ArtSlant - Openings & events en-us 40 Marcin Dudek - Harlan Levey Projects - April 18th 6:00 PM - 9:00 PM <p><span style="font-size: 12px;">One hour before kick-off the neutral area separating opposing forces was invaded and compromised. The depths of architectural decay were quickly revealed; passive-aggression turned to aggression, fear and chaos. The wall collapsed. 39 people died and more than 600 were injured before disaster became spectacle as officials decided that the show must go on. The game was played and the impossible became possible as a winner was later declared on the day.</span></p> <p>The Heysel tragedy in 1985, provides one point of departure for the work exhibited in &lsquo;Saved by an Unseen Crack.&rsquo; Marcin Dudek&rsquo;s autobiographical experiences and fascination with the architecture of spectacle, offer another. From flags to fairy tales to monumental failings, questions of romantic nationalism are put into play in a physical and mental battle. Unlike the sculpture by Patrick Rimoux that commemorates the event (and will soon be destroyed), Dudek&rsquo;s works do not reference the actors in this incident, but instead structure an artistic field of fear, fanaticism and invented enemies, several of which he appears aware may be himself.</p> Tue, 07 Apr 2015 19:06:45 +0000 Group Show - CAB - April 21st 6:00 PM - 9:00 PM <p style="text-align: justify;">The CAB is delighted to announce its new exhibition &lsquo;<em>The Works: Artists in and from Chicago</em>&rsquo;, curated by&nbsp;Dieter Roelstraete and Abigail Winograd, which explores notions of&nbsp;labor and effort through the work of&nbsp;nine Chicago-based artists. Chicago can hardly be thought of as a &ldquo;soft&rdquo; city when compared to its coastal counterparts; as the poet Carl Sandburg wrote, it is a &ldquo;city of big shoulders&rdquo;, a distinctly blue-collar metropolis, a heartland of the working man and woman. If for this reason alone, Chicago is a fitting setting to explore art&rsquo;s relationship to work, labor and effort.<br /><br />The Works presents a variety of Chicagoan approaches to this discourse: Marissa Lee Benedict &amp; David Rueter, Theaster Gates, and Dan Peterman contextualize their multidisciplinary practices within a wider scope of research and activism, reflecting first and foremost on artistic production as a vehicle for ecological and social reflection. Other artists in the exhibition explore art-making and its inextricably ties to daily life, as in Michelle Grabner&rsquo;s paper weavings, or Tony Lewis&rsquo; site-specific wall text &ndash; made specifically for this exhibition &ndash; based on selections from the classic&nbsp;<em>Life&rsquo;s Little Instruction Book</em>, a compendium of advice. Lewis will also present a large-format, site-specific drawing made at a nearby basketball court for this exhibition, further tying his work to the bond between art and everyday life.&nbsp;<br /><br />Matthew Metzger and Geof Oppenheimer investigate the connection between art-making, the body, and labor: Metzger&rsquo;s new series of photorealist paintings of antique machete blades, examines the shoulder &ndash; not the head &ndash; as a corporeal epicenter of labor and abstraction. Oppenheimer, meanwhile, explores binaries of white collar and blue collar work in his &ldquo;Embarrassing Sculpture&rdquo;. Here, Brooks Brothers slacks, an emblem of the American white collar worker, pool around the ankles of a slick marble and steel sculpture, cumbersomely (and phallically) weighed down by a heavy leaf blower.&nbsp;<br /><br />Finally, Zachary Cahill and William Pope L.&rsquo;s multifarious, often confounding text-based paintings probe the intersections of language, consumerism, and social discourse. For this exhibition, Cahill will produce a new painting installed on the ceiling of the CAB's space, while Pope L. will exhibit a video, and a painting from a recent series that confronts meaning and language utilizing uncanny, socially-charged phrases (Gold people hang their children from their servants).<br /><br />Ultimately, what binds the artists included in&nbsp;<em>The Works</em>&nbsp;are their interests in hybridized notions of artistic agency. By integrating teaching, community leadership, multidisciplinary research, and writing into their practices, they challenge the boundaries of &nbsp;art production as a purely studio-based pursuit. In this way, a uniquely Chicagoan approach emerges; one that is hands-on, sincere, and deeply invested in the intersections of art and life. Furthermore, as a city with a profound industrial history whose identity continues to evolve through its shifting relationship to labor and capital, Brussels provides an apt European context for this unique portrait of Chicago and its artists.&nbsp;<br /><br />The Works is curated by Dieter Roelstraete and Abigail Winograd in collaboration with El&eacute;onore de Sadeleer.&nbsp;<br />Dieter Roelstraete, formerly Manilow Senior Curator at the Museum of Contemporary Art Chicago, is currently a member of the curatorial team of Documenta 14. Abigail Winograd is a writer, curator, and Ph.D. candidate based in Chicago. El&eacute;onore de Sadeleer is the director of the CAB.</p> <hr /> <p style="text-align: justify;">Le CAB est heureux d&rsquo;annoncer &ccedil;a nouvelle exposition intitul&eacute;e&nbsp;<em>The Works: Artists in and from Chicago</em>, qui pr&eacute;sente, sous le commissariat de Dieter Roelstraete et Abigail Winograd, des motifs tels que le travail et l&rsquo;effort &agrave; travers les &oelig;uvres de neuf artistes bas&eacute;s &agrave; Chicago. On peut difficilement d&eacute;crire Chicago comme une ville &laquo;&nbsp;soft&nbsp;&raquo;, compar&eacute;e &agrave; ses rivales c&ocirc;ti&egrave;res; le po&egrave;te Carl Sandburg parlait de &laquo;&nbsp;ville aux larges &eacute;paules&nbsp;&raquo;, une m&eacute;tropole r&eacute;solument industrielle, un c&oelig;ur battant d&rsquo;ouvriers et d&rsquo;ouvri&egrave;res. Pour cette raison, Chicago constitue un cadre id&eacute;al pour explorer la relation entre l&rsquo;art et le travail, le labeur et l&rsquo;effort.<br /><br />The Works aborde la th&eacute;matique du travail de plusieurs fa&ccedil;ons propres &agrave; Chicago&nbsp;: Marissa Lee Benedict &amp; David Rueter, Theaster Gates et Dan Peterman &eacute;largissent leurs pratiques multidisciplinaires &agrave; la recherche et au militantisme, en se penchant principalement sur la production artistique en tant que v&eacute;hicule de r&eacute;flexion &eacute;cologique et sociale. D&rsquo;autres artistes pr&eacute;sents dans l&rsquo;exposition explorent les liens inextricables entre la cr&eacute;ation artistique et le quotidien, comme les tissages de papier de Michelle Grabner ou le texte mural ad-hoc de Tony Lewis, cr&eacute;&eacute;s sp&eacute;cialement pour l&rsquo;exposition &agrave; partir d&rsquo;extraits du&nbsp;<em>Petit livre de la vie&nbsp;: manuel d&rsquo;instructions</em>. Lewis pr&eacute;sentera &eacute;galement un dessin grand format au sol, cr&eacute;&eacute; partir d&rsquo;un terrain de basket situ&eacute; proche du CAB, liant encore d&rsquo;avantage son travail artistique &agrave; la vie quotidienne.<br /><br />Matthew Metzger et Geof Oppenheimer analysent le lien entre la cr&eacute;ation artistique, le corps et l&rsquo;effort. Metzger pr&eacute;sente une nouvelle s&eacute;rie de peintures photor&eacute;alistes de lames de machette antiques dont la cr&eacute;ation part de l&rsquo;&eacute;paule, pas de la t&ecirc;te, comme &eacute;picentre corporel de travail et d&rsquo;abstraction. Oppenheimer, pour sa part, se penche sur la dualit&eacute; entre les travailleurs &lsquo;cols bleus&rsquo; et &lsquo;cols blancs&rsquo; &agrave; l&rsquo;aide de son &laquo;&nbsp;Embarrassing Sculpture&nbsp;&raquo;. On y voit l&rsquo;embl&eacute;matique pantalon d&rsquo;employ&eacute; de bureau am&eacute;ricain, le&nbsp;<em>Brooks Brothers slacks</em>, tomb&eacute; aux chevilles d&rsquo;une sculpture &eacute;pur&eacute;e en marbre et acier, l&rsquo;ensemble &eacute;tant (physiquement) alourdi par un souffleur de feuilles mortes.<br /><br />Enfin, se basant sur le texte, les peintures, h&eacute;t&eacute;roclites et souvent troublantes de Zachary Cahill et William Pope.L se trouvent au croisement entre langage, consum&eacute;risme et discours social. Pour l&rsquo;exposition, Cahill produira une nouvelle peinture qui ornera le plafond de l&rsquo;espace du CAB, tandis que Pope L. pr&eacute;sentera une vid&eacute;o, ainsi qu&rsquo;une peinture extraite d&rsquo;une s&eacute;rie r&eacute;cente qui confronte le sens et le langage &agrave; l&rsquo;aide de phrases improbables et socialement engag&eacute;es (Les gens dor&eacute;s pendent leurs enfants &agrave; leurs domestiques).&nbsp;<br /><br />On observera que le lien entre les artistes participants &agrave;&nbsp;<em>The Works</em>&nbsp;se situe au niveau de leur d&eacute;marche artistique hybride. En int&eacute;grant dans leurs pratiques l&rsquo;enseignement, le leadership communautaire, la recherche multidisciplinaire et l&rsquo;&eacute;criture, ils repoussent les limites de la production artistique normalement cantonn&eacute;e aux studios. Appara&icirc;t alors, une d&eacute;marche tout &agrave; fait propre &agrave; Chicago&nbsp;; une action ax&eacute;e sur une pratique, sinc&egrave;re et profond&eacute;ment ancr&eacute;e de l&rsquo;intersection entre l&rsquo;art et la vie. Bruxelles, ville &agrave; l&rsquo;histoire industrielle profonde, dont l&rsquo;identit&eacute; entre capital et travail ne cesse d&rsquo;&eacute;voluer constitue le contexte europ&eacute;en id&eacute;al pour pr&eacute;senter ce portrait hors du commun de Chicago et ses artistes.</p> <p style="text-align: justify;">L&rsquo;exposition The Works est curat&eacute;e par Dieter Roelstraete et Abigail Winograd, en collaboration avec El&eacute;onore de Sadeleer.&nbsp;<br />Dieter Roelstraete a &eacute;t&eacute; Manilow Senior Curator au Museum of Contemporary Art de Chicago, avant d&rsquo;int&eacute;grer l&rsquo;&eacute;quipe curatoriale de la Documenta 14. Abigail Winograd est &eacute;crivaine, conservatrice et doctorante &eacute;tablie &agrave; Chicago. El&eacute;onore de Sadeleer est la directrice du CAB.</p> <hr /> <p style="text-align: justify;">Het CAB kondigt met groot genoegen zijn nieuwe tentoonstelling &lsquo;<em>The Works: Artists in and from Chicago&rsquo;</em>&nbsp;aan die, onder curatele van Dieter Roelstraete en Abigail Winograd, thema&rsquo;s zoals werk, arbeid en inspanning verkent via de Werken van negen kunstenaars gevestigd in Chicago. Chicago kan moeilijk worden bestempeld als een "soft city" in vergelijking met haar tegenhangers aan beide kusten. Zoals de dichter Carl Sandburg het omschreef, het is een "stad van grote schouders", onmiskenbaar een metropool van blauwe boorden, het hart van de werkende klasse, man en vrouw. Alleen al om die reden vormt Chicago een geschikte locatie voor het verkennen van de relatie tussen kunst en werk, arbeid en inspanning.<br /><br />The Works presenteert diverse interpretaties van deze uitspraak, gezien door de ogen van inwoners van Chicago: Marissa Lee Benedict &amp; David Rueter, Theaster Gates, en Dan Peterman contextualiseren hun multidisciplinaire toepassingen binnen een breder spectrum van onderzoek en activisme, waarbij ze eerst en vooral de artistieke productie bekijken als een medium voor ecologische en sociale reflectie. Andere artiesten verkennen in de tentoonstelling de kunstcreatie en haar onlosmakelijke verbondenheid met het dagelijkse leven, zoals bij de papieren weefsels van Michelle Grabner, of de locatiespecifieke muurtekst van Tony Lewis &ndash; speciaal ontworpen voor deze tentoonstelling &ndash; die gebaseerd is op geselecteerde uittreksels van de klassieker Life's Little Instruction Book, een compendium met raadgevingen. Lewis zal eveneens een locatiespecifieke tekening van groot formaat tentoonstellen die op een nabijgelegen basketbalveld werd gerealiseerd voor deze expositie en zijn werk nog meer doet aanleunen bij de verbondenheid tussen kunst en het dagelijkse leven.&nbsp;<br /><br />Matthew Metzger en Geof Oppenheimer bestuderen de connectie tussen de kunstcreatie, het lichaam en de arbeid: Metzger's nieuwe reeks van fotorealistische schilderijen van het lemmet van antieke machetes, bekijkt de schouder &ndash; niet het hoofd &ndash; als het lijfelijk epicentrum van arbeid en abstractie. Oppenheimer van zijn kant verkent de binaire verbindingen tussen de arbeid van witte boorden en blauwe boorden in zijn "Embarrassing Sculpture". Hier ligt een Brooks Brothers broek, embleem van de Amerikaanse witte boorden, gewikkeld rond de enkels van een ranke marmeren en stalen sculptuur, plomp (en fallisch) neergedrukt door een zware bladblazer.<br /><br />Tot slot zoeken Zachary Cahill en William Pope L. met hun gevarieerde, vaak verwarrende tekstuele schilderijen naar de raakvlakken tussen taal, consumentisme en sociale gedachtegang. Voor deze tentoonstelling zal Cahill een nieuw schilderij aanbrengen op het plafond van de CAB's ruimte, terwijl Pope L. een video zal tonen en een schilderij uit een recente reeks die betekenis en taal met elkaar confronteren door geheimzinnige, sociaal beladen zinnen te gebruiken (Gold people hang their children from their servants/Gouden mensen hangen hun kinderen op aan hun dienaars).<br /><br />Wat uiteindelijk de kunstenaars van The Works met elkaar verbindt, is hun hybride aanpak van het artistieke gebeuren. Door het lesgeven, het leiden van een gemeenschap, het multidisciplinair onderzoek en het schrijven te integreren in hun toepassingen, tarten ze de grenzen van de kunstproductie als zuiver studio gebaseerde bezigheid. Aldus ontstaat er een unieke benadering eigen aan Chicago; een benadering die praktijkgericht en oprecht is, en die ook diep geworteld zit in de raakvlakken tussen kunst en leven. Brussel biedt, als stad met een lange industri&euml;le geschiedenis en een identiteit die blijvend evolueert door de veranderende verhouding tussen arbeid en kapitaal, een geschikte Europese context voor dit unieke portret van Chicago en haar kunstenaars.<br /><br />The Works werd samengesteld door Dieter Roelstraete en Abigail Winograd in samenwerking met El&eacute;onore de Sadeleer.&nbsp;<br />Dieter Roelstraete, voorheen Manilow Senior Curator bij het Museum of Contemporary Art in Chicago, is momenteel lid van het curateleteam van Documenta 14. Abigail Winograd is schrijfster, curator, doctoranda en leeft in Chicago. De directeur van het CAB is El&eacute;onore de Sadeleer.</p> <p style="text-align: justify;">&nbsp;</p> Mon, 06 Apr 2015 13:35:21 +0000 Gareth Moore - La Loge - April 21st 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="text-decoration: underline;"><strong>*Extended opening hours during Art Brussels:</strong></span><br />23, 24, 25 April&nbsp;<br />10:00 to 19:00</p> <p style="text-align: justify;">More information available soon.</p> <p style="text-align: justify;">This exhibition has been conceived in collaboration with Stroom Den Haag.<br /><em>A Burning Bag as a Smoke-Grey Lotus</em>&nbsp;will be on view at Stroom Den Haag from 05/07/15 until 20/09/15.</p> Sat, 11 Apr 2015 17:45:19 +0000 Joris van de Moortel - Galerie Nathalie Obadia - Bruxelles - April 22nd 5:00 PM - 9:00 PM Mon, 06 Apr 2015 13:39:02 +0000 Group Show - AEROPLASTICS Contemporary - April 23rd 6:00 PM - 10:00 PM <p>The new group show by Aeroplastics, 'Humble me' takes us back to this ironic and visually straightforwardness that the gallery has been exploring for many years. 'Humble me' presents a selection of works by about twenty artists who research, in a diverse yet acute manner, the vast theme of the human fragility and isolation.</p> Thu, 02 Apr 2015 11:26:29 +0000 Ry Rocklen, Derek Boshier - Albert Baronian - April 23rd 6:00 PM - 9:00 PM Mon, 06 Apr 2015 13:49:46 +0000 Haegue Yang - d├ępendance - April 23rd 7:00 PM - 9:00 PM Mon, 06 Apr 2015 13:51:08 +0000 Pieter Vermeersch - Galerie Greta Meert - April 23rd 6:00 PM - 8:00 PM Mon, 06 Apr 2015 13:37:06 +0000 Pierre Bismuth - Galerie Jan Mot - April 23rd 6:00 PM - 9:00 PM Mon, 06 Apr 2015 13:59:10 +0000 David Claerbout - Galerie Micheline Szwajcer - April 23rd 6:00 PM - 8:00 PM Mon, 06 Apr 2015 14:01:22 +0000 Alex Perweiler - Galerie Rodolphe Janssen - Livourne 32 - April 23rd 6:00 PM - 8:00 PM Mon, 06 Apr 2015 13:42:29 +0000 Group Show - Gladstone Gallery (Brussels) - April 23rd 6:00 PM - 8:00 PM Mon, 06 Apr 2015 14:05:28 +0000 Steven Baelen - Levy.Delval - April 23rd 6:00 PM - 9:00 PM Mon, 06 Apr 2015 14:08:39 +0000 Sofia Leiby - Levy.Delval - April 23rd 6:00 PM - 9:00 PM Mon, 06 Apr 2015 14:08:44 +0000 Tyson Reeder - Office Baroque - April 23rd 6:00 PM - 8:00 PM Fri, 13 Mar 2015 15:40:15 +0000 Sterling Ruby - Xavier Hufkens - April 23rd 5:00 PM - 8:00 PM <p style="text-align: justify;">Xavier Hufkens is pleased to announce two exhibitions of new work by <a href="" rel="nofollow" target="_blank">Sterling Ruby</a>. Running concurrently in the two gallery spaces, <em>ECLPSE</em> (6 rue St-Georges) features the artist&rsquo;s collages, while a series of recent sculptures are presented in <a href="" target="_blank"><em>SCALES</em></a> (107 rue St-Georges).</p> <p style="text-align: justify;">Sterling Ruby is known for the multifaceted nature of his practice, which encompasses painting, ceramics, collage, video and photography, textiles, sculpture and installations. Working in a wide range of media, from the traditional to the unconventional, Ruby has created an oeuvre that, while remarkably diverse, is firmly rooted within a complex and coherent artistic strategy.&nbsp;</p> <p style="text-align: justify;">Often drawing upon autobiographical, art historical or sociological sources, Ruby&rsquo;s work is frequently referred to as &lsquo;post-humanist&rsquo; &ndash; a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time/place), or predetermining classifications (e.g. animal/human). The seemingly &lsquo;incomprehensible&rsquo; visual range of Ruby&rsquo;s practice thus embodies a schizophrenic, &lsquo;post-everything&rsquo; state of perpetual fragmentation and synthesis. A world in which, according to Ruby, &lsquo;there is just too much information for anything to be coherent or whole.&rsquo; His practice involves a combination of philosophical enquiry and material investigation, the latter involving the seemingly endless repurposing, combining and recombining of different techniques and media. This too mirrors a shifting condition of constant deconstruction and reconfiguration, and the idea of a non-hierarchical, boundary-less universe.</p> <p style="text-align: justify;">For this exhibition, Ruby has created a new series of collages entitled <em>ECLPSE</em> (the artist&rsquo;s abbreviation for the word &lsquo;eclipse&rsquo;). Made from cardboard salvaged from the floor coverings in the artist&rsquo;s studio, the collages reflect a newfound sense of simplicity and formality. The abstract shapes, which are reminiscent of suns, moons and overlapping landscapes, are painted in bright, primary colours. Ruby has said of these compositions: &lsquo;They continue with themes, theories and concepts that have been central to my previous work, but I have been trying to make them abstract and formal, my attempt to connect to the historical lineage of Suprematism.&rsquo; The contrast between the reclaimed &lsquo;artistic&rsquo; waste and the richness of the paint highlights a dynamic tension between Ruby&rsquo;s contemporary practice and the early-modern belief in the supremacy of &lsquo;pure artistic feeling&rsquo; over the visual depiction of objects.&nbsp;</p> <p style="text-align: justify;">Ruby will also be exhibiting a new group of mobiles in the series known as <em>SCALES</em>. These monumental sculptures, which the artist views as three-dimensional manifestations of his collages, feature identical monochrome shapes to those evident in the <em>ECLPSE</em> series, but this time juxtaposed with identifiable scraps of materials and objects from his studio. These elements lend the works a more narrative aspect. Whilst Ruby is well known for his collages, and has also constructed mobiles in the past, the works presented in <em>ECLPSE</em> and <em>SCALES</em> bear witness to a shift in perspective. Says Ruby: &lsquo;These works are pared down to their basic formal elements. In the past I&rsquo;ve insisted on seeing the conceptual element, as opposed to feeling confident that it is there even when it is not evident at first glance. They are also playful, in a way, which feels new to me.&rsquo;&nbsp;</p> <p style="text-align: justify;"><a href="" rel="nofollow" target="_blank">Sterling Ruby</a> (b. 1972) lives and works in Los Angeles. In 2014 his work was included in the Whitney Biennial, the 10th Gwangju Biennale and the 9th Taipei Biennial. Major solo exhibitions include: <em>Sterling Ruby</em>, Baltimore Museum of Art, USA (2014), <em>Droppa Blocka</em>, Museum Dhondt-Dhaenens, Ghent, Belgium (2013), <em>Chron II</em>, Kunsthalle Mainz, Germany (travelling exhibition, 2013), <em>Soft Work</em>, Centre d&rsquo;Art Contemporain Gen&egrave;ve, Switzerland (travelling exhibition, 2012-2014) and <em>Supermax 2008</em>, Museum of Contemporary Art, Los Angeles, USA (2008).</p> Thu, 12 Mar 2015 07:12:08 +0000