Local artists are participating at the meeting

1st to 7th June – Chalonnes sur Loire – Tourist Office

Exhibition 80 x 120 cm – CHARCOAL

Collective exhibition around the mining heritage of the Angevin corniche

When art joins science:

  • What does the Angevin Corniche and its mining patrimony, on which scientists lean, inspire artists?
  • How would they like to invest these places steeped in history?


coal / geological-paleobotanical heritage / mine / miner / slag / headframe / processing / lime kiln / chapel Ste Barbe des Mines / miner’s cemetery …

Anissa Allam Vaquez

Piqueur – Performance danced on paper

In a combination of charcoal, I mimed 10 postures borrowed from workers at the bottom of the mine: the biters. I imitate their bodies constrained by the tools or geology of the place. In contact with the paper, my charcoal body will leave impressions, traces of gestures.

Tribute to all these workers ‘bottom’.

Réjane Véron

The disappeared / The disappearance – Drawings, engravings

The small enclosed cemetery of boxwood behind the chapel Saint Barbara has a large number of cast iron crosses. These were made from an original carved wooden model, from which a sandy clay mold was drawn in which the molten cast was poured. Symbols are present on the crosses, some of which we know the meaning, others more hermetic.

The conservation of this place is difficult, because we must keep the poetry, while avoiding that the crosses disappear completely under the vegetation. I would like to create an object book, or a polyptych, representing these crosses and their symbolic, in memory of the missing miners who worked on this site.

Yolande Grandcolas, Engraver Painter

The intimate organization of a place seized through a representation My project is to show remnants of industrial workplaces today disappeared or displaced: depletion of the coal mine for example. By what mystery can the remains bring about an aesthetic interest? Maybe because time becomes an accomplice of the artist.

Remnants of mining are a moving and essential presence for preservation work and a challenge for scientific research: the fiddleheads
Drawing in the coal, serrated forms are examples. Art imitates the real and emphasizes the traces, the accidental passages of the past and the memory of which it is a carrier.

Laurence Rouvier-Schmitter

Sacralize the trace, from the real to the imaginary …

Fossils have always intrigued men who, according to the times, gave them different meanings. It is only in the seventeenth century that it is said that they are the testimony of previous forms of life, be they animal, plant or human. These traces, most often partial and fragmented sometimes invisible to the naked eye, have always fascinated and fascinated men.

The latest discoveries of fossils made in the region of Chalonnes also fascinated me and made me want to work on their “Sacralization”. For what reasons ? On the one hand because they are unique and allow us to understand life on our planet, but also because they emit a beauty and a precious mystery that it is important for me to protect and share.

From the real to the imaginary, there is only one step to want to pay tribute to these “moments of life” discovered in the coal and honor them in the chapel of Mines.

Mail: laurence.schmitter@wanadoo.fr

“Slice of life”, mixed technique: sand, pigments, coal powder
Photo of coal vein

Claudette Guillouet

“Between heaven and earth”

Symbolic, hierarchical reconstitution of the mining situation of the Coal Company of Chalonnes in the 19th century, concerning the working condition of miners in the bowels of the mine; Represented in the form of visual and sound installations inside the Sainte Barbe Chapel, ghostly “footprint” images, repetitive music and sound effects come to haunt our memories …

Margot Thouet

“Gaillette *” <Installation>

The Combined Mine and Chapel around the Coal seen as matter. This charcoal is observed under a microscope in the manner of scientists. It is mined, shaped in the manner of Mine workers and builders of the Chapel. Finally I imagine this coal that is no longer underground but air, which is no longer helpful but honoured.

* Block of coal.

Bénédicte Mongrolle and François Houtin

Heritage: links of memories Project of scenography-performance-installation in the Sainte Barbe chapel
Mines in Ardenay
Vegetal memory: Hercynian forest from the engraving of François Houtin
Mineral memory: charcoal / anthracite / heaps
Animal / Human Memory: Miners / Performers / Dancers