ArtSlant - Recently added en-us 40 Leon van Opstal, Jennifer Townley, Wicher Meursing, Willem van Weeghel - Galerie Franzis Engels - February 21st - March 22nd <p>Opening 21 en 22 feb 2015: 13.00 tot 18.00 uur</p> <p>Finissage 22 maart: 17.00 tot 20.00 uur.</p> <p>Een continue veranderend lijnenspel in de schilderijen van Willem van Weeghel. En ze bewegen echt, stilletjes vormen ze een steeds nieuw beeld. Ook bij Jennifer Townley zijn alle onderdelen van haar werk in beweging, zacht zoemende en bewegende ribben, plaatjes die kubussen worden. Leon van Opstal geeft insecten een tweede leven met meer kans op overleven door ze uit te rusten met opwindmechanismen. Soms grimmig, soms po&euml;tisch vliegen ze in hun eigen universum. De wieken van de kinetische objecten van Wicher Meursing vieren de wind met een ballet van pirouettes. Kleine objecten scharrelen als huisdiertjes over de vloer en blokken kronkelen om elkaar heen.</p> Wed, 28 Jan 2015 16:15:41 +0000 Laurence Aëgerter, Bonno van Doorn, Brendan Heshka, Daniel van Straalen, Ole Ukena, Christoph Westermeier - Stigter van Doesburg - January 24th - March 7th Tue, 27 Jan 2015 14:57:13 +0000 Hedwig Houben - Galerie Fons Welters - January 31st - March 7th <p style="text-align: justify;">Thinking and talking about processes of making form the main material in Hedwig Houben&rsquo;s work. In an equally playful and critical way, through performance lectures and videos, Houben attempts to explain the artistic process and characteristics of objects. With that, it is the objects themselves who, as living characters, usually take the floor.</p> <p style="text-align: justify;">The video &lsquo;The Good, The Bad, The Happy, The Sad&rsquo; (2014) for instance, is the registration of a recent performance by Houben in the Oude Kerk in Amsterdam, as part of the performance programme &lsquo;The Artist Speaks, and sequel to her series &lsquo;About the Good and the Bad Sculpture.&rsquo;<br />&ldquo;Hello. This talk begins after an experiment that happened some months ago in the artist&rsquo;s living room. Right in the middle of a carpet, that&rsquo;s where she put us and that&rsquo;s exactly where we still stand. We, being the Good and the Bad Sculpture.&rdquo;</p> <p style="text-align: justify;">Lying on a carpet, behind a black and a white sculpture, both polyform and made of plasticine, Houben presents a dialogue between the two objects. They reflect on their maker, the viewer and themselves; the creation. This time, they do not only question their artistic quality, but above all ask themselves and each other how to behave. How does a creation survive? And who is ultimately the most powerful player &ndash; the artist, the art work or the spectator? While Houben speaks &ndash; careful and decisive at the same time &ndash; her hands thoughtfully touch the sculptures; they feel, stroke, scratch. They pick small pieces off of one object, rubbing it on the other, making the two resemble each other only slightly more.</p> <p style="text-align: justify;">During the opening of her second solo exhibition at Galerie Fons Welters, Houben will present a new performance lecture: &lsquo;The Hand, The Eye, It and the Foot&rsquo;. In this work, reason and intuition hold a conversation. This way, different moments from her works&rsquo; process of coming into being, will meet in the gallery space: both the performance&rsquo;s live moment and the video documentation, as well as the real sculptural objects she has made, who act in, and arise from them. Furthermore, she introduces a new actor; the collector. Presenting itself in the form of a modular shelves system, it exhibits a collection of models and copies of characters from previous works, such as the &lsquo;Rietveld chair&rsquo;, &lsquo;the Good and the Bad Sculpture&rsquo;, and the new character &lsquo;the Foot&rsquo;. While usually Houben acts all parts herself, this time she creates the conditions to then hand the work over. As for the course of the exhibition, the collection will be activated by the gallery staff, daily re-installing and rearranging the elements, creating a direct interaction with the characters.<br />As variable as the soft plasticine&rsquo;s character, Hedwig Houben&rsquo;s work refuses to present us with definitive statements. Houben mainly asks questions, shows doubts and possibilities, so that concepts such as the &lsquo;artist talk&rsquo; and the &lsquo;retrospective&rsquo; take on a rather idiosyncratic shape.<br /><br />[RJS]<br /><br />During the opening of the exhibition, Saturday 31 January at 5.30pm, the performance &lsquo;The Hand, The Eye, It and the Foot&rsquo; will take place.<br /><br /><em>Hedwig Houben (1983, Boxtel, NL) studied at the St Joost Academy in Breda, Kunstacademie in D&uuml;sseldorf and HISK in Ghent. Recent solo exhibitions: The Hand, the Eye and it, 1646, Den Haag (2013); Five Possible Lectures on Six Possibilities for a Sculpture, P/////AKT, Amsterdam (2012) en Personal Matters and Matters of Fact, Playstation, Galerie Fons Welters, Amsterdam (2012). Haar werk werd verder o.m. getoond in: Don&rsquo;t You Know Who I Am? Art after Identity Politics, MUHKA, Antwerp, Belgium; Trains of thoughts, Goethe Instituut Rotterdam (2014). Six Possibilities for a Sculpture, La Loge, Brussels, Belgium; The Moon has a Complicated Geography, De Vleeshal, Middelburg (2013); Definitional Disruptions, Kunstraum, London, UK; Riptide, Kerstin Engholm Galerie, Vienna, Austria; Manufacture 3, CentrePasquArt, Bienne, Switzerland (2012); Comique G&eacute;om&eacute;trique, La Salle de Bains, Lyon, France; Found in Translation, Casino Luxembourg, Luxembourg; Sober &amp; Lonely Institute For Contemporary Art / Outlet Project Room, Johannesburg, South Africa; Making is Thinking, Witte de With, Rotterdam (2011).</em><br /><br /><img src="data:image/png;base64,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" alt="" /></p> <p>&nbsp;</p> Tue, 27 Jan 2015 14:56:10 +0000 Ruta Butkute - Galerie Fons Welters - January 31st - March 7th <p style="text-align: justify;">&lsquo;Performativity is the key word in Ruta Butkute's works. If nothing else, every object that she appropriates or creates, assumes a specific role in her installation. Dancing around each other &ndash; occupying the whole length of the exhibition space &ndash; the objects ask to be identified, to be separated from each other. But on closer look, they for the most part don't reveal their identity and remain anonymous, to be categorized by very basic premises such as rubber, steel, stone, textile, weight, mass, texture. I don't know whether it is the work by itself, or my own need for interpretation, but I am tempted with every gaze to search for meaning, subdivide and to trace the origins of these materials. The work invites me to this dance of hiding and seeking, while in the process a very physical, intuitive interaction is born.</p> <div id="view_about" class="view active"> <div class="main_text" style="text-align: justify;"><br />Strolling between the work, it&rsquo;s difficult to find a place to pause, as each material shapes and conditions the next. Despite the heavy nature of most of these materials, such as ceramics and plaster, there is a lightness that characterizes her work. A form of play that is very catching. Merely by their placement, these objects become suggestive, one can imagine various other setups in the given space, other materials could be added or subtracted, and ultimately the installation feels as if it has no beginning nor end. It is limitless. Independently of whatever material she chooses to work with, she manages to transform my sense of these materials and to invite me to a very intuitive and open research of things, where I have nothing to rely on but my own physical<br />senses.&rsquo;<br /><br />Text written by Daniel de Roo<br /><br /><br />Galerie Fons Welters herewith invites you to Ruta Butkute&rsquo;s solo exhibition in Playstation. The title of this exhibition Effort Graph is derived from Rudolf Laban&rsquo;s method and language to describe the subtleties of human movement. For Butkute this specific graph directs both the shapes of her sculptures and video, as well as the visitor&rsquo;s movement through the exhibition space, as described by Daniel de Roo. <br />Butkute graduated from Vilnius Art Academy (VDA) in 2007, where she studied traditional ceramic techniques. She then continued her studies at Gerrit Rietveld academie (2007-2010), developing her work towards sculptural installations. Ruta Butkute currently is a resident artist at the Rijksakademie.</div> </div> Tue, 27 Jan 2015 14:56:02 +0000 Hamza Halloubi - Galerie Akinci - January 31st - March 7th <p style="text-align: justify;">Hamza Halloubi&rsquo;s (Morocco, 1982) poetic video works manoeuvre between documentary and fiction. Guided by the artist‐author&rsquo;s voice, all of his works maintain a philosophical aspect that refers both to theoretical knowledge and to personal memories. Halloubi&rsquo;s film &lsquo;Apparitions &agrave; Soco Chico&rsquo;, presented in the attachment space at AKINCI, subverts the language of cinema to make the filmmaker&rsquo;s creative process itself the subject of his work. &nbsp;</p> <p style="text-align: justify;">&nbsp;&lsquo;Apparitions &agrave; Soco Chico&rsquo; is an editing of different sequences shot by a friend of the artist during a day in Tangier. The pictures depict daily life in the Soco Chico (a historic neighbourhood in the city which was also filmed by the Lumi&egrave;re brothers). From those insignificant images, the artist created a narrative with excerpts of texts by writers and journalists of the 20th century who wro‐ te about their fascination and atonement for the first films in the history of cinema. The film questions the perception of images nowadays, also in relation to the history of cinema and the multiplication of filmed images. The documentary images of the life in Soco Chico end with the almost phantomic appearance of the actress Tilda Swinton in the film. &nbsp;</p> <p style="text-align: justify;">&nbsp;Hamza Halloubi (Morocco, 1982) studied at the HISK Higher Institute for Fine Arts, Ghent, Belgi‐ um between 2012‐14 after receiving his Master in Visual Arts at ENSAV la Cambre, Brussels (2004‐2010). This year he started his residency period at the Rijksakademie, Amsterdam (2015/2016). Hamza Halloubi has had solo shows at KIOSK, Gent, Belgium (2014), La CENTRALE for contemporary art, Brussels, Belgium (2014) , c‐o‐m‐p‐o‐s‐i‐t‐e, Brussels, Belgium (2014), Cen‐ ter for Contemporary Art, Malm&ouml;, Sweden (2014), BOZAR Palais des Beaux‐Arts, Brussels, Belgi‐ um (2013), Galerie Rodolphe Janssen, Brussels, Belgium (2012), Monty ABN, Antwerp, Belgium (2011). Hamza Halloubi participated at the Marrakech Biannale, Morocco (2014), Nass Belgica, Botanique, Brussels, Belgium (2014), Portrait of the Artist, Works and References, curated by Ka‐ terina Gregos, HISK, Gent, Belgium (2013), Watou Kunstenfestival (2012), Haus der Kulturen der Welt, Berlin (2012). Upcoming: solo show at &nbsp;Museum De Pont, Tilburg, Netherland (2015) and participation at the 5rd Thessaloniki Biennial, Thessaloniki, Greece. &nbsp;</p> Thu, 29 Jan 2015 12:01:38 +0000 ZBIGNIEW ROGALSKI - Galerie Akinci - January 31st - March 7th <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><strong>We are proud to announce our exhibition with Zbigniew Rogalski, titled&nbsp;<em>Scarification</em>. Zbigniew Rogalski who debuted around 2000, is one of the most significant representatives of Polish artists of his generation. With the exemplification of visual illusion, such as reflection and obliteration, Rogalski questions reality and its mode of representation.</strong></span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">The title involves the idea of &lsquo;scratching, etching, burning of designs and pictures into the skin as a permanent body modification&rsquo;. Originally from the Greek word&nbsp;<em>skariphos</em>&nbsp;hinting at the usage of a pencil or&nbsp;<em>skariphasthai</em>which involved the idea of &lsquo;scratching an outline, making a sketch&rsquo; the word transformed to Latin&nbsp;<em>scarifare,</em>defining the act to &lsquo;scratch open&rsquo;. The word evolved in Old French into scarification (14th c.) defining the &lsquo;act of covering with scratches or slight cuts&rsquo;. In botanical terms, scarification refers to the process of splitting a seed&rsquo;s outer layer. Scarification is often used in agriculture to &lsquo;start&rsquo; the process of germination in order to preserve the diversity of crops.</span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Rogalski has often been called &lsquo;a director of paintings&rsquo;, as he moves with great ease both in the regions of painting, photography and film, mixing them and taking advantage of several disciplines. Through the exercise of painting itself, questions are raised, encouraging the viewers&rsquo; interpretation of what is seen while simultaneously forming a critical position. This position is repeatedly obscured and hinted at through painterly solutions as well as the inclusion of photographic material or maybe the allusion thereof. Rogalski succeeds in restoring a visionary element in painting and does so in a very suggestive manner. The surface of the painting becomes for a short while a screen on which the obsessions, fears and revelations of our consciousness are being displayed.</span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">In recent works Rogalski more often played with the idea that the painting is a surface the viewer would like to enter. More so, the viewer at AKINCI will be confronted with the (scary) idea of penetrating the void behind the surface of the painting which reveals itself by the cuts painted into it. In fact, the surface has a suggestion of paper, which has been cut and destroyed in order to reveal names of cities. Rogalski lays bare secrets behind these names which cannot be put into words but are transformed by him into an enigmatic painterly language. History, revolutions, wars and fears about events still to come are hidden in these names and form the nature of the places they represent. Instead of obscuring the painterly surface as in his earlier works, Rogalski sheds light upon their surface in order to bring out what protrudes from the dark - an effect contrary to a lightbox. The paintings stand in a shrill contrast to the photgraphs in the exhibition which reveal the other hopeful meaning of the word scarification: children standing in the dark holding torches and a series of photographs titled &lsquo;Fairy Tales&rsquo; that show papercuts from which soft coloured light emerge. The works in this exhibition give evidence to Rogalski&rsquo;s constant quest for different points of view.</span></p> Thu, 29 Jan 2015 12:00:01 +0000