ArtSlant - Openings & events en-us 40 stephan balleux - LE MUSEE D'IXELLES - August 28th 9:30 AM - 4:30 PM <p style="text-align: justify;">Over two days, there will be an opportunity to meet Stephen Balleux to find out more about the inspiration behind his work. Admire his work in the museum, visit his studio and feel inspired to produce your own creation.</p> <p style="text-align: justify;">From 7 to 11 years (FR and NL). 15 &euro; for two days (don&rsquo;t forget to take a packed lunch). Reservation required</p> <hr /> <p style="text-align: justify;">We maken kennis met kunstenaar Stephan Balleux en zijn universum. <br />Kennismaking met de werken en de artistieke creatie van de kunstenaar, bezoek aan het atelier.</p> <hr /> <p style="text-align: justify;">Partons &agrave; la rencontre de l&rsquo;artiste Stephan Balleux et de son univers.<br />D&eacute;couverte des &oelig;uvres de l&rsquo;artiste, rencontre dans son atelier et cr&eacute;ation artistique.</p> Sat, 21 Jun 2014 11:02:51 +0000 Richard Jackson - CAB - September 4th 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">The <strong>CAB</strong> is pleased to announce its upcoming show, in which it will display an installation by the American artist <strong>Richard Jackson</strong>. A retrospective of Jackson's work was displayed at the S.M.A.K. earlier this year.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The installation will consist of an original car wash machine that was modified by the artist, set up in the exhibition space. Jackson will run cars through this 'wash', transforming them into works of art. Contrary to traditional car washes, this one does not clean cars, but sprays and covers them with paint. The brushes are replaced with spiked cylinders that roll over the cars and crush them. The unique sculptures that emerge will then be displayed on a plinth beside the car wash.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In an artwork that involves the public more than ever before - the artist is known to rarely activate his <em>painting machines</em> in front of an audience - Richard Jackson's CAR WASH expands painting beyond its boundaries by merging it with sculpture and performance.</span></p> <p style="text-align: justify;"><span style="font-size: small;">When asked what the point is of crashing or wrecking cars, the artist answers: <em>"I guess it's sort of irreverence: I think I'm always trying to change people and the way they think, so you attack their sensibilities."</em> (in <em>LA Times</em>, Jori Finkel, February 2013) By destroying brand new cars, Richard Jackson 'attacks' one of modernity's most emblematic materialistic possessions and calls into question the values of our consumerist society.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alongside the car wash machine, different sketches and preparatory drawings showing the artist's thought process and the evolution of the project will also be exhibited.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With its clean wide-open space in an art venue open to all, the CAB is an ideal location to host a public performance and installation of this size. For this exhibition, the CAB will see itself transformed into a production site and a place of action, where art opens up to chance and accidents, where the artist creates through destruction.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>"I dislike art but enjoy the process of production. The outcome of a project or the value judgments about aesthetics should not be so important. (...) The job of an artist is to create pieces that are unlike anything else. My tools are predominantly chance and experimentation; all I do is lay down the groundwork and then watch what happens. (...) Currently I am working to set off a new round of accidents within painting. Across the history of abstract painting, pretty much every fluke has happened or been hashed out a thousand times over. Now I want to orchestrate a big mess, one serious accident. I thought about crashing a Bentley - there are plenty of those around. Then I decided on wrecking six Sedans that will each be painted a different color and loaded with paint akin to its exterior. I plan on colliding complementary-colored cars and inserting wreckage into a gallery."</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">(Richard Jackson in <em>Artforum</em>, as told to James Eischen, 4 February 2013)</span></p> Tue, 24 Jun 2014 16:50:36 +0000 - Maison Particuliere - September 4th 6:00 PM - 10:00 PM Wed, 18 Jun 2014 15:33:48 +0000 Kati Heck - Tim Van Laere Gallery - September 4th 6:00 PM - 8:00 PM Wed, 18 Jun 2014 15:37:21 +0000 Harold Ancart - Xavier Hufkens - September 4th 5:00 PM - 8:00 PM Wed, 23 Jul 2014 07:26:05 +0000 - Bozar - Palais des beaux-arts de Bruxelles - September 5th 10:00 AM - 6:00 PM Sat, 09 Aug 2014 09:08:48 +0000 Benjamin Patterson - Harlan Levey Projects - September 5th 6:00 PM - 9:00 PM <p><a href="" target="_blank" rel="nofollow">Benjamin Patterson</a>&nbsp;(b. 1934, Pittsburg USA) is best known as a key figure and co-founder of the Fluxus Movement. He recently completed/celebrated his 80th birthday with a series of performance works in Japan, United States and Germany.</p> <p>The exhibition is comprised of artworks, which explore social theories and movements. They include a selection of ephemera, such as letters, announcements and instructions that give an overview of Mr. Patterson&rsquo;s participation in Fluxus history, contemporary art and social advancement.</p> <p>The exhibition is comprised of artworks by Patterson that explore social theories and movements including a selection of ephemera, such as letters, announcements and instructions that give an overview of Mr. Patterson's participation in Fluxus history, contemporary art practices and social advancement. The exhibition is organized through an intentional juxtaposition of ideas, time and materials to focus on the message/s within each work showing contemporary art and art history as conveyors of change alongside aesthetics. The exhibition doesn't set-out to be a definitive survey of Mr. Patterson's involvement in specific causes but instead an overview of Patterson's work that is engaged in the act of responsibility.</p> <p>Please contact the gallery for full biography, press inquiries or to request a preview of available works.</p> <div id="yiv1560710949yui_3_7_2_1_1370522333584_2498"><address>Opening September 5, 18:00 &ndash; 21:00</address><address id="yiv1560710949yui_3_7_2_1_1370522333584_2497">Exhibition runs from September 5 &ndash; October 12, 2014</address></div> Mon, 18 Aug 2014 19:26:38 +0000 - Bozar - Palais des beaux-arts de Bruxelles - September 10th 10:00 AM - 6:00 PM <p style="text-align: justify;">BOZAR pays tribute to Siena and its magnificent picto&not;rial tradition in collaboration with the prestigious Pinacoteca Nazionale di Siena and the Mus&eacute;e des Beaux-Arts de Rouen. Sienese artists developed their own style over time, evolving from the rigid patterns of late-Byzantine iconography to more narrative works of art. The ex&not;hibition showcases sixty master&not;pieces which bear testimony to a revolutionary form of art which, from the thirteenth century until the fifteenth century, took an in&not;creasing interest in space and in exploration of human emotions and used brilliant, unusual col&not;ours. The Sienese school inspired other arts centres in Italy and fi&not;nally left its mark all over Europe. A unique opportunity to see these masterpieces in Brussels!<br /><br />In the context of: The Italian presidency of the Council of the European Union<br /><br />In Siena this summer&nbsp;? Don&rsquo;t miss &laquo; Accademia delle Crete Senesi &raquo;, a charming and inspiring music festival in the south of Siena. <br /><span style="text-decoration: underline;"><a href=";selectiondate=2014-08-09" target="_blank"></a></span></p> <hr /> <p style="text-align: justify;">En collaboration avec la pres&not;tigieuse Pinacoteca Nazionale di Siena et le Mus&eacute;e des Beaux-Arts de Rouen, BOZAR rend hom&not;mage &agrave; la tradition picturale de Sienne. La peinture figurative y suivit un d&eacute;veloppement propre, passant de l&rsquo;iconographie by&not;zantine tardive aux oeuvres plus narratives. Nous exposons une soixantaine de chefs-d&rsquo;oeuvre t&eacute;moignant d&rsquo;un art r&eacute;volution&not;naire qui, entre le XIIIe et le XVe si&egrave;cle developpa un int&eacute;r&ecirc;t crois&not;sant pour l'espace et l'exploration des &eacute;motions humaines et recou&not;rut &agrave; une palette de couleurs in&eacute;&not;dites. L&rsquo;art de la repr&eacute;sentation de Sienne fascina &eacute;galement les autres centres artistiques d&rsquo;Italie et imprima finalement sa marque dans toute l&rsquo;Europe. Une occa&not;sion unique de voir ces oeuvres importantes &agrave; Bruxelles !<br /><br />Dans le cadre de: la pr&eacute;sidence italienne du Conseil de l'Union europ&eacute;enne<br /><br />A Sienne cet &eacute;t&eacute;? Ne ratez surtout pas &laquo;&nbsp;Accademia delle Crete Senesi&nbsp;&raquo;, un festival de musique chaleureux au sud de Sienne.<br /><span style="text-decoration: underline;"><a href=";selectiondate=2014-08-09&amp;lng=fr" target="_blank"></a></span></p> <hr /> <p style="text-align: justify;">Samen met de prestigieuze Pinacoteca Nazionale di Siena en het Mus&eacute;e des Beaux-Arts de Rouen brengt BOZAR hulde aan Siena, een stad met een gro&not;te schildertraditie. De evolutie van de figuratieve schilderkunst kende er een heel eigen verloop: van de statische laat-Byzantijnse iconografie naar meer verhalende kunstwerken. We tonen een zes&not;tigtal verfijnde meesterwerken die getuigen van de revolutio&not;naire kunst die tussen de 13e en de 15e eeuw beoefend werd. De meesters uit Siena toonden een toenemende interesse in de voor&not;stelling van ruimte alsook mense&not;lijke emoties en kozen voor een innoverend kleurenpalet. Ze fas&not;cineerden ook de andere centra in Itali&euml; en drukten uiteindelijk hun stempel in heel Europa. Een unieke kans om deze belangrijke werken in Brussel te zien!<br /><br /><br />In het kader van: Het Italiaans voorzitterschap van de Raad van de Europese Unie<br /><br />Deze zomer in Siena? Ga dan zeker naar "Accademia delle Crete Senesi", een sfeervol muziekfestival in het zuiden van Siena. <br /><span style="text-decoration: underline;"><a href=";selectiondate=2014-08-09&amp;lng=nl" target="_blank"></a></span></p> Sat, 09 Aug 2014 09:12:02 +0000 - Bozar - Palais des beaux-arts de Bruxelles - September 10th 10:00 AM - 6:00 PM <p style="text-align: justify;">BOZAR and the Dena Foundation for Contemporary Art have gathered various contemporary artists from different regions in Italy, who have migrated to another European country. What do these artists have in common? <em>Yellow Sociality</em>, two words that help better understand the underlying concept of this exhibition: the artist is a social animal with a committed, sunny and sometimes loud message, a go-between who understands and shares the Italian idea of living together, who conveys gravitas and well as bringing hope. A unique opportunity to experience the complexity of the Italian identity.</p> <hr /> <p style="text-align: justify;">BOZAR et the Dena Foundation for Contemporary Art r&eacute;unissent les artistes contemporains de diff&eacute;rentes g&eacute;n&eacute;rations originaires d&rsquo;Italie, qui ont pris la route de l&rsquo;Europe. Leur trait d&rsquo;union ? &laquo; <em>Yellow Sociality</em> &raquo;, deux termes qui permettent d&rsquo;en comprendre l&rsquo;esprit : l&rsquo;artiste y est envisag&eacute; comme un animal social au message engag&eacute;, solaire, et parfois criant, un passeur de ce vivre-ensemble italien, porteur de gravit&eacute; mais aussi d&rsquo;espoir. L&rsquo;occasion unique de sentir la complexit&eacute; de l&rsquo;identit&eacute; italienne.</p> <hr /> <p style="text-align: justify;">BOZAR en the Dena Fooundation for Contemporary Art brengen verschillende generaties hedendaagse kunstenaars van Italiaanse origine samen, die elders in Europa zijn gaan wonen. Wat hen verbindt? <em>Yellow Sociality</em>, twee termen die toelaten om het idee te vatten: de kunstenaar wordt gezien als een sociaal dier met een zonnegele (lees: hoopgevende), ge&euml;ngageerde boodschap, iemand die de Italiaanse manier van samenleven doorgeeft, die zowel bezorgdheid als hoop belichaamt. Een unieke kans om de complexiteit van de Italiaanse identiteit te gevoelen.</p> Sat, 09 Aug 2014 09:13:47 +0000 Ricardo Brey - Galerie Nathalie Obadia - Bruxelles - September 10th 5:00 PM - 8:00 PM <div class="pagecurrentshowpressrelease" style="text-align: justify;"><span style="font-size: small;">The Nathalie Obadia Gallery, Brussels, is pleased to present a solo exhibition by Ricardo Brey, the Cuban artist, now living and working in Belgium, thus rekindling historical ties, as the gallery exhibited his work for the first time in Paris in 1994. </span><br /><br /><span style="font-size: small;">Jan Hoet discovered Brey&rsquo;s work in 1990, at the 3rd Biennial in Havana (Cuba) and Brey&rsquo;s international career began in earnest two years later with his participation in the Documenta IX Kassel (Germany). Today, Ricardo Brey is celebrated on both sides of the Atlantic. </span><br /><br /><span style="font-size: small;">As his retrospective at the Fine Arts Museum in Havana comes to a close, preparations for his ambitious solo exhibition at the Museum of Contemporary Art in Anvers (M.H.K.A.) for 2015, are beginning. This solo show will be the fruit of 20 years of work and collaboration between Ricardo Brey and&nbsp;Bart de Baere, current director of the M.H.K.A.</span><br /><br /><span style="font-size: small;">Ricardo Brey was born in 1955 and, 23 years after having left Cuba, he remains a &ldquo;cult&rdquo; artist in his country of origin. He became part of Cuban art history in 1981 with his participation in <em>Volumen I</em>, the first exhibition in Havana by the collective of the same name constituting, without realizing it (youthful insouciance), the founding act of contemporary art in Cuba. The break with the past was spectacular; the artworks exhibited at the <em>Volumen I</em> testified to the experimentation, for the first time, of conceptual art in marked contrast to traditional mediums such as painting and sculpture. </span><br /><br /><span style="font-size: small;">The movement, which was launched by Ricardo Brey and his friends, Juan Francsico Elso and Jos&eacute; Bedia, embodied &ldquo;a crisis in convictions&rdquo; at the beginning of the 1980&rsquo;s, which the historian Gerado Mosquera called the &ldquo;anthropological trend in Cuban art,&rdquo; combining mysticism, religion and anthropological concepts inspired, in particular, by the &ldquo;Pens&eacute;e Sauvage&rdquo; of Claude L&eacute;vi-Strauss, one of Ricardo Brey&rsquo;s favorite authors. </span><br /><br /><span style="font-size: small;">In 1985, the young Cuban artist withdrew to share the miseries of daily life in the marginalized community of the Indians of South Dakota (USA). This experience, as painful as it was significant to his later life, pushed Ricardo Brey to draw on his &ldquo;tigertude&rdquo; to find inspiration in the great forces of nature as did the Native Americans, who saw life in all things. From then on, his art was guided by a &ldquo;holistic vision of the world,&rdquo; in which everything that nature produces (plants, minerals, fragments of animals) or that is manufactured in the form of recycled forms, is reincarnated and becomes worthy of use as material for creation. Sorted, transformed and assembled, the objects take on a new life under the effect of Ricardo Brey&rsquo;s fertile imagination, thus acquiring a symbolic, and aesthetic nobility, which is magnified by his sharp sense of composition and staging. &nbsp;</span><br /><br /><span style="font-size: small;">Having inherited Afro-Cuban beliefs tinged with animism, Ricardo Brey gives all of his creations a strong spirituality which transforms the everyday into the sacred. The result is work that has a totemic dimension, in which life always runs alongside death. This rich duality can be found in the work of Th&eacute;odore G&eacute;ricault (1791-1824) whose romantic <em>maestria</em> had the ability to touch the soul while staying on familiar terms with horror, as in <em>Radeau de la M&eacute;duse</em>, the masterpiece that profoundly influenced Ricardo Brey, who nevertheless refused to fall into morbidity. For Brey, the construction/destruction duality which underlies his creations, illustrates the vitality which, on the contrary, brings his work to life. For example, the installation (<em>Sans-Titre</em>) that he presented in 1992, at the Documenta IX, associated fragments of animals put into motion by the air currents created by fans. For Brey, this airborne ballet of feathers and ribbons was in and of itself a negation of death, and this installation for Kassel, like those which come after it, is free of &ldquo;the common inertia of still lifes.&rdquo; </span><br /><br /><span style="font-size: small;">Ricardo Brey&rsquo;s ode to life embodies itself most eloquently in the recycling of even out-of-date objects, a unifying thread of his poetic and spiritual body of work. This practice, which gives a second life to disparate materials, maintains a historical connection to Duchamp, Joseph Beuys and Arte Povera, all sources of inspiration for the Cuban artist. Brey&rsquo;s works, which at first glance look chaotic, all flirt with the idea of accident, fortuitous encounters between materials, forms and textures, which happen against all odds; but these confrontations, arranged in space by the artist, create meaning and give form to a personal mythology in constant evolution. </span><br /><br /><span style="font-size: small;">Brey&rsquo;s imaginary world is illustrated most intimately in his series of boxes <em>Every life is a fire</em>, begun in 2009. Their exhibition, codified by a determined ritual, is a sort of performance. The displayed boxes are designed to interact with the viewer, who discovers boxes inside boxes like Russian dolls, which as they are opened, reveal the cleverly constructed and utopian world of Ricardo Brey little by little. The artist describes his &ldquo;reliquaries&rdquo; as <em>Lagerst&auml;tten</em>, the German term used by paleontologists to designate the geological strata that provide information on the biodiversity of a given period.&nbsp; The scientific term is highly appropriate for those who want to open, layer by layer, Ricardo Brey&rsquo;s Pandora&rsquo;s box.</span><br /><br /><span style="font-size: small;">The exhibition also presents a selection of about twenty drawings, which are part of the continuation of two concomitant graphic projects: <em>Universe</em>&nbsp;(2002-2006), an enormous project which compiles 1,004 drawings, all exhibited at the S.M.A.K., Gand in 2006-2007 and published, for the occasion, in a 500-page volume. <em>Universe</em> looks like an encyclopedia of the various materials and techniques that the artist has used over the past 30 years. <em>Annex</em> (2003-2009), the second project, is made up of recurrent motifs in Brey&rsquo;s work including fish, birds, insects, plants and the moon. Together they plunge us into an ocean of ink and paper, inhabited by the abyssal dreams of its creator. </span><br /><br /><span style="font-size: small;"><em>Last but not least</em>, Ricardo Brey&rsquo;s latest pieces, use photography to build associations between objects he recycles in order to compose something like &ldquo;photo-sculptures&rdquo; which are subjected to the same staging tricks as his installations, like his snapshots of tree trunks currently exhibited at the Fine arts museum of Havana. In this series, the importance given to detail, reinforced by the format size and printing technique on canvas, is in the tradition of Ricardo Brey&rsquo;s typically naturalistic approach. The Cuban artist calls his process &ldquo;organic&rdquo; as he (we must remember) believes that there is life in all things. Ricardo Brey, like a Shamanic demiurge, demonstrates this principle each time a little more in every one of his new artistic experiments.&nbsp;</span></div> Mon, 21 Jul 2014 09:02:53 +0000 Carles Congost, Sarah & Charles - Komplot - September 11th 6:00 PM - 10:00 PM Wed, 06 Aug 2014 07:56:30 +0000 Ana Torfs - WIELS - September 11th 6:30 PM - 8:30 PM <p style="text-align: justify;">&ldquo;Echolalia&rdquo; is the repetition of words by a child when it learns how to talk, but it also refers to a medical condition that makes someone compulsively repeat words and sentences. Under this equivocal title Belgian artist Ana Torfs offers a survey of her most recent body of work in six various installations, all of which resonate with one another. Except for one, these works from the period 2009-14 have never been shown in Belgium. And with <em>The Parrot &amp; the Nightingale, a Phantasmagoria</em>, WIELS furthermore presents a world premiere.</p> <p style="text-align: justify;">The interplay between language and representation plays a central role in Ana Torfs&rsquo; work, and with it the related processes of translation and visualisation. Found texts and images often constitute the main components of her practice. These material remnants are then reworked into meticulously composed installations &ndash; with diverse media such as slide projections, audio pieces, photography and video, to tapestries and silkscreens &ndash; in which projections and allusions have free reign.</p> <p style="text-align: justify;">Ana Torfs (&deg;1963, Mortsel) lives and works in Brussels. She studied Communication Science at the University of Leuven, and Film &amp; Video at the Sint-Lukas University College of Art and Design in Brussels. Previous solo shows of her work have been organized by Generali Foundation, Vienna, and K21 Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf (2010), Sprengel Museum, Hannover (2008), Argos, Brussels (2007), daadgalerie, Berlin (2006), GAK Gesellschaft f&uuml;r Aktuelle Kunst, Bremen (2006), and Paleis voor Schone Kunsten-Palais des Beaux-Arts, Brussels (2000). Besides numerous international group exhibitions, Torfs recently participated in the 1<sup>st</sup> Cartagena de Indias Biennial (2014), 11<sup>th</sup> Sharjah Biennial (2013), and Manifesta 9, Genk (2012).</p> <hr /> <p style="text-align: justify;">&ldquo;Echolalia&rdquo; est la r&eacute;p&eacute;tition de mots par un enfant qui apprend &agrave; parler, mais le terme renvoie &eacute;galement &agrave; un trouble m&eacute;dical lorsqu'une personne r&eacute;p&egrave;te des mots et des phrases de fa&ccedil;on compulsive. C&rsquo;est sous ce titre &eacute;quivoque que l&rsquo;artiste belge Ana Torfs offre une vue per&ccedil;ante sur son travail le plus r&eacute;cent, en six installations qui entrent en r&eacute;sonance les unes avec les autres. A l'exception d'une, ces &oelig;uvres de la p&eacute;riode 2009-2014 n&rsquo;ont jamais &eacute;t&eacute; montr&eacute;es en Belgique. Avec <em>The Parrot &amp; the Nightingale, a Phantasmagoria</em> WIELS pr&eacute;sentera en outre une premi&egrave;re mondiale.</p> <p style="text-align: justify;">L'interaction entre le langage et la repr&eacute;sentation, et les processus associ&eacute;s de traduction, interpr&eacute;tation et visualisation, est une question constante dans le travail de Ana Torfs. Des textes et images existants forment souvent le mat&eacute;riau de base de sa pratique. Ces restes mat&eacute;riels sont patiemment trait&eacute;s et composent de minutieuses installations &ndash; utilisant divers m&eacute;dias tels que la diapositive, le son, la vid&eacute;o, la photo, mais &eacute;galement la gravure, la tapisserie ou la s&eacute;rigraphie &ndash; dans lesquelles projections et allusions ont le champ libre.</p> <p style="text-align: justify;">Ana Torfs (&deg;1963, Mortsel) vit et travaille &agrave; Bruxelles. Elle a &eacute;tudi&eacute; les Sciences de la Communication &agrave; la KU Leuven et Film &amp; Vid&eacute;o &agrave; l&rsquo;Hogeschool Sint-Lukas &agrave; Bruxelles. Elle a eu droit &agrave; des expositions personnelles &agrave; la Generali Foundation, Vienne et K21 Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf (2010), au mus&eacute;e Sprengel, Hanovre (2008), Argos, Bruxelles (2007), daadgalerie, Berlin (2006), GAK-Gesellschaft f&uuml;r aktuelle Kunst, Br&ecirc;me (2006) et au Palais des Beaux-Arts, Bruxelles (2000). En plus de nombreuses expositions collectives internationales, Torfs a r&eacute;cemment particip&eacute; &agrave; la 1&egrave;re Biennale Cartagena de Indias (2014), la 11e Biennale de Sharjah (2013) et Manifesta 9, Genk (2012).</p> <hr /> <p style="text-align: justify;">"Echolalia" staat voor de herhaling van woorden door een kind dat leert praten, maar het slaat ook op een medische afwijking waarbij iemand dwangmatig woorden en zinnen herhaalt. Onder deze enigmatische titel biedt de Belgische kunstenares&nbsp;Ana Torfs een scherpe terugblik op haar recente &oelig;uvre in zes uiteenlopende installaties die elkaar weerklank geven. Op &eacute;&eacute;n na werden deze werken uit de periode 2009-2014 nog nooit in Belgi&euml; getoond. Met&nbsp;<em>The Parrot &amp; the Nightingale, a Phantasmagoria</em>&nbsp;haalt WIELS bovendien een wereldpremi&egrave;re in huis.</p> <p style="text-align: justify;">In het werk van Ana Torfs&nbsp;is de wisselwerking tussen taal en voorstelling, en de daarmee verbonden processen van vertaling, interpretatie en visualisatie, een constante. Bestaande teksten en beelden vormen vaak het basismateriaal waarmee ze werkt. Deze materi&euml;le restanten verwerkt ze langzaam tot minutieus gecomponeerde installaties &ndash; met diverse media zoals dia&rsquo;s, geluid, video en foto&rsquo;s tot prenten, wandtapijten en zeefdrukken &ndash; waarin projecties en zinspelingen vrij spel hebben.</p> <div style="text-align: justify;">Ana Torfs (&deg;1963, Mortsel) woont en werkt in Brussel. Ze studeerde Communicatiewetenschappen aan de KU Leuven en Film &amp; Video aan de Sint-Lukas Hogeschool Brussel. Voorbije solotentoonstellingen vonden plaats in Generali Foundation, Wenen en K21 Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf (2010), Sprengel Museum, Hannover (2008), Argos, Brussel (2007), daadgalerie, Berlijn (2006), GAK Gesellschaft f&uuml;r Aktuelle Kunst, Bremen (2006) en Paleis voor Schone Kunsten, Brussel (2000). Naast talloze internationale groepstentoonstellingen nam Torfs recent deel aan de 1ste Bi&euml;nnale van Cartagena de Indias (2014), de 11de Bi&euml;nnale van Sharjah (2013) en Manifesta 9, Genk (2012).</div> Tue, 05 Aug 2014 07:35:10 +0000 Katia Bourdarel, Youcef Korichi, Axel Pahlavi, Léopold Rabus, Jérôme Zonder - AEROPLASTICS Contemporary - September 12th 6:00 PM - 9:00 PM Tue, 08 Jul 2014 06:48:33 +0000 Sarah Braman, Ethan Cook, Daniel Dezeuze, Joe Fyfe, Lucas Knipscher, Larissa Lockshin, Claude Viallat - Albert Baronian - September 12th 5:00 PM - 8:00 PM Tue, 19 Aug 2014 17:51:46 +0000 Jules Olitski - Albert Baronian - September 12th 5:00 PM - 8:00 PM Tue, 19 Aug 2014 17:51:59 +0000 Catharina van Eetvelde, Stéphane Sautour - Galerie Greta Meert - September 12th 6:00 PM - 8:00 PM Sat, 02 Aug 2014 06:02:30 +0000