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le patron encore qui se dissout lentement dans le petit jour de la rue. \nC’est cette silhouette sans doute qui vient de mettre la salle en ordre ; elle n’a plus qu’à disparaître. \nDans le miroir tremblote, déjà presque entièrement décomposé, le reflet de ce fantôme ; et au-delà, \nde plus en plus hésitante; la kyrielle indéfinie des ombres : \nle patron, le patron, le patron… \nLe Patron, nébuleuse triste, noyé dans son halo ».\n\n",{"_key":288,"_type":28,"marks":289,"text":290},"96d6e88ca9d7",[281],"Les Gommes",{"_key":292,"_type":28,"marks":293,"text":294},"827f17ead408",[]," - Alain Robbe Grillet\n\n\n{EN}\n\n\" A big man stands there, the owner, trying to recognize himself among the tables and chairs. \nAbove the bar, the long glass cradles a sickly image: \nthe owner, greenish, his features smudged, jaundiced and fat in his aquarium.\n\nOn the other side, behind the window, the owner again slowly melting in the first light of the street. \nThis must be the silhouette that has just set the room in order; all that remains is for it to disappear. \nIn the mirror flickers the reflection of this ghost, already almost entirely decomposed; and beyond, \ngrowing ever more hesitant, the endless throng of shadows: \nthe Owner, the owner , the owner… \nThe Owner, a mournful nebula, drowned in his halo.\"\n\n",{"_key":296,"_type":28,"marks":297,"text":298},"9c77fb169ca5",[281],"The Erasers",{"_key":300,"_type":28,"marks":301,"text":302},"7ab1bbeb90dd",[]," - Alain Robbe Grillet\n\n\n{Tenki Hiramatsu}\n\nTenki Hiramatsu (b. 1986, Wakayama, JP) lives and works in Berlin, Germany.\n\nHe studied at Nihon University in Tokyo and later at the Staatliche Kunstakademie Karlsruhe under Daniel Roth and Marcel van Eeden.\n\nHiramatsu’s painting practice exists at the intersection of abstraction and figuration, featuring enigmatic, often solitary figures within abstract landscapes. 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It had been so long since I'd seen the summer sea—the scent of salt, people working or relaxing on the shore, the endless sound of the waves. We relaxed for about thirty minutes. That experience became the basis for this diary-like painting.",[],{"_key":395,"_type":24,"children":396,"markDefs":401,"style":32},"83d964939993",[397],{"_key":398,"_type":28,"marks":399,"text":400},"15d599a5974d0",[],"When I hear “sea,” the first thing that comes to mind is a work by Leon Spilliaert. I first saw it at a museum in Tokyo, at an exhibition of Belgian paintings. Despite being a very quiet impression, it stuck with me. Later, I had the chance to see it again in Germany. The composition, which gives an unsettling impression, was striking. 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