ArtSlant - Openings & events http://www.artslant.com/brx/Events/show en-us 40 - WIELS - September 17th 6:00 PM - 8:00 PM <p style="text-align: justify;">The young Brussels association KAOS (Kunstatelier Opperstraat - Ixelles) stands for artistic projects with artists with or without psychiatric disorders. KAOS assumes that psychic sensitivity and creativity go hand in hand, they let the art prevail, set the bar high, but keep the threshold low.</p> <p style="text-align: justify;">For their project, Return to Sender, KAOS sent blank postcards to known and lesser known artists with the demand to return, illustrated with their own work.</p> <p style="text-align: justify;">The original artists&rsquo; cards are exhibited in WIELS and later auctioned for the benefit of the operation of KAOS via the Internet.</p> <p style="text-align: justify;"><em>Return to Sender</em>&nbsp;opens at WIELS' project space on September 17th, 2014</p> <hr /> <p style="text-align: justify;">La jeune association bruxelloise KAOS (Kunstatelier Opperstraat - Ixelles) monte des projets artistiques avec des personnes atteintes ou non de troubles mentaux. KAOS affirme que sensibilit&eacute; psychologique et cr&eacute;ativit&eacute; vont de pair, que l&rsquo;art prend le dessus si on &eacute;largit notre champ de vision.</p> <p style="text-align: justify;">Pour le projet <em>Return to Sender</em>, KAOS a envoy&eacute; des cartes postales vierges &agrave; des artistes plus ou moins connus en leur demandant de la renvoyer avec une oeuvre faite de leur main.</p> <p style="text-align: justify;">Les cartes-postales originales sont expos&eacute;es au WIELS et seront par la suite vendues aux ench&egrave;res par Internet au profit de l&rsquo;association KAOS.</p> <p style="text-align: justify;"><em>Return to Sender</em>&nbsp;ouvre dans la Project Room de WIELS le 17 septembre 2014 &agrave; 18h.</p> <hr /> <p style="text-align: justify;">De jonge Brusselse vzw KAOS (KunstAtelier OpperStraat - Elsene) staat voor artistieke projecten met kunstenaars met of zonder psychische kwetsbaarheid. KAOS gaat ervan uit dat psychische gevoeligheid en creativiteit hand in hand gaan, laat de kunst primeren, legt de lat hoog maar houdt de drempel laag.</p> <p style="text-align: justify;">Voor hun project Return to Sender stuurde KAOS blanco postkaarten naar bekende en minder bekende kunstenaars met de vraag die te retourneren, verlucht met eigen werk.</p> <p style="text-align: justify;">De originele kunstenaarskaarten worden in WIELS tentoongesteld en nadien via het internet geveild ten voordele van de werking van KAOS.</p> <p style="text-align: justify;">De opening&nbsp;vindt plaats in de exporuimtes van WIELS op 17 September 2014&nbsp;tot 18u.</p> Tue, 05 Aug 2014 07:36:04 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Atelier Pica Pica - Alice - September 18th 6:00 PM - 8:00 PM <p style="text-align: justify;">To celebrate the 10 year anniversary of the gallery, Alice is very happy to invite Atelier Pica Pica for a residency from September to November.</p> <p style="text-align: justify;">Atelier Pica Pica will move their studio in the gallery to meditate and work on specific new projects.This experience is about providing a meeting space through the inner working /creative process.<br />The residency will feature collaborations and talks with friends artists to share perspectives around collage, drawing, printing and painting.</p> <p style="text-align: justify;"><strong>RESIDENCY CALENDAR:</strong><strong><em><br /><br />THURSDAY SEPTEMBER 18</em></strong>&nbsp;- opening 18.00<br />ATELIER PICA PICA</p> <p style="text-align: justify;">concert by<br />LAWRENCE LEDOUX &amp; ROGER 3000 - concert 20.00<br /><br /><strong><a href="http://alicebxl.us9.list-manage.com/track/click?u=0c064eeb0dd8436ab8e02177c&amp;id=6d7b66f81e&amp;e=f55b67b05a" target="_blank">EVENT FACEBOOK</a></strong></p> <p style="text-align: justify;"><strong><strong><em>SUNDAY OCTOBER 12</em></strong></strong>&nbsp;- opening 18.00<br />E.B. ISTO &amp; MAGNUS VIND</p> <p style="text-align: justify;"><strong><strong><em>THURSDAY NOVEMBER 6</em></strong>&nbsp;</strong>- opening 18.00<br />ATELIER PICA PICA &amp; JULIEN MEERT&nbsp;</p> <p style="text-align: justify;"><strong><em>THURSADY&nbsp;NOVEMBER 28</em></strong>&nbsp;- opening 18.00<br />ATELIER PICA PICA FINAL SHOW<br />28.11 &gt;&nbsp;20.12.2014</p> Thu, 28 Aug 2014 07:58:57 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Maison Particuliere - September 18th 6:00 PM - 7:00 PM <p style="text-align: justify;">Projection of the short film "A Radiant Life" of Meryll Hardt, Julie Goergen's interventions</p> <p style="text-align: justify;"><span>In view of the successful vernissage of last week,<strong>&nbsp;we would like to warn you about the fact that they will be limited to 100 persons due to both&nbsp;security and visibility reasons. Please arrive&nbsp;on time, doors will be closed at 6.30 pm.</strong></span><br />&nbsp;</p> Thu, 11 Sep 2014 08:26:06 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Evan Holloway - Xavier Hufkens - 107 rue St-Georges - September 18th 5:00 PM - 8:00 PM <p style="text-align: justify;">Xavier Hufkens is pleased to present a new body of work by American sculptor <a href="http://www.xavierhufkens.com/artists/Evan-holloway" rel="nofollow" target="_blank">Evan Holloway</a>. In his third exhibition with the gallery since his debut in 2002, Holloway introduces a series of large-scale works that not only signal a shift in terms of approach but also usher in an intriguing new range of overlapping historical and cultural references.</p> <p style="text-align: justify;"><em>California Ras Shamra</em> refers to the two main sources of inspiration that inform Holloway&rsquo;s latest work: the history, culture and geography of California (the artist&rsquo;s birthplace, where he still lives and works) and the ancient Phoenician city of Ugarit, or Ras Shamra, in present-day northern Syria. Holloway&rsquo;s interest in the archaeological artefacts from Ras Shamra was sparked during a visit to the Louvre. At the time, he was also researching the history of Californian Neopaganism (an umbrella term describing a broad spectrum of contemporary religious movements that are either influenced by, or claim to be derived from, various historical belief systems practiced in the pre-modern world). California &ndash; where new-age practices and ideas have traditionally thrived &ndash; is home to a local movement profoundly influenced by Ugaritic culture. Fascinated by such contemporary expressions of archaic belief systems, as well as by the artefacts themselves, Holloway began sculpting ancient Phoenician, Cypriot and Ugaritic earthenware objects &ndash; an exercise that gave birth to the chariot forms in the exhibition.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Working in a pared-down range of materials &ndash; steel, plaster, bitumen, orange peel and spent batteries &ndash; Holloway fuses the ancient (plaster) with the modern (steel), the local (orange rind, bitumen) with the global (batteries). The orange peel alludes to California&rsquo;s history as one of the largest producers of oranges; the tar comes from California&rsquo;s 10,000-year-old La Brea Tar Pits, where natural bitumen still seeps from the ground. Pre-historic fossils from the site are now housed in a museum built by the philanthropist George C. Page (1901-2000), founder of one of the state&rsquo;s biggest fruit distribution companies, Mission Pak Fruit. While the bitumen and citrus peel lends Holloway&rsquo;s work an inescapable, regional specificity, the spent batteries refer to the global problem of how to safely dispose of consumer waste. When Holloway first started working with batteries, he had little piles of them scattered all around his house; disposal was a mystery. By integrating them into his work, Holloway points to the unavoidable environmental costs of contemporary life.</p> <p style="text-align: justify;">At the same time, Holloway&rsquo;s work engages on a more formal and universal level with modernism, particularly the influence of African art on early twentieth-century sculpture (the batteries recall the nail-filled Nkondi religious objects produced in West Central Africa), the &lsquo;aestheticized hostility&rsquo; of the 1970s Los Angeles art scene (the scavenged materials and the unforgiving bitumen), as well as ideas from a diverse range of cultural and arcane sources including the nineteenth-century American painter Albert Pynkham Ryder, Karlheinz Stockhausen, the Urantia Book and Antonin Artaud&rsquo;s anarchic and esoteric novel Heliogabalus (1933). In terms of approach, the artist&rsquo;s earlier focus on line, plane, colour and assemblage has given way to a greater sobriety and an emphasis on solidity, volume and modelling.</p> <p style="text-align: justify;">The works in <em>California Ras Shamra</em> encapsulate Holloway&rsquo;s trans-historical and interconnected view of the universe &ndash; a world in which seemingly remote cultures and plural belief systems coexist in a form of artistic space-time continuum. The unexpected, hybrid visual forms that he sculpts are as paradoxical as they are enigmatic: archetypal yet atypical, delicate yet brutal.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><a href="http://www.xavierhufkens.com/artists/evan-holloway" rel="nofollow" target="_blank">Evan Holloway</a> (b. 1967) studied fine art at the University of California, Santa Cruz and the University of California, Los Angeles. In 2008, he had a solo exhibition at the Pomona College Museum of Art, Claremont, California. His work has been included in numerous international group exhibitions, including <em>Theatrical Gestures,</em> Herzliya Museum of Contemporary Art, Israel (2013), <em>American Exuberance,</em> The Rubell Family Collection, Miami (2011), <em>All of This and Nothing,</em> Hammer Museum, Los Angeles (2011) and <em>Moby Dick</em> (2009) and <em>Wizard of Oz</em> (2008), both at CCA Wattis Institute, CA, and <em>The Uncertainty of Objects and Ideas: Recent Sculpture</em> at the Hirshhorn Museum and Sculpture Garden, Washington DC (2006). Holloway&rsquo;s work was included in the 2012 Venice Beach Biennial (California), the 2002 Whitney Biennial and the 2008 California Biennial. He lives and works in Los Angeles.</p> Wed, 23 Jul 2014 07:25:43 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Bozar - Palais des beaux-arts de Bruxelles - September 19th 10:00 AM - 6:00 PM <p style="text-align: justify;">For four years now, BOZAR and NIKON have organised photographic exhibitions at the Centre for Fine Arts. Together, they support quality work by offering photographers a springboard towards greater fame. To that end, the Monography Series Award recognises the work of a Belgian photographer by staging an exhibition containing a representative selection of his or her oeuvre.</p> <p style="text-align: justify;"><strong>From May 1st until&nbsp;August 15th, we kindly invite you to send your portfolio to Rue&nbsp;Ravenstein - 1000 Brussels, at the attention of Bozar Photo. Your portfolio will be judged by an external jury. Download the document below on the right.</strong></p> <hr /> <p style="text-align: justify;">Depuis quatre ans, <strong>BOZAR</strong> et<strong> NIKON</strong> organisent des expositions de photos au Palais des Beaux-Arts. Ensemble ils contribuent &agrave; soutenir la qualit&eacute; du travail de photographes en leur offrant un tremplin vers une plus grande notori&eacute;t&eacute;. C&rsquo;est dans cet esprit que le Monography Series Award couronne l&rsquo;&oelig;uvre d&rsquo;un photographe belge &agrave; travers une exposition pr&eacute;sentant les clich&eacute;s les plus repr&eacute;sentatifs de sa d&eacute;marche du <strong>19.09 &gt; 26.102014</strong>.<br /><br /><strong>&Agrave; partir du 1 mai 2014&nbsp; jusqu&rsquo; au vendredi 15 ao&ucirc;t 2014 nous vous invitons cordialement &agrave; envoyer votre portfolio &agrave; Rue Ravenstein 23&nbsp;- 1000 Bruxelles, &agrave; l&rsquo;attention de Bozar Photo. Les portfolios seront &eacute;valu&eacute;s par un jury externe.<br />Vous trouverez le r&egrave;glement et le bulletin d'inscription en cliquant ci-dessous &agrave; droite dans &lsquo;Document t&eacute;l&eacute;chargeable&rsquo;.</strong></p> <hr /> <p style="text-align: justify;">BOZAR en NIKON organiseren voor het vierde jaar op rij een fototentoonstelling in het Paleis voor Schone Kunsten: ze slaan de handen in elkaar om fotografen een springplank te bieden naar grotere bekendheid. De Monography Series Award bekroont het oeuvre van een Belgisch kunstenaar en laat op een overzichtstentoonstelling zijn of haar meest representatieve werken aan bod komen.<br /><br /><strong>Tentoonstelling vanaf 19.09 &gt; 26.102014.</strong><br /><br /><strong>Vanaf 1 mei 2014 tot en met 15 augusts 2014 nodigen we jullie van harte uit om jullie portfolio op te sturen naar Rue Ravenstein 23 -1000 Brussel, ter attentie van Bozar Photo. De portfolio's worden beoordeeld door een externe jury. <br />U vindt het reglement en het inschrijvingsformulier wanneer u hieronder rechts klikt op &lsquo;Download document'.</strong></p> Sat, 09 Aug 2014 09:17:39 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Shana Moulton - La Loge - September 19th 7:30 PM - 9:00 PM <p style="text-align: justify;"><em>The Undiscovered Drawer</em>, 2013<br /><em>Swisspering</em>, 2013<br /><em>Unique Boutique</em>, 2013<br /><em>The Galactic Pot Healer</em>, 2010<br /><em>Whispering Pines 9</em>, 2009<br /><em>Whispering Pines 6,</em> 2006<br /> &nbsp;<br /> One-hour programme, screened in a loop from Thursday to Saturday, 12:00 to 19:00<br />&nbsp; </p> Mon, 25 Aug 2014 11:24:54 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Lee Friedlander - Fondation A Stichting - September 20th 2:00 PM - 8:00 PM Wed, 03 Sep 2014 09:39:56 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Wang Bing - Paris-Beijing Gallery - Hotel Winssinger - September 20th 6:00 PM - 8:00 PM <p style="text-align: justify;">Lauded by international critics for his films and docu-fictions, Wang Bing will exclusively present his latest documentary, <em>Father and Sons</em>, as well as a series of photographs that has never been exhibited before. <br /> <br /> For several days, Wang Bing filmed and photographed the wretched daily life of Cai, who left the countryside to work as a stonemason in a factory in the city of Fuming, in the province of Yunnan. His two children have joined him and the three of them live in a four square-meter room, containing only one bed and an oven. At night, the father goes to work and leaves the bed to his sons. Wang Bing met the two boys while he was filming <em>Three Sisters</em>.<br /> <br /> With his camera over his shoulder, Wang Bing captures the lives of men and women on the margins of contemporary Chinese society. He films their life experiences using long shots and without artifice. The empathy and discretion of his camera are so apparent that the protagonists of the film manage to completely forget that it&rsquo;s there. Thus, Bing shows their humanity, their strengths and their vulnerability without concession.<br /> <br /> An observer of profound cultural, human, political and economic changes in his country, Want Bing bears witness with an astonishing realism to the social outcasts of China&rsquo;s triumphal march. Through the portrait of these destinies, he shows the social realities facing the Chinese population. His activist films provide a somber perspective on the increasing seriousness of hardship and inequality in China. The Western values of democracy and the welfare state have not penetrated the borders of the country, which has allowed individual material and economic interests to run wild. <br /> <br /> Though he is a major Chinese filmmaker, Wang Bing nevertheless films in secret, and his films are forbidden in China. After the Pompidou Center in Paris, the Cinematek in Brussels will be dedicating a full retrospective to his cinematographic work this autumn.<br /> <br /> As a photographer, Wang Bing began to develop an original artistic direction as of the 1980s. Differing from the photographic direction taken in his films, for his photographs he has decided to return to the sites where he has filmed, after the fact. Thus, his photographic series also echo his work as a filmmaker. <br /> <br /> Born in 1967 in Shaanxi, a province in central China, Wang Bing first studied photography at the Shenyang Academy of Fine Art before taking classes in cinema at the Film School as of 1985. Released in 2003, his first opus, <em>West of the Tracks</em> (Tie Xi Qu), is a monumental feature length film of 551 minutes, filmed in the northern Chinese district of Tiexi. He retraces the lives of workers and their families in an enormous, declining industrial complex at the turn of the 21st century.</p> Mon, 01 Sep 2014 14:13:50 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Thomas Sauvin, Melinda Gibson, Lei Lei - Paris-Beijing Gallery - Hotel Winssinger - September 20th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">&nbsp;P<span style="font-family: arial,helvetica,sans-serif;">roject by Thomas Sauvin, Melinda Gibson and Lei Lei</span></span></p> <h2 style="text-align: justify;"><span style="font-size: 12.0pt; font-family: 'Arial','sans-serif'; font-weight: normal; mso-bidi-font-weight: bold;"><span style="font-size: small;">Hundreds of thousands of images &ndash; so many moments snapped by strangers are tirelessly salvaged by Thomas Sauvin, following a meeting in the Northern periphery of the capital city, with Xiao Ma, a recycler who collects negatives in order to retrieve the Silver Nitrate. Sauvin, a collector, curator and publisher who has resided in Beijing since 2003 gathers half a million anonymous negatives in 35 mm colour, dating from 1985 to 2005 and ultimately destined for destruction.</span><br /> <br /><span style="font-size: small;"> Rescuing these snapshots, not only date the period in which digital photography over took silver photography but also further provide an authentic portrait of the Chinese capital following the Cultural Revolution, at a time of outward-looking reform.</span><br /> <br /><span style="font-size: small;"> Women proudly posing in front of their first refrigerator, children with Ronald McDonald, notably family photos often showed only a single child, (a policy instituted as of 1979) and adolescents beside portraits of Hollywood stars. Popular imagery symbolized an opening to the world and bears witness to a country in metamorphosis. With Deng Xiaoping in the 1980&rsquo;s, China entered into the capitalist era, and the acquisition of goods was no longer condemned as a &ldquo;rightist&rdquo; deviance. At the same time, leisure time became institutionalized, and employees began taking holidays, travelling and taking advantage of their free time. Chinese subjects pose in front of monuments, theme parks and Western masterpieces like of the Mona Lisa.</span><br /> <br /><span style="font-size: small;"> A strange homogeneity emanates from the diversity of the photographs, which constitute an inestimable archival source and inspiration. The framing, the distance from the subject and the static poses all seem to respond to the same codes. Some might even say that it was the work of a single photographer.</span><br /> <br /><span style="font-size: small;"> Presented on the second floor, is the debut of <em>Lunar Caustic</em>, a conceptual collaborative reworking of the archive by British artist Melinda Gibson. Between art and chemistry, prints are burned with Hydrochloric Acid and coated with Silver Nitrate, isolating the true essence of the imagery, revealing the unstable, palpable, organic uncontrollable object. Their scientifically charged intervention gives the already digested images a new existence, poetically evolving the tale of destructive innovation and leading to ultimately rebirth. It is down to Gibson&rsquo;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo;s world.</span><br /> <br /><span style="font-size: small;"> Born in 1985, Melinda Gibson studied Photography at The London College of Communication and is widely regarded for her re-contextualisation and appropriation techniques that examine the evolution of perspectives in Photography.</span><br /> <br /><span style="font-size: small;"> Presented upstairs in the H&ocirc;tel Winssinger, the video installation <em>Recycled</em> was born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive, connected to one another by themes, places or similar compositions, and revealing their profound nature in just a few minutes.</span><br /> <br /><span style="font-size: small;"> Born in 1985, Lei Lei studied animated film at the University of Tsinghua. His film <em>Recycled</em> was the 2013 recipient of the Grand Prize for short, non-narrative animated films in the Holland International Animation Film Festival, as well as in the animated film festival AnifestInternational 2012. He earned a special honor from the jury of the Cyprus Countryside Animafest in 2012 and was selected by the International Animation Festival of Annecy in 2013.</span><br /> <br /><span style="font-size: small;"> The Beijing Silvermine project paints a positive portrait of a country that is opening up to the world. Through the documentary, sociological: presenting the face of post- socialist China, light-hearted and carefree to the conceptual and poetic provoking of the tale of rebirth. Each part saviours a newfound freedom, and new access to consumer society. Originating from the collaborations between three different but complementary figures, this project twists and turns in its approach to the archived images. It&rsquo;s a view of the quotidian into which the trio induces the poetry of happiness, love and joy.</span> </span></h2> <p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; font-family: 'Arial','sans-serif';">&nbsp;</span></p> <h2 style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Hundreds of thousands of images &ndash; so many moments snapped by strangers are tirelessly salvaged by Thomas Sauvin, following a meeting in the Northern periphery of the capital city, with Xiao Ma, a recycler who collects negatives in order to retrieve the Silver Nitrate. Sauvin, a collector, curator and publisher who has resided in Beijing since 2003 gathers half a million anonymous negatives in 35 mm colour, dating from 1985 to 2005 and ultimately destined for destruction.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Rescuing these snapshots, not only date the period in which digital photography over took silver photography but also further provide an authentic portrait of the Chinese capital following the Cultural Revolution, at a time of outward-looking reform.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Women proudly posing in front of their first refrigerator, children with Ronald McDonald, notably family photos often showed only a single child, (a policy instituted as of 1979) and adolescents beside portraits of Hollywood stars. Popular imagery symbolized an opening to the world and bears witness to a country in metamorphosis. With Deng Xiaoping in the 1980&rsquo;s, China entered into the capitalist era, and the acquisition of goods was no longer condemned as a &ldquo;rightist&rdquo; deviance. At the same time, leisure time became institutionalized, and employees began taking holidays, travelling and taking advantage of their free time. Chinese subjects pose in front of monuments, theme parks and Western masterpieces like of the Mona Lisa.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> A strange homogeneity emanates from the diversity of the photographs, which constitute an inestimable archival source and inspiration. The framing, the distance from the subject and the static poses all seem to respond to the same codes. Some might even say that it was the work of a single photographer.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Presented on the second floor, is the debut of <em>Lunar Caustic</em>, a conceptual collaborative reworking of the archive by British artist Melinda Gibson. Between art and chemistry, prints are burned with Hydrochloric Acid and coated with Silver Nitrate, isolating the true essence of the imagery, revealing the unstable, palpable, organic uncontrollable object. Their scientifically charged intervention gives the already digested images a new existence, poetically evolving the tale of destructive innovation and leading to ultimately rebirth. It is down to Gibson&rsquo;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo;s world.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Born in 1985, Melinda Gibson studied Photography at The London College of Communication and is widely regarded for her re-contextualisation and appropriation techniques that examine the evolution of perspectives in Photography.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Presented upstairs in the H&ocirc;tel Winssinger, the video installation <em>Recycled</em> was born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive, connected to one another by themes, places or similar compositions, and revealing their profound nature in just a few minutes.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Born in 1985, Lei Lei studied animated film at the University of Tsinghua. His film <em>Recycled</em> was the 2013 recipient of the Grand Prize for short, non-narrative animated films in the Holland International Animation Film Festival, as well as in the animated film festival AnifestInternational 2012. He earned a special honor from the jury of the Cyprus Countryside Animafest in 2012 and was selected by the International Animation Festival of Annecy in 2013.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> The Beijing Silvermine project paints a positive portrait of a country that is opening up to the world. Through the documentary, sociological: presenting the face of post- socialist China, light-hearted and carefree to the conceptual and poetic provoking of the tale of rebirth. Each part saviours a newfound freedom, and new access to consumer society. Originating from the collaborations between three different but complementary figures, this project twists and turns in its approach to the archived images. It&rsquo;s a view of the quotidian into which the trio induces the poetry of happiness, love and joy.</span></h2> Mon, 01 Sep 2014 14:15:52 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Peter Paul Rubens - Bozar - Palais des beaux-arts de Bruxelles - September 25th 10:00 AM - 9:00 PM <p style="text-align: justify;">Rubens was the Quentin Tarantino of his day, making Flanders one of the world&rsquo;s foremost regions for painting. The Flemish master-painter developed his own personal style, crafting scenes that exuded lust and were marked by violence, as well as compassion and elegance. These themes inspired artists all over the world for many centuries to come. In this unique exhibition by BOZAR, in collaboration with the Royal Museum of Fine Arts Antwerp and the Royal Academy of Arts in London you can rediscover the work of this indomitable genius that has withstood the test of time as well as that of his heirs. You can also see canvases by Van Dyck, Watteau, Delacroix, Manet and Kokoschka as well as engravings by Rembrandt and Picasso. <br /><br />Curator: Nico Van Hout (Royal Museum of Fine Arts Antwerp)<br /><br />Under the High Patronage of their Majesties the King and Queen</p> <hr /> <p style="text-align: justify;">Rubens (1577-1640) &eacute;tait le Quentin Tarantino de son &eacute;poque et a conduit la Flandre au sommet de la peinture mondiale. Le ma&icirc;tre &eacute;tait un artiste d&eacute;termin&eacute; et peignait des sc&egrave;nes emplies de violence et de sensualit&eacute;, mais aussi de compassion et d&rsquo;&eacute;l&eacute;gance. Ces th&egrave;mes ont inspir&eacute; nombre d&rsquo;artistes &agrave; travers le monde durant plusieurs si&egrave;cles. Dans cette exposition unique de BOZAR, en collaboration avec le Mus&eacute;e Royal des Beaux-Arts d&rsquo;Anvers et la Royal Academy of Arts de Londres, vous red&eacute;couvrirez l&rsquo;&oelig;uvre ind&eacute;modable de cet indomptable g&eacute;nie et de ses h&eacute;ritiers. Vous pourrez ainsi admirer des toiles de Van Dyck, Watteau, Delacroix, Manet et Kokoschka, ainsi que des gravures de Rembrandt et Picasso.<br /><br />Commissaire: Nico Van Hout (Mus&eacute;e Royal des Beaux-Arts d&rsquo;Anvers)<br /><br />Sous le Haut Patronage de Leurs Majest&eacute;s le Roi et la Reine</p> <hr /> <p style="text-align: justify;">Rubens (1577-1640) was de Quentin Tarantino van zijn tijd en bracht Vlaanderen naar de wereldtop van de schilderkunst. De meester-schilder was een eigenzinnige vakman en zette sc&egrave;nes neer vol geweld en wellust, maar ook met compassie en elegantie. Die thema&rsquo;s inspireerden vele eeuwen de kunstenaars na hem, overal ter wereld. In deze unieke tentoonstelling van BOZAR samen met het Koninklijk Museum voor Schone Kunsten in Antwerpen en de Royal Academy of Arts in Londen maak je opnieuw kennis met het duurzame oeuvre van dit ontembare genie en dat van zijn erfgenamen. Je ontdekt ook doeken van Van Dyck, Watteau, Delacroix, Manet tot Kokoschka, naast etsen van Rembrandt en Picasso. <br /><br /><br />Curator: Nico Van Hout (KMSKA)<br /><br />Onder de Hoge Bescherming van Hunne Majesteiten de Koning en de Koningin</p> Sat, 09 Aug 2014 09:20:56 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Bozar - Palais des beaux-arts de Bruxelles - September 25th 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">After just two editions, the BOZAR Electronic Arts Festival (BEAF) is already a reference for lovers of the electronic arts. BEAF attracts both specialists and the general public with artists who exploit the lightning pace of technological developments in order to express their ideas. In the unique setting of the Centre for Fine Arts, we mix music, performances, installations, workshops and conferences into a fascinating whole. </span></p> <p style="text-align: justify;"><span style="font-size: small;">You will become acquainted with world-famous names, and you are bound to come across new discoveries too. For example, the fragile tones of Nils Frahm, the almost physical sound castles of Ben Frost or the intense dark ambient of Mondkopf, and the absolutely unique, whirlwind style of Fuck Buttons. From the start, you are immersed in a festive mood thanks to the sounds of electronic prodigy Max Cooper or the surprising Young Echo collective. You can also view art work by Quayola, Felix Luque S&aacute;nchez or renowned architect Luc Deleu. </span></p> <p style="text-align: justify;"><span style="font-size: small;">We also ask the question whether scientists, researchers and artists can mean something to each other. A study commissioned by the European Commission shows for the first time the finest examples hereof in a fascinating series of presentations. In the Centre for Fine Arts, a surprising and intense three-day event packed with electronic arts awaits you.</span><br /><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;">CONCERTS &amp; PERFORMANCES:<br /><a href="http://www.nilsfrahm.com" target="_blank">Nils Frahm</a></span></strong> - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://fckbttns.tumblr.com" target="_blank">Fuck Buttons</a></span> -</strong> ATP Recordings [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://ethermachines.com/" target="_blank">Ben Frost</a></span></strong> - Bedroom Community [AU]<strong><br /><span style="text-decoration: underline;"><a href="http://www.maxcooper.net" target="_blank">Max Cooper</a></span></strong> [UK]<strong><br /><span style="text-decoration: underline;"><a href="http://roberthenke.com/concerts/lumiere.html" target="_blank">Robert Henke (Monolake)</a></span> -</strong> <strong>Lumi&egrave;re</strong> [DE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.erasedtapes.com/artists/biography/11/Kiasmos" target="_blank">Kiasmos</a></span></strong> aka &Oacute;lafur Arnalds &amp; Janus Rasmussen - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://mondkopf.tumblr.com/" target="_blank">Mondkopf</a></span></strong> - Paradisium [FR]<strong><br /><span style="text-decoration: underline;"><a href="http://www.sunblind.net/" target="_blank">Tim Hecker</a></span></strong> - Kranky Records [CA]<strong><br /><span style="text-decoration: underline;"><a href="http://youngecho.co.uk/" target="_blank">Young Echo</a></span></strong> [UK] -in collaboration with the Ancienne Belgique</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://diagonal-records.com/" target="_blank">Powell</a></span></strong> - Diagonal Records [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.thomasankersmit.net" target="_blank">Thomas Ankersmit</a></span></strong> [NL] &amp; <strong><span style="text-decoration: underline;"><a href="http://www.phillniblock.com" target="_blank">Phill Niblock</a></span></strong> [US]<strong><br /><span style="text-decoration: underline;"><a href="http://www.ictus.be/" target="_blank">Ictus</a></span> &amp; <span style="text-decoration: underline;"><a href="http://www.cedricdambrain.net/" target="_blank">C&eacute;dric Dambrain</a></span> </strong>[BE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.lumisokea.com" target="_blank">Lumisokea</a></span></strong> - Opal Tapes [BE | IT]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.bozar.be/activity.php?id=15327" target="_blank">Saskia De Coster meets Inne Eysermans (Amatorski)</a></span></strong>- <strong>Heinz</strong> - Literary musical performance [BE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.codact.ch/" target="_blank">Cod.Act</a></span>, | Michel &amp; Andr&eacute; D&eacute;costerd</strong> - <strong>Pendulum Choir</strong> [AU]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">MEDIA ART &amp; INSTALLATIONS:<br /></span>Orban Space - <span style="text-decoration: underline;">Luc Deleu</span> - T.O.P. Office | ICT &amp; ART CONNECT </strong>[BE]<strong><br />Strata - <span style="text-decoration: underline;"><a href="http://www.quayola.com/strata4/" target="_blank">Quayola</a></span> </strong>[UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.ashleyfure.net/Tripwire-Note.htm" target="_blank">Tripwire</a></span> - <span style="text-decoration: underline;"><a href="http://www.jmalbert.com" target="_blank">Jean-Michel Albert</a></span> </strong>[FR]<strong> &amp; <span style="text-decoration: underline;"><a href="http://www.ashleyfure.net" target="_blank">Ashley Fure</a></span> </strong>[USA]<strong><br />D.W.I - <span style="text-decoration: underline;"><a href="http://www.felixluque.com/Different-Ways-To-Infinity" target="_blank">F&eacute;lix Luque S&aacute;nchez</a></span> </strong>[ES]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.vasulka.org/" target="_blank">Steina &amp; Woody Vasulka</a></span></strong> [US]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">CONFERENCES &amp; WORKSHOPS:<br /></span>.study - <span style="text-decoration: underline;"><a href="http://www.ictartconnect.eu/ictartconnect/" target="_blank">ICT &amp; ART CONNECT</a></span><br />Tools for Unknown Futures - <span style="text-decoration: underline;"><a href="http://ecasnetwork.org/" target="_blank">European Cities Of Advanced Sound</a></span><br /><br />Program changes may occur. We recommend that you take a look now and then at our website.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><br /></strong></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Apr&egrave;s deux &eacute;ditions &agrave; peine, le BOZAR ELECTRONIC ARTS FESTIVAL (BEAF) est devenu le festival belge de r&eacute;f&eacute;rence pour les adeptes de cultures digitales. Sa programmation internationale attire un large public et des amateurs &eacute;clair&eacute;s, tous avides de d&eacute;couvrir le travail des artistes qui utilisent les progr&egrave;s fulgurants de la technologie pour donner vie &agrave; leurs id&eacute;es. C'est dans le prestigieux Palais des Beaux-Arts que nous m&ecirc;lerons musique, performances artistiques, installations, ateliers et conf&eacute;rences. L'occasion pour vous de rencontrer des pointures internationales et de faire de nouvelles d&eacute;couvertes. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Vous vous d&eacute;lecterez par exemple des sons fragiles de Nils Frahm, des beats presque physiques de Ben Frost, ou encore de l'ambient de Mondkopf ou encore du style tout &agrave; fait unique et tourbillonnant des Fuck Buttons. D&egrave;s les premi&egrave;res heures, vous serez plong&eacute;s sans difficult&eacute;s dans une ambiance festive gr&acirc;ce &agrave; l'&eacute;lectronique du prodige Max Cooper ou du surprenant collectif Young Echo. Par ailleurs, le festival vous pr&eacute;sentera des &oelig;uvres d'art visuels de Quayola, Felix Luque S&aacute;nchez ou encore du c&eacute;l&egrave;bre architecte Luc Deleu. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Nous nous demanderons aussi si les scientifiques, chercheurs et artistes peuvent &ecirc;tre compl&eacute;mentaires. Une &eacute;tude command&eacute;e par la Commission europ&eacute;enne montre, pour la premi&egrave;re fois, les meilleurs exemples de collaborations &agrave; travers une s&eacute;rie de pr&eacute;sentations fascinantes. Rendez-vous au Palais des Beaux-Arts pour vivre trois jours d'arts &eacute;lectroniques exaltants et intenses.</span><br /><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;">CONCERTS &amp; PERFORMANCES:<br /><a href="http://www.nilsfrahm.com" target="_blank">Nils Frahm</a></span></strong> - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://fckbttns.tumblr.com" target="_blank">Fuck Buttons</a></span> -</strong> ATP Recordings [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://ethermachines.com/" target="_blank">Ben Frost</a></span></strong> - Bedroom Community [AU]<strong><br /><span style="text-decoration: underline;"><a href="http://www.maxcooper.net" target="_blank">Max Cooper</a></span></strong> [UK]<strong><br /><span style="text-decoration: underline;"><a href="http://roberthenke.com/concerts/lumiere.html" target="_blank">Robert Henke (Monolake)</a></span> -</strong> <strong>Lumi&egrave;re</strong> [DE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.erasedtapes.com/artists/biography/11/Kiasmos" target="_blank">Kiasmos</a></span></strong> aka &Oacute;lafur Arnalds &amp; Janus Rasmussen - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://mondkopf.tumblr.com/" target="_blank">Mondkopf</a></span></strong> - Paradisium [FR]<strong><br /><span style="text-decoration: underline;"><a href="http://www.sunblind.net/" target="_blank">Tim Hecker</a></span></strong> - Kranky Records [CA]<strong><br /><span style="text-decoration: underline;"><a href="http://youngecho.co.uk/" target="_blank">Young Echo</a></span></strong> [UK] -en collaboration avec l&rsquo;Ancienne Belgique </span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://diagonal-records.com/" target="_blank">Powell</a></span></strong> - Diagonal Records [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.thomasankersmit.net" target="_blank">Thomas Ankersmit</a></span></strong> [NL] &amp; <strong><span style="text-decoration: underline;"><a href="http://www.phillniblock.com" target="_blank">Phill Niblock</a></span></strong> [US]<strong><br /><span style="text-decoration: underline;"><a href="http://www.ictus.be/" target="_blank">Ictus</a></span> &amp; <span style="text-decoration: underline;"><a href="http://www.cedricdambrain.net/" target="_blank">C&eacute;dric Dambrain</a></span> </strong>[BE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.lumisokea.com" target="_blank">Lumisokea</a></span></strong> - Opal Tapes [BE | IT]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.bozar.be/activity.php?id=15327" target="_blank">Saskia De Coster meets Inne Eysermans (Amatorski)</a></span></strong>- <strong>Heinz</strong> - Performance musicale litt&eacute;raire [BE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.codact.ch/" target="_blank">Cod.Act</a></span>, | Michel &amp; Andr&eacute; D&eacute;costerd</strong> - <strong>Pendulum Choir</strong> [AU]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">ART M&Eacute;DIA &amp; INSTALLATIONS:<br /></span>Orban Space - <span style="text-decoration: underline;">Luc Deleu</span> - T.O.P. Office | ICT &amp; ART CONNECT </strong>[BE]<strong><br />Strata - <span style="text-decoration: underline;"><a href="http://www.quayola.com/strata4/" target="_blank">Quayola</a></span> </strong>[UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.ashleyfure.net/Tripwire-Note.htm" target="_blank">Tripwire</a></span> - <span style="text-decoration: underline;"><a href="http://www.jmalbert.com" target="_blank">Jean-Michel Albert</a></span> </strong>[FR]<strong> &amp; <span style="text-decoration: underline;"><a href="http://www.ashleyfure.net" target="_blank">Ashley Fure</a></span> </strong>[USA]<strong><br />D.W.I - <span style="text-decoration: underline;"><a href="http://www.felixluque.com/Different-Ways-To-Infinity" target="_blank">F&eacute;lix Luque S&aacute;nchez</a></span> </strong>[ES]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.vasulka.org/" target="_blank">Steina &amp; Woody Vasulka</a></span></strong> [US]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">CONF&Eacute;RENCES &amp; ATELIERS:<br /></span>.study - <span style="text-decoration: underline;"><a href="http://www.ictartconnect.eu/ictartconnect/" target="_blank">ICT &amp; ART CONNECT</a></span><br />Tools for Unknown Futures - <span style="text-decoration: underline;"><a href="http://ecasnetwork.org/" target="_blank">European Cities Of Advanced Sound</a></span><br /><br />Des modifications peuvent intervenir dans la programmation. Consultez r&eacute;guli&egrave;rement notre site internet.</strong></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Na nauwelijks twee edities is het BOZAR Electronic Arts Festival (BEAF) al een referentie voor de liefhebbers van elektronische kunsten. BEAF bekoort zowel specialisten als het grote publiek met kunstenaars die de razendsnelle technologische ontwikkelingen gebruiken om hun idee&euml;n vorm te geven. In de unieke setting van het Paleis voor Schone Kunsten mixt het festival muziek, performances, installaties, workshops en conferenties tot een boeiend geheel. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Je maakt er kennis met internationaal bekende referenties en stoot op nieuwe ontdekkingen. Bijvoorbeeld de fragiele tonen van Nils Frahm, de bijna fysieke klankkastelen van Ben Frost of de melancholische ambient van Mondkopf of de unieke wervelende stijl van de Fuck Buttons. In de vroege uurtjes beland je naadloos in feeststemming met het electronische wonderkind Max Cooper of het verrassende collectief Young Echo. Je kan ook beeldend werk bekijken van Quayola, Felix Luque S&aacute;nchez of de vermaarde architect Luc Deleu. </span></p> <p style="text-align: justify;"><span style="font-size: small;">We stellen ook de vraag of wetenschappers, onderzoekers en kunstenaars iets voor elkaar kunnen betekenen. Een studie in opdracht van de Europese Commissie toont voor het eerst de beste voorbeelden hiervan in een fascinerende reeks presentaties. In het Paleis voor Schone Kunsten wacht je een verrassende en intense driedaagse vol elektronische kunsten.</span><br /><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;">CONCERTEN &amp; PERFORMANCES:<br /><a href="http://www.nilsfrahm.com" target="_blank">Nils Frahm</a></span></strong> - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://fckbttns.tumblr.com" target="_blank">Fuck Buttons</a></span> -</strong> ATP Recordings [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://ethermachines.com/" target="_blank">Ben Frost</a></span></strong> - Bedroom Community [AU]<strong><br /><span style="text-decoration: underline;"><a href="http://www.maxcooper.net" target="_blank">Max Cooper</a></span></strong> [UK]<strong><br /><span style="text-decoration: underline;"><a href="http://roberthenke.com/concerts/lumiere.html" target="_blank">Robert Henke (Monolake)</a></span> -</strong> <strong>Lumi&egrave;re</strong> [DE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.erasedtapes.com/artists/biography/11/Kiasmos" target="_blank">Kiasmos</a></span></strong> aka &Oacute;lafur Arnalds &amp; Janus Rasmussen - Erased Tapes [DE]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://mondkopf.tumblr.com/" target="_blank">Mondkopf</a></span></strong> - Paradisium [FR]<strong><br /><span style="text-decoration: underline;"><a href="http://www.sunblind.net/" target="_blank">Tim Hecker</a></span></strong> - Kranky Records [CA]<strong><br /><span style="text-decoration: underline;"><a href="http://youngecho.co.uk/" target="_blank">Young Echo</a></span></strong> [UK] - i.s.m. Ancienne Belgique </span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://diagonal-records.com/" target="_blank">Powell</a></span></strong> - Diagonal Records [UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.thomasankersmit.net" target="_blank">Thomas Ankersmit</a></span></strong> [NL] &amp; <strong><span style="text-decoration: underline;"><a href="http://www.phillniblock.com" target="_blank">Phill Niblock</a></span></strong> [US]<strong><br /><span style="text-decoration: underline;"><a href="http://www.ictus.be/" target="_blank">Ictus</a></span> &amp; <span style="text-decoration: underline;"><a href="http://www.cedricdambrain.net/" target="_blank">C&eacute;dric Dambrain</a></span> </strong>[BE]<strong><br /><span style="text-decoration: underline;"><a href="http://www.lumisokea.com" target="_blank">Lumisokea</a></span></strong> - Opal Tapes [BE | IT]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.bozar.be/activity.php?id=15327" target="_blank">Saskia De Coster meets Inne Eysermans (Amatorski)</a></span></strong>- <strong>Heinz</strong> - Literair-muzikale performance <strong><span style="text-decoration: underline;"><a href="http://www.codact.ch/" target="_blank">Cod.Act</a></span>, | Michel &amp; Andr&eacute; D&eacute;costerd</strong> - <strong>Pendulum Choir</strong> [AU]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">MEDIA ART &amp; INSTALLATIES:<br /></span>Orban Space - <span style="text-decoration: underline;">Luc Deleu</span> - T.O.P. Office | ICT &amp; ART CONNECT </strong>[BE]<strong><br />Strata - <span style="text-decoration: underline;"><a href="http://www.quayola.com/strata4/" target="_blank">Quayola</a></span> </strong>[UK]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.ashleyfure.net/Tripwire-Note.htm" target="_blank">Tripwire</a></span> - <span style="text-decoration: underline;"><a href="http://www.jmalbert.com" target="_blank">Jean-Michel Albert</a></span> </strong>[FR]<strong> &amp; <span style="text-decoration: underline;"><a href="http://www.ashleyfure.net" target="_blank">Ashley Fure</a></span> </strong>[USA]<strong><br />D.W.I - <span style="text-decoration: underline;"><a href="http://www.felixluque.com/Different-Ways-To-Infinity" target="_blank">F&eacute;lix Luque S&aacute;nchez</a></span> </strong>[ES]</span><br /><span style="font-size: small;"><strong><span style="text-decoration: underline;"><a href="http://www.vasulka.org/" target="_blank">Steina &amp; Woody Vasulka</a></span></strong> [US]</span><br /><span style="font-size: small;"><strong><br /><span style="text-decoration: underline;">CONFERENTIES &amp; WORKSHOPS:<br /></span>.study - <span style="text-decoration: underline;"><a href="http://www.ictartconnect.eu/ictartconnect/" target="_blank">ICT &amp; ART CONNECT</a></span><br />Tools for Unknown Futures - <span style="text-decoration: underline;"><a href="http://ecasnetwork.org/" target="_blank">European Cities Of Advanced Sound</a></span><br /><br />Programmawijzigingen zijn niet uitgesloten. U neemt best regelmatig een kijkje op onze website.</strong></span></p> Thu, 14 Aug 2014 17:18:41 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Julien Maire - iMAL, Center for Digital Cultures and Technology - September 25th 6:30 PM - 10:00 PM <h5 class="subtitle" style="text-align: justify;"><span style="font-size: small;">Stereolithographic projections &amp; Expansion/Contraction sculptures</span></h5> <p style="text-align: justify;"><span style="font-size: small;">In French, "3D cinema" was also called "relief cinema" (relief as in "relief map" or "bas-relief"). The term went out of style when we were forced to admit that "relief cinema" didn't exist. "Relief" evokes materiality, while "3D" is commonly understood as a mathematical and computational concept. Through expanding &amp; contracting&nbsp;pieces, and stereolithographic projections, Julien Maire's installations indirectly address new technologies, media archaeology and&nbsp;manipulate fiction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For more than 10 years, Julien Maire masters and uses in unexpected ways advanced technologies: CNC, laser cutter, precision optics,... And of course today, 3d printers are part of his toolbox. For these two new artworks, Julien designed and made all orginal parts, mechanisms and components using the whole range of&nbsp;machines&nbsp;at Fablab.iMAL, from Ultimaker and Mendel printers to the Form1 laser 3d printer.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">About Julien Maire</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Graduated from the Academy of Fine Arts Metz, Julien MAIRE is a French new media artist with impressive works such as&nbsp;<em>Exploding Camera</em>,&nbsp;<em>Low Res Cinema</em>,&nbsp;<em>Demi-Pas</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since the mid-1990s, he has worked between categories of performance, media installation and cinema to produce live performative works that were hybrid of genres and media.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His installations and performances have been featured widely and internationally at prestigious venues such as Ars Electronica, Digital Art Festival, European Media Art Festival, Film Festival Rotterdam, Sonar, Transmediale, ZKM, ICC (Japan), Empac (New-York),... Julien was the winner of the&nbsp;NTAA award&nbsp;(Update_2 biennial) in 2008 and was nominated for the&nbsp;World Technology Award in New York in 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Julien was invited by iMAL in&nbsp;2004,&nbsp;2010&nbsp;and&nbsp;2012, and he is now permanent resident installing his workplace at&nbsp;FabLab.iMAL&nbsp;where he is one of the managers.</span></p> <hr /> <h5 class="subtitle" style="text-align: justify;"><span style="font-size: small;">Projections st&eacute;r&eacute;olithographiques &amp; sculptures en expansion/contraction</span></h5> <p style="text-align: justify;"><span style="font-size: small;"><strong>L'Arch&eacute;ologie des M&eacute;dias</strong>&nbsp;est une science nouvelle. Il ne s'agit ni de l'histoire du cin&eacute;matographe, ni de celle du gramophone mais bien de la transformation de notre perception du monde au travers de l'objectif et de l'&eacute;couteur ; l'audiovisuel est comme une piste sonore, un travelling visuel qui se d&eacute;place en parall&egrave;le &agrave; nous ; l'image et le son des fictions visuelles sont distanci&eacute;s de la r&eacute;alit&eacute; mais ils perturbent et influencent notre relation au r&eacute;el.</span></p> <p style="text-align: justify;"><span style="font-size: small;">L&rsquo;expression de &laquo;cin&eacute;ma&nbsp;en relief&raquo; est tomb&eacute;e en d&eacute;su&eacute;tude quand on a &eacute;t&eacute; forc&eacute; de constater que cela n'existait pas. &laquo;Relief&raquo; est un mot qui &eacute;voque la mat&eacute;rialit&eacute; tandis que la &laquo;3D&raquo; est commun&eacute;ment entendue comme un concept math&eacute;matique et informatique.&nbsp; Au travers d&rsquo;&oelig;uvres en expansion et contraction et de projections st&eacute;r&eacute;olithographiques, les installations de Julien Maire abordent de biais les nouvelles technologies, l'arch&eacute;ologie des m&eacute;dias et instrumentalisent la fiction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Depuis plus de 10 ans, Julien Maire ma&icirc;trise et utilise dans des usages insoup&ccedil;onn&eacute;s les technologies les plus pointues: fraiseuses CNC, d&eacute;coupeuses laser, optique de pr&eacute;cision,... Et bien s&ucirc;r aujourd'hui, les imprimantes 3D font partie de ses outils habituels. Pour ces deux cr&eacute;ations, Julien Maire a con&ccedil;u et fabriqu&eacute; toutes les pi&egrave;ces, m&eacute;canismes et composants originaux n&eacute;cessaires avec les&nbsp;machines&nbsp;du Fablab.iMAL dont la Form1, imprimante 3d au laser.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">&Agrave; propos de Julien Maire</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Julien MAIRE est un artiste nouveaux m&eacute;dias, dipl&ocirc;m&eacute; de l'Acad&eacute;mie des Beaux-Arts de Metz, auteur d'oeuvres impressionnantes telles que&nbsp;<em>Exploding Camera</em>,&nbsp;<em>Low Res Cinema</em>,&nbsp;<em>Demi-Pas</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Il travaille depuis le milieu des ann&eacute;es 90 au croisement de plusieurs disciplines comme la performance, l'installation m&eacute;dia et le cin&eacute;ma produisant des oeuvres-performances live, hybrides tant dans les genres que dans les m&eacute;dias.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ses installations et performances ont &eacute;t&eacute; pr&eacute;sent&eacute;es internationalement et &agrave; de nombreuses occasions dans des lieux prestigieux tels que Ars Electronica, Digital Art Festival, European Media Art Festival, Film Festival Rotterdam, Sonar, Transmediale, ZKM, ICC (Japan), Empac (New-York),... Julien a &eacute;t&eacute; le laur&eacute;at du&nbsp;NTAA award&nbsp;(Biennale Update_2) en 2008 et nomin&eacute; pour le&nbsp;&nbsp;World Technology Award de New York en 2009</span></p> <p style="text-align: justify;"><span style="font-size: small;">Julien invit&eacute; par iMAL en&nbsp;2004,&nbsp;2010&nbsp;et&nbsp;2012&nbsp;est en r&eacute;sidence permanente et a install&eacute; son atelier de travail bruxellois au&nbsp;FabLab.iMAL&nbsp;dont il est un des responsables.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <h5 class="subtitle" style="text-align: justify;"><span style="font-size: small;">Stereolithografische projecties &amp; krimpende/uitdijende sculpturen</span></h5> <p style="text-align: justify;"><span style="font-size: small;">In het Frans wordt &laquo;cin&eacute;ma en 3D&raquo; ook &laquo;cin&eacute;ma en relief&raquo; genoemd. Maar in wezen bestaat er niet zoiets als een reli&euml;f film. &laquo;Reli&euml;f&raquo; suggereert materie terwijl &laquo;3D&raquo; wordt verstaan als een meetkundig concept. Julien Maire&rsquo;s installaties verwijzen naar de media archeologie, nieuwe technologie&euml;n en instrumentaliseren de fictie door een mechanisme van uitdijen en krimpen en stereolithografische projecties.&nbsp;</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">About Julien Maire</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Graduated from the Academy of Fine Arts Metz, Julien MAIRE is a French new media artist with impressive works such as&nbsp;<em>Exploding Camera</em>,&nbsp;<em>Low Res Cinema</em>,&nbsp;<em>Demi-Pas</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since the mid-1990s, he has worked between categories of performance, media installation and cinema to produce live performative works that were hybrid of genres and media.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His installations and performances have been featured widely and internationally at prestigious venues such as Ars Electronica, Digital Art Festival, European Media Art Festival, Film Festival Rotterdam, Sonar, Transmediale, ZKM, ICC (Japan), Empac (New-York),... Julien was the winner of the&nbsp;NTAA award&nbsp;(Update_2 biennial) in 2008 and was nominated for the&nbsp;World Technology Award in New York in 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Julien was invited by iMAL in&nbsp;2004,&nbsp;2010&nbsp;and&nbsp;2012, and he is now permanent resident installing his workplace at&nbsp;FabLab.iMAL&nbsp;where he is one of the managers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Julien uses CNC milling machines, laser cutters and many other high-end technologies for more than 10 years. And of course, 3D printers are now part of his usual toolbox.</span></p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 03 Sep 2014 10:00:49 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Mark Leckey - WIELS - September 25th 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">Mark Leckey (b. 1964 in Birkenhead, lives and works in London) works in sculpture, sound, performance and video. His earliest works as well as his most recent performances and installations reveal his enduring fascination with the affect that things have upon him; whether that seductive power be in material objects, immaterial images, brands or music. Combing the iconography of popular culture, its brands and its products, and their relationship to desire, identity and memory, his work explores the power they exert on us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For his vast survey exhibition at WIELS, his largest to date, the artist will include a panorama of both new and older work, in all the variety of media in which he has worked and spanning from his now-iconic Fiorucci Made Me Hardcore (1999) to the sculptures that feature in or are related to his latest, autobiographical film, On Pleasure Bent (2014). He will also present an entirely new project, a kind of artist-curated exhibition within the exhibition, which reveals that his enthrallment with the world of things is in fact an extension of his working method as an artist. It was as an extension of his artistic practice, in which collecting, sampling and appropriating digital images from the Internet are part and parcel of daily &lsquo;research&rsquo;, that in 2013 Mark Leckey curated a traveling exhibition composed of the actual objects contained in his vast collection of digital images. The exhibition was organised by Hayward Touring, London, and entitled The Universal Addressability of Dumb Things. It assembled an incredible array of archaeological artefacts, contemporary artworks and visionary machines on loan from numerous institutions, estates and artists around the world. Included, for example, were a medieval stone gargoyle, an Egyptian cat mummy, a mandrake root, a uterus-shaped vase and a Cyberman helmet. These rubbed shoulders with works by Louise Bourgeois, Robert Gober, Pierre Molinier, Allen Jones and T&oslash;yen, to name a few.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As a new production for his exhibition at WIELS, Leckey returns to the ideas behind that exhibition in order to create an ambitious project that further turns to the process of what the artist calls &lsquo;aggregating&rsquo; (others might call it &lsquo;curating&rsquo;). Making a redux of Universal Addressability of Dumb Things exhibition, from various cardboard stand-ins, 3-D printed copies and replicas of the original objects in that show, and including only a single &lsquo;original&rsquo; &ndash; the hand-shaped 13th Century silver reliquary &ndash; Leckey creates a new work entitled UniAddDumThs that returns the &lsquo;real&rsquo; borrowed artworks of his exhibition to their status as digital avatars. If the reliquary piece stands alone as the only auratic thing in Leckey&rsquo;s new artwork-as-ersatz-exhibition, it is as much as an ur-representation of the &lsquo;real&rsquo; (the relic as a literal piece of the real) as a metaphor for the digital (literally, the digits of the hand): the real and the digital laying at the very centre of Leckey&rsquo;s work. As in his practice more broadly, where he explores the tenuous boundaries between the simulacral, the virtual, the ersatz and their real world referents, Leckey&rsquo;s undertaking exemplifies a persistent interest in how technology creates desires, memories and fantasies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mark Leckey: Lending Enchantment to Vulgar Materials is organised by WIELS and is travelling to the Museo Madre, Naples. A comprehensive catalogue designed by Sara de Bondt Studio and including essays by John Cussans, Patrizia Dander, Elena Filipovic, Alex Kitnik, as well as an interview between Dan Fox and the artist and a compilation of all of the scripts used by the artist for his performance-lectures will be co-published by WIELS, Haus der Kunst, Munich, and Museo Madre, Naples.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Biography</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mark Leckey was born in 1964 in Birkenhead, England, and currently lives and works in London. The 2008 Turner Prize winning artist studied at Newcastle Polytechnic and is a reader in fine art at Goldsmiths, London, and served as professor of film studies at the St&auml;delschule Frankfurt am Main from 2005 to 2009. He has exhibited his work widely, with solo shows at the Hammer Museum, Los Angeles (2013); Banff Centre, Alberta, Canada (2012); the Serpentine Gallery, London (2011); Milton Keynes Gallery, Milton Keynes, England (2010); K&ouml;lnischer Kunstverein, Cologne (2009); Le Consortium, Dijon, France (2007); Portikus, Frankfurt (2005); and Migros Museum, Zurich (2003). His work has been included in numerous large-scale international exhibitions, including the Carnegie International, Pittsburgh (2013); The Encyclopedic Palace, Venice Biennale (2013); Ghosts in the Machine, New Museum, New York (2012); 10,000 Lives, Gwangju Biennale, Gwangju, South Korea (2010); Moving Images: Artists &amp; Video/Film, Museum Ludwig, Cologne (2010); Playing Homage, Vancouver Contemporary Art Gallery; Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Istanbul Biennial (2005); and Manifesta 5, European Biennial of Contemporary Art, San Sebasti&aacute;n (2004). He has presented his lecture-performances at the Institute of Contemporary Arts, London; the Solomon R. Guggenheim Museum, New York; and the Museum of Modern Art, New York, and he participated in Performa 11 (2011) in New York. Leckey has also pursued curatorial projects, including The Universal Addressability of Dumb Things (touring throughout the UK, 2013).</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Mark Leckey (n&eacute; en&nbsp;1964 &agrave;&nbsp;Birkenhead, vivant et exer&ccedil;ant &agrave;&nbsp;Londres) travaille la sculpture, le son, la performance et la vid&eacute;o. Ses premiers travaux, de m&ecirc;me que ses performances et installations les plus r&eacute;centes, r&eacute;v&egrave;lent sa fascination p&eacute;renne pour l&rsquo;&eacute;motion que d&eacute;clenchent en lui les choses, que ce pouvoir s&eacute;ducteur soit dans les objets mat&eacute;riels, dans les images immat&eacute;rielles, dans les marques ou dans la musique. Fouillant l&rsquo;iconographie de la culture populaire, de ses marques et ses produits, et leur lien au d&eacute;sir, &agrave; l&rsquo;identit&eacute; et &agrave; la m&eacute;moire, son travail explore le pouvoir que ces &eacute;l&eacute;ments exercent sur nous. Pour sa grande r&eacute;trospective au WIELS, la plus importante &agrave; ce jour, l&rsquo;artiste pr&eacute;sentera une vue d&rsquo;ensemble de son &oelig;uvre pass&eacute;e et r&eacute;cente, dans toute la diversit&eacute; des m&eacute;dias avec lesquels il a travaill&eacute;, allant de son d&eacute;sormais embl&eacute;matique <em>Fiorucci Made Me Hardcore</em> (1999) aux sculptures figurant dans ou li&eacute;es &agrave; son tout dernier film autobiographique, <em>On Pleasure Bent</em> (2014). Il pr&eacute;sentera &eacute;galement un projet enti&egrave;rement nouveau, une sorte d&rsquo;exposition organis&eacute;e par l&rsquo;artiste au sein de l&rsquo;exposition, qui r&eacute;v&eacute;lera sa fascination pour le monde des choses &ndash; en fait un prolongement de sa m&eacute;thode de travail artistique.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Il s&rsquo;agissait d&rsquo;un prolongement de sa pratique artistique&nbsp;: collecter, &eacute;chantillonner et s&rsquo;approprier des images num&eacute;riques issues d&rsquo;Internet fait partie d&rsquo;une &laquo;&nbsp;&eacute;tude&nbsp;&raquo; quotidienne dont Mark Leckey s&rsquo;est servi en&nbsp;2013 pour une exposition itin&eacute;rante compos&eacute;e des objets r&eacute;els de son immense collection d&rsquo;images num&eacute;riques. Cette exposition, organis&eacute;e par Hayward Touring &agrave;&nbsp;Londres, a &eacute;t&eacute; intitul&eacute;e <em>The Universal Addressability of Dumb Things </em>[L&rsquo;universalit&eacute; des choses idiotes]. Elle r&eacute;unissait un assortiment improbable d&rsquo;objets arch&eacute;ologiques, d&rsquo;&oelig;uvres d&rsquo;art contemporaines et de machines visionnaires pr&ecirc;t&eacute;es par de nombreuses institutions, fonds priv&eacute;s et artistes du monde entier. Elle incluait par exemple une gargouille m&eacute;di&eacute;vale en pierre, une momie de chat &eacute;gyptienne, une racine de mandragore, un vase en forme d&rsquo;ut&eacute;rus ou encore un casque de cyberman, aux c&ocirc;t&eacute;s d&rsquo;&oelig;uvres de Louise Bourgeois, Robert Gober, Pierre Molinier, Allen Jones et T&oslash;yen, entre autres.</span></p> <p style="text-align: justify;"><span style="font-size: small;">R&eacute;alisant une nouvelle production pour l&rsquo;exposition au WIELS, Leckey revient aux id&eacute;es &agrave; l&rsquo;origine de cette exposition itin&eacute;rante pour cr&eacute;er un projet ambitieux qui se transforme &agrave; son tour en un processus que l&rsquo;artiste appelle &laquo;&nbsp;agr&eacute;gation&nbsp;&raquo; (et que d&rsquo;autres nommeraient &laquo;&nbsp;organisation d&rsquo;exposition&nbsp;&raquo;). Proposant une version r&eacute;duite de l&rsquo;exposition <em>Universal Addressability of Dumb Things</em>, &agrave; partir de divers pr&eacute;sentoirs en carton, copies imprim&eacute;es en&nbsp;3D et r&eacute;pliques des objets originaux de cette pr&eacute;sentation, et incluant une seule pi&egrave;ce &laquo;&nbsp;originale&nbsp;&raquo; &ndash; un reliquaire en argent du XIII<sup>e</sup> si&egrave;cle en forme de main&nbsp;&ndash;, Leckey cr&eacute;e une nouvelle &oelig;uvre intitul&eacute;e <em>UniAddDumThs</em> qui ram&egrave;ne les &laquo;&nbsp;vraies&nbsp;&raquo; &oelig;uvres d&rsquo;art emprunt&eacute;es de son exposition &agrave; leur statut d&rsquo;avatars num&eacute;rique. Le reliquaire, seule pi&egrave;ce authentique de cette nouvelle &laquo;&nbsp;exposition-&oelig;uvre d&rsquo;art-imitation&nbsp;&raquo; de Leckey, est autant une repr&eacute;sentation ancienne du &laquo;&nbsp;r&eacute;el&nbsp;&raquo; (la relique, &eacute;l&eacute;ment propre du r&eacute;el) qu&rsquo;une m&eacute;taphore du num&eacute;rique (<em>digital </em>en anglais, soit, litt&eacute;ralement, les doigts de la main)&nbsp;: r&eacute;el et num&eacute;rique sont au c&oelig;ur m&ecirc;me de l&rsquo;&oelig;uvre de Leckey. Tout comme au c&oelig;ur de sa pratique plus large, o&ugrave; il explore les fronti&egrave;res t&eacute;nues entre simulacre, virtuel, imitation et r&eacute;f&eacute;rents du monde r&eacute;el. L&rsquo;entreprise de Leckey souligne son int&eacute;r&ecirc;t persistant pour la fa&ccedil;on dont la technologie cr&eacute;e d&eacute;sirs, souvenirs et imaginations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">L&rsquo;exposition <em>Mark Leckey&nbsp;: enchanter les objets vulgaires</em>, organis&eacute;e par le WIELS, sera &eacute;galement pr&eacute;sent&eacute;e au Museo Madre de Naples. Un catalogue raisonn&eacute;, con&ccedil;u par Sara de Bondt Studio et incluant des essais de John Cussans, Patrizia Dander, Elena Filipovic, Alex Kitnik ainsi qu&rsquo;un entretien entre Dan Fox et l&rsquo;artiste et une compilation de l&rsquo;ensemble des scripts qu&rsquo;il a utilis&eacute;s pour ses conf&eacute;rences-performance, sera co-publi&eacute; par le WIELS, la Haus der Kunst de Munich et le Museo Madre de Naples.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Biographie</span></p> <p style="text-align: justify;"><span style="font-size: small;">N&eacute; en&nbsp;1964 &agrave; Birkenhead (Royaume-Uni), Mark Leckey vit et exerce actuellement &agrave;&nbsp;Londres. Laur&eacute;at du Turner Prize en&nbsp;2008, l&rsquo;artiste a fait ses &eacute;tudes au Newcastle Polytechnic et a &eacute;t&eacute; ma&icirc;tre de conf&eacute;rence en arts plastiques &agrave; l&rsquo;Universit&eacute; Goldsmiths de Londres. Il a enseign&eacute; les &eacute;tudes cin&eacute;matographiques &agrave; la St&auml;delschule de Francfort-sur-le-Main de&nbsp;2005 &agrave;&nbsp;2009. Il a pr&eacute;sent&eacute; ses &oelig;uvres dans le monde entier, avec des expositions personnelles au Hammer Museum de Los Angeles (2013)&nbsp;; au Banff Centre d&rsquo;Alberta, Canada (2012)&nbsp;; &agrave; la Serpentine Gallery de Londres (2011)&nbsp;; &agrave; la Milton Keynes Gallery en Angleterre (2010)&nbsp;; au K&ouml;lnischer Kunstverein de Cologne (2009)&nbsp;; au Consortium de Dijon en France (2007)&nbsp;; au Portikus &agrave; Francfort (2005)&nbsp;; et au mus&eacute;e Migros de Zurich (2003). Son travail a &eacute;t&eacute; montr&eacute; lors de plusieurs expositions internationales &agrave; grande &eacute;chelle&nbsp;: Carnegie International &agrave; Pittsburgh&nbsp;(2013)&nbsp;; <em>The Encyclopedic Palace</em> &agrave; la Biennale de Venise (2013)&nbsp;; <em>Ghosts in the Machine</em> au New Museum de New York (2012)&nbsp;; <em>10,000 Lives</em> &agrave; la Biennale de Gwangju en Cor&eacute; du Sud (2010)&nbsp;; <em>Moving Images: Artists &amp; Video/Film</em> au Museum Ludwig &agrave; Cologne&nbsp;(2010)&nbsp;; <em>Playing Homage</em> &agrave; la Contemporary Art Gallery de Vancouver&nbsp;; <em>Sympathy for the Devil</em> au Museum of Contemporary Art de Chicago (2007)&nbsp;; Biennale d&rsquo;Istanbul&nbsp;(2005)&nbsp;; et Manifesta 5, biennale europ&eacute;enne d&rsquo;art contemporain de &nbsp;San Sebasti&aacute;n&nbsp;(2004). Il a pr&eacute;sent&eacute; ses conf&eacute;rences-performances &agrave; l&rsquo;Institute of Contemporary Arts de Londres&nbsp;; au Solomon R. Guggenheim Museum de New York&nbsp;; et au Museum of Modern Art de New York, et il a particip&eacute; &agrave; Performa&nbsp;11 (2011) &agrave; New York. Mark Leckey m&egrave;ne &eacute;galement des projets dont il est le commissaire, notamment <em>The Universal Addressability of Dumb Things </em>(exposition itin&eacute;rante au Royaume Uni en&nbsp;2013).</span></p> <hr /> <p class="NoSpacing" style="text-align: justify;"><span style="font-size: small;">Mark Leckey (&deg;1964, Birkenhead, woont en werkt in Londen) werkt met sculptuur, geluid, performance en video. Zijn vroegste werken evenals zijn meest recente performances en installaties onthullen zijn blijvende fascinatie voor de invloed die dingen op hem hebben, of die verleidingskracht nu ligt in materi&euml;le objecten of in immateri&euml;le beelden, merken of muziek. Zijn werk kamt de iconografie van populaire cultuur uit &ndash; haar merken en producten en hun relatie tot verlangen, identiteit en geheugen &ndash; en verkent de macht die ze op ons uitoefenen. Voor zijn grote overzichtstentoonstelling in WIELS, de grootste tot nog toe, zal de kunstenaar onder meer een panorama van zowel nieuw als ouder werk tonen, met de hele waaier aan media waarin hij heeft gewerkt, gaande van het nu iconische <em>Fiorucci Made Me Hardcore</em> uit 1999 tot de sculpturen die voorkomen in zijn laatste, autobiografische film, <em>On Pleasure Bent</em> (2014) &ndash; of die eraan gerelateerd zijn. De kunstenaar presenteert ook een geheel nieuw project, een soort door hemzelf gecurateerde tentoonstelling in de tentoonstelling die laat zien dat zijn fascinatie voor de wereld van de dingen in feite een verlengstuk is van zijn werkwijze als kunstenaar.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Want het was effectief als verlengstuk van zijn artistieke praktijk, waarin internetbeelden verzamelen, samplen en toe-eigenen een essentieel onderdeel vormen van het dagelijkse 'onderzoek', dat Mark Leckey in 2013 een reizende tentoonstelling samenstelde van de &eacute;chte objecten uit zijn enorme collectie digitale beelden. De tentoonstelling, getiteld <em>The Universal Addressability of Dumb Things </em>(De universele adresseerbaarheid van stomme dingen), werd georganiseerd door de Londense kunstorganisatie Hayward Touring. Ze bracht een ongelooflijke waaier aan archeologische artefacten, hedendaagse kunstwerken en visionaire machines samen, in bruikleen van talrijke instellingen, nalatenschappen en kunstenaars wereldwijd. Zo werd er bijvoorbeeld een middeleeuwse stenen wasserspeier (of gargoyle) getoond, een Egyptische katmummie, een mandragorawortel, een baarmoedervormige vaas en een Cybermanhelm. Ze stonden zij aan zij met werken van Louise Bourgeois, Robert Gober, Pierre Molinier, Allen Jones en T&oslash;yen, om slechts een paar kunstenaars te noemen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Voor zijn tentoonstelling in WIELS brengt Leckey nieuwe werken. Hij keert terug naar de idee&euml;n achter zijn Engelse tentoonstelling en cre&euml;ert een ambitieus project dat het proces voortzet van wat hij 'aggregeren' (<em>aggregating</em>) noemt (anderen noemen het 'curateren'). Leaky brengt een <em>redux</em> van de <em>Universal Addressability-</em>tentoonstelling via allerlei kartonnen stand-ins, gedrukte exemplaren en replica's van de originele voorwerpen in de expo, allemaal in 3D. Daarbij wordt slechts &eacute;&eacute;n 'origineel' opgenomen, namelijk een handvormige dertiende-eeuwse zilveren reliekschrijn. Zo cre&euml;ert Leckey een nieuw werk, getiteld <em>UniAddDumThs</em>, dat de 'echte' geleende kunstwerken van zijn vorige tentoonstelling terugbrengt naar hun status van digitale avatars. Staat het reliekschrijnwerk apart als het enige auratische ding in de nieuwe kunstwerk-als-ersatz-tentoonstelling van Leckey, toch is het evenzeer een oerrepresentatie van het 're&euml;le' (de relikwie als een letterlijk stukje van het re&euml;le) als een metafoor voor het digitale: digitaal is afgeleid van het Latijnse 'digitus' of vinger en verwijst naar 'op de vingers tellen'. Het re&euml;le en het digitale staan dus centraal in het werk van Leckey. Net als in zijn praktijk in het algemeen, waar hij de ijle grenzen verkent tussen het simulacrum, het virtuele, de ersatz en hun echte-wereld-referenten, is dit project een voorbeeld van zijn aanhoudende interesse in hoe technologie verlangens, herinneringen en fantasie&euml;n cre&euml;ert.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Mark Leckey: Lending Enchantment to Vulgar Materials</em> wordt georganiseerd door WIELS en reist verder door naar het Madre, Museo d&rsquo;Arte Contemporanea Donnaregina in Napels. Een uitgebreide catalogus wordt samen gepubliceerd door WIELS (Brussel), Haus der Kunst (M&uuml;nchen) en Madre Napoli. Hij werd ontworpen door Sara de Bondt Studio en bevat essays van John Cussans, Patrizia Dander, Elena Filipovic en Alex Kitnik, alsook een interview tussen Dan Fox en Leckey, plus een compilatie van alle scripts die de kunstenaar gebruikte voor zijn performance-lezingen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Biografie</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mark Leckey werd geboren in 1964 in het Engelse Birkenhead. Hij woont en werkt momenteel in Londen. De kunstenaar won in 2008 de Turner Prize. Hij studeerde aan Newcastle Polytechnic en is docent beeldende kunst aan Goldsmiths, University of Londen. Tevens was hij van 2005 tot 2009 hoogleraar filmwetenschap aan de St&auml;delschule in Frankfurt am Main. Zijn werk werd wijd en zijd tentoongesteld, met solotentoonstellingen in het Hammer Museum in Los Angeles (2013); Banff Centre in Alberta, Canada (2012); de Londense Serpentine Gallery (2011); de MK Gallery in het Engelse Milton Keynes (2010); K&ouml;lnischer Kunstverein (2009); Le Consortium in Dijon (2007); Portikus in Frankfurt (2005) en Migros Museum f&uuml;r Gegenwartskunst in Z&uuml;rich (2003). Het werd opgenomen in tal van grote internationale tentoonstellingen, waaronder <em>Carnegie International</em> in Pittsburgh (2013); <em>The Encyclopedic Palace</em> op de Bi&euml;nnale van Veneti&euml; (2013); <em>Ghosts in the Machine</em> in het New Museum in New York (2012); <em>10.000 Lives</em> op de Gwangju Biennale in Zuid-Korea (2010); <em>Moving Images: Artists &amp; Video/Film</em> in het Keulse Museum Ludwig (2010); <em>Playing Homage</em> in Vancouver Contemporary Art Gallery en <em>Sympathy for the Devil </em>in het Museum of Contemporary Art in Chicago (2007). Tevens stelde hij tentoon op de Istanbul Biennial (2005) en Manifesta 5, European Biennial of Contemporary Art, San Sebastian (2004). Zijn performance-lezingen presenteerde hij in het Londonse Institute of Contemporary Arts, het Solomon R. Guggenheim Museum en het Museum of Modern Art (MoMA), beide in New York. In 2011 nam hij ook deel aan Performa 11, ook in New York. Leckey heeft ook projecten gehad als curator, waaronder het reeds genoemde <em>The Universal Addressability of Dumb Things</em>, dat in 2013 doorheen het Verenigd Koninkrijk toerde.</span></p> Wed, 03 Sep 2014 10:32:23 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Group Show - iMAL, Center for Digital Cultures and Technology - September 28th 11:00 AM - 10:00 PM <pre><span style="font-size: small;"><strong>Internet Yami-Ichi (<a href="http://translate.google.com/translate_tts?tl=ja&amp;q=%E3%82%A4%E3%83%B3%E3%82%BF%E3%83%BC%E3%83%8D%E3%83%83%E3%83%88%E3%83%A4%E3%83%9F%E5%B8%82" target="_blank">インターネットヤミ市</a>)<br /></strong>literally "Internet Black Market". By mixing different Japanese writing systems the<br /> word "yami" takes on the double meaning of "sick for / addicted to". Therefore,<br /> a more accurate translation might be "Internet Obsessives Market".</span></pre> <p style="text-align: justify;"><span style="font-size: small;"><em>"S*%t happens. Didn't used to. Like when some small off-handed private comment turns into a flame<img src="http://www.imal.org/sites/default/files/nodeuploads/2014/08/flame.gif" alt="" width="15" height="15" />war. Or worrying about not getting enough <img title="like" src="http://www.imal.org/sites/default/files/nodeuploads/2014/08/facepouce.png" alt="" width="13" height="13" />. The Youtube videos you can't watch anymore because somebody complained. Or the apps you can't play because they were </em>✖<em>rejected</em>✖<em> by Apple. Once upon a time, the Internet was supposed to be a place for "liberty". Nowadays it's so uptight".</em> &ndash; IDPW.org</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Japanese collective <a title="ID PASSWORD" href="http://idpw.org/" target="_blank">IDPW.org</a> invites us to perpetuate "<a href="http://www.urbandictionary.com/define.php?term=IRL" target="_blank">in real life</a>" the freedom and joyful anarchy of the early web. The <strong>Internet Yami-Ichi</strong> draws its inspiration from flea markets, these chaotic assemblages that combine hidden gems, unlikely objects, collectibles and useless trash.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">Turn off, log-out, and drop in</span></h5> <p style="text-align: justify;"><span style="font-size: small;">In this market of a new kind, artists, creatives and makers sell internet-related / internetish objects. Books, artworks, fashion items, materialised data: physical artefacts that escape an increasingly cautious, controlled and censured online world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Through this fun, friendly and laid-back event, <strong>Internet Yami-Ichi</strong> questions the ubiquity of the digital, its (dis)illusions and future(s).</span></p> <p style="text-align: justify;"><span style="font-size: small;">After <a href="http://www.vice.com/read/visiting-the-yamiichi-internet-black-market-in-berlin" target="_blank">a successful edition</a> at the <a href="http://yami-ichi.biz/3/" target="_blank"><strong>Berlin Transmediale 2014</strong></a>, iMAL invites <a href="http://idpw.org/" target="_blank">IDPW.org</a> for the second <strong>Internet</strong> <strong>Yami-Ichi</strong> outside of Japan. The Brussels edition will take place in the wonderful Art Nouveau architecture of the <a href="http://www.ateliersdestanneurs.be/fr/node/90" target="_blank">Ateliers des Tanneurs</a>, right next to their famous <a href="http://www.ateliersdestanneurs.be/fr/node/109" target="_blank">organic food market</a>!</span></p> <hr /> <h5 class="subtitle" style="text-align: justify;"><span style="font-size: small;">March&eacute; Noir d'Internet + performances d'Exonemo &amp; JODI</span></h5> <pre><span style="font-size: small;"><strong>Internet Yami-Ichi (<a href="http://translate.google.com/translate_tts?tl=ja&amp;q=%E3%82%A4%E3%83%B3%E3%82%BF%E3%83%BC%E3%83%8D%E3%83%83%E3%83%88%E3%83%A4%E3%83%9F%E5%B8%82" target="_blank">インターネットヤミ市</a>)<br /></strong>litt&eacute;ralement <em>"March&eacute; Noir d'Internet"</em>. En jouant sur diff&eacute;rents syst&egrave;mes<br /> d'&eacute;criture, "yami" peut prendre le sens de "d&eacute;pendant de / obs&eacute;d&eacute; par". <br />Internet Yami-Ichi se traduit alors &eacute;galement par <em>"March&eacute; des Accros<br /> d'Internet"</em>.</span></pre> <p style="text-align: justify;"><span style="font-size: small;">Vid&eacute;os&nbsp;effac&eacute;es&nbsp;de Youtube, apps&nbsp;✖bloqu&eacute;es✖&nbsp;par Apple ; l'angoisse de ne pas recevoir assez de&nbsp;<img title="like" src="http://www.imal.org/sites/default/files/nodeuploads/2014/08/facepouce.png" alt="" width="13" height="13" />, ou de voir ses conversations <a href="http://www.documentcloud.org/documents/743244-xkeyscore-slidedeck.html" target="_blank">surveill&eacute;es</a>. Internet &eacute;tait un espace de libert&eacute; et de&nbsp;joyeuse anarchie, mais tout est devenu horriblement s&eacute;rieux, strict et contr&ocirc;l&eacute;&nbsp;( ˘̩╭╮˘̩)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Avec l'<strong>Internet Yami-Ichi</strong>, le collectif japonais IDPW.org propose de retourner dans le "monde r&eacute;el" pour y perp&eacute;tuer l'esprit frondeur des premi&egrave;res heures du web. Ils s'inspirent des brocantes et autres march&eacute;s aux puces, ces assemblages chaotiques o&ugrave; se c&ocirc;toient perles rares, objets improbables, pi&egrave;ces de collection et fourbi inutile.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">Turn off, log-out, and drop in</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Sur ce march&eacute; d'un genre nouveau, artistes, cr&eacute;ateurs et makers vendent des objets en lien avec le net. Livres, objets d'art, accessoires de mode, donn&eacute;es mat&eacute;rialis&eacute;es&nbsp;: autant de cr&eacute;ations qui r&eacute;pondent et &eacute;chappent &agrave; ce monde en ligne de plus en plus irrespirable, surveill&eacute; et contraignant.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Au travers d'un &eacute;v&eacute;nement festif et convivial, l'<strong>Internet Yami-Ichi</strong>&nbsp;offre une r&eacute;flexion sur l&rsquo;omnipr&eacute;sence du monde num&eacute;rique en ligne, sur les (d&eacute;s)illusions d&rsquo;Internet et son futur.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Apr&egrave;s un passage remarqu&eacute;&nbsp;<a href="http://ecrans.liberation.fr/ecrans/2014/02/05/a-berlin-les-puces-du-web-se-piquent-de-realite_978198" target="_blank">&agrave; la Transmediale 2014 de Berlin</a>, le collectif&nbsp;<a href="http://idpw.org/" target="_blank">IDPW.org</a>&nbsp;installe pour la seconde fois en-dehors du Japon son&nbsp;<strong>March&eacute; Noir d'Internet</strong>. Cette &eacute;dition Bruxellois prendra ses quartiers aux bien connus&nbsp;<a href="http://www.ateliersdestanneurs.be/fr/node/90" target="_blank">Ateliers des Tanneurs</a>, &agrave; c&ocirc;t&eacute; du fameux&nbsp;<a href="http://www.ateliersdestanneurs.be/fr/node/109" target="_blank">march&eacute; bio</a>.</span></p> <hr /> <h5 class="subtitle" style="text-align: justify;"><span style="font-size: small;">Internet Black Market + performances van Exonemo &amp; JODI</span></h5> <pre><span style="font-size: small;"><strong>Internet Yami-Ichi (<a href="http://translate.google.com/translate_tts?tl=ja&amp;q=%E3%82%A4%E3%83%B3%E3%82%BF%E3%83%BC%E3%83%8D%E3%83%83%E3%83%88%E3%83%A4%E3%83%9F%E5%B8%82" target="_blank">インターネットヤミ市</a>)<br /></strong><em>Betekent letterlijk vertaald&ldquo;de zwarte markt van internet&rdquo; maar wanneer men<br /> speelt met de verschillende Japanse schrijfsystemen kan men &ldquo;Yami&rdquo;&nbsp;ook <br />begrijpen als &ldquo;afhankelijk van/ geobsedeerd door&rdquo;. Internet Yami-Ichi vertaalt <br />zich dan in &ldquo;Markt voor de internet geobsedeerde&rdquo;.&nbsp;<br /><br /></em></span></pre> <p style="text-align: justify;"><span style="font-size: small;">Video's verwijderd door Youtube, apps ✖geblokkeerd✖ door Apple ; angst voor onvoldoende <img title="like" src="http://www.imal.org/sites/default/files/nodeuploads/2014/08/facepouce.png" alt="" width="13" height="13" />, of wanneer je online gesprekken worden <a href="http://www.documentcloud.org/documents/743244-xkeyscore-slidedeck.html">gecontroleerd</a>. Het Internet was vroeger een plek waar vrijheid zegevierde en een blije anarchistische sfeer heerste maar nu is het allemaal zo serieus, beperkt en bewaakt&nbsp;( ˘̩╭╮˘̩).&nbsp;&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Het Japans collectief IDPW.org wil met&nbsp;<strong>Internet Yami-Ichi&nbsp;</strong>inloggen in de "echte wereld" om daar de beginjaren van het internet te herbeleven. Ge&iuml;nspireerd door antiekmarkten en andere vlooienmarkten die een chaotische bijeenraapsel zijn van zeldzame objecten, onwaarschijnlijke voorwerpen, verzamelstukken en overbodige mikmak.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;">Turn off, log-out, and drop in</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Op een nieuw type markt waar kunstenaars en ontwerpers producten verkopen die het internet materialiseren of er in verband mee staan. Boeken, kunstwerken, mode accessoires, data omgevormd tot fysieke producten: zoveel creaties die reageren op en ontsnappen aan een steeds meer verstikkende, gecontroleerde en beperkende wereld online.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Via dit feestelijk en gezellig evenement krijg je de kans om te reflecteren over de alom aanwezigheid van de online digitale wereld, zijn (des)illusies en toekomstige ontwikkelingen.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Internet Yami-Ichi</em></strong> kende een opmerkelijk succes tijdens de <a href="http://ecrans.liberation.fr/ecrans/2014/02/05/a-berlin-les-puces-du-web-se-piquent-de-realite_978198">Transmediale 2014 in Berlijn</a>. Daarom nam iMAL (Brussel) het initiatief om het <a href="http://idpw.org/">IDPW.org</a> collectief uit te nodigen en zo voor de tweede keer buiten Japan de <strong>Internet Black Market</strong> te organiseren. Deze Brusselse editie zal plaatsvinden in de <a href="http://www.ateliersdestanneurs.be/fr/node/90">Ateliers des Tanneurs</a>, naast de beroemde <a href="http://www.ateliersdestanneurs.be/fr/node/109">bio markt</a>.</span></p> <p>&nbsp;</p> Wed, 03 Sep 2014 09:57:53 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Panamarenko - MuHKA Museum of Contemporary Art Antwerp - October 3rd 10:00 AM - 5:00 PM <p style="text-align: justify;"><em>Panamarenko Universe</em> is a lively retrospective on one of the few top artists of the post-war European avant-garde: <strong>Panamarenko</strong>. His name will always remain connected to the city of Antwerp and he is a true artist of reference for M HKA, which has safeguarded and preserved his artist&rsquo;s house in Biekorfstraat. With <em>Panamarenko Universe</em>, M HKA intends to lay the foundation for an international comprehensive overview based on three aspects of his extensive oeuvre: works, actions and thoughts.</p> <div class="span6"> <div class="body"> <p style="text-align: justify;">M HKA presents this Panamarenko retrospective as a voyage of discovery through the mental universe of the artist, with an intimate view into his artistic process. Apart from the masterpieces, attention is also given to Panamarenko's <em>happenings</em> from the 60s, his scientific insights, and his artistic statements. For the first time, a closer look is taken at the artist&rsquo;s sources of inspiration as well. <em>Panamarenko Universe</em> simultaneously focuses on both the versatility and the depth of the work of this inspired artist-magician.</p> <p style="text-align: justify;">There will also be a publication to coincide with the exhibition: a concise and original catalogue with an accessible overview of Panamarenko's most important works, actions and theories.</p> <hr /> <p style="text-align: justify;"><em>Panamarenko Universum </em>is een levendige retrospectieveover &eacute;&eacute;n van de weinige topkunstenaars uit de na-oorlogse Europese avant-garde: <strong>Panamarenko</strong>. Zijn naam zal altijd verbonden blijven aan de stad Antwerpen en hij is een referentiekunstenaar voor het M HKA, dat daarom zijn kunstenaarshuis in de Biekorfstraat veilig stelde. Met <em>Panamarenko Universum </em>wil het M HKA nu de basis leggen voor een internationaal canonisch beeldaan de hand van drie facetten uit zijn omvangrijke oeuvre: werken, daden en denken.</p> <p style="text-align: justify;"><em>Panamarenko Universum </em>is een levendige retrospectieveover &eacute;&eacute;n van de weinige topkunstenaars uit de na-oorlogse Europese avant-garde: <strong>Panamarenko</strong>. Zijn naam zal altijd verbonden blijven aan de stad Antwerpen en hij is een referentiekunstenaar voor het M HKA, dat daarom zijn kunstenaarshuis in de Biekorfstraat veilig stelde. Met <em>Panamarenko Universum </em>wil het M HKA nu de basis leggen voor een internationaal canonisch beeldaan de hand van drie facetten uit zijn omvangrijke oeuvre: werken, daden en denken.</p> <hr /> <p style="text-align: justify;"><em>Panamarenko Univers</em> est une r&eacute;trospective truculente de l&rsquo;un des seuls artistes pr&eacute;&eacute;minents de l&rsquo;avant-garde europ&eacute;enne de l&rsquo;apr&egrave;s-guerre : <strong>Panamarenko</strong>. Son nom restera toujours li&eacute; &agrave; la ville d&rsquo;Anvers et pour le M&nbsp;HKA, il est un artiste de r&eacute;f&eacute;rence. C&rsquo;est pour cela que le mus&eacute;e a veill&eacute; &agrave; assurer la p&eacute;rennit&eacute; et la conservation de sa demeure-atelier, situ&eacute; Biekorfstraat. &Agrave; travers <em>Panamarenko Univers</em>, le M&nbsp;HKAsouhaite poser les fondements d&rsquo;une image canonique internationale, au moyen de trois facettes de son &oelig;uvre consid&eacute;rable : les &oelig;uvres, les actes et les pens&eacute;es.</p> <div class="span6"> <div class="body"> <p style="text-align: justify;">Le M&nbsp;HKA pr&eacute;sente cette r&eacute;trospective Panamarenko comme une exploration de l&rsquo;univers mental de l&rsquo;artiste, avec un regard intime sur son processus artistique. Outre des &oelig;uvres majeures, l&rsquo;exposition s&rsquo;int&eacute;resse aussi aux <em>happenings</em> que Panamarenko a organis&eacute;s dans les ann&eacute;es&nbsp;60, &agrave; ses notions de sciences naturelles et &agrave; ses professions de foi artistiques. Pour la premi&egrave;re fois, une exposition se penche avec une attention approfondie sur les sources d&rsquo;inspiration de l&rsquo;artiste. <em>Panamarenko Univers</em> met&agrave; la fois en lumi&egrave;re l&rsquo;&eacute;clectisme, la diversit&eacute; et la profondeur de l&rsquo;&oelig;uvre d&rsquo;un artiste-magicien passionn&eacute;.</p> <p style="text-align: justify;">Parall&egrave;lement &agrave; l&rsquo;exposition para&icirc;t une publication: un catalogue dense et frais avec un vue d&rsquo;ensemble tr&egrave;s accessible des &oelig;uvres, actions et th&eacute;ories essentielles de Panamarenko.</p> </div> </div> </div> </div> Sat, 09 Aug 2014 09:39:36 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Maurice and Robert Antony - In Flanders Fields Museum - October 4th 10:00 AM - 6:00 PM <p style="text-align: justify;">After two and a half months of waiting, the First World War finally arrives in the Westhoek. Within a matter of days, the fighting breaks out along the River Ijzer and to the east of Ieper. From a strategic point of view, <strong>the Battle of the IJzer and the First Battle of Ieper</strong> are the most important of all the battles fought on Belgian territory. This last phase in the war of movement will determine the trench lines of the Western Front for the remainder of the conflict. The successful resistance put up by the Belgian, French and British armies stops the German advance once and for all. This means that a last small corner of the Kingdom of Belgium is spared from conquest - too small to organize any normal form of public life, but large enough to stay in the war and exert international influence. It also means that the Belgian Army, protected by the flooding of the IJzer plain, has the chance to recover and reorganize, so that it can carry on its stubborn defence. Both the German attackers and the Allied defenders suffer huge losses. In the Allied camp, the heaviest losses are not suffered by the Belgians or the British, but by the French - a fact that is now almost completely overlooked in the history of the war. By the end of the First Battle of Ieper, the British Expeditionary Force has been as good as destroyed. By Christmas 1914, the British have just 30,000 troops left in the field, all that now remains from the professional army of 100,000 men that started the war. The rest are either dead or wounded. As a result, Ieper - or 'Ypres' - the place where the B.E.F. fought its last battle, becomes a symbol of terrible loss and bitter resistance. And so it will remain throughout the war.</p> <p style="text-align: justify;">This loss and resistance are powerful expressed in the destruction of the city of Ieper. The Ieper photographers, Maurice and Robert Antony, who had carefully photographed every aspect of the old medieval city before the war, now record the annihilation of its greatest buildings. The photographs of the burning Cloth Hall, taken on 22 November 1914, are amongst the most iconic images of the First World War.&nbsp; After this, the brothers &nbsp;systematically return to the locations they had visited before, using the same camera positions to create - for the very first time - an almost endless series of 'Then and Now' photos: the magnificence of the old historic city contrasted with the ruin and desolation of war.&nbsp; This is a method of representing the First World War that is still used today. In <strong>Antony d&rsquo;Ypres</strong>, the second part of this historical exhibition, a number of these unforgettable images will be on show, some of them - also for the very first time - in a fascinating 3D-display.</p> <hr /> <p style="text-align: justify;">Na bijna twee&euml;neenhalve maand strijd komt de Eerste Wereldoorlog half oktober 1914 in de Westhoek aan. De strijd ontbrandt met enkele dagen verschil aan de IJzer en in de buurt van Ieper. Strategisch gezien zijn de IJzerslag en de Eerste Slag bij Ieper de belangrijkste van alle gevechten op het Belgische grondgebied. In dit laatste hoofdstuk in de bewegingsoorlog op het Westelijke front worden de contouren getekend voor de rest van de strijd. De succesvolle verdediging van de Belgische, Franse en Britse legers stopt de Duitse opmars voorgoed. Het betekent ook dat het koninkrijk Belgi&euml; blijft beschikken over een klein stukje onbezet grondgebied &ndash; te klein om er alle openbare functies in onder te brengen, maar voldoende groot om door te gaan en internationaal mee te tellen. Het betekent ook dat achter de onder water gezette IJzervlakte het Belgische leger zich zal kunnen reorganiseren en herstellen om te blijven meedoen in de verdediging. De verliezen lopen hoog op zowel bij de Duitse aanvaller als bij de geallieerde verdedigers. Aan geallieerde kant tellen we het grootste aantal slachtoffers niet bij de Belgen of bij de Britten, maar wel bij de Fransen &ndash; een feit dat inmiddels volledig vergeten is in de geschiedschrijving. Het British Expeditionary Force is na de Eerste Slag bij Ieper zo goed als uitgeschakeld. Van de nagenoeg 100.000 leden van dit professionele leger, staan er tegen kerstmis 1914 nog maar 30.000 mannen in het veld. De anderen zijn gewond of gedood. Het betekent dat Ieper &ndash; &ldquo;Ypres&rdquo; - de plek waar het B.E.F. het laatst slag voerde, een symbool van verlies en koppige weerstand wordt en dat voorgoed zal blijven.</p> <p style="text-align: justify;">Dat verlies en die weerstand worden krachtig verbeeld in de vernietiging van de stad Ieper. De Ieperse fotografen Maurice en Robert Antony die reeds voor de oorlog de hele Middeleeuwse stad hadden gefotografeerd, tonen nu de vernietiging van de grote gebouwen. De foto&rsquo;s van de brandende Lakenhallen op 22 november 1914 worden iconen van de Eerste Wereldoorlog. Systematisch zullen ze daarna de plekken en camerastandpunten uit hun vooroorlogse werk oproepen om &ndash; voor het eerst &ndash; een quasi eindeloze reeks &ldquo;Then &amp; Now&rdquo; foto&rsquo;s te maken: de pracht van het historische stadje, naast de ru&iuml;nes van de oorlog. Het wordt een manier van representatie van de Eerste Wereldoorlog die meegaat tot op deze dag. In Antony d&rsquo;Ypres, het tweede deel van deze historische tentoonstelling, worden deze beelden getoond, gedeeltelijk &ndash; en voor het eerst &ndash; ook in een fascinerende drie-dimensionele opstelling.</p> <hr /> <p style="text-align: justify;">&Agrave; la mi-octobre 1919, apr&egrave;s deux mois et demi de combats, la guerre gagne la r&eacute;gion du Westhoek. Des combats s&rsquo;engagent &agrave; quelques jours d&rsquo;intervalle sur l&rsquo;Yser et dans les environs d&rsquo;Ypres. D&rsquo;un point de vue strat&eacute;gique, la <strong>bataille de l&rsquo;Yser</strong> et la <strong>premi&egrave;re bataille d&rsquo;Ypres</strong> sont les plus importantes &agrave; s&rsquo;&ecirc;tre d&eacute;roul&eacute;es sur le front belge. Ce dernier chapitre de la guerre de mouvement sur le front occidental va r&eacute;ellement d&eacute;terminer la suite du conflit. La d&eacute;fense des arm&eacute;es belges, fran&ccedil;aises et britanniques met un terme d&eacute;finitif &agrave; l&rsquo;avanc&eacute;e des Allemands. Cela signifie que le royaume de Belgique continuera &agrave; disposer d&rsquo;un morceau de territoire non occup&eacute;, trop petit pour y abriter l&rsquo;ensemble des fonctions publiques, mais suffisamment grand pour r&eacute;sister et acqu&eacute;rir une l&eacute;gitimit&eacute; internationale. &Agrave; l&rsquo;arri&egrave;re de la plaine inond&eacute;e, l&rsquo;arm&eacute;e belge va en outre pouvoir se r&eacute;tablir et se r&eacute;organiser, de mani&egrave;re &agrave; rester impliqu&eacute;e dans la d&eacute;fense. Les pertes sont &eacute;lev&eacute;es, tant dans le camp de l&rsquo;agresseur allemand que dans celui des alli&eacute;s. Chez ces derniers, les victimes les plus nombreuses ne sont pas &agrave; d&eacute;plorer dans les rangs belges ou britanniques, mais bien dans ceux des Fran&ccedil;ais &ndash; un fait entre-temps totalement oubli&eacute; par l&rsquo;historiographie. Apr&egrave;s la premi&egrave;re bataille d&rsquo;Ypres, la Force exp&eacute;ditionnaire britannique (BEF) est pratiquement annihil&eacute;e elle aussi. Sur les 100&nbsp;000 hommes environ de cette arm&eacute;e professionnelle, seuls 30&nbsp;000 sont encore sur le terrain &agrave; la No&euml;l 1914. Les autres sont bless&eacute;s ou d&eacute;c&eacute;d&eacute;s. Ypres, le lieu o&ugrave; la B.E.F. m&egrave;ne son dernier combat, devient &ndash; et restera &ndash; un symbole &agrave; la fois de perte et de r&eacute;sistance acharn&eacute;e.</p> <p style="text-align: justify;">Ces pertes et cette r&eacute;sistance trouvent dans la d&eacute;vastation de la ville d&rsquo;Ypres une puissante illustration. Les photographes locaux Maurice et Robert Antony, qui avaient d&eacute;j&agrave; immortalis&eacute; la cit&eacute; m&eacute;di&eacute;vale avant la guerre, se penchent apr&egrave;s celle-ci sur les ruines des grands &eacute;difices. Leurs clich&eacute;s de la Halle aux draps en feu le 22 novembre 1914 deviendront embl&eacute;matiques de la Premi&egrave;re Guerre mondiale. Syst&eacute;matiquement, les deux fr&egrave;res &nbsp;reprennent les lieux et angles de vue d&rsquo;avant la guerre pour r&eacute;aliser &ndash; pour la premi&egrave;re fois dans l&rsquo;histoire &ndash; une s&eacute;rie presque interminable de clich&eacute;s &nbsp;&laquo;&nbsp;avant-apr&egrave;s&nbsp;&raquo;&nbsp;: la splendeur de la petite ville historique confront&eacute;e aux vestiges de la guerre. Cette fa&ccedil;on de repr&eacute;senter la Grande Guerre est encore utilis&eacute;e de nos jours. Dans <strong>Antony d&rsquo;Ypres</strong>,&nbsp; second volet de cette exposition historique, une s&eacute;rie de ces photos sont pour la premi&egrave;re fois pr&eacute;sent&eacute;es dans un fascinant d&eacute;cor tridimensionnel.</p> Thu, 14 Aug 2014 17:26:49 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list