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David Cohen

IN YOUR HEAD

NELLA TUA TESTA

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Small headBronze20 x 20 x 30 cm

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To Michèle, Léah, Raphael, and Samuel

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IN YOUR HEAD

NELLA TUA TESTA

David Cohen

Head with black hairsClay and enamel32 x 32 x 45 cm

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Acknowledgment

I wish to thank;

My loyal art companions Renato Bonetti (sculptor), Ivo Poli (ceramist), Simone Giannini (ironworker), Lucarini’s brothers (bronze worker)My friends and authors François Ansermet, Michel Blachère, Barbara Safarova, Mikaela ZyssThose who in various ways supported the project: Mario Pissacroia, Jean-François Rabain, Christian Croset, Benedetta Pellizzi, Eric Ghozlan, Marc Illouz, Cecilia Rofena, Olivier Kha-yat, Isabelle Babilaere, Linda Sroussi, Agnès DahanMy reviewers Ariane Bailey, Caroline Thompson, Tiziana Della Rocca, Fabia Arnaud

Book design: Amira Parree

Ringraziamenti

Vorei ringraziare

I miei fedeli compagni d›arte Renato Bonetti (scultore), Ivo Poli (ceramista), Simone Giannini (fab-bro), fratelli Lucarini (fonditore)I miei amici e autori Michel Blachère, François Ansermet, Barbara Safarova, Mikaela ZyssTutti coloro, che, a vario titolo, hanno sostenuto questo progetto: Mario Pissacroia, Jean-François Rabain, Christian Croset, Eric Ghozlan, Marc Illouz, Cecilia Rofena, Olivier Khayat, Isabelle Babi-laere, Linda Sroussi, Agnès DahanI miei recensore Ariane Bailey, Caroline Thompson, Tiziana Della Rocca, Fabia Arnaud

Book design: Amira Parree

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Progetto preliminare

Preliminary projectHeads

TesTe

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Testa blue ross Blue head and red, 2005Oil and fabric on canvas

120 x 100 cm

1918

Blue head and leaves, 2002Oil and leaves on canvas

100 x 100 cm

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Couple with two heads, 2000Oil on canvas100 x 150 cm

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Self-portrait blue, 1998Series Writings

Oil on canvas100 x 150 cm

Head and red eyes, 2001Oil on canvas81 x 60 cm

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Progetto preliminare

Preliminary projectsculpTural variaTion

variazione sculTurale

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Variations around a found object Variazioni attorno a un oggetto trovato

It begins with an insignificant finding: a piece of failed tree on a beach in Italy where David Cohen spends his summers since adolescence. The end of the tree is entwined with a kind of floating wood liana. Waited by the appearance of dry, thirsty, long-limbed stems, he removes the trunk. They have almost a human form, entangled, clinging to each other in a desperate round so as not to fall into the abyss of disappearance.David Cohen is an autodidact artist with an atypical ca-reer since he is also a child psychiatrist. He cannot resist the temptation to heal the sick object in order to bring him back to life.

Not related to a specific artistic movement, although strongly influenced by Kandinsky›s compositions and Miro›s colors, David Cohen continues his work mainly with paintings that incorporate plants, textiles and car-casses with a predilection for the branches of olive trees.

Driven by a quest for reincarnation, he will raise from these vines that are one, a real altar to the memory of what remains of the tree, reproducing it as much as possible in a multitude of textures. Instead of diverting, the object returns it in the direction of the return to life. It transforms the thing while leaving it recognizable, it will have no other use than to be there, to be alive again and to be venerated. Even if the remainder remains inanimate, his life will be revealed by the sparkle and brilliance of the colors.

First, he makes an impression of the object imagining variations from the positive and the negative of the wood found. Then he produces a first work: his branch is skinned alive, suspended on metal bars as exposed for an anatomy lesson, it is the backbone of what will become an astonishing variation around the found object, assur-ing him thus a survival. The sick object will be healed, (re) incarnated and multiplied into various materials.The bloody wounds that are distinguished in the first

piece will heal to leave room for the sap of life on the series of sculptures that will be performed.

From the crystalline stone, the bronze that oxidizes and whose patina is allied with the vegetable color, through his burned clay of ocher tones, saffron, faded roses, to the ceramics that dyes cobalt blue, yellow golden button, tender green pigments, it perpetuates what remains of the plant. The structures are made either of a block like that in pink travertine, or are erected on beautiful marble pebbles with the roundness of pebbles coming from the river which flows in the village – Pietrasanta – which overhangs the place where David Cohen lives in summer.

The saturation and the luminance of the colors on the sculptures are chosen according to the chromatic percep-tion of the artist who thinks in bright colors and would undoubtedly have wished that there is still more tones than cannot offer a color chart. He goes so far as to give an ultimate new breath to the initial piece by integrating it, as he is accustomed to doing in his artistic production, on a canvas by rendering it his original «form»; that of a tree of life on a background of orange, a predominant, warm and stimulating color that often collects the favors of the artist in his work and whose famous painter Vassily Kandinsky writes of orange that he «looks like a man sure of its strengths and consequently gives an impression of health». David Cohen in making such a canvas with a generous lyric flight takes up the theme of the tree that has staked his work for many years, branch-es stretch all their splendor, arise as if by magic from a mail bag, a marble trunk or even here a tree remains thunderstruck and found.

Mikaela Zyss

Inizia con una scoperta insignificante: un pezzo di albero appogiato su una spiaggia in Italia dove David Cohen trascorre le sue estati sin dall'adolescenza. La fine dell'albero è intrecciata con una specie di liana di legno galleggiante. Commosso dall’aspetto di steli secchi, as-setati, lunghi, rimuove il tronco. Hanno una forma quasi umana, impigliati, aggrappati l'uno l'altro in un giro disperato per non cadere nell’abisso della scomparsa.

David Cohen, artista autodidatta con una carriera atipica poiché è anche un psichiatra del bambino, non può resistere alla tentazione di guarire l'oggetto malato per riportarlo in vita.

Non correlato a uno specifico movimento artistico, sebbene fortemente influenzato dalle composizioni di Kandinsky e dai colori di Miro, David Cohen continua il suo lavoro principalmente con dipinti che incorpora-no piante, tessuti e carcasse con una predilezione per i rami dell'olivo. Spinto da una ricerca per la reincarnazi-one, solleverà da questi liane che dinventano uno solo, un vero altare al ricordo di ciò che rimane dell'albero, riproducendolo il più possibile in una moltitudine di tessiture. Invece di deviare, l'oggetto lo restituisce nella direzione del ritorno alla vita. Trasforma la cosa las-ciandola riconoscibile, non avrà altro scopo che essere lì per essere di nuovo viva e per essere venerata. Anche se il resto rimane inanimato, la sua vita sarà rivelata dallo splendore e dalla brillantezza dei colori.

In primo luogo, realizza un'impronta dell'oggetto che immagina variazioni dal positivo e dal negativo del legno trovato. Quindi produce una prima opera: il suo ramo è scolpito vivo, sospeso su barre di metallo come esposto per una lezione di anatomia, è la spina dorsale di quel-la che diventerà una sorprendente variazione intorno all'oggetto trovato, assicurandolo quindi una soprav-vivenza.L'oggetto malato sarà guarito, (re) incarnato e moltiplicato in vari materiali.

Le ferite insanguinate che si distinguono nel primo pez-zo guariranno per lasciare spazio alla linfa vitale della serie di sculture che verranno eseguite.

Dalla pietra cristallina, il bronzo che si ossida e la cui patina si combina con il colore vegetale, attraverso la sua terra bruciata da toni ocra, zafferano, rose appassite, alla ceramica che tinge i pigmenti blu cobalto, bottone giallo dorato, verde tenero, perpetua ciò che rimane della pi-anta. Le strutture sono fatte di un blocco simile a quello del travertino rosa, o sono erette su bellissimi ciottoli di marmo con la rotondità di ciottoli provenienti dal fiume che scorre nel villaggio – Pietrasanta – che sovrasta il luogo in cui David Cohen vive in estate.

La saturazione e la luminosita dei colori sulle sculture sono scelte in base alla percezione cromatica dell'artista che pensa in colori vivaci e senza dubbio avrebbe volu-to che ci fossero ancora più toni di quanti non possano offrire una cartella colori. Si spinge così lontano da dare un ultimo respiro nuovo al pezzo iniziale integrandolo, come è abituato a fare nella sua produzione artistica, su una tela rendendola sua «forma» originale; quello di un albero della vita su uno sfondo di colore arancione predominante, caldo e stimolante che spesso raccoglie i favori dell’artista nella sua opera e il cui famoso pittore Vassily Kandinsky scrive di arancio che «sembra un uomo sicuro dei suoi punti di forza e di conseguenza dà un’impressione di salute» 1. David Cohen nel fare una tale tela con un generoso volo lirico riprende il tema dell'albero che accomagna il suo lavoro da molti anni, i rami allungano tutto il loro splendore, sorgano come per magia da uno sacco postale, un tronco di marmo o anche qui un albero rimane folgorato e trovato.

Mikaela Zyss

Mikaela Zyss is photo editor and curator. Among others, she organized the large 2017 retrospective of Gilles Caron’s photographer in Israel and collaborated to the last two Dakar’s Biennale of African Art. The following text was written for the 2017 exhibition that David Cohen had at Galerie XXI in Paris presenting the series Sculptural Variations also called by Art Absolument review Vegetal Partitions.

Mikaela Zyss è editore di foto e curatrice. Tra l’altro, ha or-ganizzato la grande retrospettiva del foto-grafo Gilles Caron nel 2017 in Israele e ha collaborato alle due ultime Biennale di Arte Africana di Dakar. Il testo seguente è stato scritto per la mostra 2017 che David Cohen ha consegnato alla Galerie XXI di Parigi presentando la serie Variazioni Scultoree, anche chiamata dalla rivista Art Absolument Partizione Vege-tale.

1. Du spirituel dans l’art, Paris, Denoël, coll. « Folio essais » (no 72), 1989, p. 162.

1. Du spirituel dans l›art, Paris, Denoël, coll. « Folio essais » (no 72), 1989, p. 162.

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Variation Bonga, 2015Liana and RootsClay and enamel10 x 10 x 33 cm

Variation Fela, 2015Liana and RootsWood, iron and oil30 x 30 x 80 cm

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Variation Franco, 2015Liana and Roots

Clay and crystalline50 x 50 x 120 cm

Variation Brown, 2015Liana and Roots 23 x 20 x 63 cm

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imprinT

impronTa

Performance

Detail

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Imprints of absence About the works of David Cohen

Masks, canvases, sculptures, casts, but also leather, olive wood, jute bags, those used by the post office, bronze, ceramics, bones, lianas, or steel, to name but a few of the ways and materials at play: David Cohen’s works are di-verse, his techniques are plural, his effects are surprising.

Something seems to insist through repetitions, changes, variations, as we say of musical variations. Something ? What? A thing ? The Thing - «das Ding» - in the sense of Freud in his Sketch, when he brings up this term to designate what is distinct from any object 1. The Thing lies beyond perception, it points towards what is incompre-hensible, elusive and unassimilable in the object 2.

Traces left by the experience, traces of the object, traces of absence: that’s what remains in memory. The memory is made of mnemic traces, that is to say, a profusion of absences always present. What is no longer will always be. What constitutes memory is what is no more. This is the paradox of memory. It is also the paradox of David Cohen’s works which turns what has disappeared or – in the process of disappearing – into footprints. These imprints of life beyond the object, of the object’s inertia pursues through him a journey beyond what it is. Thus this work leads whoever encounters it beyond what is shown, beyond the objects exhibited. To elevate the object to the dignity of the Thing, it is indeed the work of sublimation: it is moreover the definition that Lacan gives, building from the Freudian Thing, this “beyond object” that conceals the object. An object that must be found, an object that is thought to be lost but “which has never really been lost, even though it is essentially a matter of finding it” 3. This is perhaps what the work of memory does: to find what has not been lost beyond what is no more. One could say that David Cohen, be-tween traces and imprints, exposes the objects of memo-ry: multiple objects, various, combined, recombined, lost, found, which each in their own way exposes this Enig-matic Thing that escapes us.

The impression left by the works of David Cohen is that, through them, he tries to capture this elusive, to get the impression, to graze the memory, to capture the trace through painting, sometimes carving it, or wrap-ping it, grasping its shape, through a material, by the effect of a color. Whatever the means used, what he aims for is the imprint of absence, the presence of absence.

This is what gives a unity to the diversity of his produc-tions: enabling us to encounter them as infinite varia-tions as on the same theme.

David Cohen’s works revolve around the tension be-tween loss and memory. Between traces and footprints, it is the loss that torments his works. But that›s also what gives them their momentum. He finds life in the object, he gives life to lost objects. David Cohen runs after the trace: that is what gives life to his creations.

This is why his quest is never ending, like memory, which always reveals the infinity of what could have been lost, of what could have disappeared forever, which, perhaps, has even been forgotten. Faced with disappear-ance, in the face of oblivion, there is no other solution than creation. We create from loss, forgetfulness, ab-sence, even if we show the absence present in what we show. What the course of his work reveals is that we do not find the object: we find it, but it is always another object. Hence the insistence of series, pictorial or sculp-tural, that he composes.

Through his work as an artist, what happens is the temptation of life beyond loss: everything happens as if David Cohen was trying to revive what has been lost, what has become inaccessible, to what is dead. To find the imprint of life, to make memory come alive, to animate the inanimate, to give life to matter, to bring out the life, whether it is through a canvas or a vegetal left-over. Bring a dead tree to life and have it carry another life. To make traces come to life, through footprints, making them visible, molding them: this is the work of memory that David Cohen devotes himself to, reviving what has been lost, to show life beyond death, beyond abandoned remains. Giving a memory of forgetfulness, beyond oblivion.

A trace is what the object leaves once gone elsewhere, like the footprint of Friday in the sand. For Robinson Crusoe, this is the sign that there was someone who left somewhere else, who was alive even though maybe he is no more. And indeed, the memory is made of traces of what has been. Thus memory is continuity and disconti-nuity. Is a memory trace a sign of something that is no longer or something that is always? In any case, David

François Ansermet

Cohen›s perspective is to give life to these traces, to find their shape, to make an impression of it, to wrap their contours, to grasp their life beyond what rest. To revive what is no longer, to me this seems to be David Cohen’s perspective in his poetic works, which are indeed the fabrication of life from different inanimate materials.

This doesn’t happen by itself. Beyond memory and its footprints, joy is there first and foremost: it is what is most evident in his productions - as in his personality for those who know him. A certain exaltation, far from convention, free of codes, including those of his other profession, that of professor of child and adolescent psychiatry.

This joy is what allows the transmission. And that is also what is transmitted. It is passion to transmit that bring together his art, his teaching and his clinical work. The challenge is to pass on what escapes, including what cannot be captured through representation: to catch up urgently, with insistence, to capture its imprint, by any means whatsoever, to make visible the invisible, the life in all things – by elevating every object, everything remain, every trace, to the dignity of the Thing. Make the imprint of the Thing. Give an appearance to what is beyond what is lost, give it substance, realize the ap-pearance in substance, preserve its memory: such is the perspective of David Cohen around an object still lost but always to be found, unendingly.

François Ansermet psychoanalyst, Honorary Professor of Child and Adolescent Psychiatry, University of Geneva and University of Lausanne, Member of the National Consul-tative Committee of Ethics in Paris, Vice President of the Agalma Foundation in Geneva. For years, he has dialogued with artists and performers about changes in society and human condition, but also on how these changes occur (by the work of memory? Of chance?). His last dialogue with Prune Noury in Serendipity is a profound testimony of his commit-ment with artists.

1. « What we call things (Dinge) are remnants of judg-ment »: Sigmund Freud, Sketch of a Psychology (Entwurf einer Psychology), trans. S. Hommel et al., Toulouse, Érès, 2011, p. 91.2. « Das Ding » is indeed defined by Freud as a non-assimila-ble part, distinct from the known part of the object, cf. Ibid, p.147.3. Jacques Lacan, Le Séminaire, Livre VII, « L’éthique de la psychanalyse », 1959-60, Seuil, Paris, 1986, p. 72.

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Imprint, 2015Back view

Leather, iron and oil150 x 130 x 110 cm

Imprint, 2015Front viewLeather, iron and oil150 x 130 x 110 cm

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4342 TesTe e pelle Head and skin

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Head and skin, rose, 2018Oil on leather70 x 100 cm

Head and skin, yellow I, 2018Oil on leather70 x 100 cm

Head and skin, brown, 2018Oil on leather70 x 100 cm

Head and skin, yellow II, 2018Oil on leather120 x 150 cm

Head and skin, black and blue, 2018Oil on leather65 x 54 cm

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4948 TesTe e Terra Head and clay

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In his heads

Closed eyesWide eyesClosed wide eyes - Paul Eluard

“From the Earth grew many heads but without a neck. And bare arms without shoulders wandered, and eyes that floated, not moored to the foreheads. You do not see them” says Oreste in Furies, “but I do see them, these heads chase me”. Why do David Cohen’s heads hypnotize us? What do they see? What do they tell? These heads try to say things that cannot be said. But shall we not one day stop saying things to start seeing these things?

Heads in clay, leather, bronze, marble show the trace, the imprint, the language of the origins, yes, presence and absence, the power of passing time. These heads see invisible things that men no longer see. And without a doubt, something irreversible, terrible, unspeakable, that cannot be represented happened. We know it, we talk about it mechanically, next to it. Families, religions, philosophies, financial markets are there to distract us from this black presence. These heads give a representa-tion of the what cannot be represented.

The heads of David Cohen irrigate a territory, a geog-raphy, tell a novel, a music, how women died without a dream, lost children. They also print and read poems of love, but no one to listen to them except animals, flowers, rocks that cannot yet read. Heads upside down, world upside down that never stops walking on our heads. But David Cohen guides us to other possibilities to put back Arthur Rimbaud’s paradise: “The material world will only be a means to evoke aesthetic expres-sions. We will have feelings through lines, colors and patterns taken from the outside world, simplified and tamed, a real magic”.

The work of David Cohen is still moving, in opposition to the finished work. “The finish is the admiration of imbeciles” Cezanne writes to his mother. Experimenta-tion motivates him, and ceramics itself is a metaphysical question for David Cohen. Enamel and engobes give a balance to his heads, but that’s not an idea anymore, but a thought that takes shape as a material captures and transforms light. The primitive past comes out of Earth with the earth to better occupy the space. He is a mu-tant, a messenger of matter who invites us also by his look, his relation to the world and to the other, but also

to the same, to celebrate life in the face of disenchant-ment and human madness. Listen to Jacques Lacan: ‘The being of man, not only cannot be understood without madness, but it would not be the being of man if he did not carry in himself madness as limit of his freedom‘.

And the heads of David Cohen cross the wall of seeing. It is a struggle, a battlefield, they try to overcome our ontological blindness; they see the visible but also the invisible, the hidden, death. They tried to suppress art in the twentieth century by fields, wars, money but the act of creating was even stronger. “To create is to resist, it is to harm stupidity”. The bursting of the heads of David Cohen in the landscape is so incarnated, luminous and powerful that it moves us infinitely, at once a tender-ness and a disenchantment. This tenderness, linked to the fright we feel in adulthood after having understood with anguish that the world of childhood was moving away; and this disenchantment to seize life, only life, life alone, what there is between men, space, forms, colors, matter, thought. We must simply be carried away by the diversity of materials used and the perceptions that his works make us share, voices and ancestral ways, imper-ceptible, mysterious, we hear the murmur of flowers and the silence of God. The eye is listening, but the sky is empty. The work is here rebellion, insubordination, interrogation, it is not the missing link of a society of convenience. David Cohen reminds us that a work of art is a human creation, a meditation, a contemplation; an access to a multiple dimension in a historical complexity that also corresponds to his past, and today to his life as a Professor of Psychiatry. He tells us about the human adventure as an adventurer and speaks to everyone.

David Cohen is a colorist, color also becomes material, it is a song that connects men, but nothing religious, sim-ply a spirituality that allows men to say, write and share the poetic. Listen to Roland Barthes: “Intelligence is about thinking of others”. The work of David Cohen is part of this thought, this story where the relationship to the world, to the other, to his double, real or imaginary, questions him. The ‘I is another’ of Rimbaud. I think to be the one who thinks - I am - otherwise, I would be an-other, I am precisely, not me, but this other. Who am I? Who am I really? What am I doing here? Where is the stake? The heads of David Cohen answer our questions, it’s not only the eye that looks, it’s the being – We are there. What do they hear, the heads of David Cohen?

Michel Blachère

They hear the cries of martyrs and hungry people, for-gotten beings. Why in history, humans have forgotten?

We massacre, we kill, we terrorize, we kill and we open the bellies of women to kill their children. Women are raped, incests are many; society is sick. We sell children, those who are too weak, we exterminate them. Organs are taken from abandoned, poor children to give them to the richest. Horror, prostitution, homophobia, racism, neuroses, psychoses. Governments, governments do nothing. They are cowards. They expect the savages to kill and the civilized to commit their crimes. The trains were leaving for Dachau, Ravensbruck, Auschwitz, they did nothing, they made us believe they did not know, and like today, they pretended to ignore history. Red sky, it’s raining blood. Hell is here, we cannot stop the course of history. The dawns are always heartbreaking, the being is forgotten.

The heads of David Cohen speak of a lost world with an illuminated look on the world of tomorrow and that of the day after tomorrow. As diviners predict destiny. Listen to Albert Einstein: “What if we were wrong? If we called blue, green? Who can show a blue tree? Who’s talking about fresh watercress?” writer, Arthur Rimbaud. A sculp-tor, David Cohen.

Michel Blachère is a writer and a curator. He is the director of the Galerie XXI in Paris that has been showing contemporary ceramics for more than two decades. He has presented David Cohen’s work twice in his gallery. He recently curated several exhibits: Re-sources at the Dêvres museum on contemporary ceramics (October 2017 - March 2018) and Vallauris, the beautiful story at the Sarreguemines museum (June 2017 - January 2018).

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Head and clay, 2018Clay, crystalline and enamel120 x 100 cm

Head and clay, 2018Clay, crystalline and enamel 58 x 48 cm

Head and clay, 2018Clay, crystalline and enamel50 x 41 cm

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5958 TesTe, Terra e pino

Head, clay and pine

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Head and clay, big, 2018Clay, crystalline and enamel120 x 100 cm

Head, clay and pine, 2018Clay, crystalline and enamel52 x 45 cm

Head, clay and pine, 2018Clay, crystalline and enamel57 x 56 cm

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66 6764 65

70 7168 69

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Biography

David Cohen is a visual artist and a child and adolescent psychiatrist. His artistic career led him to explore several media such as painting, sculpture and also performance. He lives in Paris, France and Pietrasanta, Italy. His plastic ambition is above all poetic and aesthetic. His exhibitions usually address various themes in which effects of trace or memory, and existential questions, invariant of the human condition, intertwine. He often favors color and variations (like in music) as a constant source of inspiration. In addition to his visual art activities, David Cohen is also a curator and a member of several committees or foundations supporting outsider art or art therapy (Entreprendre pour aider; Les Lutins de l’Art; Art Absolument Price for Outsider Art). He is currently member of the Board of Governors of Bezalel Academy of Art and Design, Jerusalem, Israel.

http://www.dcohen.biz/

As a physician, David Cohen is Professor at Sorbonne University and head of the department of Child and Adolescent Psychiatry at La Salpêtrière hospital in Paris. He is also member of the lab Institut des Systèmes Intelligents et de Ro-botiques - ISIR (CNRS UMR 7222) (see http://speapsl.aphp.fr).

Personal exhibits

2018 Fortezza di Montalcino, Arte moderna e contemporanea (collective), Montalcino2018 Galerie XXI Gallery, Lorsque terre et peau portent nos empreintes: têtes, Paris Christian Croset Gallery, Lorsque terre et peau portent nos empreintes: arbres, Nogent/Marne2017 XXI Gallery, Variations sculpturales, Paris2014 Chapelle Saint-Louis de La Salpêtrière, Dialogues, Paris Sculptural installation during the Charcot’s exhibit: Charcot une vie avec l’image2013 Christian Croset Gallery, Variations bleues, Nogent/Marne2009 Urban Gallery, Come se fosse olivi, Paris2008 DIMA Gallery, From Paris, London2007 Sophie Bismuth Gallery, Selections, Paris2004 Jardin Gallery, Les pendus, Paris2000 Jardin Gallery, Feuilles et couleurs, Paris2000 Nicasiuszaal, On the Way 20.21, Antwerpen1999 Dépôt Matignon Gallery, Le corps, Paris1998 Hélène de Roquefeuil Gallery, Petits Formats, Paris1998 Dépôt Matignon Gallery, Collectif, Paris 1997 Hammam Café, Têtes et personnages, Paris1994 Maison des Conservatoires, Abstractions colorées, Paris

art conferences and writings

2016 Intuition in artistic and scientific creation: the case of mental health Workshop “Intuition in artistic and scientific creation: to approach the real” Toulouse Capitole University, 13 and 14 October, Toulouse 2015 How to help children dreaming in a hospital institution, Musée des Arts Décoratifs, 30 may, Paris Lecture during the exhibition Piero Fornasetti2015 The art of dreaming and making children dream in a hospital department, Fondation des Etats Unis, 5 November, Paris2014 Art and mental health, Institut du Cerveau et de la Moelle, 26 June, Paris Sound tour of the exhibition Inside, Palais de Tokyo, 25 November, Paris2013 Today ten years of abstraction, Académie de Médecine, 13 September, Paris During the workshop “A la suite de Georges Didi-Huberman” organized by JL Binet2013 Art therapy in children and adolescents: abuse or tangible reality? in “Etincelles, l’art à l’Assistance Publique-Hôpitaux de Paris” Pages 26-31, Ed Art Absolument, Paris2010 The double Psychiatrie, Sciences Humaines et Neurosciences. Vol: 8, 38-462007 The figure of the double, Palais de Tokyo, 26 April, Paris During the exhibition Matière/Antimatière

works as curator, Performance

2016 Soyons Ouf s, Fondat ion EDF, Paris Repeated at Adrienne Desbiolles Gallery, Lyons la Forêt, France2015 Empreintes, Forte dei Marmi, Italie Video available at: http://www.dcohen.biz/#!__videos2014 Charcot une vie avec l’image, Chapelle Saint-Louis de La Salpêtrière, Paris

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Small headBronze20 x 20 x 30 cm

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IN YOUR HEAD

NELLA TUA TESTA