Jef Geys - Kempens Informatieboek Gevoelsspeeldoos

Page 1

Verantwoordelijke uitgever JEF GEYS Langvennen 77 2490 Balen België 2017

Informatieboek SPECIALE EDITIE MUZEE OOSTENDE SPECIAL EDITION ETABLISSEMENT D’EN FACE EDITION SPECIALE MUHKA ANTWERPEN SONDERAUSGABE LA LOGE BRUSSELS

VERNISSAGE VRIJDAG 27 OKTOBER 2017 VANAF 19U TENTOONSTELLING VAN ZATERDAG 28 OKTOBER TOT EN MET ZONDAG 3 DECEMBER 2017 open woensdag tot en met zondag van 14 tot 18u


Beauty voor Dries in Napels



Van Abbe


Met dank aan de familie Vandievoet



Kasterlinden

"Klas" met Sabine

Van Abbe



At the beginning of 1960, when I was a teacher at a secondary school in Balen, I went to a nearby public library every day to read the newspapers and magazines. In a notice book I wrote down all the questions I met and that seemed typically feminine to me. At the back wall of my classroom I attached a roll of brown wrapping paper of 1.40 m wide on which I copied those questions with a thick marker. Sometimes weeks passed by before some of my students made a remark about the content of the questions. When this happened, I stopped the lesson and spent the remaining time discussing that theme. The first time this roll of “!women’s questions?” left my classroom was about 1970, when the women of the socialist society club asked me, being an artist, to make a contribution for their annual exposition. I lent them a small amout of the little seedbags which were considered as well painted. But there was one condition: they had to expose the paper rolls with the “!women’s questions?” too. Later on, I started to show that “questions” project in translations in the artistic circuit in three formats: • 1 original on oilcloth (1.40m / 7m) • 5 copies on paper (1.20 / 7m) • 75 copies on graphpaper (1.20 / 0.30m) Since then I made translations in English, French, German, Italian, Spanish, Japanese, Chinese, Arabic and Hebrew. I’m still working on versions in Russian, Turkish and Hindi.


68 Emotional play box , box + all kinds of materials 1966-67 20

On the occasion of the birth of his daughter Nina Jef Geys creates the Emotional play box. The essential question is: do emotions have an ABC? Is there somewhere anything that gets emotions going, controls them? Can’t we control them or are we only a victim? The contact with the external world from the point of view of the emotions. The box contains all kinds of three-dimensional figures. Cubes with different weight and texture. One cube is for instance covered with sandpaper and another with silk. What happens when someone touches the cube with sandpaper? It is not indeed a matter of sensitivity of the skin, but also of mental reflex. Constructing with spheres, rectangles, cubes is not only a matter of senses. According to the vision of Jef Geys it also has to do with exploring the ABC of sculpture and its characteristics. For some time Jef Geys expects a distribution on large scale of the Emotional play box but the interest is moderate and the play box is put away. “ I am looking “, Jef Geys says, “ for the simple key that helps me understand why the monster Hitler is looking with tears in his eyes at the blond girl of four years old with a bunch of wild flowers in her hands, while he is striking the head of his German shepherd that will in a minute … gypsies and Jews …”

18 Coloring book for adults 1963-65

21

The coloring book can be considered, in the period that coincides with his first construction, as a manual. How and with what means can we create order? “I didn’t see a line in the works I was making. In an attempt to create order I have tried to draw it. This was perhaps the best way to communicate it. What oppressed me, which were my frustrations and how did I think to find a solution. Now I consider it as a means to get out and also as a possibility for a conversation.” 22 Jef Geys starts with a division, a determination of seven areas he will closely examine. The artist designs a coloring book for adults with seven theme sheets. The seven subjects are: women, world, house, body, soldier, objects and car. Jef Geys describes them as follows:23






Mondriaanteken

Mondriaan model


1e Mondriaanteken jaren '60


C serie


Jef Geys – C Serie The C series is an edition of KAZINI – Langvennen 79 2490 Balen, which will produce and distribute the works. The intention is to create a series of personalized multiples, which will therefore acquire a unique status. Starting from a metal base, which can become carbon fiber later, KAZINI. See the fruit sculptures I produced in the 60s (see Patisson at ARTESIMA) – Personalization is done by the buyer choosing his / her favorite car color which then

becomes the colour of the piece .. on my blog you can see examples – Red of Toyota, yellow of BMW, and blue of a Bell Air Chevrolet from the early years. Each work will be provided with “Mondriaan Color Fingerprint” by KAZINI (see for that method on my blog on the Bubble Paintings series that I currently show in the Essex Street N.Y. Gallery. More details to follow.


Inge Godelaine - Samen negen prijzen - acryl op doek

Jef Geys 1. Beauty's 2. Reeks van Charlotte 3. Kai Ohara 4. Jandira



Jaren '60 - School Balen


Brugge






1639 - Gasthuismuseum - Geel

1

2

3

4

5

6

7

8 "8" Acht zaligheden - St. Barbara - Herselt

Kunstwerk: 'De werken van barmhartigheid' 1. de hongerigen spijzen (een mand met brood) 2. de dorstigen laven (een kruik) 3. de naakten kleden (een man met rood gewaad) 4. de vreemdelingen herbergen (een typisch bed van 1639)

5. de zieken verzorgen (een gasthuiszuster wast een voet) 6. de gevangenen verlossen (een geboeide man met rood hoofddeksel) 7. de doden begraven een zieke (te bed) 8. collage Jef Geys (de kunstenaar gebruikt elementen uit de andere raampanelen)


School Kasterlinden krijgt kunstwerk “gevoelsspeeldoos” van Jef Geys in langdurige bruikleen Via de gevoelsspeeldoos treedt kunst in dialoog met de maatschappij, in dit geval de school als onderdeel van de maatschappij. Bovendien doet de gevoelsspeeldoos dienst als stimulans voor creativiteit en samenwerking.

school een kleuterafdeling, een lagere en een secundaire afdeling met opleidingsvormen 1, 2 en 3. Ook beschikt de school over een internaat en is er een GON werking voor elk type en voor type 4.

In 1966 ontwikkelde Jef Geys zijn gevoelsspeeldoos. De Rijksmiddenschool van Balen testte deze toen voor de eerste keer uit. De bedoeling was om jongeren, met beperkingen of leermoeilijkheden, zowel basisbegrippen uit de beeldende kunst bij te brengen zoals kleur, vorm, compositie en lijnen, als materiekennis zoals hardheid, zachtheid, beton, metaal, hout, steen, …

Voor de jongeren van Kasterlinden is het belangrijk dat ze in een veilig leefklimaat hun eigen talenten kunnen ontwikkelen. Ze worden gemotiveerd om te leren. Kinderen leren hun eigen mogelijkheden inschatten, waardoor zelfvertrouwen, zich kunnen redden, zelfstandigheid en zelfontplooiing groeien.

De gevoelsspeeldoos bevatte hiervoor bouwstenen met allerlei kleuren en variërende formaten. Jef Geys vroeg aan scholen om mede te werken aan het project. De scholen zouden dan in bruikleen het werk ter beschikking krijgen. Hij diende op hetzelfde ogenblik het project in bij de Koning Boudewijnstichting om deel te nemen in de productie van gevoelsspeeldozen voor scholen. Maar het was het toenmalige Ministerie van Nationale Opvoeding dat mee op de kar wilde springen. Jef Geys haakte af, om politieke manipulatie te vermijden. 50 jaar later na die eerste test komt de gevoelsspeeldoos terecht in school Kasterlinden, Sint-Agatha-Berchem. Kasterlinden is een school buitengewoon onderwijs, waar type 6, type 7 en type 9 vertegenwoordigd zijn in vier doelgroepen: een visusgroep, een bilinguale gehoorgroep, een taalgroep en een autismegroep. Ook heeft deze

Kasterlinden stimuleert ook de leerkrachten en de begeleiders om creatief op onderzoek te gaan. Ze leren in dialoog met kinderen, ouders en externe partners keuzes maken en omgaan met hun beslissingen. Die interacties moeten leiden tot een goede integratie van de jongeren in de samenleving, zodat deze jongeren een positief en realistisch zelfbeeld maken. Visies van Kasterlinden en Jef Geys vinden elkaar in de gevoelsspeeldoos. Dit kunstwerk is geen werk dat in de inkomhal op de muur belandt, maar is een werkinstrument en een middel tot dialoog. Dit gegeven is gedocumenteerd in een korte film door Inge Godelaine, sinds begin jaren 90 assistent van Jef Geys. http://www.kasterlinden.be https://jefgeysweblog.wordpress.com



Chateau Chatto L.A. Namedropping Chris Kraus met Aire de Paris

Tablecloth for Chateau Chatto L.A. with Air de Paris "Mondriaan" Tablecloth 1,40m - 2,50m


In May 2009 Jef Geys asked me to represent him at the

s asked me to represent him at the“Transpedagogy: think-tank and Contemthink-tank and conference Art and the of Vehicles Education”, by edagogy: porary Contemporary ArtVehicles and the of organized Education”, the Museum Art inPablo New York. Pablo Helguera, useum of Modern ArtofinModern New York. Helguera, director director of MoMA’s Adult and Academic Program, invited d Academic invited meGevoelsspeeldoos to talk about JefinGeys’ me Program, to talk about Jef Geys’ a Pechapresentation style, Kucha (Japanese: (Japanese: ぺちゃくちゃ)) presentation a PechaKucha in which are shown for minutes 20 seconds each des are shown for2020slides seconds each (6 and 40(6 minutes and 40 seconds in total).

A bright red Ferrari Formula 1 racing car hung in the lobof MoMA’s Lewis andlobby Dorothy Cullman Education Formula 1byracing car hung inB.the of MoMA’s Lewis B. and Research Building; life-size and the nose of the car n Education and Research Building; life-size and the nose facing down. In my travel bag I carried a copy of Jef Geys’ wn. In my Kempens travel bagInformatieblad I carried a copy of Jef Geys’ – Speciale editieKempens Eindhoven (from May 2005). On the back is a reproduction eciale editie Eindhoven (from May 2005). On the backofisa ared lacquered Fruit with Marlboro logo.

d lacquered Fruit with Marlboro logo.

Pablo Helguera – in a life beside MoMA, an artist and maker MoMA, of artoonsan(cartoons about the art – proposed a life beside artist and maker of world) artoons the term ‘transpedagogy’ to describe, as he stated, “a seart world) – proposed the term ‘transpedagogy’ to ries of projects by artists and collectives around the world d, “a series projects by artists and collectives thatofblend the educational processes and artaround making in ways that are clearly different to the more conventional d the educational processes and art making in ways that are functions of artfunctions academies of or of art education. he more conventional artformal academies or of The term emerged not with the pretense to define a “moven. The term emerged theofpretense to define a ment” in any not way,with but out the necessity to describe a way, but out of the necessity to describe a characteristic characteristic that appeared as a common denominator in the work of ainnumber of artists and whichofescaped ommon denominator the work of a number artists the usual definitions used around participatory art.” he usual My definitions used participatory art.” 6 minutes and around 40 seconds Pecha Kucha lecture follows here, but I can’t recall if I reproduced it back in 2009 0 secondsexactly PechaasKucha lecture follows here, but I can’t written: Good morning, the d it back in 2009 exactly as upcoming written: minutes I want to take you back into history and show you at the same time how the concept present upcomingboth minutes I wantoftopast takeand you back are intoobsolete, historywhen and we try to talk about the artistic position and research of me time how bothartist the Jef concept of past present Belgian Geys. My nameand is Phillip Van are den Bosry to talksche, about the artistic position and research director of Mu.ZEE in Ostend (Belgium)ofand Belgianisartist Jef Geys is indeed the reason whyofI Mu.ZEE am here. ys. My name Phillip Van den Bossche, director We’ve worked together in 2004 on a retrospective solo and Belgian artist Jef Geys indeed the reason why I am exhibition at the Vanis Abbemuseum in Eindhoven (The togetherNetherlands) in 2004 on a– retrospective solo exhibition at we’re the where I worked as a curator – and doing a new school project this upcoming Fallas in a Ostend, n Eindhoven (The Netherlands) – where I worked at the Belgian seaside, in connection with the museum.

doing a new school project this upcoming Fall in Ostend, at in connection withwill therun/ museum. The slides are running, every 20 seconds a new one, and focus on two projects. Jef Geys (born in 1934)

worked from to 1989 as anone, artist/and teacher in the are running, every 20 1960 seconds a new focus on local two school – 8 to 16 years old – of his home town Balen. He born in 1934) worked 1960 to 1989aesthetics’. as an artist/ called himselffrom ‘teacher of positve This was a position and he his onlyhome took this position school – 8unique to 16 years old – of town Balen.after He the agreement that he This was not to attend school meeer of positve aesthetics’. wasobliged a unique position and he tings. He wanted to activate the awareness of young people and present them concepts and information through art works that were normally considered only for adults. In his context he borrowed art works for his school class from fellow artists and Belgian museum including Lucio Fontana and Gilbert & George. He changed the play ground of the school into a large world map including small foot prints – working together with other teachers but against the will of the geography teacher, who thought that children from a small town had no need to know about the larger world. Beside the map he sat up a notice board with news clippings – so that

children could connect current news events with places on the map, to better understand their position in the world. They were also encouraged to bring in new stories and then locate the events. Jef Geys wanted to bring in real life into the school system and showing the students the relevance of learning. The exhibition he realised in 2004 in Eindhoven – and from which you are now seeing images – was conceptually worked out against the frame work of his Feelings Play Box (Gevoelsspeeldoos) – originally conceived in 1966-67 but only realized for the first time in 2004 as a serie. The box consists of a large number of building blocks, varying greatly in texture, material, weight and colour. Apart from painted wooden bars, cubes and cylinders, the box also contains blocks made from textile, sandpaper, corrugated cardboard, glass, stone and metal. The Feelings Play Box can be seen as a kind of ABC of sculpture, a collection of elements prior to the making of an art work. What are the basics of our visual perception? The various contrasts between hard and soft, heavy and light point to Geys's interest in questions about the senses and how they influence looking at something. ‘Seeing’ conforms to sensory rules but what ideas do we develop as far as concordance between word and image is concerned? Feelings Play Box provides the framework but not the infill for these and other questions between the surface, the color and the mental imagery. In late January 2005 Geys started a project in which ten education institutes in Eindhoven, whose intake ranged from infants to Technical University students, could make free use of his Feelings Play Box during three months. In the invitation letter the schools were asked to make a documentation but Jef Geys didn’t mention that he intended to display the results of the use of the box in his museum exhibition. This was the first time the Van Abbemuseum ventured out of his own building into schools and also the first time the educational department worked together with the museum’s curator. -----In between 1963 and 1965 Jef Geys worked out a coloring book for adults. End of the fifties, beginning of the sixties Geys came into contact with the theatre plays of Bertolt Brecht and through a story about The Berliner Ensemble he started to become interested in the theories of the Russian teacher from the 1920, Nikolai Ladovsky. Ladovsky wanted to bring painting, sculpture and architecture together, and he used psychoanalytic methods to create architectural spaces. He also conceived instruments to measure the fysiological effects of forms. Jef Geys was also interested in the form and what made it look different: camouflage, mimicry. He searched for banal, overused images from daily life, and wanted to create a bridge between the daily banality of the representations and thinking about ethics.


He rearranged the borders of countries (melting England for instance together with Indochina/ Vietnam). The body as a puzzle, the container of everything we experience, some parts larger, without scale The masculine, the macho-military The dream: the car as a projection screen for a lot of frustrations The high priests (female) from art history and in the circle the Leonardo da Vinci body builder. The things we need in daily life, the things we use, we consume, we talk about, the things we use to fill our lifes (and later throw away, to get new ones). The house and how to re-think the relation between the architect and the human scale. Upcoming September Jef Geys and the museum in Ostend will distribute a re-worked version of the coloring book to all the 11 years old students in Ostend, approximately 1.200. He will ask them also to make some photographs of their daily life and surroundings – using the framework of the coloring book. The coloring book is a way to gather people, for people to gather, to have meetings and to discuss things, to feel safe. Panel discussions and Arist-led workshops were organized in the afternoon. We learned some things about electricity, to solder and make our own simple synthesizer. When I returned and opened my travel bag in Ostend, I noticed a small note from U.S. Customs and Border Protection among my belongings. They probably inspected the small synthesizer. ‘Machineproject loves you’ was printed on the circuit board. The participants at the MoMA conference and think-tank on May 15, 2009 were: Carolina Alba, Museo Carrillo Gil, Mexico City Mark Allen, artist, Director and Founder, Machine Project Fia Backstrom, artist

Sergio Bessa, Director of Education, Bronx Museum Claire Bishop, Associate Professor, Art History Department, CUNY Graduate Center, New York, and Visiting Professor, Curating Contemporary Art Department, Royal College of Art, London Tania Bruguera, artist Tom Finkelpearl, Executive Director, Queens Museum of Art Jessica Gogan, Curator of Special Projects, Warhol Museum, Pittsburgh Janna Graham, Education Project Curator, Serpentine Gallery Grant Kester, Associate Professor of Art History and Coordinator, Ph.D. Program in Art History, Theory and Criticism at the University of California, San Diego Nicola Lees, Public Programmes Curator, Serpentine Gallery Adam Lerner, Director and Chief Animator, Department of Structures and Fictions, Museum of Contemporary Art, Denver Sofia Olascoaga, Head of Department, Educational and Public Programs, Museo Carrillo Gil, Mexico City Bernardo Ortiz, artist Sally Tallant, Head of Programmes, Serpentine Gallery Phillip Van den Bossche, Director, Kunstmuseum Aan Zee, Ostend, Belgium Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Programs, SFMoMA Wendy Woon, Deputy Director for Education, The Museum of Modern Art Qiu Zhijie, artist Note: Pablo Helguera used a quote of Michel de Certeau from The Practice of Everyday Life in our e-mail correspondence prior to the conference: “For what I really wish to work out is a science of singularity, that is to say, a science of the relationship that links everyday pursuits to particular circumstances. And only in the local network of labor and recreation can one grasp how, within a grid of socio-economic constraints, these pursuits unfailingly establish relational tactics (a struggle for life), artistic creations (an aesthetic) and autonomous initiatives (an ethic). The characteristically subtle logic of these ‘ordinary’ activities comes to light only in the details.” Phillip Van den Bossche August 2017, Oostende

"Arthuur" Schilderij / painting Inge Godelaine afm.: 168x124


Kunstwerk van Jef Geys: ‘De acht werken van barmhartigheid’ Het kunstwerk bestaat uit acht 'raampanelen' in plexiglas, waarvan zeven 'raampanelen' de zeven werken van barmhartigheid uitbeelden. Het achtste paneel is een collage, waarin Jef Geys elementen uit de andere 'raampanelen' bij elkaar gebracht heeft. De inspiratiebron voor het kunstwerk is het schilderij ‘Ziekenverzorging in het Geelse gasthuis,1639’, dat in de kapel van het Gasthuismuseum in Geel hangt en waarin het dagelijkse werk van de gasthuiszusters in 1639 wordt uitgebeeld.

De acht 'raampanelen' zijn geplaatst in de ‘kloostergang’ van de afdeling voor dementen (eventueel “de afdeling voor dementen” vervangen door “de dementenafdeling”, ofwel“dementen”vervangen door“demente patiënten”of “demente personen, ofwel “dementen” vervangen door “patiënten met dementie” of “personen met dementie” (maar dan krijg je wel een opeenstapeling van voorzetsels, zoals in de originele versie in het woonzorgcentrum St.Barbara in Herselt.

Œuvre d’art de Jef Geys: “Les huit œuvres de miséricorde" L’œuvre comprend huit 'paneaux' en plexiglas dont sept représentent les sept œuvres de miséricorde, le huitième étant un collage composé d’éléments empruntés aux autres 'paneaux' de la main de Jef Geys. Sa source d’inspiration fut la peinture "Soins apportés aux malades résidant à l’hôpital de Geel, 1639", qui se trouve exposée à Geel dans la chapelle du musée de

l’hôpital et qui se veut une illustration du quotidien des bonnes sœurs à l’œuvre dans celui-ci en 1639. Les huit 'paneaux', eux, sont exposés dans le "couloir de couvent" de la section réservée aux personnes atteintes de démence de la résidence-services Ste-Barbara à Herselt. Traduction par Marc Van Canegem-Ardijns

Work of art by Jef Geys: « The 8 works of mercy » The work of art contains eight 'panels', made of plexiglass, seven of which representing the seven works of mercy. The eighth panel is a collage, in which Jef Geys combines elements of the other 'panels'. The work of art is inspired by the painting “The nursing of the sick in the hospital of Geel, 1639”, which can be found in the chapel of the Gasthuismuseum in Geel and

which represents the daily work of the nursing sisters in 1639. The eight 'panels' are placed in the cloister corridor of the department of demented people in the residential care centre St-Barbara in Herselt. Translation by Ingrid Van Canegem-Ardijns


Jef Geys fut sans doute un des premiers artistes, des 1960, non seulement à identifier l’œuvre à un nom propre, mais qui plus est, à faire du seul nom propre, une œuvre, ainsi Jef van Dijck, Marc Callewaert, Betty, Lola, Jef Sleeckx, tous noms propres qui renvoient parfois à des œuvres, parfois à rien d’autre que leur propre nom. À travers la prolifération des noms propres, Jef Geys multiplia les « identités mineures » (27) qui sont le ‘matériau’ même de son œuvre. Professeur d’arts plastiques à Balen, Jef Geys afficha dans sa classe en 1962 les noms de B. Johnson et Jef Van Dijck sur un drapeau des Etats-Unis, opérant une collusion entre le nom public et ne nom anonyme, Jef Van Dijck y révélait l’emblématique vide du nom propre, sa fabrication fallacieuse. Le nom ne cesse d’opérer ce transfert dus privé au collectif, en bouleversant les règles habituelles de codification. L’identité même d’artiste de Jef Geys fut toujours compromise avec ces ‘identités mineurs’ : en 1968, dans « La Chanteuse sans nom », se mélangeaient les voix de la chanteuse anonyme et de Geys ; lorsqu’il présenta ses œuvres aux côtés de celles d’un enfant, presque son homonyme, Gijs Van Doorn, Geys permuta leurs identités respectives ou encore, lorsqu’il afficha dans les rues le nom d’un ou d’une inconnue, ainsi « Charlotte Visage », Geys conférait à nom anonyme les dimensions d’un signe public qui venait se greffer et parasiter les noms d’hommes politiques. Tous les noms propres, déployés par Jef Geys, empêchent paradoxalement la ‘nomination’ des œuvres : le nom apparaît comme un référent sans inscription, comme une ‘couverture’ ou un ‘camouflage’ du propre. L’œuvre qui s’identifie au nom d’une personne s’inscrit dans une incessante mobilité : aucun paradigme ne parviendra à fixer l’évolution au jour le jour de « Monique Devolder » ou de « Nic. Van den Plas ». « Le sujet minoritaire n’existe que comme dispersif » (28) et Jef Geys multiplia les identités anonymes, ainsi ces visages d’enfants anonymes aux yeux barrés (« Lapin rose robe bleu », Lyon/Dunkerque, 1987).

Jef Geys compromet toujours l’identification, voire la rend totalement impossible. Dans le journal qu’il publie lors de chaque exposition, le « Kempens Informatieblad », Geys souligna dans l’inventaire de ses œuvres toutes celles ayant pour titre un nom propre. Mais le nom ne renvoie plus à une identité subjective, souveraine, qu’incarnerait la position de l’artiste, il contient à lui seul une famille de sujets pluriels tous équivalents dans leurs translations d’identités. Cette déperdition du sujet traverse toute l’œuvre de Jef Geys dont le seul nom « camoufle » une multitude de noms, contre toute hégémonie dus sens. D’autres artistes collectèrent les identités anonymes, ainsi Christian Boltanski dans des œuvres telles que le « Club Mickey » ou dès 1969, la série du « Passant ordinaire » de Braco Dimitrijevic, qui porta aux dimensions de la vie publique le visage d’un passant rencontré par hasard. Dimitrijevic apposera également des noms d’inconnus sur des banderoles dans la ville, tout en séparant toujours nom et photo. It tourna en dérision la monumentalisation du nom avec ses bustes d’inconnus sur un socle en marbre, hissés à la gloire d’hommes célèbres. Dimitrijevic opposa ainsi à l’inscription de l’histoire le fugitif, la contingence d’une apparition éphémère, due aux hasards d’une rencontre avec un passant. Puisque le nom sertà la construction de l’histoire, Dimitrijevic réduira à néant cette construction dans l’anonymat ou fera ‘anonymes les protagonistes d’une histoire dont les noms ne renvoient à rien. Si l’histoire est une fiction, le sujet l’est aussi. (27) Marie-Ange Brayer, « Jef Geys. Les identités mineures », Société des Expositions, Palais des BeauxArts de Bruxelles, 1992. (28) François Laruelle, « Une biographie de l’homme ordinaire. Des Autorités et des Minorités », Paris, Aubier, 1985, p. 116.







KAZINI

Met dank aan iedereen die dit project mogelijk maakte!