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On our Brussels Calendar: 3 Shows 3 Cities

This week we bring you a last chance gallery hop for the restless. You can’t keep still. One show is not enough. Make it three shows, three cities. That will do. The following exhibitions will represent and question reality, playing with notions of objectivity and fact: from crime photography to documentary-fictions to paintings that conceal and confuse the truth. Take in the late WeeGee’s New York photojournalism at the FotoMuseum in Antwerp; stop in for a mid-career survey of Joachim Koester’s photo and film installations at S.M.A.K. in Gent; and conclude with Manor Grunewald’s cryptic new paintings and silkscreens at Ricou Gallery in Brussels. Ready? Go.

Ricou Gallery

54 Sovereign Street Opperstraat
1050 Brussels

Manor Grunewald's first solo exhibition at the gallery titled 'Veil of the invisible one' is on view till 26th Jan. 2013. Manor Grunewald was born in 1985. He lives in Ghent. His work has been shown in both solo and group exhibitions.

In this exhibition, it is difficult to know at a glance who is blind: the visitor or the artist. On the one hand, there are the works themselves, which are exposed on the white walls of the gallery. In this sterile space, they draw all attention to them. On the other hand, there is the dark basement, where it is only possible to spy through the cracks of an (unstable) wooden partition and see some excerpts, at first sight insignificant, of 1940s and 50s horror films, which also served as a source of inspiration for this exhibition. The wooden partition was previously the studio floor, in the same way as the pink veil it has witnessed the genesis of the works. The smaller pieces, visible on the first floor, are based on stills from the films shown in the basement.

(text source: Ricou Gallery)

Weegee; Courtesy of FotoMuseum

Waalse Kaai 47

2000 Antwerp

Weegee (Arthur Fellig, US 1899 – 1968) is one of the most colourful figures in American photography. He is renowned for his sensational images of assassinations, fires, accidents, brawls and orgies. His flash mercilessly captures the events, plain and outspoken. The exhibition 'Weegee: Murder Is My Business' focuses on his dramatic black-and-white images of the New York crime scene of the 1930s and 1940s, which set the standard for what has become known as tabloid journalism.

Weegee’s early work focuses on urban violence and street life. His rising career as a press photographer coincided with the end of the Great Depression, the repeal of Prohibition and the government’s hard-handed action against the mafia, causing a dramatic surge in assassinations and other violent crimes in the late thirties. And Weegee is determined to capture them all.

(text source: FotoMuseum)

Joachim Koester, The Hashish Club, 2009; Courtesy S.M.A.K.


9000 Gent

With 'Maybe One Must Begin with Some Particular Places' S.M.A.K. presents an overview of the work of Joachim Koester (°1962, Copenhagen). His artistic practice is founded on a complex web of docu-fiction in which personal, historical and journalistic enquiries fuse with fictional narratives. In his work, Koester focuses on gaps and ambiguities in the writing and reading of history, its eccentric protagonists and its stories and myths.

A selection of more than twenty works from the last thirteen years shows up a quest for expressions of vanished histories of this sort, not only by way of physical locations, but equally by way of the immaterial dimensions of human existence.

(text source: S.M.A.K.)

(Image on top: Manor Grunewald; Courtesy of the Artist and Ricou Gallery.)

Posted by Natalie Hegert on 1/11/13

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