ArtSlant - Openings & events http://www.artslant.com/brx/Events/show en-us 40 Rodrigo Bueno, Paul Casaer, Clairenadiasimon, Manu Engelen, Filip Gilissen, Sophie Giraux, Meggy Rustamova, Alfred D'Ursel - CAB - April 22nd 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">CAB is proud to announce its new exhibition entitled &lsquo;Out of character&rsquo;, curated by Stijn Maes, which features eight original&nbsp;<em>in situ</em>&nbsp;creations produced by committed emerging artists, all brought together in one place by passionate collectors.Over the course of 2013, eight Belgian and French collectors were invited by CAB to each individually support a project led by an artist of their choice who had hitherto not exhibited at a gallery in Belgium. Each collector thus gave a &lsquo;young&rsquo; artist the&nbsp;<strong>opportunity&nbsp;</strong>to produce a project which they would otherwise have been unable to work on through lack of space or means. The result is an array of eight ambitious and impressive creations, each generously financed by a guest collector.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The &lsquo;Out of Character&rsquo; group exhibition is much more than a conventional, lateral set of exhibits but nor does it seek to be a display divided up thematically. It is disjointed yet balanced.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Each artist was given the challenge of being mindful of the&nbsp;<strong>space&nbsp;</strong>provided while striving to endow their work with its own singular character. Each was offered the chance to express themselves through a work or composition which aimed to break the mould.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The original approaches included hints at journeys made afar. Rare or precious mediums have been put to use in order to showcase artworks of exotic and odd proportions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition reveals the close&nbsp;<strong>affinity</strong>&nbsp;which may arise between collectors and artists. On this occasion, the link between artist and collector is brought down to a human level, with a stark distance taken from any bargaining and haggling inherent to commercial relations. The difference here is that the artwork sprouts from a full use of available resources as well as a true interaction, dialogue and exchange between collector and artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">'Out of Character' explores the artist's patronage and the resulting relationship. As a private initiative the CAB seems to be the most appropriate environment to tackle this relevant subject. This exhibition aims to redefine the standpoint of collectors in today's society, bringing about a shift in their conventional role and allowing them to directly intervene where necessary. The approach followed is not that of creating a personal collection, but rather to raise awareness and respect for emerging artists' work.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Le CAB est heureux d&rsquo;annoncer sa nouvelle exposition intitul&eacute;e &nbsp;&lsquo;Out of character&rsquo; qui pr&eacute;sente, sous le commissariat de Stijn Maes,&nbsp; huit nouvelles cr&eacute;ations&nbsp;<em>in situ</em>&nbsp;originales r&eacute;alis&eacute;es par des artistes &eacute;mergents et produites par des collectionneurs passionn&eacute;s.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Au cours de l&rsquo;ann&eacute;e 2013, huit collectionneurs belges et fran&ccedil;ais ont &eacute;t&eacute; invit&eacute;s par le CAB&nbsp; &agrave; soutenir chacun, individuellement, le projet d&rsquo;un artiste de leur choix, qui n&rsquo;est pas encore repr&eacute;sent&eacute; par une galerie en Belgique. Chaque collectionneur donne ainsi l&rsquo;<strong>opportunit&eacute;</strong>&nbsp;&agrave; un artiste de r&eacute;aliser un projet qu&rsquo;il ne pourrait habituellement pas accomplir faute d&rsquo;espace ou de moyen. Le r&eacute;sultat est un ensemble de huit cr&eacute;ations ambitieuses et &eacute;tonnantes, toutes g&eacute;n&eacute;reusement financ&eacute;es par les collectionneurs invit&eacute;s.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">L'exposition de groupe &lsquo;Out of Character&rsquo; d&eacute;passe largement une pr&eacute;sentation classique, lat&eacute;rale, sans pr&eacute;tendre &agrave; une exposition th&eacute;matique. Elle est d&eacute;cal&eacute;e tout en &eacute;tant &eacute;quilibr&eacute;e.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Les diff&eacute;rentes installations ont &eacute;t&eacute; encourag&eacute;es &agrave; se v&ecirc;tir d&rsquo;un caract&egrave;re exceptionnel en ce qu&rsquo;elles offrent &agrave; chaque artiste l&rsquo;opportunit&eacute; de s&rsquo;exprimer &agrave; travers une r&eacute;alisation ou une mise en forme qui sort de l&rsquo;ordinaire tout en devant prendre en consid&eacute;ration l'<strong>espace</strong>&nbsp;donn&eacute;.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On y trouvera des projets originaux r&eacute;f&eacute;rant un voyage lointain, ou l&rsquo;usage d&rsquo;un mat&eacute;riau rare ou pr&eacute;cieux, ainsi que des &oelig;uvres aux proportions inhabituelles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cette exposition r&eacute;v&egrave;le une&nbsp;<strong>affinit&eacute;&nbsp;</strong>qui peut exister entre le collectionneur et l&rsquo;artiste. Cette fois, le lien entre l'artiste et le collectionneur est ramen&eacute; &agrave; un caract&egrave;re humain et ne se limite pas &agrave; un acte mercantile, comme celui de l&rsquo;achat ou de la commande. Au contraire, ici, la cr&eacute;ation artistique se nourrit d&rsquo;une interaction, d&rsquo;&eacute;changes, de discussions et des ressources mises &agrave; disposition.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Au sein de &lsquo;Out of character&rsquo; c&rsquo;est le m&eacute;c&eacute;nat et la relation qui s&rsquo;&eacute;tablit en fonction de celui-ci dont il est question. Le CAB, en tant qu&rsquo;initiative priv&eacute;e, semble &ecirc;tre le lieu le plus appropri&eacute;e pour aborder cette th&eacute;matique pertinente. Cette exposition tente de red&eacute;finir le positionnement &nbsp;des collectionneurs dans la soci&eacute;t&eacute; d'aujourd'hui en&nbsp; d&eacute;placent leur r&ocirc;le caract&eacute;ristique, et les faisant intervenir directement l&agrave; o&ugrave; il est n&eacute;cessaire. La d&eacute;marche ne vise pas &agrave; promouvoir une collection personnelle, mais bien &agrave; faire conna&icirc;tre et valoriser le travail d&rsquo;artistes &eacute;mergents.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Het is met genoegen dat CAB zijn nieuwe tentoonstelling &lsquo;Out of Character&rsquo; aankondigt. Een experimentele groepstentoonstelling, samengesteld door curator Stijn Maes, met acht nieuwe&nbsp;<em>in situ</em>&nbsp;creaties, verwezenlijkt door evenveel opkomende kunstenaars en elk financieel ondersteund door een gepassioneerde kunstverzamelaar.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In de loop van 2013 contacteerde CAB acht Belgische en Franse verzamelaars met de vraag of ze elk een project wilden ondersteunen van een kunstenaar naar keuze, die nog niet vertegenwoordigd werd door een galerij in Belgi&euml;. Elke kunstenaar zou de<strong>&nbsp;kans</strong>&nbsp;krijgen een project te verwezenlijken dat hij of zij normaal gesproken niet zou kunnen realiseren, omwille van gebrek aan ruimte of middelen. Het resultaat is een geheel van acht ambitieuze en uitzonderlijke creaties, elk genereus gefinancierd door een van de verzamelaars.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Als groepstentoonstelling overstijgt &lsquo;Out of Character&rsquo; ruimschoots de klassieke, zijdelingse presentatie, zonder evenwel een thematische tentoonstelling te willen zijn. De uitgebalanceerde accrochage doet eer aan de diversiteit van de werken, die zich uitdrukkelijk verhouden tot de gegeven&nbsp;<strong>ruimte</strong>. De werken zelf verwijzen onder meer naar een verre reis, bevatten een zeldzaam of kostbaar materiaal of hanteren ongebruikelijke afmetingen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling onthult de&nbsp;<strong>affiniteit</strong>&nbsp;die kan bestaat tussen verzamelaars en kunstenaars, ditmaal teruggebracht tot een menselijke schaal. De onderlinge relatie beperkt zich niet tot een commerci&euml;le handeling, zoals een aankoop of een opdracht. Integendeel, de artistieke creatie weet zich gevoed door de interactie tussen verzamelaar en kunstenaar, hun uitwisselingen, hun gesprekken en de ter beschikking gestelde middelen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&lsquo;Out of Character&rsquo; richt de aandacht op die verzamelaars die de eigen maatschappelijke positie trachten te herdefini&euml;ren: ze overstijgen hun karakteristieke rol en komen rechtstreeks tussen waar nodig. Als priv&eacute;-initiatief lijkt CAB de meest aangewezen plaats om deze relevante thematiek aan te snijden. De aanpak heeft niet tot doel een persoonlijke verzameling te promoten, maar wel het werk van opkomende kunstenaars te doen kennen en te valoriseren.</span></p> <p>&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> Tue, 01 Apr 2014 07:11:19 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Valérie Belin - Galerie Nathalie Obadia - Bruxelles - April 22nd 5:00 PM - 8:00 PM <p style="text-align: justify;">The Galerie Nathalie Obadia in Brussels is delighted to be staging the second solo show by Val&eacute;rie Belin in Belgium, three years after her previous solo show &lsquo;Hungry Eyes&rsquo;, at the FOMU in Antwerp, presenting a new set of photographs.<br /><br />The exhibition revolves around works from the <em>Still Life</em> series, in which Val&eacute;rie Belin shows us for the first time her own &lsquo;collection&rsquo;, lush and dreamlike. Her new &lsquo;still lifes&rsquo; form a completely coherent dialogue with the <em>Int&eacute;rieurs</em> series. The almost obsessive accumulation of objects is the grand finale linking the two series. The point is that both in her <em>Still Life</em> and in her <em>Int&eacute;rieurs</em>, Val&eacute;rie Belin takes us to the very edge of the border between disturbing reality and fantasy. This is a theme that has been close to her heart since as long ago as 2003, when her famous <em>Mannequins</em> series, in which she photographed waxwork dummies to which she had applied make-up, questioned us about the way that reality and fantasy are represented.<br /><br />In her <em>Still Life</em> series, initiated in 2013, the artist creates some genuinely fully-fledged &lsquo;compositions&rsquo; and uses them to take us on a journey into the intimacy of a sublimated expression of what we can see, perceive or feel.<br /><br />Through her photographs, whether in black and white or in colour, Val&eacute;rie Belin continues to explore the field of possible representations of objects: researching light, details and the textures of materials.<br /><br />This formal trilogy, which benefits from the latest digital technologies, including pigment printing (inkjet) for the colour proofs, is served by the abundance and diversity of the objects represented. Thanks to their almost extreme superimposition, the table &ndash; the location for the staging &ndash; almost disappears. The furniture element is nevertheless of importance, since it marks out the boundaries of the tight framing of the compositions in the style of 17th-century Flemish and Dutch still lifes.<br /><br />At that time, the trend was already towards accumulation, following the taste of the collectors of the time, who, like Val&eacute;rie Belin, had fallen under the spell of unusual, exotic objects. Here, on the other hand, the French artist adds accessories from her everyday life, as if she wanted to give us some fragments of her intimacy. While her <em>Int&eacute;rieurs</em> series draws a &lsquo;hollow portrait&rsquo; of the 21st-century collectors, Val&eacute;rie Belin&rsquo;s <em>Still Life</em> series seems to unveil for us her personal &lsquo;collection&rsquo;, which is astonishingly heterogeneous, and has a profusion which is both baroque and surreal. There are so many objects that some of them are in an unstable equilibrium and are threatening to fall off the table. Another procedure inspired by the Northern painters, who made use of this trick to signify the emptiness and fragility of the world they lived in.<br /><br />Have times changed since then? Val&eacute;rie Belin&rsquo;s still lifes subtly breathe us the answer. In 2008, the artist had already demonstrated her fondness for old painting, at the &lsquo;Correspondance: Belin / Manet&rsquo; show, where her <em>Corbeilles</em> (baskets of fruit) were involved in a dialogue with Manet&rsquo;s still lifes. This invitation from the Mus&eacute;e d&rsquo;Orsay gave her the opportunity to experiment with the saturation of colours and light that likewise characterises the <em>Still Life</em> series, exhibited at the Galerie Nathalie Obadia in Brussels.<br /><br />Her <em>still lifes</em> in black and white are processed in a specific way to give them their gleaming look. Val&eacute;rie Belin tackles them like a &lsquo;science fiction landscape&rsquo; whose &lsquo;lunar&rsquo; appearance comes from the technique of solarisation which reverses the light source in flat black tones. The effect of this is to smooth out the natural relief of the details and textures, while the metallic treatment of the light paradoxically increases their physical presence. This illusion of reality, which we might term surreal, seeks to create &lsquo;symbiosis between the material characteristics of its object and the luminous essence of the physical medium itself&rsquo;. In this way, the objects photographed become themselves &lsquo;light imprints&rsquo;, linking them to the photograms of L&aacute;szl&oacute; Moholy-Nagy (1895-1946) and the surrealist photographs of Man Ray (1890-1976), historical references claimed by Val&eacute;rie Belin as a &lsquo;starting point&rsquo; for her current work.<br /><br />In the show at the Galerie Nathalie Obadia in Brussels, the <em>still lifes</em> are put into perspective with the black and white photographs from the <em>Int&eacute;rieurs</em> series, which uses the same solarisation process. Here, the use of a wide angle to achieve the shots accentuates the expressiveness of the locations through a &lsquo;first impression&rsquo; effect (what strikes us when we enter into a room, and before we fragment the space by selections, as Val&eacute;rie Belin explains). The artist also explains to us that the small size of the format, close to a miniature, achieves the effect of a snapshot, because we see everything in &lsquo;an instant&rsquo;.<br /><br />--------------<br /><strong><br />Born in 1964 in Boulogne-Billancourt, Val&eacute;rie Belin lives and works in Paris.</strong><br /><br /><em>Regarded as one of the best photographic artists of her generation, Val&eacute;rie Belin came to prominence thanks to her emblematic Mannequins series in 2003.<br /><br />She has been involved in major monographic exhibitions of international standing, such as those at the Maison Europ&eacute;enne de la Photographie (MEP) in Paris and the Mus&eacute;e de L&rsquo;&Eacute;lys&eacute;es in Lausanne in 2008, as well as the one at the Huis Marseille Museum in 2007, and the Multimedia Art Museum in Moscow in 2013.<br /><br />In 2008, the Mus&eacute;e d&rsquo;Orsay in Paris invited Val&eacute;rie Belin as part of the exhibition &lsquo;Correspondance: Belin / Manet&rsquo;, where her Corbeilles (baskets of fruit) were involved in a dialogue with Manet&rsquo;s still lifes.<br /><br />In September 2014, the prestigious DHC/Art Foundation and the PHI Center, both in Montreal, will be staging a retrospective of her work.<br /><br />Val&eacute;rie Belin will likewise be part of the group show at the Huis Marseille Museum in Amsterdam in October 2014.<br /><br />Her photograph from the Mannequins series, acquired in 2003 by the MOMA, is currently being presented in the show &lsquo;A World of Its Own: Photographic Practices in the Studio&rsquo;, curated by Quentin Bajac, at MOMA in NYC.<br /><br />Her works are held by many institutional collections, including MOMA in New York, the Mus&eacute;e National d&rsquo;Art moderne, Centre Georges-Pompidou in Paris, the Huis Marseille Museum in Amsterdam, the Mus&eacute;e de l&rsquo;&Eacute;lys&eacute;es in Lausanne, MUDAM in Luxembourg, LACMA in Los Angeles, the Museum of Modern Art in San Francisco, and the Fondation Cartier pour l&rsquo;art contemporain in Paris, the Capital Group Companies Inc. in Los Angeles, the Soci&eacute;t&eacute; G&eacute;n&eacute;rale d&rsquo;art contemporain collection in Paris, and the UBS Art Collection in Luxembourg.<br /><br />&Eacute;ditions Steidl published the first part of the Val&eacute;rie Belin monograph in 2007. Volume 2 will be published in January 2015.<br /><br />Val&eacute;rie Belin has been represented by the Galerie Nathalie Obadia Paris/Brussels since September 2013.</em></p> <hr /> <p style="text-align: justify;">La Galerie Nathalie Obadia Bruxelles est tr&egrave;s heureuse d&rsquo;organiser la deuxi&egrave;me exposition personnelle de Val&eacute;rie Belin en Belgique en pr&eacute;sentant un ensemble de photographies in&eacute;dites, trois ans apr&egrave;s son solo show &laquo; Hungry Eyes &raquo;, au FOMU, &agrave; Anvers.<br /><br />L&rsquo;exposition s&rsquo;articule autour des &oelig;uvres issues de la s&eacute;rie <em>Still Life</em> dans laquelle Val&eacute;rie Belin nous r&eacute;v&egrave;le pour la premi&egrave;re fois sa propre &laquo;&nbsp;collection&nbsp;&raquo;, foisonnante et onirique. Ses nouvelles &laquo;&nbsp;natures mortes&nbsp;&raquo; dialoguent en toute coh&eacute;rence avec la s&eacute;rie <em>Int&eacute;rieurs</em>. L&rsquo;accumulation presque obsessionnelle&nbsp; des objets est le point d&rsquo;orgue qui relie les deux s&eacute;ries entre elles. En effet, aussi bien dans ses <em>Still Life </em>que dans ses <em>Int&eacute;rieurs</em>, Val&eacute;rie Belin nous emm&egrave;ne aux confins de la fronti&egrave;re entre r&eacute;alit&eacute; troublante et fantasme. Th&egrave;me d&eacute;j&agrave; cher &agrave; Val&eacute;rie Belin d&egrave;s 2003 dans sa c&eacute;l&egrave;bre s&eacute;rie des <em>Mannequins</em>, o&ugrave; l&rsquo;artiste nous interrogeait&nbsp; sur la repr&eacute;sentation du r&eacute;el et du fantasme, en photographiant des mannequins en cire qu&rsquo;elle avait maquill&eacute;s. <br /><br />Dans sa s&eacute;rie <em>Still Life</em>, initi&eacute;e en 2013, l&rsquo;artiste cr&eacute;e de v&eacute;ritables &laquo;&nbsp;compositions&nbsp;&raquo; &agrave; part enti&egrave;re et nous fait ainsi voyager dans l&rsquo;intimit&eacute; d&rsquo;une expression sublim&eacute;e de ce que nous pouvons voir, percevoir ou ressentir. <br /><br />&Agrave; travers ses photographies, soit en noir et blanc, soit en couleur, Val&eacute;rie Belin continue d&rsquo;explorer le champ des repr&eacute;sentations possibles des objets&nbsp;: recherches sur la lumi&egrave;re, les d&eacute;tails et les textures des mati&egrave;res. <br /><br />Cette trilogie formelle, qui b&eacute;n&eacute;ficie des derni&egrave;res technologies num&eacute;riques dont l&rsquo;impression pigmentaire (jet d&rsquo;encre) pour les &eacute;preuves en couleur, est servie par l&rsquo;abondance et la diversit&eacute; des objets repr&eacute;sent&eacute;s. Sous l&rsquo;effet de leur superposition presque outranci&egrave;re, la table - lieu de la mise en sc&egrave;ne - manque de dispara&icirc;tre. L&rsquo;&eacute;l&eacute;ment mobilier est n&eacute;anmoins d&rsquo;importance puisqu&rsquo;il d&eacute;limite le cadrage serr&eacute; des compositions &agrave; la mani&egrave;re des natures mortes flamandes et hollandaises du 17&egrave;me si&egrave;cle. <br /><br />&Agrave; cette &eacute;poque, la tendance &eacute;tait d&eacute;j&agrave; &agrave; l&rsquo;accumulation suivant le go&ucirc;t des collectionneurs du temps &eacute;pris, comme Val&eacute;rie Belin, d&rsquo;objets insolites et exotiques. En revanche, l&rsquo;artiste fran&ccedil;aise ajoute ici des accessoires de son quotidien comme si elle voulait nous livrer quelques fragments de son intimit&eacute;. Alors que sa s&eacute;rie <em>Int&eacute;rieurs</em> dresse un &laquo;&nbsp;portrait en creux&nbsp;&raquo; des collectionneurs du 21&egrave;me si&egrave;cle, dans sa s&eacute;rie <em>Still Life</em>, Val&eacute;rie Belin semble nous d&eacute;voiler sa &laquo;&nbsp;collection&nbsp;&raquo; personnelle qui &eacute;tonne par son caract&egrave;re h&eacute;t&eacute;roclite et son foisonnement &agrave; la fois baroque et surr&eacute;aliste. Il y a tant d&rsquo;objets que certains sont en &eacute;quilibre instable et menacent de chuter de la table. Autre proc&eacute;d&eacute; inspir&eacute; des peintres nordiques qui avaient recours &agrave; cet artifice pour signifier la vacuit&eacute; et la fragilit&eacute; du monde&nbsp;dans lequel ils vivaient. <br /><br />Depuis, les temps ont-ils chang&eacute; ? Les <em>natures mortes </em>de Val&eacute;rie Belin nous soufflent subtilement la r&eacute;ponse. En 2008, l&rsquo;artiste avait d&eacute;j&agrave; d&eacute;montr&eacute; son attachement &agrave; la peinture ancienne &agrave; l&rsquo;occasion de l&rsquo;exposition &laquo;&nbsp;Correspondance&nbsp;: Belin / Manet&nbsp;&raquo;&nbsp;o&ugrave; ses <em>Corbeilles</em> (de fruits) dialoguaient avec les natures mortes de Manet. Cette invitation du Mus&eacute;e d&rsquo;Orsay lui permit alors d&rsquo;exp&eacute;rimenter la saturation des couleurs et de la lumi&egrave;re qui caract&eacute;rise &eacute;galement la s&eacute;rie <em>Still Life</em>, expos&eacute;e &agrave; la Galerie Nathalie Obadia &agrave; Bruxelles.<br /><br />Ses natures mortes en noir et blanc font l&rsquo;objet d&rsquo;un traitement sp&eacute;cifique &agrave; l&rsquo;origine de leur aspect rutilant. Val&eacute;rie Belin les aborde &agrave; la mani&egrave;re d&rsquo;&nbsp;&laquo;&nbsp;un paysage de science-fiction&nbsp;&raquo; dont l&rsquo;apparence &laquo;&nbsp;lunaire&nbsp;&raquo; provient de la technique de solarisation qui inverse la source de lumi&egrave;re en aplats noirs. Cela qui a pour effet de lisser les reliefs naturels des d&eacute;tails et des textures, alors que le traitement m&eacute;tallique de la lumi&egrave;re augmente paradoxalement leur pr&eacute;sence physique. Cette illusion de la r&eacute;alit&eacute;, surr&eacute;elle pourrait-on dire, souhaite cr&eacute;er &laquo;la symbiose entre les caract&eacute;ristiques mat&eacute;rielles de son objet et l&rsquo;essence lumineuse du m&eacute;dium physique lui-m&ecirc;me&nbsp;&raquo;. Ainsi, les objets photographi&eacute;s deviennent eux-m&ecirc;mes des &laquo;&nbsp;empreintes lumineuses&nbsp;&raquo; qui les relient aux photogrammes de L&aacute;szl&oacute; Moholy-Nagy (1895-1946) et aux photographies surr&eacute;alistes de Man Ray (1890-1976) qui sont des r&eacute;f&eacute;rences historiques&nbsp; revendiqu&eacute;es par Val&eacute;rie Belin comme &laquo;&nbsp;un point de d&eacute;part&nbsp;&raquo; &agrave; son travail actuel.<br /><br />Dans l&rsquo;exposition &agrave; la Galerie Nathalie Obadia Bruxelles, les <em>natures mortes</em> sont mises en perspective avec les photographies en noir et blanc de la s&eacute;rie des <em>Int&eacute;rieurs</em> qui a recours au m&ecirc;me proc&eacute;d&eacute; de solarisation. Ici, l&rsquo;usage d&rsquo;un grand angle pour r&eacute;aliser les prises de vue accentue l&rsquo;expressivit&eacute; des lieux par un effet de &laquo;&nbsp;premi&egrave;re impression&nbsp;&raquo; (celui qui nous frappe lorsque l&rsquo;on p&eacute;n&egrave;tre dans une pi&egrave;ce et avant que l&rsquo;on fragmente l&rsquo;espace par des s&eacute;lections, nous explique Val&eacute;rie Belin). L&rsquo;artiste nous explique &eacute;galement que la petitesse du format, proche d&rsquo;une miniature, ach&egrave;ve l&rsquo;effet d&rsquo;instantan&eacute; car l&rsquo;on voit tout en &laquo;&nbsp;un instant&nbsp;&raquo;. <br /><br />---------------<br /><br /><strong>N&eacute;e en 1964 &agrave; Boulogne-Billancourt, Val&eacute;rie Belin vit et travaille &agrave; Paris.</strong><br /><br /><em>Consid&eacute;r&eacute;e comme l&rsquo;un des meilleurs artistes photographes de sa g&eacute;n&eacute;ration, Val&eacute;rie Belin s&rsquo;est fait conna&icirc;tre gr&acirc;ce &agrave; sa s&eacute;rie embl&eacute;matique des Mannequins en 2003. <br /><br />Elle a fait l&rsquo;objet d&rsquo;importantes expositions monographiques d&rsquo;envergure internationale telles que celles de le Maison Europ&eacute;enne de la Photographie (MEP) &agrave; Paris et du Mus&eacute;e de L&rsquo;&Eacute;lys&eacute;es &agrave; Lausanne en 2008&nbsp;; ainsi que celle du Huis Marseille Museum en 2007, et du Multimedia Art Museum &agrave; Moscou en 2013. <br /><br />En 2008, le Mus&eacute;e d&rsquo;Orsay &agrave; Paris invitait Val&eacute;rie Belin dans le cadre de l&rsquo;exposition &laquo;&nbsp;Correspondance&nbsp;: Belin / Manet&nbsp;&raquo;, o&ugrave; l&rsquo;artiste faisait dialoguer ses Corbeilles (de fruits) avec les natures mortes de Manet.<br /><br />En Septembre 2014, la prestigieuse DHC/Art Foundation et le PHI Center, tous deux &agrave; Montr&eacute;al, lui consacreront une exposition r&eacute;trospective.<br /><br />Val&eacute;rie Belin fera &eacute;galement partie de l&rsquo;exposition de groupe du Huis Marseille Museum &agrave; Amsterdam en Octobre 2014.<br /><br />Sa photographie de la s&eacute;rie des Mannequins, acquise en 2003 par le MOMA, est actuellement pr&eacute;sent&eacute;e dans l&rsquo;exposition &laquo;&nbsp;A World of Its Own: Photographic Practices in the Studio&nbsp;&raquo;, curat&eacute;e par Quentin Bajac, au MOMA &agrave; NYC. <br /><br />Ses &oelig;uvres sont pr&eacute;sentes dans de nombreuses collections institutionnelles, parmi lesquelles se trouvent le MOMA &agrave; New York, le Mus&eacute;e National d&rsquo;Art moderne, Centre Georges-Pompidou &agrave; Paris, le Huis Marseille Museum &agrave; Amsterdam, le Mus&eacute;e de l&rsquo;&Eacute;lys&eacute;es &agrave; Lausanne, le MUDAM &agrave; Luxembourg, le LACMA &agrave; Los Angeles, le Museum of Modern Art &agrave; San Francisco, ainsi que la Fondation Cartier pour l&rsquo;art contemporain &agrave; Paris, The Capital Group Companies Inc. &agrave; Los Angeles, la collection Soci&eacute;t&eacute; G&eacute;n&eacute;rale d&rsquo;art contemporain &agrave; Paris, la UBS Art Collection &agrave; Luxembourg.<br /><br />Les &Eacute;ditions Steidl ont publi&eacute; la premi&egrave;re partie de la monographie de Val&eacute;rie Belin en 2007. Le tome 2 para&icirc;tra en Janvier 2015. <br /><br />Val&eacute;rie Belin est repr&eacute;sent&eacute;e par la Galerie Nathalie Obadia Paris/Bruxelles depuis Septembre 2013.</em></p> <hr /> <p style="text-align: justify;">Galerie Nathalie Obadia Brussel heeft het genoegen de tweede persoonlijke tentoonstelling van Val&eacute;rie Belin in Belgi&euml; te organiseren. Drie jaar na haar soloshow &ldquo;Hungry Eyes&rdquo; in het FOMU in Antwerpen tonen wij ditmaal een aantal nooit eerder vertoonde foto&rsquo;s. <br /><br />Het uitgangspunt van de tentoonstelling wordt gevormd door werken uit de reeks <em>Still Life</em>, waarin Val&eacute;rie Belin ons voor het eerst haar eigen, door overvloed gekenmerkte en droomachtige &ldquo;collectie&rdquo; onthult. Haar nieuwe &ldquo;stillevens&rdquo; gaan een coherente dialoog aan met de reeks <em>Int&eacute;rieurs</em>. De bijna obsessionele opeenstapeling van voorwerpen is het orgelpunt, dat de twee reeksen onderling verbindt. Zowel in haar <em>Still Life</em> als in haar <em>Int&eacute;rieurs</em> voert Val&eacute;rie Belin ons namelijk mee naar het uiterste grensgebied tussen de verontrustende werkelijkheid en het droombeeld. Het is een thema dat Val&eacute;rie Belin reeds sedert 2003 nauw aan het hart ligt, toen de artieste ons met haar beroemde reeks <em>Mannequins</em> ondervroeg over de weergave van de werkelijkheid en het droombeeld door het fotograferen van door haar geschminkte wassen etalagepoppen. <br /><br />In haar in 2013 begonnen reeks <em>Still Life</em> cre&euml;ert de artieste echte volwaardige &ldquo;composities&rdquo; en neemt ze ons zo mee op reis naar de diepste kern van de gesublimeerde uitdrukking van wat we kunnen zien, waarnemen of voelen. <br /><br />Via haar foto&rsquo;s, hetzij zwart-wit, hetzij in kleur, verkent Val&eacute;rie Belin verder het terrein van de mogelijke voorstellingswijzen van de voorwerpen: zij experimenteert met licht, details en de textuur van diverse materialen. <br /><br />De overvloed en diversiteit van de voorgestelde voorwerpen versterken in grote mate het effect van deze formele trilogie, die een beroep doet op de nieuwste snufjes op het vlak van digitale technologie, waaronder pigmentdruk (inktjet) voor de kleurafdrukken. Door de bijna overdreven opeenstapeling van voorwerpen dreigt de tafel &ndash; plaats van de enscenering &ndash; te verdwijnen. Toch is dit meubel een belangrijk element, omdat het het strakke kader van de composities afbakent op de manier waarop dat ook in de Vlaamse en Hollandse stillevens uit de 17e eeuw gebeurde. <br /><br />Ook toen al bestond de tendens om dergelijke opeenstapelingen te tonen, helemaal volgens de smaak van de verzamelaars uit die periode die, net als Val&eacute;rie Belin, dol waren op ongebruikelijke en exotische voorwerpen. Met dit verschil dat de Franse artieste hier accessoires uit haar dagelijkse leven toevoegt, alsof zij ons enkele fragmenten van haar priv&eacute;leven wil prijsgeven. Terwijl haar reeks <em>Int&eacute;rieurs</em> een &ldquo;verzonken portret&rdquo; van de verzamelaars van de 21ste eeuw ophangt, lijkt&nbsp; Val&eacute;rie Belin ons in haar reeks <em>Still Life</em> haar persoonlijke &ldquo;collectie&rdquo; te onthullen. Deze reeks verrast door haar uiteenlopend karakter en door haar tegelijkertijd barokke en surrealistische overvloed. Er zijn zoveel voorwerpen samengebracht, dat sommige erg wankel staan en dreigen van de tafel te vallen. Ook dit is een proc&eacute;d&eacute; dat zijn oorsprong vindt bij de schilders uit het Noorden, die deze kunstgreep toepasten om de leegheid en de broosheid van de wereld waarin zij leefden uit te drukken. <br /><br />Is er sindsdien echt zoveel veranderd? De <em>stillevens</em> van Val&eacute;rie Belin geven ons op een subtiele manier het antwoord op die vraag. Reeds in 2008 had de artieste blijk gegeven van haar verknochtheid aan de schilderkunst uit het verleden ter gelegenheid van de tentoonstelling &ldquo;Correspondance: Belin / Manet&rdquo; waar haar <em>Corbeilles</em> (fruitmanden) de dialoog aangingen met de stillevens van Manet. Deze uitnodiging van het Mus&eacute;e d&rsquo;Orsay gaf haar de kans om te experimenteren met de verzadiging van kleuren en licht, die ook kenmerkend is voor de reeks <em>Still Life</em> die in de Galerie Nathalie Obadia in Brussel getoond wordt.<br /><br />Haar zwart-witstillevens ondergingen een specifieke behandeling die aan de oorsprong van hun glanzend uitzicht ligt. Val&eacute;rie Belin benadert de afbeeldingen als een &ldquo;sciencefictionlandschap&rdquo;, dat zijn &ldquo;schimmig&rdquo; uitzicht dankt aan de solarisatietechniek, die de lichtbron omzet in zwarte vlakke tinten. Dat leidt ertoe dat het natuurlijk reli&euml;f van de details en de textuur afgevlakt worden, terwijl de metaalachtige behandeling van het licht op paradoxale wijze hun fysieke aanwezigheid versterkt. Deze illusie van de werkelijkheid, die men surre&euml;el zou kunnen noemen, streeft naar het scheppen van de &ldquo;symbiose tussen de materi&euml;le kenmerken van haar voorwerp en de lichtessentie van het fysieke medium zelf&rdquo;. Zo worden de gefotografeerde voorwerpen zelf &ldquo;lichtafdrukken&rdquo; die verwijzen naar de fotogrammen van L&aacute;szl&oacute; Moholy-Nagy (1895-1946) en de surrealistische foto&rsquo;s van Man Ray (1890-1976), de historische referenties waarop Val&eacute;rie Belin zich beroept als &ldquo;uitgangspunt&rdquo; van haar huidig werk.<br /><br />Op de tentoonstelling in de Galerie Nathalie Obadia Brussel worden de <em>stillevens</em> in perspectief geplaatst met de zwart-witfoto&rsquo;s van de reeks <em>Int&eacute;rieurs</em> waarbij hetzelfde solarisatie-proc&eacute;d&eacute; wordt toegepast. Het gebruik van een groothoek bij het fotograferen benadrukt de expressiviteit van de omgeving door het cre&euml;ren van een &ldquo;eerste-indruk-effect&rdquo; (volgens de uitleg van Val&eacute;rie Belin is dat de indruk die we krijgen bij het betreden van een vertrek en nog voordat we de ruimte door het maken van diverse selecties fragmenteren). De artieste legt ons ook uit dat het kleine formaat, dat aanleunt bij dat van een miniatuur, het effect van een momentopname voltooit, want de bezoeker neemt alles op &ldquo;in een oogwenk&rdquo;. <br /><br />--------------<br /><br /><strong>Val&eacute;rie Belin werd geboren in 1964 in Boulogne-Billancourt en woont en werkt in Parijs.</strong><br /><br /><em>Zij wordt als een van de beste fotografische kunstenaars van haar generatie beschouwd en kreeg bekendheid door haar emblematische reeks &ldquo;Mannequins&rdquo; in 2003.<br />&nbsp;<br />Zij toonde haar werk op belangrijke monografische tentoonstellingen met internationale allure, zoals in la Maison Europ&eacute;enne de la Photographie (MEP) in Parijs en het Mus&eacute;e de L&rsquo;&Eacute;lys&eacute;es in Lausanne in 2008; verder stelde zij tentoon in het Huis Marseille Museum in 2007 en het Multimedia Art Museum in Moskou in 2013. <br /><br />In 2008 nodigde het Mus&eacute;e d&rsquo;Orsay Val&eacute;rie Belin uit in het kader van de tentoonstelling &ldquo;Correspondance: Belin / Manet&rdquo;, waar de kunstenares haar Corbeilles (fruitmanden) een dialoog liet aangaan met de stillevens van Manet.<br /><br />In september 2014 zullen de prestigieuze DHC/Art Foundation en het PHI Center, beide in Montr&eacute;al, een retrospectieve tentoonstelling aan haar werk wijden.<br />Val&eacute;rie Belin zal eveneens deelnemen aan de groepstentoonstelling van het Huis Marseille Museum in Amsterdam in oktober 2014.<br /><br />Haar fotografisch werk van de reeks &ldquo;Mannequins&rdquo;, die in 2003 door het MOMA werd aangekocht, is momenteel te bewonderen op de tentoonstelling &rdquo;A World of Its Own: Photographic Practices in the Studio&rdquo;, onder het curatorschap van Quentin Bajac in het MOMA in NYC. <br /><br />We vinden haar werk eveneens terug in talrijke institutionele collecties, waaronder het MOMA in New York, het Mus&eacute;e National d&rsquo;Art moderne, Centre Georges-Pompidou in Parijs, het Huis Marseille Museum in Amsterdam, het Mus&eacute;e de l&rsquo;&Eacute;lys&eacute;es in Lausanne, het MUDAM in Luxemburg, het LACMA in Los Angeles, het Museum of Modern Art in San Francisco, evenals de Fondation Cartier pour l&rsquo;art contemporain in Parijs, The Capital Group Companies Inc. in Los Angeles, de collectie van de Soci&eacute;t&eacute; G&eacute;n&eacute;rale d&rsquo;art contemporain in Parijs, de UBS Art Collection in Luxemburg.<br /><br />De uitgeverij &Eacute;ditions Steidl zorgde voor de uitgave van het eerste deel van de monografie van Val&eacute;rie Belin in 2007. Deel 2 verschijnt in januari 2015. <br /><br />Val&eacute;rie Belin wordt vertegenwoordigd door de Galerie Nathalie Obadia Parijs/Brussel sedert september 2013.<br />&nbsp;</em></p> Tue, 08 Apr 2014 08:43:34 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Gert & Uwe Tobias - Galerie Rodolphe Janssen - Livourne 32 - April 22nd 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Drawing sits at the heart of Gert &amp; Uwe Tobias&rsquo; development of their formal language, and of their subsequent explorations in painting and large-scale woodcuts. Their process alchemically combines a highly personalised mythology with a continuous appetite for popular culture and an expansive knowledge of art and folk history. The Tobias&rsquo; works emerge as animistic depictions of unclear yet disarming narratives - ones that we as an audience recognize, but cannot immediately place.</span><br /><br /><span style="font-size: small;">For their fourth solo exhibition at Galerie Rodolphe Janssen, Gert &amp; Uwe Tobias present a drawing series of portraits depicting ghoulish female figures. Here, elegant yet decidedly grotesque feminine forms are delineated through continuous graphite lines, and bordered by washes of delicate colours deriving from the same printing ink used for the brothers&rsquo; woodcuts.</span><br /><br /><span style="font-size: small;">While drawn from the Tobias&rsquo; uncanny imagination, the gestural, dancer-like poses of their subjects hint at the brothers&rsquo; deep appreciation for art history. Even as the female figures seem to decay and drip, their gracefully outstretched arms and serene facial expressions recall renaissance portraiture. And yet, as smoke-like lines billow in, out, and around the female figures, an air of macabre is unmistakable. The subjects&rsquo; ethereal gestures are curiously condensed in their hands and eyes, which succumb to penetrating detail and betray their inevitable deterioration.</span><br /><br /><span style="font-size: small;">The Tobias&rsquo; subjects emerge from vase-like forms as part of a continuous metamorphic process, one that tellingly never discloses whether the female form is emerging from the feminine object - or the feminine object is emerging from the female form. Some subjects are accompanied by a cast of creatures - a cat in one drawing, and skeletal or bird-like forms in others. These companions do not stand alone, but intertwine with the female subjects&rsquo; physiognomies, as if a winding narrative is self-contained within, or emerges from their bodies. Characteristic of the Tobias&rsquo; oeuvre, these narratives appear ambiguous, perhaps even dream-like, awaiting the audience to fill in the details through their own narrative faculty.</span><br /><br /><span style="font-size: small;">Bitsy Knox</span><br /><br /><br /><span style="font-size: small;"><strong>About the artists :</strong></span><br /><span style="font-size: small;">Gert &amp; Uwe Tobias (born 1973 in Brasov, Romania) are twin brothers who have collaborated since 2001. Alongside solo exhibitions this year at Maureen Paley (London, UK) and at the Museum Dhondt-Dhaenens (Deurle, Belgium), they have recently presented solo exhibitions at Whitechapel Gallery in London (UK); Kunstmuseum Ravensburg (Ravensburg, Germany); and Team Gallery (New York, USA). The Tobias&rsquo; currently live and work in Cologne, Germany.</span></p> Sat, 05 Apr 2014 06:41:03 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Gaëtan Trovato, Anna Zuber, François Harray, Corinne Vanden Berghe, Laurence Vray - Bog-Art Contemporary Gallery Space - April 23rd 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">En cette fin avril 2014, Bruxelles respire au rythme de l&rsquo;art. &Agrave; cette occasion,&nbsp;<em>Vis-&agrave;-Vis</em>&nbsp;pr&eacute;sente les artistes de Commonplaces. &Agrave; travers cette exposition, Anna Zuber, Corinne Vanden Berghe, Laurence Vray et Fran&ccedil;ois Harray entrent en dialogue avec les &oelig;uvres du vid&eacute;aste Ga&euml;tan Trovato. Ce jeune artiste aixois questionne les enjeux ontologiques de l&rsquo;image. Qu&rsquo;elle soit statique ou filmique, sa puissance s&eacute;culaire op&egrave;re une captation transcendante du r&eacute;el, convoquant une pens&eacute;e magique, animiste m&ecirc;me. L&rsquo;entit&eacute; troublante du simulacre fascine&nbsp;: le visage d&rsquo;un d&eacute;funt, le myst&egrave;re d&rsquo;un inconnu en close-up, l&rsquo;ancrage presque subliminal d&rsquo;une personnalit&eacute; c&eacute;l&egrave;bre. L&rsquo;image incarne, immortalise, cr&eacute;dibilise. L&rsquo;image s&rsquo;impose, autoritaire et hypnotique.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ga&euml;tan Trovato perturbe les conventions cin&eacute;matographiques, et se joue de ses filiations avec les codes picturaux (la mat&eacute;rialit&eacute; du support, la tradition de la figure repoussoir) et th&eacute;&acirc;traux (la spatialisation)&nbsp;; il questionne la fronti&egrave;re entre espace fictionnel et non fictionnel, &eacute;voque la cr&eacute;dulit&eacute; volontaire du spectateur. L&rsquo;artiste interroge &eacute;galement le pouvoir m&eacute;diatique de l&rsquo;image et son processus de mythification de l&rsquo;individu et de ses actions, qui perturbe les rapports interhumains, la relation au v&eacute;cu intime, la vision de l&rsquo;Histoire.</span></p> Sat, 19 Apr 2014 10:19:16 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Spencer Sweeney - C L E A R I N G - April 23rd 6:00 PM - 8:00 PM Tue, 08 Apr 2014 08:37:39 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Richard Aldrich - dépendance - April 23rd 5:00 PM - 8:00 PM Sat, 12 Apr 2014 15:16:53 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Ben Horns, Eric N. Mack - Elaine Levy Project - April 23rd 6:00 PM - 9:00 PM Wed, 09 Apr 2014 11:52:20 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Richard Aldrich - Gladstone Gallery (Brussels) - April 23rd 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Gladstone Gallery</strong> is pleased to announce a solo exhibition by <strong>Richard Aldrich</strong> at our Brussels location. The exhibition is being presented in collaboration with d&eacute;pendance, which will host a concurrent exhibition on view April 24 through May 24. The two exhibitions will feature paintings, drawings, and sculptures created over the course of the past decade that highlight Aldrich&rsquo;s interest in the way in which objects can be used to explore the impact of time on our understanding of ourselves and the world around us. Through each work, many of which were created over the course of multiple years, or returned to after a duration of time, Aldrich provides a rich visual representation of the evolution of objects &mdash; how, as we age and change, our conception of the things close to us is altered as well. This notion is reflected in his works, which, even when finished, evince a sense of continuous becoming, suggesting the possibility of future growth and change.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Eschewing a particular art-historical definition of or vantage point from which to view his art, Aldrich sees his artistic practice as a constantly evolving force. Taken as a whole, his work defies a singular style, and in his drawings, paintings, and sculptures, Aldrich is able to move effortlessly between figuration, abstraction, and representation &ndash; often combining imagery variously inspired by people and places close to him, visual artists, writers, and musicians whom he finds interesting, and experiences drawn from his everyday life. Using a variety of techniques, such as thick and thin painting, removing portions of canvas from his work, and multi-media assemblage, Aldrich has developed an artistic style that turns away from the canonical understanding of art historically, in favor of exploring new conceptual processes through which to view the contemporary world as he sees it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The works on view represent the broad spectrum of Aldrich&rsquo;s practice and, when taken together, read as a microcosm that encapsulates a series of moments caught in time. Among the works on view will be <em>Reality Painting #6 (A Wall in My Bedroom)</em> part of Aldrich&rsquo;s &lsquo;Reality Painting Series,&rsquo; a body of work that playfully adopts the art-historical idea of a series as a way to organize ideas, and which depicts scenes from Aldrich&rsquo;s everyday life. Also on view will be <em>Stacks</em>, a sculpture that brings together four elements of previously exhibited sculptures to create a new complete work. This piece reflects Aldrich&rsquo;s interest in using re-contextualization to explore new ways in which objects can be engaged with and understood, an idea that is further expanded upon by virtue of the fact that this work was shown in his recent show at Bortolami Gallery in New York, and is now being revisited and approached anew. Among the works on view at d&eacute;pendance will be <em>Untitled</em>, a painting that is composed of a trilogy of novels from the Cyberpunk role-playing game universe Shadowrun, suspended from the canvas in mid-air, and the drawing <em>One Kind of Sleight of Hand</em>, which features the transparency that was used to create the painting <em>Two bodies as One</em> that was shown at d&eacute;pendance in 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Aldrich was born in Hampton, Virginia, and currently lives and works in New York. He has been the subject of solo exhibitions at: San Francisco Museum of Modern Art, San Francisco, and the Contemporary Art Museum, St. Louis, St. Louis, Missouri. He has also been included in group exhibitions at notable institutions including: Contemporary Arts Museum, Houston, Texas; Tokyo City Opera, Tokyo; Centro Galego de Arte Contempor&aacute;nea, Santiago de Compostela, Spain; and Whitney Museum of American Art, New York.</span></p> Tue, 08 Apr 2014 08:47:42 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Benjamin Valenza - Komplot - April 23rd 6:00 PM - 8:00 PM <p>The elements that Benjamin Valenza sets in motion are as much sculptures, as they are words; they come and go, incessant in the invisible space between objects, ideas and public; in between those two lies his field of study. His poems form performances and readings that generate films, performances and sculptures: printed texts, objects wrapped in packaging, containers, moulded items, blue from N&icirc;mes or Genoa, tubular structures, tins and postcards, precarious boats and metal megaphones constitute the material landscapes through which Valenza travels &hellip;&nbsp;</p> <p>At Komplot will be presented a series of films from CIRCA CIRCA * and a new production, opened to the public this summer at the South London Gallery, where the artist performs a text or appears in a short poetic burlesque fictions in Sicily and India. The objects and sculptures that appear in films, or are used in the performance, will be reproduced by a vehicular factory producing an unique material, shaped and cast in-situ.</p> <p>According to the artist, relaxing and being flexible is also a way to expand the medium.Improvising as an actor, managing chance, being a fictor as a poet. The film set deployed by Valenza is fluctuative and performative: lightness of fiction, often hand-held camera; more technology, when it comes to summing up the performance, documentation. In that way, the perspectives multiply and mount according to the changes in public / performer's movements / objects. Never actors have been not actors, but rather a group of colleagues embarked on an experimental adventure.&nbsp;</p> <p>At Komplot the factory welcomes all kinds of participants, but above all, the musicians of HAYDEE band that gave a rhythm to the production of the factory and composed a soundtrack for the opening night. This almost-not-a-retrospective is an organic machine, like an archipelago of gestures, connected in space by cooking containers, voices, tubulars, an industrial production chain as a network, multilingual and cacophonous, forming a sort of transportable Merzbow Creole.</p> Sat, 19 Apr 2014 12:31:23 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Mathew Cerletty - Office Baroque Gallery - April 23rd 6:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">I&rsquo;m obsessed with comedy. I listen pretty much non-stop while I&rsquo;m painting&ndash;improv, stand-up, interviews with funny people, whatever I can get. In my head, paintings and jokes come from the same place. My studio is littered with premises like &ldquo;lawn mower far away,&rdquo; &ldquo;wiggling pink paper&rdquo; or &ldquo;mailman in love.&rdquo; The recent watercolors are an attempt to share the mysterious promise of that initial stage. Ideas that are developed into oil paintings go through a process not unlike the one described by Jerry Seinfeld, just different tricks for a different audience. Is it funny? Does it work? That&rsquo;s all that matters.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The best subjects are usually familiar...here&rsquo;s a favorite John Currin quote: &ldquo;I think what I do is find a clich&eacute; and try to believe in it, try to get to where I don&rsquo;t laugh at it.&rdquo; Paintings talk slowly, so humor inevitably gets warped and transformed, often exposing underlying feelings. My sensibility tends toward the surreal, during studio visits people usually mention Magritte. I love Magritte, but I think my weirdness stems more from American culture and watching a million hours of tv. Growing up in the famously down-to-earth and repressed Midwest, I learned to express myself through slight deviations from normalcy. That inclination and my belief in painting&rsquo;s continued viability are at the root of my fluid approach to style. So many different kinds of painting can work, and it&rsquo;s most exciting when you make something that&rsquo;s not immediately recognizable as your own. -MC, March 2014</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;">Mathew Cerletty was born in Wauwatosa, Wisconsin in 1980. He has been included in group exhibitions at the Whitney Museum of American Art, New York, the Brooklyn Academy of Music, Brooklyn, NY; Royal Academy of Arts, London; State Hermitage Museum, St. Petersburg, Russia and Museum Voor Moderne Kunst, Oostende, Belgium.</span></p> Sat, 19 Apr 2014 17:11:48 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Brent Wadden - Almine Rech Gallery - April 24th 6:00 PM - 8:00 PM <p class="p1" style="text-align: justify;"><span style="font-size: small;">Brent Wadden takes &ldquo;The Decline of Western Civilization&rdquo; as inspiration for &ldquo;The Decline,&rdquo; his first exhibition in Brussels&rsquo;s Almine Rech Gallery. The Canadian-born and Berlin-based artist&rsquo;s new paintings from his ongoing &ldquo;Alignment&rdquo; series embody the counterculture rejectionist spirit documented by Penelope Spheeris for her 1981 chronicle of Los Angeles&rsquo;s punk scene in the late 1970s and early 1980s.&nbsp; Spheeris, however, recorded a subculture dedicated to destruction.&nbsp; By contrast, Wadden&rsquo;s resistance takes shape through renewal, revision and attention to sustainability.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">The punk rock movement and Wadden&rsquo;s form of anti-consumerist creativity share rejection for immediate, cheap and disposable commodity culture. An often overlooked aspect of the punk aesthetic was a visual emphasis on reusing discarded goods and prolonging the life span of ephemeral material. Wadden weaves tactically rough geometric abstract tapestries constructed from second-hand synthetic and natural textiles. He sources his material from today&rsquo;s cyber and real world last stop shops, such as eBay, Craigslist and thrift-stores.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Interwoven with these anonymous and abandoned items are scraps of fabric donated by Wadden&rsquo;s family and friends. He juxtaposes light and dark sections to create a disorienting sense of positive and negative space. As the works evolve during the final stretching process, Wadden embraces the aesthetics of decay by encouraging the warp and weft to mold into awkward, imperfect formations. The resulting work combines Wadden&rsquo;s folk heritage from the Canadian east coast with an irreverent challenge to the ethics of consumption.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Born in 1979, in Nova Scotia, Canada</span><br /><span style="font-size: small;"> Lives and works in Vancouver, Canada</span></p> <hr /> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Pour sa premi&egrave;re exposition &agrave; la Galerie Almine Rech &agrave; Bruxelles intitul&eacute;e "Le D&eacute;clin", Brent Wadden s'est inspir&eacute; du "D&eacute;clin de la Civilisation occidentale".&nbsp;Tir&eacute;es de sa s&eacute;rie en cours &laquo;&nbsp;Alignement&nbsp;&raquo;, les nouvelles peintures de cet artiste, n&eacute; au Canada et bas&eacute; &agrave; Berlin, incarnent l&rsquo;esprit de r&eacute;bellion de la contre-culture dont Penelope Spheeris a dress&eacute; un portrait en 1981, dans sa chronique de la sc&egrave;ne punk de Los Angeles de la fin des ann&eacute;es 1970 et du d&eacute;but des ann&eacute;es 1980. Toutefois, Spheeris a captur&eacute; une sous-culture d&eacute;di&eacute;e &agrave; la destruction. Par contraste, la r&eacute;sistance de Wadden s&rsquo;articule autour des notions de renouvellement, de r&eacute;vision et d&rsquo;attention &agrave; la durabilit&eacute;.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Le mouvement punk rock et la cr&eacute;ativit&eacute; anti-consum&eacute;riste de Wadden ont en commun le rejet d&rsquo;une culture mat&eacute;rialiste imm&eacute;diate, bon march&eacute; et jetable. Un aspect souvent n&eacute;glig&eacute; de l&rsquo;esth&eacute;tique punk est l&rsquo;accent visuel mis sur la r&eacute;utilisation d&rsquo;objets abandonn&eacute;s et la prolongation de la dur&eacute;e de vie de mat&eacute;riaux &eacute;ph&eacute;m&egrave;res. Wadden tisse des tapisseries rugueuses, aux motifs g&eacute;om&eacute;triques abstraits, &agrave; partir de textiles naturels et synth&eacute;tiques de seconde main. Il puise ses mat&eacute;riaux dans les magasins du monde r&eacute;el et virtuel o&ugrave; ils finissent&nbsp;: des sites comme eBay, Craigslist et des friperies.</span></p> <p class="p1" style="text-align: justify;"><br /><span style="font-size: small;"> On trouve aussi, entrem&ecirc;l&eacute;s &agrave; ces pi&egrave;ces abandonn&eacute;es et anonymes, des morceaux de tissu donn&eacute;s par la famille et les amis de Wadden. Il juxtapose des sections claires et sombres pour cr&eacute;er une impression d&eacute;routante d&rsquo;espace positif et n&eacute;gatif. Durant la phase de tension finale, les &oelig;uvres &eacute;voluent encore, et Wadden accepte cette esth&eacute;tique de la d&eacute;composition en incitant la fibre et la trame &agrave; cr&eacute;er des formations maladroites, imparfaites. L&rsquo;&oelig;uvre qui en r&eacute;sulte combine l&rsquo;h&eacute;ritage folk de Wadden, venu de la c&ocirc;te Est du Canada, &agrave; un d&eacute;fi irr&eacute;v&eacute;rent lanc&eacute; &agrave; l&rsquo;&eacute;thique de la consommation.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">N&eacute; en 1979, &agrave; Nova Scotia, Canada</span><br /><span style="font-size: small;"> Vit et travaille &agrave; Vancouver, Canada</span></p> <hr /> <div class="Tiny lpr lmr"> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Voor zijn eerste tentoonstelling, &ldquo;The Decline&rdquo; in Almine Rech gallery te Brussel neemt Brent Wadden&nbsp; &ldquo;Het verval van de westerse beschaving&rdquo; als inspiratie. De nieuwe schilderijen van de Canadese in Berlijn gevestigde kunstenaar uit zijn lopende serie "Alignment" belichamen de geest van afwijzing van de subcultuur die door Penelope Spheeris &nbsp;in 1981 werd gedocumenteerd in haar kroniek van de punksc&egrave;ne van de late jaren zeventig en begin jaren tachtig in Los Angeles. Spheeris capteerde echter een subcultuur gewijd aan vernietiging. Wadden's verzet daarentegen krijgt vorm door vernieuwing, herziening en aandacht voor duurzaamheid.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">De punkrockbeweging en Wadden&rsquo;s vorm van anti-consumentistische creativiteit hebben de afwijzing van de snelle, goedkope wegwerpgoederencultuur met elkaar gemeen. Een vaak vergeten aspect van de punkesthetiek was de visuele nadruk op het hergebruik van afgedankte goederen en het verlengen van de levensduur van vergankelijk materiaal. Wadden weeft tactiel ruwe geometrisch-abstracte wandkleden vervaardigd uit tweedehandse synthetische en natuurlijke stoffen. Hij zoekt zijn materiaal op de huidige online- en&nbsp;<em>&lsquo;</em>echte&rsquo;&nbsp;<em>last-stop</em>&nbsp;shops, zoals eBay, Craigslist en andere tweedehandswinkels.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Doorheen deze anonieme en afgedankte items worden restjes stof, geschonken door Wadden&rsquo;s familie en vrienden, gewoven. Hij plaatst lichte en donkere velden naast elkaar om een desori&euml;nterend gevoel van positieve en negatieve ruimte te cre&euml;ren. Tijdens de evolutie van de werken doorheen het laatste strekproces omarmt Wadden de esthetiek van het verval door bewust de schering en inslag te laten uiteenvallen in onbeholpen, onvolmaakte formaties. Het resulterende werk combineert Wadden&rsquo;s volkskunsterfgoed uit de Canadese oostkust met een eerder oneerbiedige invraagstelling van de ethiek van de consumptie.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Geboren in 1979, te Nova Scotia, Canada</span><br /><span style="font-size: small;"> Leeft en werkt in Vancouver, Canada</span></p> </div> Tue, 08 Apr 2014 08:39:15 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Group Show - Art Brussels - April 24th 5:00 PM - 10:00 PM <p>For the first time, the fair will <strong>stage an exhibition</strong> focused on showcasing works from selected private collections, based on a concept conceived by Katerina Gregos, artistic director of the fair. This year&rsquo;s inaugural exhibition (and the fair&rsquo;s flagship artistic project) bears the title <em>Portrait of the Collector as a Work of Art</em>, and will bring together highlights from the collections of the Art Brussels&rsquo; Collectors Committee, comprised of some of the most outstanding Belgian collectors. <br /> <br /> The latter are internationally known for their passion, dedication, knowledge, and expertise and for discovering and acquiring artists at a very early stage in their careers. Art Brussels, <strong>with the collaboration of Louis Vuitton</strong>, will thus pay tribute to a selected number of these collectors and to highlight specific works from their collections, as well as shed light on what motivates them and how they approach art collecting, thus also generating a discussion about the practice of collecting, which lies at the heart of the raison d&rsquo;&ecirc;tre of every art fair. This unique project would not be possible without <strong>the generous partnership of Louis Vuitton</strong>, and <strong>the additional support of Anglo Belge Special Risks</strong>, who are our exclusive partners in this unique endeavour.</p> <p style="text-align: justify;">The exhibition includes works from the collections of:</p> <ul> <li> <div style="text-align: justify;"><strong>WILFRIED COOREMAN:</strong><br /> Lucy McKenzie (UK, 1977). <em>Quodlibet XXVIII,</em> 2013. Oil on canvas on wood, table, glass.&nbsp;&nbsp;</div> </li> <li> <div style="text-align: justify;"><strong>LIEVEN DECLERCK:</strong><br /> Hans Op de Beeck (BE, 1969). <em>Extensions</em>, 2009. Digital animated film, black-and-white, sound, 10&rsquo; 58&rdquo;.</div> </li> <li> <div style="text-align: justify;"><strong>MICHEL DELFOSSE:</strong> <br /> Rob Pruitt (US, 1964). <em>Angry Mother</em>, 2012. Acrylic, enamel paint and flocking on canvas.</div> </li> <li> <div style="text-align: justify;"><strong>MIMI DUSSELIER:</strong> <br /> One cabinet consisting of works by, among others: Nigel Cooke (UK, 1973), Ross Chisholm (UK, 1977), Thierry De Cordier (BE, 1954), William Daniels (UK, 1976), Simon Fujiwara (UK, 1982), Jacob Kassay (US, 1984), Wilhelm Sasnal (PL, 1972), Jan Schoonhoven (NL, 1914-1994), Matthew Weir UK, 1977).</div> </li> <li> <div style="text-align: justify;"><strong>FILIEP LIBEERT:</strong> <br /> Juan Mu&ntilde;oz (ES, 1953-2001). <em>Waiting for Jerry</em>, 1989. Black paint and title card.</div> </li> <li> <div style="text-align: justify;"><strong>C&Eacute;DRIC LI&Eacute;NART DE JEUDE: <br /> </strong>Nick van Woert (US, 1979). <em>The Service Alloy</em>, 2011. Sculpture, mixed media.&nbsp;</div> </li> <li> <div style="text-align: justify;"><strong>BAUDOUIN MICHIELS:</strong> <br /> Sol LeWitt (US, 1928 &ndash; 2007). <em>Horizontal Bands</em>, 2003. Gouache on paper.</div> </li> <li> <div style="text-align: justify;"><strong>BENEDIKT VAN DER VORST:</strong> <br /> Haegue Yang (KR, 1971). <em>Acoustics of Broken Karma</em>, 2011. Sculpture, mixed media.</div> </li> <li> <div style="text-align: justify;"><strong>BRUNO VAN LIERDE: <br /> </strong>Stanley Brouwn (SJ, 1935). <em>Portrait Bruno van Lierde,</em> 2010. Aluminium profile on wooden table top on props.</div> </li> <li> <div style="text-align: justify;"><strong>MARK VANMOERKERKE: <br /> </strong>Sam Durant (US, 1961). <em>Tell it Like it is!,</em> 2002. Vinyl text on electric sign.</div> </li> </ul> Tue, 22 Apr 2014 15:51:27 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Art Brussels - April 24th 5:00 PM - 10:00 PM <h3>Hours &amp; Admission</h3> <p><span style="color: #000000;">From Friday 25 until Sunday 27 April 2014 - from 12 noon - 8pm<br /> Thursday 24 April - <strong>Preview </strong>(11am-5pm)&amp; <strong>Vernissage</strong> (5pm-10pm) <em>by invitation only<br /> </em>Friday 25 April - <strong>Gallery Night</strong> (7pm-10pm) <em>free shuttles available</em></span></p> <table> <tbody> <tr> <td>Day ticket</td> <td>&nbsp;</td> <td>&nbsp;15 &euro;</td> </tr> <tr> <td>Students</td> <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;</td> <td>&nbsp;&nbsp; 5 &euro;&nbsp;</td> </tr> <tr> <td>Groups (min. 10 pers.)&nbsp;</td> <td>&nbsp;</td> <td>&nbsp;10 &euro;</td> </tr> <tr> <td>Combi-ticket (entry+catalogue)</td> <td>&nbsp;&nbsp;</td> <td>&nbsp;35 &euro;</td> </tr> </tbody> </table> <h3>Exhibitors</h3> <p>0gms, Sofia</p> <hr /> <p>Aanant &amp; Zoo, Berlin <br /> Samy Abraham, Paris <br /> ADN, Barcelona <br /> Aeroplastics, Brussels<br /> Algus Greenspon, New York<br /> Alice, Brussels<br /> Alma, Riga&nbsp; <br /> Paul Andriesse, Amsterdam <br /> annex14, Zurich <br /> Enrico Astuni, Bologna</p> <hr /> <p>Val&eacute;rie Bach, Brussels<br /> Albert Baronian, Brussels<br /> Base-Alpha, Antwerp <br /> Catherine Bastide, Brussels<br /> Battat, Montr&eacute;al <br /> Anita Beckers, Frankfurt<br /> Bernier/Eliades, Athens <br /> Bischoff Projects, Frankfurt<br /> Bodson, Brussels<br /> Boetzelaer|Nispen, Amsterdam <br /> BORZO, Amsterdam <br /> Bourouina, Berlin <br /> Thomas Brambilla, Bergamo <br /> Brand New Gallery, Milano <br /> Galleri Brandstrup, Oslo <br /> Bugada &amp; Cargnel, Paris</p> <hr /> <p>Campagne Premi&egrave;re, Berlin <br /> Carbon 12, Dubai <br /> Cardi, Milano <br /> Carroll/Fletcher, London <br /> Bernard Ceysson,&nbsp;Gen&egrave;ve, Luxembourg, Paris, Saint-Etienne <br /> Chambers Fine Art, Beijing, New York<br /> C L E A R I N G, Brussels, New York<br /> CONRADS, D&uuml;sseldorf <br /> Continua, Beijing, Paris, San Gimignano<br /> Pilar Corrias, London<br /> Cortex Athletico, Bordeaux <br /> COSAR HMT, D&uuml;sseldorf <br /> Cr&egrave;vecoeur, Paris <br /> Crone, Berlin <br /> Cruise&amp;Callas, Berlin <br /> Heike Curtze und Petra Seisec, Wien</p> <hr /> <p>D+T Project, Brussels<br /> Patrick De Brock, Knokke<br /> Hadrien de Montferrand, Beijing <br /> Elizabeth Dee, New York <br /> d&eacute;pendance, Brussels<br /> DEWEER, Otegem <br /> Tiziana Di Caro, Salerno <br /> Umberto Di Marino, Napoli <br /> DITTRICH &amp; SCHLECHTRIEM, Berlin <br /> Division of Labour, Worcester<br /> Eric Dupont, Paris</p> <hr /> <p>Christian Ehrentraut, Berlin <br /> Heinrich Ehrhardt, Madrid <br /> Ex elettrofonica, Rome<br /> Eleven Rivington, New York&nbsp;</p> <hr /> <p>Imane Far&egrave;s, Paris <br /> Fifty One, Antwerp <br /> Thomas Fischer, Berlin <br /> Marie-Laure Fleisch, Roma <br /> Foxy Production, New York</p> <hr /> <p>Galerist, Istanbul<br /> GDM, Paris <br /> Geukens &amp; De Vil, Antwerp, Knokke&nbsp;<br /> Gladstone, Brussels, New York<br /> Green Art, Dubai <br /> Grimm, Amsterdam <br /> grimmuseum, Berlin</p> <hr /> <p>Habana, La Habana <br /> Harlan Levey, Brussels<br /> Emmanuel Herv&eacute;, Paris <br /> Eva Hober, Paris <br /> Hannah Hoffman, Los Angeles <br /> Jeanine Hofland, Amsterdam <br /> Honor Fraser, Los Angeles <br /> Hopstreet, Brussels<br /> Horton, New York <br /> Xavier Hufkens, Brussels</p> <hr /> <p>Rose Issa Projects, London <br /> Ivorypress, Madrid</p> <hr /> <p>Jaeger Bucher/Jeanne-Bucher, Paris <br /> Jamar, Antwerp<br /> Rodolphe Janssen, Brussels<br /> Jeanroch Dard, Paris <br /> JGM., Paris <br /> Juliette Jongma, Amsterdam <br /> Jousse, Paris <br /> Jozsa, Brussels</p> <hr /> <p>Kevin Kavanagh, Dublin <br /> Kleindienst, Leipzig <br /> Krinzinger, Wien <br /> Martin Kudlek, Cologne</p> <hr /> <p>Laveronica, Modica <br /> Lelong, Paris, New York, Zurich<br /> Leme, S&atilde;o Paulo <br /> Christian Lethert, Cologne<br /> Leto, Warszaw <br /> Elaine Levy, Brussels<br /> Patricia Low, Gstaad</p> <hr /> <p>Mai 36, Z&uuml;rich <br /> Ron Mandos, Amsterdam <br /> mariondecanni&egrave;re, Antwerp <br /> Marlborough Contemporary, London, New York, Zurich<br /> Martos, New York <br /> Maruani &amp; Mercier, Brussels<br /> Maskara, Mumbai <br /> Mario Mauroner, Wien <br /> Max Estrella, Madrid <br /> Max Mayer, D&uuml;sseldorf <br /> Mario Mazzoli, Berlin <br /> Greta Meert, Brussels<br /> Meessen De Clercq, Brussels<br /> Ani Moln&aacute;r, Budapest <br /> MOT International, Brussels, London<br /> Horrach Moya, Palma De Mallorca <br /> mulier mulier, Knokke<br /> M&ugrave;rias Centeno, Lisbon, Porto</p> <hr /> <p>Galeri Nev Istanbul, Istanbul <br /> New Art Centre, Salisbury <br /> Mihai Nicodim, Los Angeles <br /> Nosbaum &amp; Reding, Luxembourg</p> <hr /> <p>Nathalie Obadia, Brussels, Paris<br /> Office Baroque, Brussels<br /> On Stellar Rays, New York <br /> OSL contemporary, Oslo <br /> Odile Ouizeman, Paris</p> <hr /> <p>P420, Bologna <br /> Alberta Pane, Paris <br /> Paradise Row, London <br /> Parrotta, Stuttgart <br /> Tatjana Pieters, Gent <br /> Pippy Houldsworth, London <br /> Elisa Platteau, Brussels<br /> J&eacute;r&ocirc;me Poggi, Paris <br /> Polka, Paris <br /> Praz-Delavallade, Paris <br /> Profile, Warszawa <br /> ProjecteSD, Barcelona <br /> prometeogallery di Ida Pisani, Milano</p> <hr /> <p>Quadrado Azul, Porto</p> <hr /> <p>Raum mit Licht, Wien <br /> Real Fine Arts, New York<br /> Almine Rech, Brussels, Paris<br /> Michel Rein, Brussels, Paris<br /> Ricou, Brussels<br /> Rossicontemporary, Brussels<br /> Rowing, London <br /> Lia Rumma, Milano</p> <hr /> <p>Richard Saltoun, London <br /> Karsten Schubert, London <br /> Barbara Seiler, Zurich <br /> Senda, Barcelona <br /> M&aacute;rio Sequeira, Braga <br /> Joe Sheftel, New York <br /> Andr&eacute; Simoens, Knokke<br /> stephane simoens, Knokke <br /> Filomena Soares, Lisboa <br /> s o b e r i n g, Paris<br /> Sorry We're Closed, Brussels <br /> Michel Soskine Inc., Madrid, New York&nbsp;<br /> Pietro Sparta, Chagny <br /> SpazioA, Pistoia <br /> Galerie Steinek, Wien<br /> stieglietz19, Antwerp<br /> Micheline Szwajcer, Antwerp</p> <hr /> <p>Joseph Tang, Paris <br /> Suzanne Tarasieve, Paris <br /> Teapot, Cologne <br /> Daniel Templon, Brussels, Paris<br /> The Third Line, Dubai <br /> Transit, Mechelen <br /> Triangle bleu, Stavelot <br /> Tucci Russo, Torre Pellice<br /> Steve Turner, Los Angeles</p> <hr /> <p>Valentin, Paris <br /> Georges-Philippe &amp; Nathalie Vallois, Paris <br /> Van De Weghe, Antwerp<br /> Isabelle van den Eynde, Dubai <br /> van der Mieden, Brussels <br /> samuel vanhoegaerden, Knokke-Heist <br /> Vartai, Vilnius <br /> Axel Vervoordt, Antwerp <br /> Nadja Vilenne, Li&egrave;ge</p> <hr /> <p>Max Wigram, London <br /> Wilkinson, London</p> <hr /> <p>Zidoun-Bossuyt, Luxembourg <br /> Zink, Berlin <br /> de Zwarte Panter, Antwerp</p> Tue, 22 Apr 2014 15:54:43 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Marcel Broodthaers, Nico Dockx, Aditya Mandayam, Pat McCarthy, Gianni Motti, Roman Opalka, Rirkrit Tiravanija - Delire Gallery - April 25th 5:00 PM - 10:00 PM <p>Delire Gallery presents<br /> <br /> Marcel Broodthaers<br /> Nico Dockx &amp; Rirkrit Tiravanija<br /> Aditya Mandayam<br /> Pat McCarthy<br /> Gianni Motti<br /> Roman Opalka<br /> <br /> April 25 - June 21, 2014<br /> Opening Reception Friday, April 25 from 5 to 10 pm<br /> <br /> For further information and visuals, please contact the gallery.<br /> <br /> office@deliregallery.com<br /> <br /> <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.deliregallery.com%2F&amp;h=6AQG8qw6V&amp;enc=AZNlHHQWLibcwKHkMl_OOTqIgI1wMG8Y9citUVr8njHYCJoPl84tLK2M8cS9cV2CHY0&amp;s=1" rel="nofollow" target="_blank">www.deliregallery.com</a></p> Sat, 19 Apr 2014 06:15:13 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list John Baldessari - Galerie Greta Meert - April 25th 6:00 PM - 9:00 PM Sat, 05 Apr 2014 08:45:59 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Edith Dekyndt - Galerie Greta Meert - April 25th 6:00 PM - 9:00 PM Sat, 05 Apr 2014 08:46:04 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list