ArtSlant - Openings & events en-us 40 Meuser - Galerie Nathalie Obadia - Bruxelles - September 9th 5:00 PM - 8:00 PM <p style="text-align: justify;">Galerie Nathalie Obadia is very pleased to announce the first solo exhibition by Meuser in Brussels.<br /><br />Born in Essen in 1947, Meuser is a representative figure of German minimal art. In 1992 he joined Karlsruhe&rsquo;s Academy of Fine Arts as a teacher and, the same year, was invited by Jan Hoet (art historian and founder of the SMAK in Ghent, Belgium) to take part in Documenta IX in Kassel (Germany).<br /><br />The works he will be presenting in Brussels are in the same radical vein as those shown under the title &ldquo;Tout va bien &ndash; Alles in Butter&rdquo; in his first exhibition for the Galerie Nathalie Obadia in Paris in 2007.<br /><br />Meuser&rsquo;s first exposure to the French public occurred in 1986 when, invited by Christian Bernard, he contributed to a group exhibition on avant-garde abstract painting during the years 1970&ndash;1980 at the Villa Arson in Nice. Four years later, this former pupil of Joseph Beuys and Erwin Heerich at the Academy of Fine Arts in Dusseldorf returned to the Villa in Nice for a year&rsquo;s residence that ended with a programmatic exhibition called &ldquo;Le D&eacute;senchantement du monde&rdquo;. Meuser exhibited alongside Martin Kippenberger (1953&ndash;1997) who, with Blinky Palermo (1943&ndash;1977), was one of Meuser&rsquo;s principal points of reference.<br />During the years of Beuys&rsquo; teaching, painting was taboo, according to Meuser, who remembered that a sort of &ldquo;Russian, workmanlike&rdquo; reigned. It provided Meuser, who grew up in the Ruhr and had his artistic education at the Folkwang Museum in his hometown, with the chance to reflect on the principles of the Russian Constructivists from Malevich to Mondrian, whose influence is apparent even in his current works.<br />In parallel, the American minimalist school also had a deep influence on Meuser, who admired Ellsworth Kelly (born 1923) for &ldquo;the rigorous opening up of the pictorial format in the way the American can do, the same way as Donald Judd with his boxes&rdquo;(1).<br /><br />Nicknamed Meuser by his primary-school teachers after the street in which his family lived, the German artist collects metal objects from city dumps that he recycles into sculptures rooted in his childhood in a working-class district of Essen. The critic and journalist C&eacute;line Piettre rightly states that &ldquo;the objects that Meuser collects during his wanderings carry within them a personal history: that of his birthplace, the bastion of the all-powerful steel-manufacturing industry of West Germany, and the history of his father, a steel-worker in the local factory&rdquo; (2). She adds that &ldquo;behind their abstract forms, the artist&rsquo;s works are pieces of autobiographical &ndash; but also social and collective &ndash; reality. The pieces of metal, whose past functionality we deduce but cannot identify, are remnants of our material culture, and symbols of the mechanization of production and widespread consumerism &rdquo;(3).<br />The weight of the materials used contrasts strongly with the lightness of his compositions. Balanced in the air or hanging on the white walls of the gallery, Meuser&rsquo;s sculptures all have a powerfully pictorial component. <br /><br />The metal is always painted, even when the colour chosen imitates rust. The whiteness of the walls is used like the blank canvas of a painter, and Meuser&rsquo;s geometric and polychrome constructions rival Mondrian&rsquo;s abstract paintings. <br />The colour is energized by the play of light and shadow created by the crushed metal, like that of used tins. Combined with the subtle rapport of the textures of the materials, this vibrancy is a reminder that Meuser&rsquo;s art is not so minimal as is at first apparent. It is not infrequent that &ldquo;the rectilinear and orthogonal grammar sometimes harmonizes with the boldness of a curve or intrepid dynamism of a diagonal&rdquo;(3). <br />Therein resides an affinity with the Neue Wild and artists around his friend Martin Kippenberger during the 1970s, to whom Meuser admits to having been close primarily on a spiritual level.<br /><br />His recent works to be exhibited in the Galerie Nathalie Obadia in Brussels demonstrate the permanence and power of an artistic trajectory that, without ever compromising with decorativeness, asserts itself once again through its palpable plastic power.<br /><br /><br /><br />1&nbsp; Meuser, in cat. Kunsthalle D&uuml;sseldorf, 2008, p.138<br />2 &amp; 3&nbsp; C&eacute;line Piettre, Paris-Art (website), 24 Nov. 2007<br />3&nbsp; C&eacute;line Piettre, Paris-Art (website), 24 Nov. 2007</p> <hr /> <p style="text-align: justify;">La Galerie Nathalie Obadia est tr&egrave;s heureuse d&rsquo;annoncer la premi&egrave;re exposition personnelle de Meuser &agrave; Bruxelles. <br /><br />Meuser, n&eacute; &agrave; Essen en 1947, est l&rsquo;une des figures embl&eacute;matiques de l&rsquo;art minimal allemand. En 1992, il int&egrave;gre l&rsquo;Acad&eacute;mie des Beaux-Arts de Karlsruhe en tant que professeur. La m&ecirc;me ann&eacute;e, Meuser, invit&eacute; par Jan Hoet (historien de l&rsquo;art et fondateur du SMAK &agrave; Gand, Belgique), participe &agrave; la documenta IX de Cassel (Allemagne).<br /><br />Les &oelig;uvres pr&eacute;sent&eacute;es &agrave; Bruxelles s&rsquo;inscrivent dans la veine radicale de celles regroup&eacute;es en 2007 &agrave; Paris sous le titre &laquo; Tout va bien &ndash; Alles in Butter &raquo; lors de sa premi&egrave;re collaboration avec la Galerie Nathalie Obadia. <br /><br />La premi&egrave;re rencontre de Meuser avec le public fran&ccedil;ais remonte &agrave; 1986 quand, &agrave; l&rsquo;invitation de Christian Bernard, l&rsquo;artiste allemand participa &agrave; une exposition collective sur l&rsquo;avant-garde de la peinture abstraite des ann&eacute;es 1970-1980 pr&eacute;sent&eacute;e &agrave; la Villa Arson de Nice. Quatre ans plus tard, cet ancien &eacute;l&egrave;ve de Joseph Beuys et d&rsquo;Erwin Heerich &agrave; l&rsquo;Acad&eacute;mie des Beaux-Arts de D&uuml;sseldorf, retrouvait l&rsquo;Institution ni&ccedil;oise pour un an de r&eacute;sidence qui s&rsquo;acheva sur une exposition programmatique intitul&eacute;e &laquo; Le D&eacute;senchantement du monde &raquo;. Dans cette derni&egrave;re, Meuser exposa au c&ocirc;t&eacute; de Martin Kippenberger (1953-1997) qui, avec Blinky Palermo (1943-1977), demeure l&rsquo;une des r&eacute;f&eacute;rences majeures de l&rsquo;artiste allemand. <br />Du temps du professorat de Beuys, la peinture &eacute;tait &laquo; tabou &raquo; selon Meuser qui rappelle que r&eacute;gnait alors une certaine &laquo; russian workmanlike &raquo;(1). L&rsquo;occasion pour l&rsquo;enfant de la Ruhr, qui fit son &eacute;ducation artistique au Folkwang Museum de sa ville natale, de m&eacute;diter la le&ccedil;on des constructivistes russes de Malevitch &agrave; Mondrian dont on retrouve l&rsquo;influence jusque dans ses &oelig;uvres actuelles.<br />Parall&egrave;lement, l&rsquo;&eacute;cole minimale am&eacute;ricaine marqua aussi profond&eacute;ment l&rsquo;artiste allemand qui admire chez Ellsworth Kelly (n&eacute; en 1923) &laquo; l&rsquo;&eacute;largissement rigoureux du format pictural, comme les Am&eacute;ricains savent le faire, &agrave; la mani&egrave;re d&rsquo;un Donald Judd avec ses bo&icirc;tes &raquo;(2). <br /><br />Meuser, surnomm&eacute; ainsi par ses professeurs d&egrave;s l&rsquo;&eacute;cole primaire en r&eacute;f&eacute;rence au nom de la rue de son domicile familial, collecte dans les d&eacute;charges des objets m&eacute;talliques. Il&nbsp; les recycle dans ses sculptures, elles-m&ecirc;mes enracin&eacute;es dans son enfance pass&eacute;e dans un quartier populaire d&rsquo;Essen. La critique et journaliste C&eacute;line Piettre rappelle justement que &laquo; les objets que Meuser r&eacute;cup&egrave;re au hasard de ses p&eacute;r&eacute;grinations sont porteurs d&rsquo;une histoire personnelle : celle de sa ville natale, bastion de la toute puissante industrie sid&eacute;rurgique allemande de l&rsquo;Ouest, celle de son p&egrave;re, technicien m&eacute;tallurgiste dans une usine locale &raquo;(3). Elle ajoute qu&rsquo; &laquo; ainsi, derri&egrave;re leur abstraction formelle, les &oelig;uvres de l&rsquo;artiste se pr&eacute;sentent comme des morceaux de r&eacute;alit&eacute; autobiographique mais aussi sociale et collective. Les pi&egrave;ces de m&eacute;tal, dont on soup&ccedil;onne la fonctionnalit&eacute; pass&eacute;e sans pouvoir en d&eacute;terminer la fonction, sont autant de r&eacute;sidus de notre culture mat&eacute;rielle, symboles de la m&eacute;canisation de la production et d&rsquo;un consum&eacute;risme g&eacute;n&eacute;ralis&eacute; &raquo;(4).<br />Le poids des mat&eacute;riaux utilis&eacute;s tranche avec la l&eacute;g&egrave;ret&eacute; des compositions. Suspendue, en &eacute;quilibre, ou prenant appui sur les murs blancs de la galerie, les sculptures de Meuser ont en commun une forte dimension picturale.<br /><br />Le m&eacute;tal est toujours peint, m&ecirc;me quand la couleur choisie imite celle de la rouille. <br />La blancheur des cimaises est utilis&eacute;e comme la toile vierge d&rsquo;un peintre, et les constructions g&eacute;om&eacute;triques et polychromes de l&rsquo;artiste allemand rivalisent avec celles des tableaux abstraits de Mondrian.<br />La couleur est anim&eacute;e par le jeu d&rsquo;ombres et de lumi&egrave;res produit par la t&ocirc;le froiss&eacute;e, comme celle des bidons usag&eacute;s. Cette animation, coupl&eacute;e au jeu subtil de textures des mati&egrave;res, rappelle que l&rsquo;art de Meuser n&rsquo;est pas si minimal qu&rsquo;il n&rsquo;y para&icirc;t de prime abord. Il n&rsquo;est pas rare qu&rsquo;avec&nbsp; &laquo; la grammaire rectiligne et orthogonale s&rsquo;accorde parfois l&rsquo;audace d&rsquo;une courbe ou le dynamisme intr&eacute;pide d&rsquo;une diagonale &raquo;(5). <br /><br />En cela, il se rapproche de la Neue Wild et des artistes, regroup&eacute;s dans les ann&eacute;es 1970-1980, autour de son ami Martin Kinpenberger dont Meuser conc&egrave;de avoir &eacute;t&eacute; proche d&rsquo;une mani&egrave;re avant tout spirituelle.<br />Les &oelig;uvres r&eacute;centes qui seront expos&eacute;es &agrave; la galerie Nathalie Obadia &agrave; Bruxelles montrent la permanence et la puissance d&rsquo;une trajectoire artistique qui, sans jamais composer avec le d&eacute;coratif, s&rsquo;impose une fois et encore par sa force plastique &eacute;vidente. <br /><br /><br />1&nbsp; trad. Rigueur russe <br />2 Cf. Meuser, in cat. Kunsthalle D&uuml;sseldorf, 2008, p.138.<br />3 &amp; 4&nbsp; C&eacute;line Piettre, Paris-Art (site web), 24 Nov. 2007<br />5 C&eacute;line Piettre, Paris-Art (site web), 24 Nov. 2007</p> <hr /> <p style="text-align: justify;">Galerie Nathalie Obadia kondigt met trots de eerste solotentoonstelling van Meuser in Brussel aan.<br /><br />Meuser, die geboren werd in 1947 te Essen, is een van de sleutelfiguren van de Duitse minimal art. In 1992, het jaar dat Meuser aan de kunstacademie in Karlsruhe begon te doceren, nam hij deel aan de Documenta IX in het Duitse Kassel op uitnodiging van Jan Hoet (kunsthistoricus en oprichter van het S.M.A.K. in Gent, Belgi&euml;).<br /><br />De werken die Meuser in Brussel presenteert, getuigen van eenzelfde radicale basishouding als die welke hij in 2007 te Parijs groepeerde onder de titel &ldquo;Tout va bien &ndash; Alles in Butter&rdquo; bij zijn eerste samenwerking met de Galerie Nathalie Obadia.<br /><br />In 1986 maakte het Franse publiek voor het eerst kennis met de Duitse kunstenaar. Op uitnodiging van Christian Bernard nam Meuser toen, in de Villa Arson te Nice, deel aan een groepstentoonstelling over de abstracte, avant-garde schilderkunst in de jaren 1970 en 80. Vier jaar later was Meuser &ndash; die aan de kunstacademie van D&uuml;sseldorf gestudeerd heeft onder Joseph Beuys en Erwin Heerich &ndash; opnieuw te gast in de Villa Arson. Hij verbleef er een jaar lang ter voorbereiding van &ldquo;Le D&eacute;senchantement du monde&rdquo;; op deze prominente tentoonstelling werd zijn werk gepresenteerd naast dat van Martin Kippenberger (1953-1997), die net als Blinky Palermo (1943-1977) een belangrijke inspiratiebron voor de kunstenaar zou blijven. <br />Meuser, die een kind is van het Ruhrgebied, kwam in zijn geboortestad voor het eerst met kunst in aanraking tijdens zijn bezoeken aan het Folkwang Museum. In de periode dat hij les volgde bij Beuys, was schilderen &ldquo;taboe&rdquo; en heerste er een zekere &ldquo;russian workmanlike&rdquo;(1), zo verduidelijkt hij. Dat bood hem de gelegenheid om zich te verdiepen in het Russische Constructivisme en in het werk van kunstenaars als Malevitsj en Mondriaan. De invloed die zij op zijn oeuvre uitoefenen, blijft zichtbaar tot in zijn meest recente werken. <br />Ook het Amerikaanse minimalisme heeft een diepe indruk achtergelaten op de Duitse kunstenaar. Ellsworth Kelly (geboren in 1923) bewondert hij voor &ldquo;het compromisloze openbreken van het beeldoppervlak zoals alleen Amerikanen dat kunnen en zoals Donald Judd dat heeft gedaan met zijn sculpturale volumes&rdquo; (2).<br /><br />Meuser &ndash; een bijnaam die de kunstenaar oorspronkelijk van zijn leraars kreeg op de lagere school en die verwijst naar de straatnaam van zijn ouderlijke woonst &ndash; verzamelt metalen schroot. Hij hergebruikt het in zijn sculpturen die in belangrijke mate ge&iuml;nspireerd zijn door zijn kindertijd in een volkswijk te Essen. Terecht wijst journaliste en critica C&eacute;line Piettre erop dat &ldquo;de objecten die [Meuser] op zijn wandelingen bij toeval tegenkomt en die hij vervolgens recupereert, een persoonlijk verhaal met zich meedragen: het is het verhaal van zijn geboortestad, een bolwerk van de machtige West-Duitse staalindustrie, en dat van zijn vader, een metaalbewerker in een plaatselijke fabriek.&rdquo; Ze voegt eraan toe dat &ldquo;zijn werken zich, ondanks hun abstracte vormentaal, voordoen als fragmenten van een autobiografie en een sociale en collectieve realiteit. Van de metalen onderdelen laat zich misschien wel de vroegere functie raden, maar men kan ze niet met volle zekerheid vaststellen. De fragmenten zijn sporen van onze materi&euml;le cultuur en de symbolen van een gemechaniseerde productie en een wijdverspreid consumentisme&rdquo; (4).<br />De zwaarte van de gebruikte materialen staat in schril contrast met de lichtheid van de composities. Alle sculpturen van Meuser, of ze nu hangen, vrijstaan of leunen tegen de witte galeriemuren, hebben een sterk picturale dimensie gemeen. Het metaal is steevast geschilderd, zelfs wanneer de gekozen kleur die van het roest nabootst. Het onbehandelde oppervlak van de platen doet dienst als een leeg schildersdoek; de geometrische en meerkleurige constructies van de Duitse kunstenaar meten zich met die op Mondriaans abstracte schilderijen.<br />Door de plooien in de metaalplaten en het gebruikte blik ontstaat een spel van schaduw en licht dat de kleuren verlevendigt. In combinatie met de subtiele materiaaltexturen bewijst het dat de kunst van Meuser niet zo minimaal is als men op het eerste gezicht zou denken. Het is niet ongebruikelijk dat &ldquo;de lineaire en rechthoekige grammatica gebroken wordt door de brutaliteit van een gebogen lijn of de stoutmoedige dynamiek van een diagonaal&rdquo; (5). Op dit vlak toont Meuser zich verbonden met de Neue Wilde en de kunstenaars die zich in de jaren 1970 en 80 schaarden rond de figuur van Martin Kippenberger, die voor Meuser niet alleen een goede vriend, maar ook een zielsverwant was. <br /><br />De recente werken die in de Galerie Nathalie Obadia in Brussel ge&euml;xposeerd worden, tonen het standvastige karakter en de gedrevenheid van een artistiek parcours dat zich nooit inlaat met het decoratieve, maar dat zich eens te meer opdringt vanuit een als vanzelfsprekende beeldende kracht.<br /><br /><br />1 trad. Russische arbeidszin<br />2&nbsp; zie Meuser, in cat. Kunsthalle D&uuml;sseldorf, 2008, p. 138<br />3 &amp; 4&nbsp; zie C&eacute;line Piettre, Paris-Art (website), 24 Nov. 2007<br />5&nbsp; zie C&eacute;line Piettre, Paris-Art (website), 24 Nov. 2007</p> Mon, 27 Jul 2015 15:57:24 +0000 Kathryn Andrews - Gladstone Gallery (Brussels) - September 9th 6:00 PM - 8:00 PM <div id="artistContentPastBio" style="text-align: justify;"> <p>Gladstone Gallery is pleased to announce <em>Trinity and Powers: In Search of&nbsp;Breadfruit</em>, an exhibition of new wall works and sculptures by artist Kathryn Andrews. In this exhibition, symbols of Hollywood, leisure, and consumer culture collide with political sloganeering and campaign conceits, arriving at a complex and often humorous narrative of celebrity, politics, imperialism, and individual agency.</p> <p>Andrews juxtaposes contemporary celebrity culture with iconography of heroism and political campaigning in her sculptural paintings series, <em>The Presidents</em>. In these works the artist establishes a dialectical relationship between nineteenth century Currier and Ives election posters and Hollywood relics, embedding the byproducts of celebrity culture within the structure of her paintings. Andrews does so with a sly understanding of the market her work is commoditized within, asking viewers to consider the ways in which artworks, presidential candidates, and Hollywood icons are similarly embraced and consumed.</p> <p>A sculpture comprising lounge chairs and highly sharpened beach umbrella poles will fill one area of the urban gallery space in Brussels. Through discordant formal and symbolic resonances, these familiar symbols of leisure take on a threatening proposition in the unfamiliar context. Elsewhere, in a playful take on minimalist serial forms and early modernist fetishizations of the exotic, Andrews creates gumball machines, printing nude Tahitian women on oversized monochrome gumballs, colliding histories of consumption and perception. The seductive high gloss materiality of Andrews&rsquo;s sculptures trade in cues of pleasure and desire; the artist points at our ability to recognize symbols as structures of authority, of perception, and of pleasure, creating a powerful perceptual experience in which symbolic meaning coexists with engrossing phenomenological effect.</p> <p>Kathryn Andrews was born in 1973 in Mobile, Alabama, and lives and works in Los Angeles. Her work has been the subject of numerous solo exhibitions and group institutions including The Bass Museum of Art, Miami; Museum Ludwig, Cologne; Ullens Center for Contemporary Art, Beijing; and the Institute of Contemporary Art, Philadelphia. <em>Kathryn Andrews: Run for President</em> will open in November at the Museum of Contemporary Art Chicago.</p> </div> Tue, 25 Aug 2015 19:16:43 +0000 Arvo Leo - La Loge - September 9th 6:00 PM - 9:00 PM <p style="text-align: justify;">*4 screenings per day at: 13:30 - 15:00 - 16:30 - 18:00<br /> Please note the film is 60 min. long<br /> English spoken</p> <p style="text-align: justify;">La Loge will be open on Sunday 13 September for the <a href="" target="_blank">Brussels Art Days</a></p> <p style="text-align: justify;">More information on 'Fish Plane, Heart Clock' will be available soon.</p> Tue, 25 Aug 2015 19:18:45 +0000 Group Show - Bozar - Palais des beaux-arts de Bruxelles - September 10th 7:00 PM - 9:00 PM <p style="text-align: justify;">This summer new works by some of the promising names from the Belgian art scene will be on display in the Centre for Fine Arts. Of the 250 dossiers submitted, an international jury selected ten artists, all of whom work in Belgium and are under 35 years of age. In September the jury meets to reveal the winners of the Young Belgian Art Prize. Since 1950 this is the very highest distinction for young artistic talent in Belgium. The finalists are in competition for three prizes. During the exhibition you can vote for your favourite artist via <a href="" target="_blank"></a> - this will increase his/her chances of winning the ING Public Prize.<br /> <br /> Closing Event and Awards Ceremony: 10.09.2015 - 19:00</p> <p style="text-align: justify;">Prizes: Crowet Young Belgian Art Prize (&euro; 25,000), Langui Prize (&euro; 12,500), BOZAR Prize (&euro; 12,500) and the ING Public Prize (&euro; 6,250).<br /> <br /> International jury: Lorenzo Benedetti (director De Appel, Amsterdam), Ga&euml;l Charbau (independent curator Les &Eacute;ditions Particules, Paris), Brigitte Franzen (director Ludwig Forum, Aachen), Christoph Tannert (artistic director K&uuml;nstlerhaus Bethanien, Berlin) and Catherine Wood (curator Tate Modern, London).<br /> <br /> Prejury: Florent Bex (honorary director of the M HKA, Antwerp and member of the Jeune Peinture Belge association), Diane Delvaulx (art historian and member of the Jeune Peinture Belge association), Patricia De Peuter (director of ING ART Belgium and member of the Jeune Peinture Belge association), Caroline Dumalin (assistant-curator, Wiels, Brussels), Beno&icirc;t Dusart &amp; Marie-No&euml;lle Dailly (co-curators of Incise in Charleroi and independent exhibition curators), Martin Germann (senior curator SMAK, Gent), Tania Nasielski (independent curator, Besme 105 Project Space, Brussels), Anne-Claire Schmitz (curator and director of La Loge, Brussels) and Eva Wittocx (chief curator of contemporary art, M Museum, Leuven).</p> <hr /> <p style="text-align: justify;">Ontdek deze zomer nieuw werk van enkele beloftevolle namen uit de Belgische kunstscene in het Paleis voor Schone Kunsten. Een internationale jury selecteerde uit de 250 ingediende dossiers tien kunstenaars die werken in Belgi&euml; en jonger zijn dan 35 jaar. In september komt de jury bijeen om de winnaars van de Young Belgian Art Prize bekend te maken. Dit is sinds 1950 de belangrijkste onderscheiding voor jong kunsttalent in Belgi&euml;. De finalisten maken kans op drie prijzen. Stem gedurende de tentoonstelling op je favoriete kunstenaar via <a href="" target="_blank"></a> en verhoog zijn/haar kansen op de ING Public Prize.<br /> <br /> Slotevenement en prijsuitreiking: 10.09.2015 - 19:00<br /> <br /> Geselecteerde kunstenaars: Hamza Halloubi, Katrin Kamrau, G. K&uuml;ng, Lola Lasurt, Hana Miletic, Max Pinckers / Michiel Burger, Emmanuelle Quertain, Emmanuel Van der Auwera, Hannelore Van Dijck en Floris Vanhoof.<br /> <br /> Prijzen: Crowet Young Belgian Art Prize (&euro; 25.000), Langui Prize (&euro; 12.500), BOZAR Prize (&euro; 12.500) en ING Public Prize (&euro; 6.250).<br /> <br /> Internationale jury: Lorenzo Benedetti (directeur De Appel, Amsterdam), Ga&euml;l Charbau (onafhankelijke curator Les &Eacute;ditions Particules, Parijs), Brigitte Franzen (directeur Ludwig Forum, Aachen), Christoph Tannert (artistiek directeur K&uuml;nstlerhaus Bethanien, Berlijn) en Catherine Wood (curator Tate Modern, Londen).<br /> <br /> Prejury: Florent Bex (beheerder van de Jonge Belgische Schilderkunst en eredirecteur van het MuHKA), Diane Delvaulx (kunsthistorica en lid van de Jonge Belgische Schilderkunst), Patricia De Peuter (kunsthistorica, lid van de Jonge Belgische Schilderkunst en directrice van ING ART Belgi&euml;), Caroline Dumalin (assistent-curator Wiels), Benoit Dusart (Incise), Martin Germann (senior curator SMAK), Tania Nasielski (curator Besme 105), Anne-Claire Schmidt (directrice La Loge) en Eva Wittocx (curator hedendaagse kunst M-Museum Leuven)</p> <hr /> <p style="text-align: justify;">Cet &eacute;t&eacute;, d&eacute;couvrez le travail de quelques-uns des artistes &eacute;mergents de la sc&egrave;ne artistique belge au Palais des Beaux-Arts. Parmi les 250 dossiers introduits, un jury international a s&eacute;lectionn&eacute; dix artistes de moins de 35 ans travaillant en Belgique. En septembre, ce jury se r&eacute;unira pour annoncer les laur&eacute;ats du Young Belgian Art Prize. Depuis 1950, cette distinction, la plus importante du pays, valorise l'&oelig;uvre de jeunes talents de chez nous. Trois prix seront octroy&eacute;s aux finalistes. Pendant toute la dur&eacute;e de l'exposition, vous pouvez voter pour votre artiste favori sur <a href="" target="_blank"></a> et ainsi augmenter ses chances de remporter l'ING Public Prize.<br /> <br /> Soir&eacute;e de cl&ocirc;ture et remise des prix : 10.09.2015 - 19:00<br /> <br /> Artistes s&eacute;lectionn&eacute;s : Hamza Halloubi, Katrin Kamrau, G. K&uuml;ng, Lola Lasurt, Hana Miletic, Max Pinckers / Michiel Burger, Emmanuelle Quertain, Emmanuel Van der Auwera, Hannelore Van Dijck et Floris Vanhoof.<br /> <br /> Prix : Crowet Young Belgian Art Prize (&euro; 25.000), Langui Prize (&euro; 12.500), BOZAR Prize (&euro; 12.500) et ING Public Prize (&euro; 6.250).<br /> <br /> Jury international : Lorenzo Benedetti (directeur De Appel, Amsterdam), Ga&euml;l Charbau (curateur ind&eacute;pendant Les &Eacute;ditions Particules, Paris), Brigitte Franzen (directeur Ludwig Forum, Aix-la-Chapelle), Christoph Tannert (directeur artistique K&uuml;nstlerhaus Bethanien, Berlin) et Catherine Wood (curatrice Tate Modern, Londres).<br /> <br /> Jury de pr&eacute;selection : Florent Bex (administrateur de La Jeune Peinture Belge et directeur honorifique du MuHKA - Mus&eacute;e d'Art Contemporain d'Anvers), Diane Delvaulx (historienne de l'art et membre de La Jeune Peinture Belge), Patricia De Peuter (historienne de l'art, membre de La Jeune Peinture Belge et directrice de ING ART Belgique), Caroline Dumalin (assistante-curatrice Wiels), Benoit Dusart (Incise), Martin Germann (curateur senior SMAK), Tania Nasielski (curatrice Besme 105), Anne-Claire Schmidt (directrice La Loge) et Eva Wittocx (curatrice en art contemporain M-Museum Louvain).</p> Wed, 03 Jun 2015 07:53:22 +0000 Louise Bourgeois - Xavier Hufkens - September 10th 5:00 PM - 8:00 PM Mon, 27 Jul 2015 16:25:13 +0000 David Noonan - Xavier Hufkens - 107 rue St-Georges - September 10th 5:00 PM - 8:00 PM Mon, 27 Jul 2015 16:24:44 +0000 Wang Du - Albert Baronian - September 11th 12:00 PM - 8:00 PM Mon, 27 Jul 2015 15:48:50 +0000 Jean Bedez - Albert Baronian rue de la Concorde - September 11th 6:00 PM - 8:00 PM Mon, 27 Jul 2015 15:48:48 +0000 Group Show - Extra City - September 11th 7:00 PM - 10:00 PM <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Accattone, Wim Catrysse, Céline Condorelli, Jan De Cock, Ferry André de la Porte, Willem de Rooij, Koenraad Dedobbeleer, Maatschappij Discordia, Lili Dujourie, Kersten Geers, Aglaia Konrad, Germaine Kruip, Gabriel Kuri, Valérie Mannaerts, Katja Mater, Josiah McElheny, Manfred Pernice, Bas Schevers, Santiago Sierra, Steve Van den Bosch, Koen van den Broek, Joep van Liefland and Philippe Van Snick.</p> <p>Corners are everywhere. Not only rooms have corners, but streets, objects, paintings, screens and pages as well. Corners mark the many modes and means of delineation that are traced upon the world at large, to enclose space, to demarcate routes, or to outline areas of possibility. Corners epitomize the different ways in which structures and systems at once foster and limit our movements and actions in daily experience.</p> </div> </div> </div> </div> <div class="page" title="Page 2"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Questions about the space, function and figure of the corner appear in different artistic and architectural practices, as steps in investigations that stem from different premises. &lsquo;Untitled (Corner Piece)&rsquo;, 1964, by Robert Morris has become a canonical work in the art history of the past decades: as it occupied an exceptional space in the traditional gallery, it is a reference piece for the spatial strategies developed by artists after Minimalism, and for the manifold &lsquo;corner pieces&rsquo; artists have produced ever since.</p> <p>&lsquo;The Corner Show&rsquo; will outline the conceptual and visual reasons for which certain works inhabit the corners of exhibition spaces, engaging the viewer in particular ways and deflecting attention from the &lsquo;center of the stage&rsquo;. Rather than a collection of corner works, the exhibition draws upon conversations with participating artists, assembling different contributions from each in a multi-perspectival spatial puzzle, zooming in and out of divergent modes of presence and address, creating thought-provoking equations between one another, architecture and the viewer. Within a sculptural scenography conceived by the artist Philip Metten, &lsquo;The Corner Show&rsquo; brings together existing, adapted and commissioned works that either occupy or challenge the most commonplace, overlooked and intricate architectural feature of the institutional space and daily environment: the corner.</p> <p>Curated by Wouter Davidts, in collaboration with Philip Metten and Mihnea Mircan.&nbsp;</p> </div> </div> </div> </div> Wed, 17 Jun 2015 09:24:37 +0000 Farah Atassi - Extra City - September 11th 7:00 PM - 10:00 PM <p>The floating syntheses of space and time in Belgian painter Farah Atassi&rsquo;s works describe autonomous worlds that are uniquely intriguing. Building enveloping environments through intricate scale distortions of what appear to modernist forms, or motifs derived from folkloric patterning, many of Atassi&rsquo;s paintings construct a disconcerting sense of &lsquo;display&rsquo; for figures that are barely differentiated volumetrically from their surroundings. Her paintings can be apprehended through a calculated reformulation of camouflage, a form of concealing the old and in the new and vice-versa.</p> <p>Nods to L&eacute;ger, Malevich, Mondrian or Charles &amp; Ray Eames coexist in an exploration of decorative motifs and architectural interiors: in an expanded understanding of d&eacute;cor, of the ornamental taking over a structural role in organizing a picture. False symmetries, misleading mirror effects, decentred vanishing points are all used not as instruments of deception or &lsquo;trompe l&rsquo;oeil&rsquo;, but as devices to bring the visitor closer and trigger a sustained look at the ways in which they cohere, spatially and conceptually: at a mysterious theatre of objects of stages, models for objects, sculptures, for architecture or commerce, for flatness and perspective.</p> Wed, 17 Jun 2015 09:27:08 +0000 Karolien Chromiak, Jane Coppin, Elise Eeraerts, Daan Gielis, Lore Van Roelen - Extra City - September 11th 7:00 PM - 10:00 PM <p>Karolien Chromiak, Jane Coppin, Elise Eeraerts, Daan Gielis, Lore Van Roelen</p> <p>&lsquo;No blossom no moonlight&rsquo; is a group show and final moment of the first edition of STRT KIT, a project operating as an international support initiative for emerging visual artists based in Antwerp. Rather than presenting itself as thematic group show, or intending to bring a set of different artistic practices under one unifying narrative umbrella, the curatorial proposal seeks to construct the exhibition by defining what it isn't able to do and simultaneously to engage with the artworks by addressing and exploring that which they are not. This idea of curating as&nbsp;&lsquo;apophasis&rsquo;, or as a&nbsp;&lsquo;via negativa&rsquo;, thus presents itself as an extremely productive rhetorical device. It activates, through ideas of exclusion of known negatives and argument by denial, what the exhibition is really about.</p> <p>Curated by&nbsp;Jo&atilde;o Mour&atilde;o and Luis Silva</p> Fri, 21 Aug 2015 09:04:46 +0000 Robert Barry - Galerie Greta Meert - September 11th 6:00 PM - 8:00 PM Mon, 27 Jul 2015 15:52:41 +0000 Dan Graham - Galerie Micheline Szwajcer - September 11th 12:00 PM - 8:00 PM <p>Dan Graham&rsquo;s work questions the relationship between architecture and its psychological effects on us and remains as poignant today as it did in the 1970&rsquo;s when Graham first explored issues such as &ldquo;the performative&rdquo;, exhibitionism, reflection, mirroring and the mundane.</p> <p>&nbsp;</p> <p>His work continues to investigate the voyeuristic act of seeing oneself reflected, while at the same time watching others.&nbsp;</p> <p>This overlay of experience creates a focused dual perception amid a changing environment and/or audience.&nbsp;</p> <p>His work highlights the awkwardness that occurs when intimate moments or details are rudimentarily broadcast in an impersonal manner.</p> <p>&nbsp;</p> <p>Graham has described his pavilions as &ldquo;producing a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.&rdquo; Dan Graham lives and works in New York City.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>A special screening of the video <em>Don&rsquo;t Trust Anyone over 30</em> will be presented in connection with the show at Galerie Micheline Szwajcer (date &amp; place to be confirmed).</p> <p><strong>&nbsp;</strong></p> Wed, 22 Jul 2015 13:42:07 +0000 Chris Martin - Galerie Rodolphe Janssen - September 11th 6:00 PM - 9:00 PM <p style="text-align: justify;">In 2005, the Brooklyn Rail published Chris Martin&rsquo;s essay Buddhism, Landscape, and the Absolute Truth about Abstract Painting. It begins with a journey through Nevada: One day, while high on mescaline, Martin&rsquo;s friends Peter Acheson and Chris Keeny stuff dirt into pillowcases and pile rocks into their van, believing the earth to be covered in red jewels. To this memory, Martin wrote,<br /> <br /> &ldquo;Abstract painting is the dirt that catches the sun. You can&rsquo;t hold on to it. Paintings are not facts&mdash;they are invitations to the dance.&rdquo;<br /> <br /> The unmediated, fleeting spontaneity evoked in this passage re-emerges here in Brussels with Chris Martin&rsquo;s decision to hang his paintings both in and outside the gallery walls for his second solo exhibition at Galerie Rodolphe Janssen. Like one&rsquo;s first glimpses of the open ocean or an endless desert road, Martin provides his works the freedom to attain fresh meaning, to add mystery to the practiced logic of advertising images that otherwise clog public spaces.<br /> <br /> Painting exists in the present, in unrestricted movement. It doesn&rsquo;t demand meaning, nor must it turn in on itself to find meaning, but exists as part of the world we live in&mdash;even while straddling other realms of consciousness. Martin&rsquo;s paintings search for energies in the vein of Piet Mondriaan, and Helmut Federle, and Agnes Martin, always attempting to move beyond the confines of the picture plane.<br /> <br /> Martin works with an ever-expanding vocabulary of images, frequently introducing materials that are foreign to painting&mdash;newspaper clippings, vinyl records, pillows, photographs, glitter&mdash;to his canvases. Curious and visually arresting, these materials nevertheless have their roots in vernacular forms of expression, harkening to a world beyond the orthodoxy of abstract painting. Here, Martin calls for immediate dialogue with his paintings&rsquo; shimmering surfaces, bright vertical spaces, and familiar figures.<br /> <br /> We live in an attention economy, one in which an overabundance of images constantly vie to be noticed, made sense of. But here&rsquo;s the thing: the images we stop to pay attention to and to build narratives from are the ones that catch us off guard, the ones that seem to resist categorization but nevertheless seek our interpretation.<br /> <br /> <strong>About the artist : </strong><br /> Chris Martin (b. 1954, Washington D.C) lives and works in Brooklyn. He will have a solo exhibition at Douglas Hyde Gallery, Dublin in October 2015, and has had recent solo exhibitions at David Kordansky Gallery, Los Angeles; Mitchell-Innes &amp; Nash, New York; Anton Kern Gallery, New York, NY; KOW, Berlin; and Kunsthalle D&uuml;sseldorf, D&uuml;sseldorf. Martin has recently participated in group exhibitions at Gavin B</p> Mon, 27 Jul 2015 15:59:03 +0000 Torbjørn Rødland - Galerie Rodolphe Janssen - Livourne 32 - September 11th 6:00 PM - 9:00 PM <p style="text-align: justify;">Halos of milky light and long contemplative shadows envelop Torbj&oslash;rn R&oslash;dland&rsquo;s subjects. The mood feels saturated with emotion, a parley of inner and outer worlds. Like being in the womb&mdash; calm, warm, and protected&mdash;R&oslash;dland&rsquo;s models nevertheless emote a certain inquietude: anticipation coupled with an anxiety of events that lie in waiting.<br /> <br /> And yet, it is the tactility of R&oslash;dland&rsquo;s photographic method that looms in his immersive, often elusive narratives. In one work, strawberries emerge from a bath of cream. A photograph ripe with sensuality, sure, but also a photographer&rsquo;s photograph&mdash;one that nods to R&oslash;dland&rsquo;s analogue process in which form materializes from liquid. In other works, the acuity of formal details seem to betray the drama they build into a scene: A white stretch limousine attempting a Hollywood Hills hairpin turn in The Curve is subtly mirrored by a bright red stiletto caught in freshly discarded gum by way of the long, foregrounded shadows both subjects cast onto the scene.<br /> <br /> A portrait series of Paris Hilton accompanies these photographs. A personification of American goal-orientation and image consciousness&mdash;of being-as-image&mdash;Paris&rsquo; public persona is the stuff of tween girl fantasy, but shrewdly masks an empire of perfumes, EDM parties, and TV appearances. Photographing Hilton at her home, R&oslash;dland seems to search for an inside to the facade of her camera-readiness.<br /> <br /> Ultimately, the photographs presented in I am a photograph are democratised by the light they all contain: An introspective Paris, her backlit coiffed blonde waves and undulating grey coat in Bright Doorway melds with the winding, delicately lit path of the white limousine. His subjects swathed in the din of light encroaching from behind, R&oslash;dland speaks to the psychological weight of his subjects. In his Sentences on Photography originally published in Triple Canopy, R&oslash;dland speaks of the backlit object as &ldquo;a pregnant object&rdquo;. To this, we are left asking, &ldquo;pregnant, but with what?&rdquo;<br /> <br /> <strong>About the artist :</strong><br /> Torbj&oslash;rn R&oslash;dland (b. 1970, Stavanger, Norway) lives and works in Los Angeles, USA. He has recently had solo exhibitions at Henie Onstad Kunstsenter, Oslo; Standard (OSLO), Oslo; Kunsthall Stavanger, Stavanger; Algus Greenspon, New York; Nils St&aelig;rk, Copenhagen; Air de Paris, Paris; Hiroshima City Museum of Contemporary Art, Hiroshima; Contemporary Art Museum St. Louis, St. Louis; and MoMA PS1, New York. R&oslash;dland participated in the 48th Venice Biennale in 1999, and has recently participated in group exhibitions at Casino Luxembourg Forum D&rsquo;art Contemporain, Luxembourg; Mus&eacute;e d&rsquo;Art Contemporain de Lyon, Lyon; Museum of Contemporary Art, Chicago; and Centre Pompidou, Paris. In 2016, R&oslash;dland will participate in Manifesta 11, Zurich.</p> Mon, 27 Jul 2015 16:00:55 +0000 TR Ericsson - Harlan Levey Projects - September 11th 12:00 PM - 9:00 PM <p>&ldquo;All My Love, Always and Forever,&rdquo; is the newest installment in the artist&rsquo;s epic series of work &ldquo;Crackle and Drag,&rdquo; which was recently shown at the Cleveland Museum of Art where it was accompanied by a project monograph published by Yale University Press. The series creates an ongoing conceptual portrait of love run through a loop that goes: Live Dream Die. Raw, revealing and emotional, &ldquo;Crackle &amp; Drag&rdquo; was listed at one of the exhibitions people will be talking about in 2015 by the Huffington Post.</p> Fri, 28 Aug 2015 16:36:06 +0000