\/h2>\n

[\/vc_column_text][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb5″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][vc_single_image image=\u00a0\u00bb330″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb2\/3″ css=\u00a0\u00bb.vc_custom_1594655675918{padding-top: 25px !important;}\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb502″ img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]La Ville et son sol (Die Stadt und ihr Boden)
\n<\/em>Hans Bernoulli
\nM\u00e9tispresses, Gen\u00e8ve, 2025 (\u00e0 para\u00eetre)[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb496″ img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Mamlouks 1250-1517
\n<\/em>Textes du catalogue de l\u2019exposition (avec L. Cantagrel<\/a>)
\nMus\u00e9e du Louvre, 2025 (\u00e0 para\u00eetre)[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb492″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Chefs d\u2019\u0153uvre surr\u00e9alistes de la Collection Hersaint \u2013 La Clef des songes
\n<\/em>Catalogue de la Fondation Beyerler (Suisse)
\nHatje & Cantz, Berlin, 2025.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb487″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Guillon Lethi\u00e8re, n\u00e9 \u00e0 la Guadeloupe
\n<\/em>Textes du catalogue de l\u2019exposition (avec L. Cantagrel)
\nMus\u00e9e du Louvre, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb478″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Les Traces du jardin dans l\u2019architecture du paysage contemporaine fran\u00e7aise et allemande
\n<\/em>J\u00fcrgen Weidunger (\u00e9d.)
\nJovis Verlag Berlin, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb474″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Cartographies du pouvoir – Histoire du paysage de la vall\u00e9e du Jourdain
\n<\/em>Ben Gitai
\nM\u00e9tispresses, Gen\u00e8ve, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb464″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Atlas de l\u2019invisible
\n<\/em>James Cheshire et Oliver Uberti (traduit avec L. Cantagrel)
\nAutrement \/ Flammarion<\/a>, Paris, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb460″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]R\u00e9novation d\u2019un h\u00e9ritage b\u00e2ti\u00a0\u2013 entre sauvegarde et confort domestique
\n<\/em>Catarina Wall Gago
\nM\u00e9tispresse, Gen\u00e8ve, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb455″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Lovis Corinth
\n<\/em>Catalogue et textes de l\u2019exposition
\nP. Kropmanns et Gitta Ho
\nGalerie Karten Greve, Cologne, 2021-2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb509″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Cartographie des affinit\u00e9s
\n<\/em>Dario Rodighiero
\nM\u00e9tipresse, Gen\u00e8ve, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb469″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Porter le temps \u2013 m\u00e9moires urbaines d\u2019un site horloger
\n<\/em>F. di Pieri
\n\u00ab\u00a0La Chaux-de-Fonds\u00a0\u00bb
\nM\u00e9tispresse, Gen\u00e8ve, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb442″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Jardins en images
\n<\/em>M. <\/em>Jakob, J. Berchtold (\u00e9d.)
\nTextes d\u2019Erik de Jong
\nM\u00e9tispresse, Gen\u00e8ve, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb273″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Architecture 1968. Panorama international des renouveaux p\u00e9dagogiques<\/em>,
\nAnne Debarre, Caroline Maniaque, El\u00e9onore Marantz, Jean-Louis Violeau (\u00e9d.), M\u00e9tispresses<\/a>, Gen\u00e8ve 2020.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb293″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Otto Wagner, Architecture moderne et autres textes<\/em>,
\n(de l\u2019allemand, Moderne Architektur), Marseille, Parenth\u00e8ses<\/a>, 2019.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb277″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Des jardins et des livres<\/em>
\nMikael Jakob (\u00e9d.), de l\u2019anglais et de l\u2019allemand, M\u00e9tispresses<\/a>, Gen\u00e8ve, 2018.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb302″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Transbordeur n\u00b02, photographie histoire soci\u00e9t\u00e9<\/em>,
\ndossier \u00ab photographie et exposition \u00bb, contributions de S. Gasser, G. Schaad, S. Schmeling et M. Willi
\nMacula<\/a>, Paris, 2018.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb483″ img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Pierre Puget
\nL’artiste et son \u0153uvre (catalogue raisonn\u00e9) <\/em>
\nKlaus Herding, section L\u2019\u00e9cole Puget (traduite en 2018), \u00e9ditions Faton<\/a>, 2024.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb281″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Le Cours du paysage<\/em>
\n(The Course of Landscape Architecture)
\nC. Girot,
\n\u00c9ditions Eugen Ulmer Eds<\/a>, Paris, 2016.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1605627992175{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb285″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text]Le Sol des villes \u2013 ressource et projet<\/em>
\n(article d\u2019A. Zutz)
\nPanos Mantziaras et Paola Vigan\u00f2 (\u00e9d.)
\nM\u00e9tispresses<\/a>, Gen\u00e8ve, 2016.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb15″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb90″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]<\/p>\n

Articles \u2013 Contributions \u2013 Conf\u00e9rences<\/h2>\n

(Extraits des cinq derni\u00e8res ann\u00e9es)<\/p>\n

[\/vc_column_text][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb5″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][vc_single_image image=\u00a0\u00bb94″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb2\/3″ css=\u00a0\u00bb.vc_custom_1594655766097{padding-top: 25px !important;}\u00a0\u00bb][vc_column_text]Poiret en Am\u00e9rique
\n<\/em>Essai pour le catalogue de l\u2019exposition Paul Poiret<\/em> <\/a>au Mus\u00e9e des Arts d\u00e9coratifs (\u00e0 venir)
\nGallimard \/ Mus\u00e9e des Arts d\u00e9coratifs, 2025<\/p>\n

Fen\u00eatre grande ouverte sur le pass\u00e9 \u2013 Eug\u00e8ne Atget et Walter Evans
\n<\/em>Article de Heinz Liesbrock
\nVilla H\u00fcgel, Essen, 2025<\/p>\n

L\u2019intime \u00b7 de la chambre aux r\u00e9seaux sociaux<\/a>
\n<\/em>Articles pour le catalogue de l\u2019exposition
\nGallimard\/Mus\u00e9e des Arts d\u00e9coratifs, 2024<\/p>\n

WhenWeSeeUs
\n<\/em>Textes de l’audioguide de l\u2019exposition
\nKunstmuseum Basel, 2024<\/p>\n

De la verticalit\u00e9
\n<\/em>Rapport final
\nMade In (Charbonnet\/Heiz)
\nETH Zurich, Park Books, 2024<\/p>\n

Le Golgotha en t\u00eate. Le peigne de Charles le Chauve<\/em>
\nP. Cordez
\nDFK, Centre allemand d’histoire de l’art, Paris, 2023<\/p>\n

Trente ans d\u2019architecture du paysage allemande et fran\u00e7aise. Une comparaison<\/em>
\nProf. J. Weidinger
\nTU Berlin, 2023<\/p>\n

Point aveugle de l\u2019histoire de l\u2019art ? L\u2019exemple de l\u2019Ukraine<\/em>
\nK. Bernhart et al.
\nDFK, Centre allemand de l’histoire de l’art, Paris, 2023<\/p>\n

L\u2019ann\u00e9e 1797 \u2013 \u00e9conomie et romantisme<\/em>
\nJoseph Vogl
\nLes Cahiers d\u2019\u00e9conomie politique<\/em>, 2022<\/p>\n

Les aquamaniles de Hildesheim d\u00e9couverts en Europe de l\u2019Est et en Sib\u00e9rie. Une contribution \u00e0 l\u2019arch\u00e9ologie \u00e9conomique du XIIIe<\/sup> si\u00e8cle<\/em>
\nJoanna Olchawa pour P. Cordez
\nDFK, Centre allemand d\u2019histoire de l\u2019art, Paris, 2022<\/p>\n

La for\u00eat vue par Albrecht Altdorfer et Wolf Huber : histoire et recherche<\/em>
\nDaniela Bohde pour P. Cordez
\nDFK, Centre allemand d\u2019histoire de l\u2019art, Paris, 2022<\/p>\n

Surmonter et r\u00e9sister : les pratiques quotidiennes des personnes noires en r\u00e9ponse \u00e0 la discrimination \u2013 Allemagne, France et Canada. Une mise en \u0153uvre empirique de la th\u00e9orie de la reconnaissance<\/em>
\nR\u00e9sum\u00e9 de th\u00e8se de doctorat
\nAnnette Hilscher
\nUniversit\u00e9 Goethe de Francfort, 2022<\/p>\n

L\u2019imago de la chute d\u2019eau. Pat Steir.<\/em>
\nDoris von Drathen
\nGalerie LGDR, Paris, 2022<\/p>\n

Le jardin comme Art-Espace : modernisation de l\u2019enseignement du paysage au d\u00e9but du XXe<\/sup> si\u00e8cle<\/em>
\nLars Hopstock,
\nUniversit\u00e9 de Karlsruhe, 2022<\/p>\n

KONTAKTHOF<\/em><\/a>
\nBettina Wagner
\nEnsemble de textes \u00e0 l\u2019occasion de la reprise du spectacle de Pina Bausch,
\nTanztheater Wuppertal \u2013 Pina Bausch, 2022<\/p>\n

Oc\u00e9an \u00e9tale ou mer agit\u00e9e ? Retracer 30 ans d\u2019\u00e9volution d\u00e9mographique spatiale en Allemagne [Calm ocean or stormy sea? Tracing 30 years of demographic spatial development in Germany]
\n<\/em>Manuel Wolff, Annegret Haase
\nHelmholz Zentrum f\u00fcr Umweltforschung, 2021<\/p>\n

\u00a0<\/em>Vision et r\u00e9forme : les vierges couronn\u00e9es d\u2019Hildegarde de Bingen<\/em>
\nPhilippe Cordez, Evelyne Winter,
\nPublication du DFK, Centre allemand de l’histoire de l’art, Paris, 2021<\/p>\n

Formafantasma Cambio<\/a>
\n<\/em>Textes de l\u2019exposition Cambio <\/em>du groupe Formafantasma
\n<\/em>Museum f\u00fcr Gestaltung (MfG), Zurich, 2021<\/p>\n

Quand le tambour devient clair de lune. La musique de Yiran Zaho
\n<\/em>Leonie Reinecke
\nMusikrat Berlin, 2021<\/p>\n

Messages crypt\u00e9s. La musique de Sergej Maingardt.<\/em>
\nEgbert Hiller
\nMusikrat Berlin, 2021<\/p>\n

Prix de l\u2019architecture suisse Beton21
\n<\/em>Ensembles des textes d\u2019exposition, publication et du site internet (avec V. Meunier)
\n\u00c9ditions gta Verlag, 2021-2022[\/vc_column_text][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb15″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb90″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]<\/p>\n

Litt\u00e9rature et th\u00e9\u00e2tre<\/h2>\n

[\/vc_column_text][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb5″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][vc_single_image image=\u00a0\u00bb96″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb2\/3″ css=\u00a0\u00bb.vc_custom_1594655791068{padding-top: 25px !important;}\u00a0\u00bb][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb554″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744984061132{padding-top: 15px !important;}\u00a0\u00bb]Kanweiler & Rupf \/ Une correspondance 1933-1945
\n<\/em>[Ein Galerist und sein Sammler]
\n<\/em>traduction de lettres, r\u00e9vision et correction de l’ensemble.
\nHatje & Cantz, Berlin, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb549″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744983666864{padding-top: 15px !important;}\u00a0\u00bb]Manufacture industrielle ou la police de caract\u00e8re de Stefan George
\n[In<\/em>dustrielle Manufaktur]
\n<\/em>Roland Reu\u00df, essai
\nCatalogue G\u00e9n\u00e9ral, Paris, 2024, non paru.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb603″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1745329093861{padding-top: 15px !important;}\u00a0\u00bb]Fransk Bilderbok
\n<\/em>(\u00ab\u00a0<\/em>Un livre d’images fran\u00e7ais\u00a0\u00bb)
\nTage Aurell
\nTraduction de deux nouvelles \u00ab\u00a0Sur le chemin de Revel\u00a0\u00bb et \u00ab\u00a0Sanary 24 d\u00e9c.\u00a0\u00bb Fransk Bilderbok
\n<\/em>F\u00f6rfattarf\u00f6rlaget@Tage Aurell 1970, pour demande de bourse de traduction du Kulturr\u00e5dets 2023.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb545″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744983418882{padding-top: 15px !important;}\u00a0\u00bb]Les Allemands ont-ils chang\u00e9\u00a0? La voix d\u2019un Hongrois
\n<\/em>[Haben sich die Deutschen gewandelt ? Die Stimme eines Ungarn<\/em>]
\nMiklos Magyar
\nEurasia Verlag,1953
\nTraduction d\u2019extraits et analyse de l\u2019\u0153uvre (pour les descendants de l\u2019auteur), 2022\u20132023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb541″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744983034332{padding-top: 15px !important;}\u00a0\u00bb]Die Pflasterk\u00e4sten. Ein Feldsanit\u00e4tsroman
\n<\/em>Alexander Moritz Frey
\nKiepenheuer Verlag, 1929
\nTraduction de chapitres et analyse pour le Deutscher \u00dcbersetzer Fond, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb537″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744982915844{padding-top: 15px !important;}\u00a0\u00bb]La Fabrique de Dante
\n<\/em>P. Allegretti, M. Jakob (\u00e9d.)
\nM\u00e9tispresse, Gen\u00e8ve, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb567″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744982720736{padding-top: 15px !important;}\u00a0\u00bb]Au Royaume de la ponctuation
\n<\/em>Christian Morgenstern (Im Reich der Interpunktion)
\n<\/em>Po\u00e8me. Illustrations de Rathna Ramanathan
\nParenth\u00e8se, Marseille, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb529″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1744982588467{padding-top: 15px !important;}\u00a0\u00bb]R\u00eaver des \u00eeles
\n<\/em>(traduit avec L. Cantagrel)
\n<\/em>Francis Gavin
\nAutrement\/ Flammarion, Paris, 2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb124″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1604934969215{padding-top: 15px !important;}\u00a0\u00bb]Bordet (Der Tish)<\/em> (VO yiddish et fran\u00e7ais), Ida Fink,
\ntraduction de la pi\u00e8ce de th\u00e9\u00e2tre en su\u00e9dois pour la compagnie Troim Teater<\/a>, Paris, septembre 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb121″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1604934998112{padding-top: 15px !important;}\u00a0\u00bb]Dans le labyrinthe<\/em> (VO su\u00e9dois), Sigge Eklund,
\nThriller psychologique, Piranha<\/a>, f\u00e9vrier 2017, 320 pages[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=\u00a0\u00bbrow\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb use_row_as_full_screen_section_slide=\u00a0\u00bbno\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1604666011416{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_inner width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb120″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb3\/4″][vc_column_text css=\u00a0\u00bb.vc_custom_1604935026393{padding-bottom: 15px !important;}\u00a0\u00bb]<\/p>\n

Bonobo Club <\/i>(VO su\u00e9dois), <\/i>Anna Karolina,
\nRoman policier, Piranha<\/a>, novembre 2017, 448 pages<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb15″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb90″][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb background_animation=\u00a0\u00bbnone\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]<\/p>\n

Collaborations r\u00e9guli\u00e8res<\/h2>\n

[\/vc_column_text][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb up=\u00a0\u00bb5″ down=\u00a0\u00bb0″ color=\u00a0\u00bb#000000″][vc_single_image image=\u00a0\u00bb339″ img_size=\u00a0\u00bbfull\u00a0\u00bb qode_css_animation=\u00a0\u00bb\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb2\/3″ css=\u00a0\u00bb.vc_custom_1594655810748{padding-top: 25px !important;}\u00a0\u00bb][vc_column_text]Textes de musicologie, notices d’artistes, bibliographies, etc. pour les labels<\/p>\n