ArtSlant - Closing soon en-us 40 Group Show - AEROPLASTICS Contemporary - June 7th, 2012 - August 11th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The title of the exhibition, <strong><em>Aspiration Factory</em></strong>, evokes a project still in-progress, an intensive investigation led by </span><span style="font-size: small;">artists who aspire through their works to provide elements worthy of contemplation with respect to the field of art </span><span style="font-size: small;">itself. With Stephan Balleux, these reflections concern painting as a medium: “You can see clearly that what </span><span style="font-size: small;">you are looking at is a painting, and thus artificial. But at the same time you also seem to be looking at </span><span style="font-size: small;">something that could be a photograph. The texture is flat, but portrays the texture of paint.” </span></p> <p style="text-align: justify;"><span style="font-size: small;">The “Factory” is synonymous with experimentation, a central component in the technique of a painter, who </span><span style="font-size: small;">recognizes the frequent place occupied by chance, for example when he mixes colours directly on the canvas: “I </span><span style="font-size: small;">know what Iʼm doing and at the same time I donʼt know how I get there ultimately.” Similarly with Kate Atkin, </span><span style="font-size: small;">whose small and large drawings are made with existing images as a starting-point. Take the work Etude, for </span><span style="font-size: small;">instance. Here she takes Francis Baconʼs Three Studies for Figures at the Base of a Cross: it has to do with </span><span style="font-size: small;">submitting oneself, at least in part, to the hazard of chance, and to see what flows from this encounter: “I see the </span><span style="font-size: small;">process of drawing as the generating of matter, and itʼs hard to know when to stop generating .” </span></p> <p style="text-align: justify;"><span style="font-size: small;">This instability of the creative process, is seen by Chris Barnes as a foundation stone of the real (“the world we </span><span style="font-size: small;">attach to is unstable”); his sculptures of seemingly derisory appearance, closely akin to the ready-made, are first </span><span style="font-size: small;">and foremost a source of contentment for himself (“For me being an Artist is primarily about doing something that </span><span style="font-size: small;">makes me happy.”) </span></p> <p style="text-align: justify;"><span style="font-size: small;">Along the same lines, the Appendices of Toby Christian, fragments in marble that seem to come from large </span><span style="font-size: small;">anthropomorphic sculptures, raises the question of the very status of a work of art: is that which is hidden of more </span><span style="font-size: small;">importance than that which is shown? Here, John Isaacs offers his own version spectacularly with Everything is </span><span style="font-size: small;">not enough – before the deluge ; a gigantic silver-plated hand with 6 fingers in which is inlaid a small TV screen ; </span><span style="font-size: small;">the imagination of the spectator is fiercely challenged to guess from which monument it has been taken. This </span><span style="font-size: small;">relationship with absence is also at the centre of the series Life Rooms, pieces of foam used by models for </span><span style="font-size: small;">support while posing for life (nude) studies, and which have retained the trace marks made by their feet.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Soren Dahlgaard or rather his alter-ego, the “Dough Warrior” whose body and have are dissimulated beneath a </span><span style="font-size: small;">mass of French breads (baguettes) revisits this artist/model dynamic in literally re-covering the body painting of </span><span style="font-size: small;">persons who pose for him, in the context of performances high in colour. With Tom Crawford, the thought </span><span style="font-size: small;">process turns political: his work studies the evolution of abandoned industrial sites that have gradually become </span><span style="font-size: small;">occupied by artists, then transformed for their gallery owners, and finally gentrified for their collectors. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Construction and habitat are at the heart of the series Bleeding Houses from Marko Mäetamm, who draws </span><span style="font-size: small;">inspiration from horror stories, setting in scene houses that are endowed with their own personalities (criminal, of </span><span style="font-size: small;">course); but by including buildings in his blood-soaked list such as the Atomium, the Yser tower, the Palace of </span><span style="font-size: small;">Justice in Brussels and the S.M.A.K. in Ghent, the artist lends a connotation that is clearly political as well as </span><span style="font-size: small;">cultural.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in the mining town of Lubumbashi, Jean Katambayi Mukendi underscores the importance of his origins in </span><span style="font-size: small;">the process that led him to become an artist, after training as an electrician (like his father), then as </span><span style="font-size: small;">mathematician: “As children, weʼd manipulate lots of metals. Weʼd make our own toys out of metal wire.” His </span><span style="font-size: small;">sculptures are elaborated starting from pieces of cardboard and scrap electrical appliances. Electricity, along </span><span style="font-size: small;">with its economic and sociologic impact (particularly in Africa where its production and management are often </span><span style="font-size: small;">quite problematical), is at the centre of his thinking. The subject is more current than ever after the Fukushima </span><span style="font-size: small;">disaster: energy produced by Man, or tapped from the sun? </span></p> <p style="text-align: justify;"><span style="font-size: small;">With Charley Case, this questioning takes the form of a poetic image, with the solar star posed upon a network </span><span style="font-size: small;">of high-tension cables, in the mist of dawn. As for Dieu le Père from Laurent Jourquin, he has conclusively </span><span style="font-size: small;">opted for human technology: his eyes of LED light invite the viewer to mount in order to cross the otherwise </span><span style="font-size: small;">inaccessible gaze — but a beyond-the-tomb surprise awaits us at the summit! An off-beat humour with flavour of </span><span style="font-size: small;">morbidity as of JIMP's ; his drawings which aim to create a feeling of instability to the viewer are often inspired by </span><span style="font-size: small;">autobiographical experiences whose nature remains obscure.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">De titel van de tentoonstelling, <strong><em>The Aspiration Factory</em></strong>, doet denken aan werk dat in de maak is, een intense </span><span style="font-size: small;">zoektocht van kunstenaars die ernaar streven om elementen van reflectie over de kunst zelf te tonen. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Bij Stephan Balleux gaat deze reflectie over de schilderkunst als medium: ʻHet is duidelijk dat datgene waar </span><span style="font-size: small;">je naar kijkt een schilderij is, en dus artificieel. Maar tegelijk kijk je ook naar iets dat een foto zou kunnen zijn. </span><span style="font-size: small;">De textuur is vlak, maar portretteert de textuur van verf.ʼ De ʻFactoryʼ is synoniem met experiment, een </span><span style="font-size: small;">centrale component in de techniek van de schilder, die erkent dat hij vaak ruimte laat voor het toeval, </span><span style="font-size: small;">bijvoorbeeld als hij de kleuren direct op het doek mengt: ʻIk weet wat ik doe, en tegelijk weet ik niet waar ik </span><span style="font-size: small;">uiteindelijk uitkom.ʼ</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hetzelfde uitgangspunt bij Kate Atkin. Haar grote tekeningen vertrekken van bestaande beelden – zo is </span><span style="font-size: small;">haar Etude gebaseerd op Drie studies voor personages aan de voet van het kruis van Francis Bacon: het </span><span style="font-size: small;">gaat erom zich, althans gedeeltelijk, over te leveren aan het toeval, en te zien wat er uit de ontmoeting </span><span style="font-size: small;">ontstaat. Ook bij haar is het creatieve proces fundamenteel: ʻIk zie het tekenproces als het genereren van </span><span style="font-size: small;">inhoud, en het is moeilijk te weten wanneer je moet stoppen met genereren.ʼ</span></p> <p style="text-align: justify;"><span style="font-size: small;">Voor Chris Barnes is deze instabiliteit van het creatieve proces een basis van de realiteit (ʻde wereld </span><span style="font-size: small;">waaraan wij vastzitten is onstabiel.ʼ). Zijn sculpturen die er op het eerste gezicht lachwekkend uitzien en erg </span><span style="font-size: small;">verwant zijn aan readymades, zijn in de eerste plaats een bron van tevredenheid voor zichzelf (ʻKunstenaar </span><span style="font-size: small;">zijn, gaat voor mij in de eerste plaats over iets doen dat me gelukkig maaktʼ) – wat niet wil zeggen dat ze </span><span style="font-size: small;">niets te zeggen hebben over de kunstwereld, die ze met humor op de korrel nemen. Ook de Appendices van </span><span style="font-size: small;">Toby Christian, marmeren fragmenten die afkomstig lijken van antropomorfe sculpturen op groot formaat, </span><span style="font-size: small;">stellen vragen over het statuut van het werk: is wat verborgen is belangrijker dan wat wordt getoond? </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">John Isaacs geeft daarvan zijn eigen, spectaculaire versie, met Everything is not enough - vor der Sintflut: </span><span style="font-size: small;">een gigantische verzilverde hand met zes vingers, waarin een scherm is verwerkt. De verbeelding van de </span><span style="font-size: small;">toeschouwer wordt zwaar op de proef gesteld om het vreemde monument waarvan ze afkomstig is, te </span><span style="font-size: small;">reconstrueren. Deze relatie tot afwezigheid staat ook centraal in de reeks van de Life Rooms van Toby </span><span style="font-size: small;">Christian. Deze bestaan uit stukken schuimrubber die modellen gebruiken om te blijven rechtstaan tijdens </span><span style="font-size: small;">naaktstudies en waarop nog de markeringen staan waarop ze hun voeten moesten zetten. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Soren Dahlgaard – of veeleer zijn alter ego, de ʻGuerrier de Pâteʼ wiens lichaam en gezicht verborgen zitten </span><span style="font-size: small;">achter stokbroden – herinterpreteert de relatie kunstenaar/model door het lichaam van de modellen die voor </span><span style="font-size: small;">hem poseren letterlijk met verf te bedekken tijdens erg kleurrijke performances. Bij Tom Crawford is de </span><span style="font-size: small;">reflectie eerder politiek van aard: hij bestudeert in zijn werk de evolutie van verlaten industriële sites die </span><span style="font-size: small;">beetje bij beetje door kunstenaars worden ingenomen, dan door galeriehouders worden verbouwd en tot slot </span><span style="font-size: small;">veranderen in exclusieve woningen voor hun verzamelaars. De bouw en de leefwereld staan centraal in de </span><span style="font-size: small;">reeks Bleeding Houses van Marko Mäetamm, die zich op griezelverhalen inspireert om huizen met hun </span><span style="font-size: small;">eigen (altijd criminele) persoonlijkheid te ensceneren. Maar door in zijn reeks bebloede gebouwen bouwsels </span><span style="font-size: small;">als het atomium, de IJzertoren, het Brusselse justitiepaleis of het Gentse SMAK op te nemen, krijgt ze een </span><span style="font-size: small;">duidelijk politieke en culturele connotatie.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Jean Katambayi Mukendi, die werd geboren in de mijnstad Lubumbashi, benadrukt de rol die zijn afkomst </span><span style="font-size: small;">heeft gespeeld in het proces dat hem ertoe bracht om kunstenaar te worden, na een opleiding tot elektricien </span><span style="font-size: small;">(zoals zijn vader) en daarna tot wiskundige: ʻAls kind waren we veel met metaal bezig. We maakten ons </span><span style="font-size: small;">eigen ijzeren speelgoedʼ zegt hij onder meer. Zijn sculpturen en installaties zijn opgebouwd uit stukken </span><span style="font-size: small;">karton en afgedankte elektrische apparaten. De economische en sociale impact van elektriciteit (vooral in </span><span style="font-size: small;">Afrika waar de productie en het beheer ervan vaak problematisch is), staat centraal in zijn reflectie. Dit </span><span style="font-size: small;">thema is meer dan ooit actueel na Fukushima: door de mens geproduceerde energie, of zonne-nergie?</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Le titre de lʼexposition, <strong><em>Aspiration Factory</em></strong>, évoque un travail en cours dʼélaboration, une recherche intense </span><span style="font-size: small;">menée par des artistes qui aspirent, à travers leurs œuvres, à fournir des éléments de réflexion sur le champ </span><span style="font-size: small;">de lʼart lui-même. Chez Stephan Balleux, cette réflexion porte sur la peinture en tant que médium : « You </span><span style="font-size: small;">can see clearly that what you are looking at is a painting, and thus artificial. But at the same time you also </span><span style="font-size: small;">seem to be looking at something that could be a photograph. The texture is flat, but portrays the texture of </span><span style="font-size: small;">paint. » </span></p> <p style="text-align: justify;"><span style="font-size: small;">La « Factory » est synonyme dʼexpérimentation, une composante centrale dans la technique du peintre, qui </span><span style="font-size: small;">reconnaît laisser souvent une place au hasard, par exemple lorsquʼil mélange directement les couleurs sur </span><span style="font-size: small;">la toile : « I know what Iʼm doing and at the same time I donʼt know how I get there ultimately. » Même </span><span style="font-size: small;">propos chez Kate Atkin, dont les grands dessins sont réalisés au départ dʼimages existantes – voir </span><span style="font-size: small;">notamment son Etude qui prend pour point départ les Trois études pour personnages au pied de la Croix de </span><span style="font-size: small;">Francis Bacon : il sʼagit de sʼen remettre, pour une part du moins, au hasard, et voir ce quʼil adviendra de la </span><span style="font-size: small;">rencontre. Chez elle également, le processus de création est fondamental : « I see the process of drawing </span><span style="font-size: small;">as the generating of matter, and it's hard to know when to stop generating. » </span></p> <p style="text-align: justify;"><span style="font-size: small;">Cette instabilité du processus créatif, Chris Barnes la voit comme un fondement du réel (« the world we </span><span style="font-size: small;">attach to is unstable ») ; ses sculptures dʼapparence dérisoire, qui tiennent beaucoup du readymade, sont </span><span style="font-size: small;">dʼabord source de contentement pour lui-même (« For me being an Artist is primarily about doing something </span><span style="font-size: small;">that makes me happy ») – ce qui ne veut pas dire quʼelles nʼaient rien à dire sur le monde de lʼart, quʼelles </span><span style="font-size: small;">défient avec humour. </span></p> <p style="text-align: justify;"><span style="font-size: small;">De même, les Appendices de Toby Christian, fragments en marbre qui semblent provenir de sculptures </span><span style="font-size: small;">anthropomorphiques de grandes dimensions, posent la question du statut de lʼœuvre : ce qui est caché a-t-il </span><span style="font-size: small;">plus dʼimportance que ce qui est exposé ? John Isaacs en donne sa propre version, spectaculaire, avec </span><span style="font-size: small;">Everything is not enough - vor der Sintflut : une gigantesque main argentée pourvue de six doigts, et dans </span><span style="font-size: small;">laquelle est incrustée un écran ; lʼimagination du spectateur est mise à rude épreuve pour reconstituer </span><span style="font-size: small;">lʼétrange monument dʼoù elle a été tirée. Ce rapport à lʼabsence est également au centre de la série des Life </span><span style="font-size: small;">Rooms de Toby Christian, morceaux de mousse utilisés par les modèles pour se tenir debout lors des </span><span style="font-size: small;">études de nu, et qui ont conservé la trace des marques sur lesquelles poser les pieds. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Soren Dahlgaard – ou plutôt, son alter ego, le « Guerrier de Pâte », dont le corps et le visage sont </span><span style="font-size: small;">dissimulés par des baguettes de pain – revisite cette relation artiste/modèle en recouvrant littéralement de </span><span style="font-size: small;">peinture le corps des personnes posant pour lui, dans le cadre de performances hautes en couleur. Chez </span><span style="font-size: small;">Tom Crawford, la réflexion se fait politique : son travail étudie lʼévolution des zones industrielles </span><span style="font-size: small;">abandonnées et peu à peu occupées par des artistes, puis transformées pour leurs galeristes, et enfin </span><span style="font-size: small;">gentrifiées pour leurs collectionneurs. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">La construction et lʼhabitat sont au cœur de la série des Bleeding Houses de Marko Mäetamm, qui sʼinspire </span><span style="font-size: small;">des récits dʼhorreurs mettant en scène des maisons dotées de leur personnalité propre (et forcément </span><span style="font-size: small;">criminelle) ; mais en incluant dans sa liste de bâtiments ensanglantés des édifices tels que lʼAtomium, la tour </span><span style="font-size: small;">de lʼYser, le Palais de Justice de Bruxelles ou le S.M.A.K. de Gand, lʼartiste donne à sa série une </span><span style="font-size: small;">connotation clairement politique et culturelle.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Né dans la ville minière de Lubumbashi, Jean Katambayi Mukendi souligne lʼimportance de ses origines </span><span style="font-size: small;">dans le processus qui lʼa conduit à devenir artiste, après une formation dʼélectricien (comme son père), puis </span><span style="font-size: small;">de mathématicien : « Enfants, nous manipulions beaucoup les métaux. On se fabriquait nos propres jouets </span><span style="font-size: small;">en fil de fer », déclare-t-il notamment. Ses sculptures et installations sont élaborées au départ de morceaux </span><span style="font-size: small;">de carton et dʼappareils électriques de rebut. Lʼélectricité, son impact économique et sociologique (en </span><span style="font-size: small;">particulier en Afrique où sa production et sa gestion demeurent bien souvent problématique),  est au cœur de </span><span style="font-size: small;">sa réflexion. Le sujet est plus que jamais dʼactualité après Fukushima : énergie produite par lʼHomme, ou </span><span style="font-size: small;">tirée du soleil ?</span></p> Fri, 03 Aug 2012 15:13:45 +0000 Cosmin Bumbut - Bozar - Palais des beaux-arts de Bruxelles - July 11th, 2012 - August 12th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In 2006, Romanian employees of the mining and energetic field faced a shakeout: the Government decided to restructure and pass these companies into private hands. The miners photographed at MinVest Deva company were transporting loads of gold ore in the small wagons to the preparation mill. A month later after these pictures had been taken, the mine was closed. A Canadian company bought properties in Rosia Montana (Transylvania) and it is trying to obtain permission to exploit the gold resources with cyanides. Nowadays, the mine is still closed and a fervent dispute regarding pollution, poverty and unemployment rate in the region is on the public agenda. Through this exhibition, Cosmin Bumbut does not only show us the story of the miners, likewise the human relationship to landscape.</span></p> Mon, 16 Jul 2012 14:19:14 +0000 Manuel Gnam - dépendance - July 7th, 2012 - August 17th, 2012 <div id="contentExpo"> <p style="text-align: justify;">In Plankton collected in the arctic, temperate and tropical regions of the oceans, the enigmatic Y-larvae form a significant and diverse component. Researchers have discovered the next step in the Y-larva’s life, and the transformation is extreme – the many-legged, flea-like larva turns into a balloon-like eyeless, brainless blob known as Ypsigon that lacks both digestive and nervous systems. This unusual devolution from sophisticated to simple provides clues to how the final adult form of the animal, which still remains unobserved, makes a living.</p> <p style="text-align: justify;">“From a shrimplike animal it became a sacklike structure,” says lead author Glenner. The new stage is slug-like, unsegmented and lacks both limbs, a functional gut and almost all other traits except an elongated, dark mass of cells filled with fat globules. Within the Ypsigon body, the muscles and compound eyes of the preceding Y-larva stage are in a state of advanced degeneration. The body motions of the Ypsigon persists after escape from the Y-larva and allow it to crawl on the bottom of the culture vessel and move several body lengths away from the spent Y-larva within a few minutes. Because this Ypsigon lacks all the organs necessary for surviving independently however, researchers conclude that the animal is a parasite.</p> <p style="text-align: justify;">Creep is the tendency of otherwise solid materials to move or to deform with certain stresses or properties. This deformity may be permanent and may also represent a potential or imminent defeat, depending on the material that is represented. Creep is almost always more severe in the types of materials that are subjected to strain for long periods. There are some materials where a fair amount of creep is considered to be a good thing.</p> <p style="text-align: justify;">The creep flows like a liquid in certain situations but performs like a solid in others and is meant to flow under heavy loads like a liquid. A small amount of creep prevents stress build-up that can crack or otherwise damage heavy loads. Soaring over two hundred feet in the air, creep displaces wind energy that could cause the whole load to topple.</p> <p style="text-align: justify;">Creep also reduces noise transmissions which makes working in factories safer and more pleasant for the employees. Noise reduction can also reduce the amount of down time in the factory, which can lead to increased productivity and efficiency and an overall happier workforce. That translates to an improvement for the factory, the employees and the surrounding areas.</p> <p style="text-align: justify;">The creep-wash complex shows the influence of low vegetation on morphology. A stream of attractors can be manipulated where the boundary between creep and wash domains on given particles creeping on the surface cause rocky situations. Both wash and creep are regulated by the negative feedback of the Plankton.</p> <p style="text-align: justify;"><i>Taslima Ahmed</i></p> <p></p> </div> Mon, 06 Aug 2012 10:20:47 +0000 - S.M.A.K. - June 23rd, 2012 - August 19th, 2012 <p style="text-align: justify;"><span style="font-size: small;">For this exhibition, S.M.A.K. has looked into the video archives that are part of the museum collection. Throughout the summer a different film will be shown in the large front room upstairs every week, offering a fascinating introduction to what video has produced in recent years. To provide a historical touchstone, S.M.A.K. is showing a compilation of several major video works from past decades in the smaller rooms.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">S.M.A.K. duikt voor deze tentoonstelling in het videoarchief van de museumcollectie. De hele zomer lang wordt er in de grote voorzaal wekelijks een andere film getoond, een boeiende kennismaking met wat de videokunst de laatste jaren voortbracht. Als historische toetssteen bundelde S.M.A.K. in de kabinetten een compilatie van enkele belangrijke videowerken uit de voorbije decennia.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">S.M.A.K. plonge pour cette exposition dans les archives vidéo du musée. Pendant tout l’été, un film différent est projeté chaque semaine dans la grande salle avant du musée. Le projet livre une passionnante anthologie de ce qu’a produit l’art vidéo au cours des dernières années. Le S.M.A.K. a pris comme critère historique une compilation de quelques œuvres vidéo majeures des dernières décennies.</span></p> Thu, 16 Aug 2012 16:42:21 +0000