François Darnaudet * Catherine Rabier Noire 57. Zombies Gore

D’après Charles Dexter Philippe Ward, c’est effectivement sorti ! Included Andernos Trap, Collioure Trap, Trappes Trap et une étude de Daredevil DD David Didelot, mister Vidéotopsie Fanzine Cinéma  

 François Darnaudet * Catherine Rabier Noire 57. Zombies Gore ISBN-13: 978-1-61227-234-4 240 pages  Cet hiver, à Ander…nos, les zombies ont remplacé les vendeurs de chichis et de glaces. Le piège andernosien va se refermer sur ses habitants pour la réédition d’Andernos Trap. A Collioure, les morts-vivants sont accompagnés par les jonglômes, des monstres à tête de rhinocéros. C’est le retour éditorial de Collioure Trap. Quant aux deux collectionneurs qui s’affrontent du côté de Paris, leurs aventures meurtrières sont totalement inédites. En sus, David Didelot nous offre une analyse historique de la collection Gore du Fleuve Noir. Mon tout forme ZOMBIES GORE. COLLIOURE TRAP (Darnaudet & Rabier) ANDERNOS TRAP (Darnaudet) TRAPPES TRAP (Darnaudet – inédit) POSTFACE de David Didelot.



Dear Friends,

I have been thinking about Lou Reed for the last week and wondering how his death has effected you, and how it’s effecting his wife Laurie and all the other people who love him. I was blessed by Lou’s friendship in the mid to late seventies, he taught me a lot about how to live on the wild side. I didn’t really see much of him after 1980, but I kept listening to the music. In 1983 Omnibus Press in London published Uptight: The Velvet Underground Story by myself and Gerard Malanga, who played a crucial role in bringing Andy Warhol to the Velvet Underground. After Andy died I went to St Anne’s in Brooklyn to see Lou and John’s first performance of Songs for Drella in 1988. I was back stage with Billy Name when he introduced Lou to La Monte Young! Things heated up in 1992 when I started work on Transformer: The Lou Reed Story. When the book came out in 1995, journalists from several countries told me when they asked Lou for an interview he asked them if they’d read my book. If they hadn’t, he told them to read it and then come back for an interview. I always dug Lou. When I published a suite of poems from his book All The Pretty People in The Coldspring Journal in 1976, he won a prize given to him at the Gotham Book Mart by Senator Eugene McCarthy, poet and hero of the anti-war movement in 1968. I could go on, but not here. I have been awakened from the dream of life by Lou Reed’s death. Tomorrow I am going to start rewriting and updating my biography of Lou. This time I think I’ll be able to ride that satellite of love up to the stars.

The last thing Lou says in Transformer is, “If you line the songs and play them, you should be ale to relate and not feel alone. I think it’s important that people don’t feel alone.”

Victor Bockris

Bob Branaman and Brigtte Moos: OPENING RECEPTION: A Diamond Light at the Memory Palace 

Saturday November 16th  15:00 (PST)
Join us for a free reception to celebrate the art of Robert Branaman and Brigtte Moos!!Beat Generation poet, painter, and film producer Bob Branaman continues to make avantgarde art today. Branaman joined the Beatniks in San Francisco in the 1950s, part of the Kansas Vortex, which included Charles Plymell and Michael McClure, and soon made his name as a hep cat. He outlived many of his bohemian contemporaries, despite his bad habits. Over the years he has collected a great deal of stories and ephemera from that time period and because he has outlived most of his beat contemporaries he is in many ways an archivist and one of the last voices of the Beat Generation.

Birgitte Moos is an Artist from Copenhagen, Denmark, working in Los Angeles and Copenhagen.

Birgitte works in an unconventional, interdisciplinary manner to combine art, theory and function. Utilizing the vibrant space and surroundings of the City Birgitte exhibits visual art works often focusing on the totality of an environment reflecting all aspects of her art and vice versa.
Holding an MFA in set design from Denmark’s Royal College of Fine Arts in Copenhagen, Birgitte also studied painting and set design at The Berlin University of Arts under Achim Freyer who recently staged The Ring Cycle at the LA Opera.

As a Visual Artist and Set Designer, Birgitte has been involved in numerous projects in theater, short films, videos, performances and gallery exhibitions internationally, also lecturing in set design, amongst projects such as Zentropa Productions by Danish Filmdirector Lars von Trier.

In 2011 Birgittes set design for the staging of ‘The Arsonists’ at The Odyssey Theater in Los Angeles was nominated as set design of the year by LA Weekly. In 2012 Birgitte was selected from thousands as a finalist in the Saatchi Gallery’s Open Call for Abstract Art. In April this year she was the Featured Artist at the Downtown Artwalk curated out of Artists from all LA.


Pour une économie non-aristotélicienne: Aristotelian and non-Aristotelian economies

En ligne dans le blog Pour une économie non-aristotélicienne    :

Aristotelian and non-Aristotelian economies

En français: Economie A / économie non-A

Une comparaison entre l’économie de marché, basée sur les postulats antiques (- 450) , et une restructuration à partir de la sémantique générale d’Alfred Korzybski (XX° siècle).

Pour plus d’informations sur l’évolution de cette recherche, entreprise en 1999 dans le cadre du réseau Interzone :

Economie d’Interzone

Restructuration: Une économie non-aristotélicienne

Cédric Cavenaille: Pictsound

Pictsound est un studio graphique pour le print et le web installé à Albi – Tarn – Midi-Pyréné

Réalisation de documents imprimés ou de site internet. Création de logo, d’identité visuelle. PAO. Illustration. Signalétique. Édition.
Logo Pictsound:
Pictsound 2013:
9, Cloître St-Salvy
81000 Albi
Tél. 06 98 28 36 63

invitation vernissage exposition couleurs actives, galerie didier devillez


Retrouvez l’exposition Couleurs actives sur 


53, rue Emmanuel Van Driessche • 1050 Bruxelles (Belgique) • +32(0)475 931 935 •