OURS & AUTRES CONDAMNÉS / Maison de l’Étang, Louveciennes (sept. 2018 – oct.2018)
LES AVENTURES DU CRÂNE DE GOYA / Musée Goya, Castres (mars 2018 – juin 2018)
FÉTICHES / Galerie Cécile Odartchenko, Bordeaux (2015)
VANITAS (dialogo con Lüpertz, Ferroni, Baselitz…) Galleria Bellinzona 1, Milan (10/2012- 04/2013)
LES REPENTIRS / Abbaye de Neumünster, Luxembourg (2011)
VANITÉS / Galerie Beckel-Odille-Boïcos / Paris (janvier 2011)
CHROMANION / Atelier Cécile Veaute / Saint-Germain-en-Laye (2009)
MES CHAMANIES / Centre Philippe Auguste / Vernon (2001)
BONNIÈRES-SUR-GANGE / Galerie La Nacelle / Aubergenville (1998)


BIMPE (Itinérante chalcographique) / Canada (2017)
PREMIÈRE BIENNALE DE GRAVURE / Musée de Gravelines (2016)
X-MAS SELLS / Galerie Jane Roberts, Paris (2015)
L’ESTAMPE CONTEMPORAINE (Groupe Graver Maintenant) / Atelier Grognard, Rueil-Malmaison (2014)
LE TRAIT / Cité Internationale des Arts, Paris (2014)
LE NOIR EST COULEUR (Rouault, Picasso, Cucchi…) / Galleria Bellinzona 2, Lecco (01/2013 – 05/2013)
Avec Laurent Belloni/ “FAUVES ET GUERRIERS”/Galerie Michèle Guérin à Limetz (2012)
Avec le peintre Loïc Mesnage / PERCUMUTATIONS / Les Réservoirs / Limay (2009)
ARTUEL / Beyrouth / Galerie Janine Rubeiz (2001)
ART PARIS / Paris / Galerie Beckel-Odille-Boïcos (2001)
MOIS DE L’ESTAMPE / Paris / Galerie Michèle Guérin (2001)
MICROPRINTS / LOCKWOOD Museum / Norwalk / USA (2000)
Musée A.G. POULAIN/ Des souris et des rats / Vaches du XXème siècle / Vernon (1997/1999)
SAGA / FIAC Édition / Paris / Galerie Michèle Guérin (1998)
ESTAMPA / Madrid / Galerie Michèle Guérin (1998)
ART MULTIPLE / Düsseldorf / Galerie Michèle Broutta (1997)
Avec la céramiste Claire Debril / Galerie Godar / Lille (1996)
10th CONTEMPORARY ART / Galerie Selvin / Ankara (1995)
Musée ANACRÉON / Hommage à Picasso / Granville (1992)
SHAMANS / Galerie Alain Brieu-Fleurant / Vernon (1991) (…)


Conférences sur la gravure (nature, histoire, techniques, possibles), formations individuelles ou en groupe aux pratiques de l’estampe et du dessin. 
Pour tout devis, prière de m’adresser un courriel dans la rubrique “contact”

Available classes:
* Talks on the nature, history, techniques and possible developments of engraving.
* Private instruction and group workshops in drawing and print making.
For pricing, please contact me by e-mail (see : “contact”)


Maldague – Les aventures du crâne de Goya /Désastres et desengaño :
Textes de Jean-Louis Augé, Brigitte Laquais, NM / Musée Goya de Castres, 2018
Galerie Beckel-Odille-Boïcos/Catalogue Vanités!/Texte : Chris Boïcos (2011)
Les Réservoirs/Catalogue Percumutations/Textes : Richard Penloup et NM (2009)
Artistes en réserves, Limay (2002)
Centre Philippe-Auguste, Vernon/Catalogue Mes chamanies/Texte : NM (2001)
Musée A.G. Poulain, Vernon/Catalogue Des souris et des rats (1999) et catalogue
Vaches du XXème siècle (1997)/Textes : Sophie Fourny-Dargère
Biennale internationale de gravure de Versailles, CGY (1997)
Le Trait/Nouvelle Prospective, Cité Internationale des Arts, Paris (1997)
Graveurs des Yvelines, CGY (1995)
10th Contemporary Art, Ankara (1995)


On a Notebook Sketch by Nicolas Maldague
The scribbled ridge of eyebrows, slatted nose,
the mouth a slab pressing the crumbling chin :
it is the face I thought long ago erased :
the child rocking alone, features screed
to music, or the school boy, thrashing free
from meshes of obedience : but here
on this small sheet of loose-leaf, torn
from a perforated note-book, pinned to cork
in my Andalusian studio, his frenzy
fresh – registered in pencil, charcoal. Pink
incarnadines one cheek as if a slap –
its shock, its devastation –
were tatooed ; the hands – no, hooves – rear up
in terror or rage just as they did –
not high enough. The head is eerie
as a mask – but comic – two zip-codes long
pivoting on the spinal helix, exposed.
Nicolas Maldague, I would believe
that though we never met before your eye
and art conspired to reveal
a confluence between the past and now
under this langorous sun of southern Spain.
It’s stillness that joined us – an afternoon –
me reading on the terrace, you sunbathing
but poised, alert inside, a hawk or snake
waiting for a landscape to cohere. I almost
believe time hesitates, some permanent truth’s
been glimpsed accidentally in this timeless place.
But reading these words, studying your sketch
I see the lie : this is your face, not mine,
the coupling is only fantasy and no one
passing by this page would find a trace
of youth. If we illuminate an ideal
visage from within, pulsing like sun
whatever guise we wear, if we are born
faced with a destiny or character,
then character is drawn not in the face
but in the gorge you’ve stuffed with two
liverish nodes, islands fused to strangle
the white air channel. It cannot feed
the speckled, gargling heart, wedged
in the jet collar between hump and bib.
And destiny – it floats, a blank, above
the brow’s shoal – it is the counter-
clockwise arch designating skull,
ebbing to new moon at the fontanel,
which you might have etched to nothingness
simply to contrast the seasonless
heat of Spain, a place I’d never been.
Philip Brady, american writer

“In a more prolix register, but assimilable, let’s point out the NM’s gigantic barrister’s speech, So that History isn’t a Sitting-Room Parrot anymore, a skilful compromise of two technics : marouflage and acrylic painting”
Jean-Claude Louvat, journalist, Eure Inter Press, (1994)

“NM is a precise and talented drawer, as eloquent than mysterious in his printmaking”
J.F. Bi, journalist, La voix du Nord, Galerie Godar (1996)

“Henceforth NM wears glasses inside his head, his fur gleams and his heart is a strategy-free percussion”
Rebekah Berger, peintre

“NM seems to be very interested in the Hindu civilizations, and in the ones of Asia and America too. As far as we pay attention to several pieces’ denomination and allusions to ancient presumed wisdoms or extraordinary capacities of perception. The One who really sees can refer to shamanism, Spirit of Smoke to the amerindian calumet – among others. NM questions human destiny, through historical, social and present-day’s perspectives. Intifada Red evocates contemporary conflicts, Us-Band and its echoe, Why-If, illustrate a couple principle. By the way, let’s call attention to the engraver’s propensity for anglophonic plays on words. The maliciousness of the words, together with the vigourous and compact graphism of his faces and silhouettes allows a two-triggers reading.”
F.B., journalist, Le pays roannais (1998)


Galleri North, Copenhague, catalogue de l’exposition Finale (de Lis Ehrenreich et Poul Poulsen) / textes de LE, PP, NM (2013)
Al Brown, livre d’artiste / texte et eau-forte de NM (2013)
Galerie BoXen, Horsens/Danemark et Galerie Weiller, Paris/Catalogue Lis Ehrenreich et Poul Pedersen/Textes : Erik Meistrup, Alain Chevrier, NM (2011)
Château des Carmes/Monde Solidaire, La Flèche/Catalogue Étiyé Dimma-Poulsen/Textes de Michaël Gibson, Simon Djami, O.G. Moglia, NM (2001)
S.E.L./Estampe de Chaville/Catalogue A.C. Charbonnier (2000)/Texte : NM
Beckett Fonden/Catalogue LIs Ehrenreich/Texte : NM (1998)
Galerie Art et Patrimoine/Crédit Municipal de Paris/Catalogue Rebekah Berger/Textes : Yves Michaud, Rebekah Berger, Salman Rushdie, NM

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