{"id":1773,"date":"2024-06-20T14:47:33","date_gmt":"2024-06-20T12:47:33","guid":{"rendered":"https:\/\/marinewallon.fr\/?page_id=1773"},"modified":"2026-03-17T09:47:19","modified_gmt":"2026-03-17T08:47:19","slug":"elsa-hougue-2024","status":"publish","type":"page","link":"https:\/\/marinewallon.fr\/?page_id=1773","title":{"rendered":"Text Elsa Hougue, 2024"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\" style=\"font-size:28px\">Critical texts <\/h1>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1773_1605ee-fd .kt-block-spacer{height:10px;}.wp-block-kadence-spacer.kt-block-spacer-1773_1605ee-fd .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette1, #3182CE);width:80%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1773_1605ee-fd\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:38%\">\n<p class=\"has-small-font-size\"><code>2026<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2381\/#go23\">Paul Ardenne<\/a><br><br><code>2025<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=2181\/#go21\">Thomas Delamarre<\/a><br><br><code>2024<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1768\/#go0\">Dominique Pa\u00efni<\/a><br>\u2192 <strong>Elsa Hougue<\/strong><br><br><code>2023<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=1388\/#go19\">Estelle Marois<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"1643\" href=\"https:\/\/marinewallon.fr\/?page_id=1643\/#go20\">Marie Maertens<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=146\/#go18\">Didier Semin<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=197\/#go16\">Marie de Brugerolle &amp; Anne Dary<\/a><br><br><code>2022<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=187\/#go17\">Guy Boyer<\/a><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=215\/#go15\">Benoit Blanchard &amp; Sarah Mercadante<\/a><br><br><code>2021<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"230\" href=\"https:\/\/marinewallon.fr\/?page_id=230\/#go14\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"232\" href=\"https:\/\/marinewallon.fr\/?page_id=232\/#go13\">Conversation<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark> Jennifer Douzenel \u2014 M. Wallon<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"234\" href=\"https:\/\/marinewallon.fr\/?page_id=234\/#go12\">Horya Makhlouf<\/a><br><br><code>2020<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"236\" href=\"https:\/\/marinewallon.fr\/?page_id=236\/#go11\">Lignes Br\u00e8ves<\/a><br><br><code>2019<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"238\" href=\"https:\/\/marinewallon.fr\/?page_id=238\/#go10\">Jo\u00ebl Riff<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"240\" href=\"https:\/\/marinewallon.fr\/?page_id=240\/#go9\">Entretien avec Karin Schlageter<\/a><br><br><code>2018\u00a0<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"242\" href=\"https:\/\/marinewallon.fr\/?page_id=242\/#go8\">Sarah Ilher-Meyer<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"244\" href=\"https:\/\/marinewallon.fr\/?page_id=244\/#go7\">Entretien avec Point Contemporain<\/a><br><br><code>2017<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"246\" href=\"https:\/\/marinewallon.fr\/?page_id=246\/#go6\">Anne Collongues<\/a><br>\u00b7 <a data-type=\"page\" data-id=\"248\" href=\"https:\/\/marinewallon.fr\/?page_id=248\/#go5\">Th\u00e9o-Mario Coppola<\/a><br><br><code>2015<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"250\" href=\"https:\/\/marinewallon.fr\/?page_id=250\/#go4\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Le mirage des images<\/em><\/a><br><br><code>2014<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"252\" href=\"https:\/\/marinewallon.fr\/?page_id=252\/#go3\">Marion Delage de Luget,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>L&rsquo;horizontalit\u00e9 \u00e0 l\u2019\u0153uvre<\/em><\/a><br><br><code>2013\u00a0<\/code><br>\u00b7 <a data-type=\"page\" data-id=\"254\" href=\"https:\/\/marinewallon.fr\/?page_id=254\/#go2\">Marianne Derrien,<br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-1-color\">\u2014  <\/mark><em>Saxifraga Umbrosa<\/em><\/a><br><br><code>2011<\/code><br>\u00b7 <a href=\"https:\/\/marinewallon.fr\/?page_id=256\/#go1b\">Anne Collongues<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:64%\">\n<h2 class=\"wp-block-heading\" id=\"go1\"><\/h2>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-1773_9f4478-7c .kt-block-spacer{height:14px;}.wp-block-kadence-spacer.kt-block-spacer-1773_9f4478-7c .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette3, #1A202C);width:100%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-1773_9f4478-7c\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\"><code>FRA<code>\u2014\u2014<\/code>\u2014<\/code><br><strong>Apr\u00e8s avoir montr\u00e9 le travail de Marine Wallon dans des expositions de groupe en 2020 et en 2021, la galerie Catherine Issert consacre pour la premi\u00e8re fois \u00e0 l\u2019artiste une exposition personnelle. Ses peintures, empreintes de r\u00e9f\u00e9rences au cin\u00e9ma et qui oscillent entre paysages et compositions abstraites, sont au c\u0153ur de cette pr\u00e9sentation in\u00e9dite, en parall\u00e8le \u00e0 son travail sur papier, autre facette de sa vigueur picturale. D\u2019une figuration de moments suspendus \u00e0 un d\u00e9ferlement de mati\u00e8re, d\u2019un arr\u00eat sur image \u00e0 un d\u00e9cha\u00eenement gestuel, c\u2019est un univers \u00e0 la fois concret et imaginaire qui s\u2019offre au spectateur. L\u2019exposition fait l\u2019objet d\u2019une publication comprenant un essai de Dominique Pa\u00efni, historien du cin\u00e9ma et ancien directeur de la Cin\u00e9math\u00e8que fran\u00e7aise.<\/strong><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p style=\"font-size:12px\"><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-3-color\"><strong>\u00ab Les brusques escarpements, les promontoires avanc\u00e9s ne permettent pas de comprendre d\u2019un regard l\u2019ordonnance du paysage [\u2026]. \u00bb<\/strong> <\/mark><br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-3-color\">(\u00c9lis\u00e9e Reclus, <em>Histoire d\u2019un ruisseau<\/em>, 1869)<\/mark><\/p>\n<\/blockquote>\n\n\n\n<p class=\"has-small-font-size\">Si Marine Wallon appartient sans conteste \u00e0 la nouvelle sc\u00e8ne figurative fran\u00e7aise, elle sait s\u2019aventurer du c\u00f4t\u00e9 d\u2019une abstraction affirm\u00e9e, et \u00e9voluer sur des lignes de cr\u00eate. Sa peinture \u2014 son m\u00e9dium favori depuis le mitan des ann\u00e9es 2010 \u2014 donne \u00e0 voir l\u2019instant captur\u00e9, suspendu, et, dans le m\u00eame temps, le mouvement, le foisonnement vibrant des \u00e9l\u00e9ments ; elle d\u00e9ploie des horizons lointains et exotiques aux titres \u00e9vocateurs autant qu\u2019elle impose la frontalit\u00e9 intransigeante d\u2019une<br>mati\u00e8re picturale brute. Et c\u2019est en cette tension incomparablement ma\u00eetris\u00e9e que le spectateur est<br>ravi, son regard livr\u00e9 \u00e0 la peinture m\u00eame, tandis que l\u2019imaginaire le plus libre s\u2019abandonne \u00e0 la narration trouble de sc\u00e8nes \u00e9nigmatiques. <br><br>Ce jeu entre fixit\u00e9 et mouvement trouve quelques cl\u00e9s d\u2019explication dans les nourritures esth\u00e9tiques de Marine Wallon. Elle qui regarde passionn\u00e9ment la peinture, de Delacroix \u00e0 Joan Mitchell en passant par Milton Avery ou Van Gogh, reste obs\u00e9d\u00e9e par l\u2019image en mouvement. Sa m\u00e9thode m\u00eame raconte cette dialectique : elle navigue dans un flux d\u2019images de paysages glan\u00e9es sur internet \u2013 sites d\u2019archives, films documentaires, amateurs ou publicitaires \u2013 \u00e0 la recherche d\u2019un \u00ab choc visuel \u00bb. Apr\u00e8s la capture d\u2019\u00e9cran, la saturation sur Photoshop et quelques croquis, vient la mise en danger de la peinture : munie de pinceaux, de brosses, de tissus plong\u00e9s dans l\u2019huile et jet\u00e9s sur la toile ou simplement de ses doigts, elle livre une pens\u00e9e sauvage pour donner vie \u00e0 des paysages-mati\u00e8res o\u00f9 l\u2019ambigu r\u00e8gne en ma\u00eetre. On ne sait trop si ses silhouettes incertaines, de simples <br>\u00ab punctums \u00bb servant \u00e0 la circulation du regard, \u00e9voluent dans des d\u00e9cors vraisemblables ou si elles se trouvent nez \u00e0 nez avec des signes picturaux. Ce sens aigu de l\u2019indistinct, de l\u2019\u00e9tranget\u00e9, de l\u2019imminence, na\u00eet \u00e0 l\u2019intersection d\u2019une histoire du paysage \u2014 la mer et la montagne, effrayantes mais attrayantes, ne sont pas sans rappeler la tradition du sublime romantique \u2014 et de r\u00e9f\u00e9rences au cin\u00e9ma, cin\u00e9ma exp\u00e9rimental, d\u2019auteur ou hollywoodien, celui de John Ford, d\u2019Akira Kurosawa, de Jean-Daniel Pollet ou de Rose Lowder. <br><br>Marine Wallon op\u00e8re donc une audacieuse alchimie : l\u2019image anim\u00e9e se trouve fix\u00e9e, pour finalement redevenir foisonnement ; l\u2019image num\u00e9rique \u00e9th\u00e9r\u00e9e devient picturalit\u00e9 concr\u00e8te ; l\u2019image par essence reproductible s\u2019incarne dans l\u2019aura d\u2019une peinture ; l\u2019image triviale, jetable, devient po\u00e9tique, unique. La magie a lieu dans une sorte de danse ou de transe : si la gen\u00e8se du travail vient de l\u2019\u0153il parcourant l\u2019\u00e9cran, la suite du processus cr\u00e9atif est des plus physiques. Entre le monde du tout-image qui est d\u00e9sormais le n\u00f4tre et celui des premiers \u00e2ges de l\u2019humanit\u00e9, Marine Wallon cherche un geste primitif, aussi simple parfois que la main tremp\u00e9e dans la peinture et pos\u00e9e sur la toile, r\u00e9it\u00e9ration d\u2019un acte artistique originel \u00e9voquant sa pratique premi\u00e8re de l\u2019argile. \u00c0 l\u2019aide de ses spalters et pinceaux, elle lib\u00e8re, en une touche \u00e2pre et textur\u00e9e, des arabesques, des \u00e9tirements de peinture, de v\u00e9ritables rideaux de mati\u00e8re qui balaient, souvent en diagonale, la surface de la toile. Elle cherche la perturbation, l\u2019exc\u00e8s, la perte des rep\u00e8res, \u00e0 la lisi\u00e8re du dissonant ; depuis plusieurs ann\u00e9es, Marine Wallon a banni toute id\u00e9e de perspective. Ses peintures, d\u00e9sertiques, rocailleuses, enneig\u00e9es, sont des sc\u00e8nes vides et pourtant satur\u00e9es, o\u00f9 le moment de <em>suspens<\/em> cin\u00e9matographique saisi en plong\u00e9e ou en contre-plong\u00e9e rencontre des temps g\u00e9ologiques imm\u00e9moriaux. Rep\u00e8res de temps et d\u2019espace se trouvent ainsi abolis, les \u00e9chelles nous \u00e9chappent et le vertige nous guette. La mani\u00e8re qu\u2019a Marine Wallon d\u2019habiter le m\u00e9dium se transmet vite au spectateur : quels qu\u2019en soient le format et la technique \u2014 huiles sur toile, travaux sur papier ex\u00e9cut\u00e9s \u00e0 l\u2019aquarelle, \u00e0 la gouache ou au crayon, gravures \u2014, on sent, face \u00e0 ses \u0153uvres, le froid des montagnes, le sel des embruns, la morsure du soleil, le souffle du vent. Ses pi\u00e8ces, toutes \u00e0 la fois figuratives, atmosph\u00e9riques, lyriques, dessinent ensemble, une fois leur accrochage orchestr\u00e9, le storyboard d\u2019un film que l\u2019on peut sans cesse recomposer.<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Elsa Hougue, 2024<\/p>\n\n\n\n<p><code>ENG<code>\u2014\u2014<\/code>\u2014<\/code><br><strong>After presenting work by Marine Wallon in group exhibitions in 2020 and 2021, the Galerie Catherine Issert is staging an exhibition exclusively devoted to the artist for the first time. Bearing references to the cinema and oscillating between landscapes and abstract compositions, her paintings comprise the core of this unprecedented presentation, accompanied by work on paper, another facet of her bold pictorial expression. From the depiction of suspended moments to the unfurling of matter, from a screenshot to the unleashing of gestures, the world offered to the viewer is both tangible and imaginary. This exhibition is the subject of a publication with an essay by Dominique Pa\u00efni, film historian and former Director of the Cin\u00e9math\u00e8que Fran\u00e7aise.<\/strong><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p style=\"font-size:12px\"><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-3-color\"><strong>\u00ab\u00a0Sudden precipices, protruding promontories, do not allow one&rsquo;s gaze to grasp the layout of the landscape [&#8230;].\u00a0\u00bb <\/strong> <\/mark><br><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-theme-palette-3-color\">(\u00c9lis\u00e9e Reclus, <em>Histoire d\u2019un ruisseau<\/em>, 1869)<\/mark><\/p>\n<\/blockquote>\n\n\n\n<p class=\"has-small-font-size\">While Marine Wallon unquestionably belongs to France&rsquo;s new figurative scene, she is capable of venturing towards explicit abstraction, and evolving along the ridge lines. Her painting \u2013 her favourite medium since the mid-2010s \u2013 allows the viewer to perceive the instant captured, suspended, and, simultaneously, the movement and vibrant profusion of the elements; she unfurls distant, exotic horizons with evocative titles, while imposing on the viewer an unavoidable confrontation with the painting&rsquo;s raw material. And it is thanks to this incomparably well-mastered tension that the spectator becomes entranced, his gaze focused on painting itself, while the most unbridled imagination surrenders to the blurred portrayal of enigmatic scenes.<\/p>\n\n\n\n<p>A few keys to explaining this play on what is static and what moves can be found in Marine Wallon&rsquo;s esthetic nourishment. With a passion for painting, from Delacroix to Joan Mitchell, Milton Avery or Van Gogh, she is obsessed by the image in movement. Her rationale is explained by her own methodology: she navigates through a flow of images of landscapes found on the Internet \u2013 sites devoted to archives or documentaries, amateur and advertising films \u2013 in search of a \u00ab\u00a0visual shock\u00a0\u00bb. After taking screenshots, delving into Photoshop, and a few sketches, then comes the dangerous step of painting: armed with paintbrushes, brushes, material dipped in oil and thrown on the canvas, or simply using her fingers, she introduces a wild notion to breathe life into landscapes\/materials in which ambiguity reigns supreme. One cannot be sure whether her shaky silhouettes, simple \u00ab\u00a0punctums\u00a0\u00bb serving as an itinerary for the gaze, evolve within actual settings or whether they find themselves face to face with pictorial signs. This intense sense of vagueness, strangeness, something imminent, occurs at the intersection of a tale about the landscape \u2013 the sea and mountains, frightening but enticing, recalling the tradition of romantic sublimation \u2013 and references to the cinema, whether experimental, \u00ab\u00a0d\u2019auteur\u00a0\u00bb or made in Hollywood, movies by John Ford, Akira Kurosawa, Jean-Daniel Pollet or Rose Lowder. Marine Wallon thus conjures up audacious alchemy: the moving image is fixed, finally becoming proliferation; the ethereal digital image becomes concrete pictoriality; the inherently reproducible image is embodied in the painting&rsquo;s aura; the trivial, disposable image becomes poetic, unique. Magic unfurls in a kind of dance or trance: while the origin of the work lies in the eye looking at a screen, the next step in the creative process is intensely physical. Between the all-image world which is henceforth ours, and that of the first eras of mankind, Marine Wallon is in search of a primitive gesture, sometimes as simple as the hand soaked in paint and applied to the canvas, the reproduction of an original artistic act recalling her initial use of clay. With the help of her brushes and spalters, she uses a raw, textured touch to liberate arabesques, extend the paint, sweep real drapes of matter across the surface of the canvas, often diagonally. &nbsp;She is aiming for confusion, excess, a loss of bearings, on the brink of dissonance; over the past few years, Marine Wallon has banished all ideas of perspective. Barren, rocky, covered in snow\u2026, her paintings are empty but saturated scenes in which a moment of cinematographic<em> suspense <\/em>seized from above or below confronts geological eras from time immemorial. Bearings indicating time and space are thus abolished, we cannot establish scale and are threatened by vertigo. Marine Wallon&rsquo;s way of approaching the medium is quickly passed on to the spectator: whatever the format or technique \u2013 oil on canvas, engravings, work on paper using watercolour, gouache or pencil \u2013, when faced by her work, one feels the cold chill of the mountains, the salt of sea spray, the scorching heat of the sun, the gust of the wind. Each one both figurative, atmospheric and lyrical, her artworks, once their presentation has been orchestrated, comprise together the storyboard of a film that can be endlessly recomposed.<\/p>\n\n\n\n<p>*<br>Marine Wallon (born in 1985) lives and works Paris. After graduating from the \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts de Paris in 2009, she first devoted herself to watercolour, then made a turn leading her to concentrate on the use of oil paint. Benefiting regularly from personal and group exhibitions in France and abroad, the artist&rsquo;s productions have been distinguished by several awards. In particular, she was the winner of the 11th&nbsp;Jean-Franc\u0327ois Prat Prize in 2022, and, in 2019, co-winner of the Moly-Sabata Prize. In 2022, she was invited by La Chalcographie du Louvre to produce an engraving (<em>Isola<\/em>). Presented by the galleries Catherine Issert (Saint-Paul-de-Vence) and Stoppenbach &amp; Delestre (London), her work forms part of public and private collections (Chalcographie du Louvre, Fondation Colas, Ville de Vitry-sur-Seine\/D\u00e9p\u00f4t du MACVAL, Artoth\u00e8que d\u2019Annecy, Soci\u00e9t\u00e9 G\u00e9n\u00e9rale collection, Fonds Moly-Sabata).<\/p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">Elsa Hougue, 2024<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u2192 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"footnotes":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Text Elsa Hougue, 2024 - MARINE WALLON<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/marinewallon.fr\/?page_id=1773\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Text Elsa Hougue, 2024 - MARINE WALLON\" \/>\n<meta property=\"og:description\" content=\"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u2192 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. Wallon\u00b7 Horya Makhlouf 2020\u00b7 Lignes Br\u00e8ves 2019\u00b7 Jo\u00ebl Riff\u00b7 Entretien avec Karin Schlageter...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/marinewallon.fr\/?page_id=1773\" \/>\n<meta property=\"og:site_name\" content=\"MARINE WALLON\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-17T08:47:19+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1773\",\"url\":\"https:\/\/marinewallon.fr\/?page_id=1773\",\"name\":\"Text Elsa Hougue, 2024 - MARINE WALLON\",\"isPartOf\":{\"@id\":\"https:\/\/marinewallon.fr\/#website\"},\"datePublished\":\"2024-06-20T12:47:33+00:00\",\"dateModified\":\"2026-03-17T08:47:19+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1773#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/marinewallon.fr\/?page_id=1773\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/marinewallon.fr\/?page_id=1773#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/marinewallon.fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Text Elsa Hougue, 2024\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/marinewallon.fr\/#website\",\"url\":\"https:\/\/marinewallon.fr\/\",\"name\":\"MARINE WALLON\",\"description\":\"\",\"alternateName\":\"marinewallon\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/marinewallon.fr\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"fr-FR\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Text Elsa Hougue, 2024 - MARINE WALLON","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/marinewallon.fr\/?page_id=1773","og_locale":"fr_FR","og_type":"article","og_title":"Text Elsa Hougue, 2024 - MARINE WALLON","og_description":"Critical texts 2026\u00b7 Paul Ardenne 2025\u00b7 Thomas Delamarre 2024\u00b7 Dominique Pa\u00efni\u2192 Elsa Hougue 2023\u00b7 Estelle Marois\u00b7 Marie Maertens\u00b7 Didier Semin\u00b7 Marie de Brugerolle &amp; Anne Dary 2022\u00b7 Guy Boyer\u00b7 Benoit Blanchard &amp; Sarah Mercadante 2021\u00b7 Jo\u00ebl Riff\u00b7 Conversation\u2014 Jennifer Douzenel \u2014 M. 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