ArtSlant - Recently added http://www.artslant.com/brx/Events/show en-us 40 Gaëtan Trovato, Anna Zuber, François Harray, Corinne Vanden Berghe, Laurence Vray - Bog-Art Contemporary Gallery Space - April 24th - April 29th <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 10:19:04 +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 - May 21st <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 06:15:12 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Hélène AMOUZOU (BEN) / Doug BIGGERT (US) / Bernard BOCCARA (BE) / Jean-Marc BODSON (BE) / Alain BREYER (BE) / Sébastien CUVELIER (LU) / Jacques DE BACKER (BE) / Loïc DELVAUX (BE) / Hugues DE WURSTEMBERGER (CH) / Isabelle DETOURNAY (BE) / Norbert GHISOLAND - Atelier 340 Muzeum - April 16th - April 16th <p class="western" lang="en-US"><span style="font-family: Verdana;"><span style="font-size: small;">All the artists represented on this occasion, share two common points&nbsp;: the first is that they have published a series of photographs with the publishing house Michel Husson. Secondly, those series of images display what you could call &laquo;&nbsp;Lives in slices&nbsp;&raquo;. This is the starting point of the exhibition &laquo;&nbsp;Lives in slices&nbsp;&raquo;, curated by the Belgian photographer Pierre Radisic and Atelier 340 Muzeum, in close collaboration with Michel Husson. Trough this tribute paid to the work of the publisher, as well as to the singular processes of 23 international photographers, a reflection on the notion of independence in the professional domains of culture is being subtly developed.</span></span></p> Wed, 16 Apr 2014 06:43:39 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Thorsten Brinkmann - Hopstreet - September 13th - October 25th Tue, 15 Apr 2014 05:28:58 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Akram Zaatari - WIELS - April 27th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>On the last day of Akram Zaatari&rsquo;s solo exhibition, WIELS organises a conversation between the artist and curator Dirk Snauwaert to officially launch Zaatari&rsquo;s exhibition publication. Hot off the press!</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Film as a Form of Writing</em> is published and distributed by Motto Books in collaboration with WIELS. The trilingual book, designed by Joris Kritis, centres around a recent in-depth interview conducted by critic Quinn Latimer with Akram Zaatari.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Akram Zaatari: &lsquo;It is a film, a thought that took the form of an artwork. As with most of my work, it is made for time; it is both a testimony of where I come from and a mark I care to leave for the future&mdash;again as thought, not as data or records. Let&rsquo;s call it alternative writing that uses the form of letters.'</em></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><strong>Le dernier jour de l&rsquo;exposition solo d&rsquo;Akram Zaatari, WIELS organise une conversation entre l&rsquo;artiste et le commissaire Dirk Snauwaert pour pr&eacute;senter la publication de l'exposition qui vient de para&icirc;tre.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Film as a Form of Writing</em> est publi&eacute; et distribu&eacute; par Motto Books en collaboration avec WIELS. Le livre trilingue, con&ccedil;u par le graphiste Joris Kritis, se concentre sur une r&eacute;cente entrevue en profondeur men&eacute;e par le critique Quinn Latimer avec Akram Zaatari.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Akram Zaatari : &laquo; C&rsquo;est un film, une pens&eacute;e qui a pris la forme d&rsquo;une &oelig;uvre d&rsquo;art. Comme la plupart de mes &oelig;uvres, elle est con&ccedil;ue pour durer, c&rsquo;est un t&eacute;moignage de mon v&eacute;cu et une trace que je souhaite laisser, c&rsquo;est vraiment une pens&eacute;e &ndash; pas une donn&eacute;e ni une archive. On pourrait parler d&rsquo;&eacute;criture alternative qui utilise la forme &eacute;pistolaire. &raquo;</em></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><strong>Op de laatste dag van Akram Zaatari&rsquo;s solotentoonstelling organiseert WIELS een gesprek tussen de kunstenaar en curator Dirk Snauwaert om de nieuwe tentoonstellingspublicatie officieel voor te stellen. Vers van de pers!</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Film as a Form of Writing</em> wordt gepubliceerd en gedistribueerd door Motto Books in samenwerking met WIELS. Het drietalige boek, ontworpen door Joris Kritis, is geconcentreerd op een recent diepte-interview afgenomen door criticus Quinn Latimer met Akram Zaatari.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Akram Zaatari: &lsquo;Het is een film, een gedachte die de vorm van een kunstwerk heeft aangenomen. Zoals de meeste van mijn werken is hij gemaakt voor de lange duur: het is zowel een getuigenis van mijn belevenissen als een spoor dat ik wil nalaten voor de toekomst &ndash; wederom als gedachte, niet als data of documenten. Laten we het een alternatief geschrift in briefvorm noemen.&rsquo;</em></span></p> Tue, 15 Apr 2014 05:19:23 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Melissa Gordon, Lina Viste Grønli, Rob Johannesma, Aukje Koks, G. Küng, Catherine Lommée, Emmanuelle Quertain, Grace Schwindt - WIELS - June 14th - August 17th <p style="text-align: justify;"><span style="font-size: small;">Every summer, since 2013, WIELS dedicates an exhibition to its former artists-in-residence. In charge of the second edition&rsquo;s screening and setting is guest curator Lorenzo Benedetti, whose point of departure is the fine line and particular interaction between production and presentation at the arts centre. For behind the physical proximity of the working studios and exhibition halls lies a mostly symbolic separation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>With</strong>: Melissa Gordon (US/UK), Lina Viste Gr&oslash;nli (NO), Rob Johannesma (NL), Aukje Koks (NL), G. Kung (CH/US), Catherine Lomm&eacute;e (BE), Emmanuelle Quertain (BE), Grace Schwindt (DE/UK)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator:&nbsp;</strong>Lorenzo Benedetti (b. 1972 in Rome) lives en works in Amsterdam and Paris. Benedetti was director of De Vleeshal in Middelburg since 2008, and has recently been appointed as the new director of De Appel arts centre in Amsterdam.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Assistant Curator: </strong>Caroline Dumalin (WIELS)</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Chaque &eacute;t&eacute;, depuis 2013, le WIELS consacre une exposition &agrave; ses anciens artistes-en-r&eacute;sidence. Le commissaire invit&eacute; en charge de la s&eacute;lection et de l&rsquo;agencement de la deuxi&egrave;me &eacute;dition sera Lorenzo Benedetti, qui prend la ligne fine et&nbsp;l&rsquo;interaction particuli&egrave;re entre la production et la pr&eacute;sentation au centre d&rsquo;art comme point de d&eacute;part. Derri&egrave;re la proximit&eacute; physique des studios de travail et des salles d&rsquo;exposition se trouve une s&eacute;paration essentiellement symbolique.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Avec</strong>: Melissa Gordon (US/UK), Lina Viste Gr&oslash;nli (NO), Rob Johannesma (NL), Aukje Koks (NL), G. Kung (CH/US), Catherine Lomm&eacute;e (BE), Emmanuelle Quertain (BE), Grace Schwindt (DE/UK)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Commissaire:&nbsp;</strong>Lorenzo Benedetti (&deg;1972 in Rome) vit et travaille &agrave; Amsterdam et Paris. Benedetti &eacute;tait directeur du Vleeshal &agrave; Middelburg depuis 2008, et a r&eacute;cemment &eacute;t&eacute; nomm&eacute; directeur du Appel arts centre &agrave; Amsterdam.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Assistante-curatrice:&nbsp;</strong>Caroline Dumalin&nbsp;(WIELS)</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Sinds 2013 wijdt WIELS elke zomer een tentoonstelling aan haar voormalige kunstenaars-in-residentie. Voor de tweede editie tekent gastcurator Lorenzo Benedetti voor de onafhankelijke doorlichting en inrichting, waarvoor hij vertrekt van de fijne lijn en bijzondere interactie tussen productie en presentatie in het kunstencentrum. Achter de fysieke nabijheid van de werkstudio&rsquo;s en tentoonstellingszalen schuilt namelijk een veelal symbolische scheiding.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Met</strong>: Melissa Gordon (US/UK), Lina Viste Gr&oslash;nli (NO), Rob Johannesma (NL), Aukje Koks (NL), G. Kung (CH/US), Catherine Lomm&eacute;e (BE), Emmanuelle Quertain (BE), Grace Schwindt (DE/UK)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator:&nbsp;</strong>Lorenzo Benedetti (&deg;1972 in Rome) woont en werkt in Amsterdam en Parijs. Benedetti was vanaf 2008 directeur van de Vleeshal in Middelburg en is onlangs aangesteld als de nieuwe directeur van de Appel arts centre in Amsterdam.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Assistent-curator:&nbsp;</strong>Caroline Dumalin&nbsp;(WIELS)</span></p> Tue, 15 Apr 2014 05:16:40 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Rossella Biscotti - WIELS - May 28th - August 17th <p style="text-align: justify;"><span style="font-size: small;">Rossella Biscotti uses montage as a gesture to&nbsp;reveal individual narratives and their relation&nbsp;to society. In her cross-media practice, cutting&nbsp;across filmmaking, performance and sculpture,&nbsp;she explores and reconstructs obscured&nbsp;moments from recent times, often against the&nbsp;backdrop of state institutions. In the process&nbsp;of composing her personal encounters and&nbsp;oral interrogations into new stories, the site&nbsp;of investigation tends to leave its mark on her&nbsp;sculptures and installations. By examining&nbsp;the relevance of the recovered material from&nbsp;a contemporary perspective, Biscotti sensibly&nbsp;weaves a link to the present.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">For her first solo exhibition in Belgium,&nbsp;Biscotti draws on the project she developed&nbsp;with the inmates of the woman&rsquo;s prison on&nbsp;the island of Giudecca in Venice. In the course&nbsp;of six months, Biscotti ran a dream workshop&nbsp;during which the participants shared and&nbsp;recorded their latest nighttime dreams. The&nbsp;result is the sound piece <em>I dreamt that you&nbsp;changed into a cat, gatto&hellip;ha ha ha</em>, which&nbsp;collects these intimate accounts in a discretely&nbsp;affective way. Elaborating on her installation&nbsp;for the Venice Biennale in 2013, Biscotti&rsquo;s&nbsp;exhibition at WIELS reflects on the fluidity&nbsp;of history and spaces, and the possibility to&nbsp;transform and translate one work into another,&nbsp;moving from their specific context and history&nbsp;to a more collective voice.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Rossella Biscotti was born in 1978 in&nbsp;Molfetta, Italy. For the past decade, she&nbsp;has been living and working between the&nbsp;Netherlands and her research sites, including&nbsp;Chernobyl, the former high-security courthouse&nbsp;in Foro Italico in Rome, The Ignalina Nuclear&nbsp;Power Plant in Lithuania, and the Santo Stefano&nbsp;prison island. The outcome was presented&nbsp;at highly acclaimed solo exhibitions at CAC&nbsp;Vilnius (2012), Fondazione Galleria Civica&nbsp;di Trento (2010), and the Nomas Foundation,&nbsp;Rome (2009); and group exhibitions at MAXXI,&nbsp;Rome (2010&ndash;11), Witte de With, Rotterdam,&nbsp;Museu Serralves, Porto (2010), Manifesta 9&nbsp;and dOCUMENTA (13), Kassel (2012).&nbsp;In 2013, Biscotti participated in the 55th&nbsp;Venice Biennale and had a solo exhibition&nbsp;at Secession, Vienna.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Rossella Biscotti a recours &agrave; la technique&nbsp;du montage pour r&eacute;v&eacute;ler des histoires&nbsp;individuelles et leurs liens avec la soci&eacute;t&eacute;. Dans&nbsp;sa pratique brassant diff&eacute;rents m&eacute;dias, du film&nbsp;&agrave; la performance en passant par la sculpture,&nbsp;l'artiste explore et reconstruit des &eacute;v&eacute;nements&nbsp;r&eacute;cents mais obscurcis, souvent en les&nbsp;confrontant avec les institutions officielles d'un&nbsp;&eacute;tat. Le lieu de l&rsquo;enqu&ecirc;te a tendance &agrave; laisser&nbsp;ses marques dans le processus de cr&eacute;ation de&nbsp;nouvelles histoires, sculptures et installations&nbsp;que Biscotti compose &agrave; partir de rencontres&nbsp;personnelles et traditions orales. En examinant&nbsp;depuis une perspective contemporaine la&nbsp;pertinence des informations recueillies,&nbsp;Biscotti tisse avec intelligence un lien entre&nbsp;le pass&eacute; et le pr&eacute;sent.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pour sa premi&egrave;re exposition solo en&nbsp;Belgique, Biscotti se base sur le projet qu&rsquo;elle&nbsp;a d&eacute;velopp&eacute; avec les femmes incarc&eacute;r&eacute;es&nbsp;dans la prison de l&rsquo;&icirc;le de Giudecca &agrave; Venise.&nbsp;Pendant six mois, Biscotti a anim&eacute; un atelier au&nbsp;cours duquel les participantes ont partag&eacute; et&nbsp;enregistr&eacute; leurs derniers r&ecirc;ves. Le r&eacute;sultat est&nbsp;une installation sonore intitul&eacute;e <em>I dreamt that&nbsp;you changed into a cat, gatto&hellip; ha ha ha</em>, qui&nbsp;recueille ces r&eacute;cits intimes. L&rsquo;exposition de&nbsp;Biscotti au WIELS, qui poursuit son projet&nbsp;pr&eacute;sent&eacute; &agrave; la Biennale de Venise en 2013,&nbsp;r&eacute;fl&eacute;chit &agrave; la fluidit&eacute; de l&rsquo;histoire et des&nbsp;espaces, ainsi qu'&agrave; la possibilit&eacute; de transformer&nbsp;et traduire une oeuvre dans une autre, en&nbsp;transposant un contexte sp&eacute;cifique vers une&nbsp;structure plus collective.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rossella Biscotti est n&eacute;e en 1978 &agrave; Molfetta,&nbsp;en Italie. Au cours des dix derni&egrave;res ann&eacute;es&nbsp;elle a habit&eacute; et a travaill&eacute; entre les Pays-Bas et&nbsp;ses sites de recherche, entre autre Tchernobyl,&nbsp;l&rsquo;ancien palais de justice hautement s&eacute;curis&eacute;&nbsp;Foro Italico &agrave; Rome, la centrale nucl&eacute;aire&nbsp;d'Ignalina en Lituanie, et l&rsquo;&icirc;le-prison Santo&nbsp;Stefano. Le r&eacute;sultat de ces s&eacute;jours &agrave; &eacute;t&eacute;&nbsp;pr&eacute;sent&eacute; dans le cadre d'expositions solo&nbsp;acclam&eacute;es dans diff&eacute;rentes institutions,&nbsp;comme par exemple au CAC Vilnius (2012), &agrave; la&nbsp;Fondazione Galleria Civica di Trento (2010), et&nbsp;&agrave; la Nomas Foundation, Rome (2009), de m&ecirc;me&nbsp;que dans des expositions de groupe au MAXXI,&nbsp;Rome (2010&ndash;11), &agrave; Witte de With, Rotterdam,&nbsp;au Museu Serralves, Porto (2010), &agrave; Manifesta&nbsp;9 et &agrave; la documenta 13, Kassel (2012). En 2013,&nbsp;Biscotti a particip&eacute; &agrave; la 55&egrave;me Biennale de&nbsp;Venise et a b&eacute;n&eacute;fici&eacute; d'une exposition solo&nbsp;&agrave; la Secession, Vienne.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Rossella Biscotti gebruikt de methode van&nbsp;montage om individuele geschiedenissen en hun&nbsp;relatie tot de samenleving te onthullen. In haar&nbsp;crossmediale praktijk, die films, installaties en&nbsp;sculpturen verenigt, verkent en reconstrueert ze&nbsp;verborgen ervaringen uit het recente verleden,&nbsp;die zich vaak afspelen tegen de achtergrond van&nbsp;staatsinstellingen. Tijdens de verwerking van&nbsp;haar persoonlijke ontmoetingen en mondelinge&nbsp;overleveringen tot nieuwe verhalen, sculpturen&nbsp;en installaties, laat de plaats van onderzoek&nbsp;niet zelden haar sporen na. Door het belang van&nbsp;dit verzamelde materiaal opnieuw te belichten&nbsp;vanuit een hedendaags perspectief, weeft Biscotti&nbsp;een scherpzinnig verband met het heden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Voor haar eerste solotentoonstelling in Belgi&euml;&nbsp;put Biscotti uit het project dat ze ontwikkelde&nbsp;met de bewoners van de vrouwengevangenis op&nbsp;het eiland Giudecca in Veneti&euml;. Gedurende zes&nbsp;maanden leidde Biscotti een droomworkshop&nbsp;waarin de deelnemers hun voorbije dromen&nbsp;deelden en registreerden. Het resultaat is de&nbsp;geluidsinstallatie<em> I dreamt that you changed&nbsp;into a cat, gatto...ha ha ha</em> [Ik droomde dat je&nbsp;veranderd was in een kat, gatto ... ha ha ha], die&nbsp;hun intieme relaas verzamelt. De inrichting van&nbsp;haar tentoonstelling in WIELS, voortbordurend&nbsp;op haar installatie voor de Bi&euml;nnale van Veneti&euml;&nbsp;in 2013, weerspiegelt de plooibaarheid van de&nbsp;geschiedenis en ruimtes, en de mogelijkheid&nbsp;om een werk om te vormen en te vertalen naar&nbsp;een ander werk, door zich te bewegen van een&nbsp;specifieke context naar een meer collectieve stem.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rossella Biscotti werd geboren in 1978&nbsp;in Molfetta, Itali&euml;. De afgelopen tien jaar&nbsp;woonde en werkte ze tussen Nederland en haar&nbsp;onderzoeksites, waaronder Tsjernobyl, het&nbsp;voormalige zwaar beveiligde gerechtsgebouw&nbsp;in Foro Italico in Rome, de kerncentrale van&nbsp;Ignalina in Litouwen, en het gevangeniseiland&nbsp;Santo Stefano. Het resultaat werd gepresenteerd&nbsp;op veelgeprezen solotentoonstellingen, onder&nbsp;andere in CAC Vilnius (2012), Fondazione&nbsp;Galleria Civica di Trento (2010), en de Nomas&nbsp;Foundation, Rome (2009); alsook groepstentoonstellingen&nbsp;in MAXXI, Rome (2010-11), Witte de&nbsp;With, Rotterdam, Museu Serralves, Porto (2010),&nbsp;Manifesta 9 en dOCUMENTA (13), Kassel&nbsp;(2012). In 2013 nam Biscotti bovendien deel aan&nbsp;de 55ste Bi&euml;nnale van Veneti&euml; en had zij een&nbsp;solotentoonstelling in Secession, Wenen.</span></p> Tue, 15 Apr 2014 05:14:13 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - WIELS - June 5th 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Guided tour of Robert Heinecken's&nbsp;<a href="http://www.artslant.com/brx/events/show/332221-lessons-in-posing-subjects" target="_blank">Lessons in Posing Subjects</a>&nbsp;and Allen Ruppersberg's<a href="http://www.artslant.com/brx/events/show/332216-no-time-to-start-again-and-again" target="_blank">&nbsp;</a><a href="http://www.artslant.com/brx/events/show/332216-no-time-to-start-again-and-again" target="_blank">No Time Left to Start Again and Again</a>&nbsp;by Devrim Bayar, curator of these exhibitions.</span></p> Tue, 15 Apr 2014 05:12:00 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Robert Heinecken - WIELS - May 16th - August 17th <div class="heading"> <p style="text-align: justify;"><span style="font-size: small;"><strong>There is a vast difference between taking&nbsp;</strong><strong>a picture and making a photograph.</strong></span><br /><span style="font-size: small;"><strong>&ndash; Robert Heinecken</strong></span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Despite rarely using a camera during his&nbsp;career, Robert Heinecken (1931&ndash;2006) is&nbsp;widely considered one of the most influential&nbsp;post-war American photographers. Describing&nbsp;himself as a 'paraphotographer', Heinecken&nbsp;tirelessly explored the nature of photography&nbsp;and the ideas traditionally associated with&nbsp;it, through a large variety of techniques,&nbsp;including sculpture, video, printmaking&nbsp;and collage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at WIELS examines a&nbsp;pivotal period in the artist's career, during&nbsp;which Heinecken used a Polaroid SX70&nbsp;camera. The presentation includes the first&nbsp;examples of works using this medium,&nbsp;starting in the mid-1970s until his most iconic&nbsp;project, the series <em>Lessons in Posing Subjects</em>,&nbsp;dating from 1981&ndash;82, and presented here in&nbsp;its entirety. Playing with the reality effect&nbsp;inherent to instant photographs, the artist re-contextualizes images found in mail order&nbsp;catalogues, which he juxtaposes with ironic&nbsp;texts. At once seductive and full of humour,&nbsp;his 'lessons' are no less provocative, bearing&nbsp;witness to the commitment of this controversial&nbsp;artist, who considered his approach a form of&nbsp;'guerrilla' artistic practice. A pioneer of the&nbsp;Pictures Generation, which emerged at the time,&nbsp;Heinecken explored the standardising effect of mass media and the link between original&nbsp;and copy, while pursuing themes that span&nbsp;his entire oeuvre, such as American popular&nbsp;culture, consumer society, pornography&nbsp;and gender.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The work of Robert Heinecken has been&nbsp;presented in more than sixty monographic&nbsp;exhibitions exhibitions, among them a large retrospective organized by the Museum of Contemporary Art in Chicago in 1999. His recent collective exhibitions include <em>The Photographic Object 1970</em> at the Consortium, Dijon, 2013; <em>The Shaping of New Visions: Photography, Film, Photobook</em> at the Whitney Museum of America Art, New York, 2012; <em>Under the Big Black Sun: California Art 1974&ndash;1981</em> at the Museum of Contemporary Art, Los Angeles, 2012. In 2014, the Museum&nbsp;of Modern Art in New York will present a&nbsp;major retrospective exhibition of the artist,&nbsp;which will later travel to the Hammer&nbsp;Museum in Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">The exhibition is generously supported by the galleries Cherry and Martin, Petzel, Marc Selwyn Fine Art and Rhona Hoffman.</span></p> <p style="text-align: justify;"><br class="Apple-interchange-newline" /><span style="font-size: small;">In collaboration with&nbsp;<a href="http://www.summerofphotography.be/" target="_blank">Summer of Photography 2014</a></span></p> <hr /> <div class="heading" style="text-align: justify;"> <p><span style="font-size: small;"><strong>There is a vast difference between taking&nbsp;</strong><strong>a picture and making a photograph.</strong></span><br /><span style="font-size: small;"><strong>&ndash; Robert Heinecken</strong></span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Bien qu&rsquo;il ait rarement eu recours &agrave; un appareil&nbsp;photo durant sa carri&egrave;re, Robert Heinecken&nbsp;(1931 &ndash; 2006) est consid&eacute;r&eacute; comme l&rsquo;un des photographes&nbsp;am&eacute;ricains d&rsquo;apr&egrave;s-guerre les plus&nbsp;influents. Se d&eacute;finissant plus volontiers comme&nbsp;un &laquo; para photographe &raquo;, Heinecken a explor&eacute;&nbsp;la nature de la photographie en remettant sans&nbsp;cesse en cause les id&eacute;es traditionnelles lui &eacute;tant&nbsp;associ&eacute;es, et ce &agrave; travers une grande vari&eacute;t&eacute;&nbsp;de techniques, y compris la sculpture, la vid&eacute;o,&nbsp;la gravure et le collage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">L&rsquo;exposition au WIELS examine une&nbsp;p&eacute;riode charni&egrave;re dans la carri&egrave;re de l&rsquo;artiste,&nbsp;au cours de laquelle Heinecken utilise un&nbsp;appareil photographique, le Polaroid SX70.&nbsp;La pr&eacute;sentation inclut les premiers exemples&nbsp;d&rsquo;oeuvres utilisant cette technique &agrave; partir&nbsp;du milieu des ann&eacute;es 1970 jusqu&rsquo;&agrave; son&nbsp;aboutissement le plus iconique, la s&eacute;rie <em>Lessons&nbsp;in Posing Subjects</em> dat&eacute;e de 1981 &ndash;82 et pr&eacute;sent&eacute;e&nbsp;dans son int&eacute;gralit&eacute;. Jouant de l&rsquo;effet de r&eacute;el&nbsp;inh&eacute;rent aux clich&eacute;s instantan&eacute;s, l&rsquo;artiste&nbsp;re-contextualise dans cette s&eacute;rie des images&nbsp;trouv&eacute;es dans des catalogues de vente par&nbsp;correspondance, qu&rsquo;il juxtapose &agrave; des textes ironiques. &Agrave; la fois s&eacute;duisantes et pleine&nbsp;d&rsquo;humour, ces &laquo; le&ccedil;ons &raquo; n&rsquo;en sont pas moins&nbsp;provocantes et t&eacute;moignent de l&rsquo;engagement&nbsp;de cet artiste controvers&eacute; qui n&rsquo;h&eacute;sitait pas &agrave;&nbsp;qualifier sa pratique artistique de &laquo; gu&eacute;rilla &raquo;.&nbsp;Annonciatrice de la Pictures Generation qui&nbsp;&eacute;merge &agrave; l&rsquo;&eacute;poque, l&rsquo;oeuvre de Heinecken explore&nbsp;l&rsquo;effet normalisant des mass m&eacute;dias et les liens&nbsp;entre l&rsquo;original et la copie, tout en poursuivant les th&egrave;mes qui traversent son oeuvre, tels que la&nbsp;culture populaire am&eacute;ricaine, le mercantilisme,&nbsp;la pornographie et le genre.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Le travail de Robert Heinecken a &eacute;t&eacute;&nbsp;pr&eacute;sent&eacute; dans plus de soixante expositions&nbsp;monographiques dont une grande r&eacute;trospective organis&eacute;e par le Museum of Contemporary Art de Chicago en 1999. Ses expositions collectives r&eacute;centes incluent&nbsp;<em>The Photographic Object</em> 1970 au Consortium, Dijon, 2013 ; <em>The Shaping of New Visions: Photography, Film, Photobook</em> au Museum of Modern Art, New York, 2013 ; <em>Sinister Pop</em> au Whitney Museum of American Art, New York, 2012 ; <em>Under the Big Black Sun: California Art 1974&ndash;1981</em> au Museum of Contemporary Art, Los Angeles, 2012. En 2014, le Museum of&nbsp;Modern Art de New York consacrera une&nbsp;grande r&eacute;trospective &agrave; l&rsquo;artiste, qui voyagera ensuite au Hammer Museum de Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">L'expositiion b&eacute;n&eacute;fice du soutien des galeries&nbsp;Cherry and Martin,&nbsp;Petzel,&nbsp;Marc Selwyn Fine Art&nbsp;et&nbsp;Rhona Hoffman.</span></p> <p style="text-align: justify;"><span style="font-size: small;">En partenariat avec&nbsp;<a href="http://www.summerofphotography.be/" target="_blank">Summer of Photography 2014</a></span></p> <hr /> <div class="heading" style="text-align: justify;"> <p><span style="font-size: small;">There is a vast difference between taking&nbsp;a picture and making a photograph.</span><br /><span style="font-size: small;">&ndash; Robert Heinecken</span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Hoewel hij tijdens zijn carri&egrave;re maar zelden&nbsp;een camera gebruikte, wordt Robert Heinecken&nbsp;(1931 &ndash; 2006) gezien als &eacute;&eacute;n van de invloedrijkste&nbsp;naoorlogse Amerikaanse fotografen. Zichzelf&nbsp;beschrijvend als &lsquo;parafotograaf&rsquo;, onderzocht&nbsp;Heinecken middels een grote vari&euml;teit aan&nbsp;technieken, met inbegrip van beeldhouwkunst,&nbsp;video, gravure en collage, onvermoeibaar het&nbsp;wezen van de fotografie en de traditionele idee&euml;n&nbsp;die daarmee geassocieerd worden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling in WIELS onderzoekt een&nbsp;scharnierperiode in de carri&egrave;re van de kunstenaar,&nbsp;gedurende dewelke Heinecken een camera&nbsp;gebruikt, de Polaroid SX70. De presentatie&nbsp;bevat de eerste voorbeelden van werken die deze&nbsp;techniek gebruikten vanaf het midden van de&nbsp;jaren 1970 tot het meer iconische eindpunt, de&nbsp;serie <em>Lessons in Posing Subjects</em> uit 1981&ndash;82, die&nbsp;in zijn volledigheid gepresenteerd wordt. Spelend&nbsp;met het effect van het re&euml;le waarbij onmiddellijke&nbsp;clich&eacute;s inherent zijn, hercontextualiseert de&nbsp;kunstenaar in deze reeks afbeeldingen, gevonden&nbsp;in postordercatalogi, door ze tegenover ironische&nbsp;teksten te plaatsen. Gelijktijdig verleidend en&nbsp;vol humor, zijn de &ldquo;lessen&rdquo; niet minder provocerend&nbsp;en getuigen ze van engagement van de&nbsp;controversi&euml;le kunstenaar die niet aarzelt om&nbsp;zijn praktijk als &ldquo;guerrilla&rdquo; te bestempelen. Als&nbsp;aankondiging van de Pictures Generation die&nbsp;tijdens deze periode opkomt, onderzoekt het&nbsp;werk van Heinecken het normalisatie-effect van&nbsp;massamedia en de relatie tussen het origineel en&nbsp;de kopie, terwijl hij thema&rsquo;s navolgt die zijn hele&nbsp;oeuvre kruisen, zoals de Amerikaanse populaire cultuur, het mercantilisme, de pornografie&nbsp;en het geslacht.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Het werk van Robert Heinecken werd&nbsp;gepresenteerd in meer dan 60 monografische&nbsp;tentoonstellingen, waarvan een grote retrospectieve georganiseerd werd door het Museum of Contemporary Art te Chicago in 1999. Bij zijn recente collectieve tentoonstellingen behoren <em>The Photograpic Object 1970</em> in het Consortium, Dijon, 2013; <em>The Shaping of New Visions: Photography, Film, Photobook</em> in het Museum of Modern Art, New York, 2013; <em>Sinister Pop</em> in het Whitney Museum of American Art, New York, 2012; <em>Under the Big Black Sun: California Art 1974&ndash;1981</em> in het Museum of Contemporary Art, Los Angeles, 2012. In 2014 zal het Museum of&nbsp;Modern Art in New York een grote retrospectieve&nbsp;tentoonstelling aan de kunstenaar wijden, die&nbsp;vervolgens naar het Hammer Museum in Los&nbsp;Angeles zal reizen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">De tentoonstelling wordt gesteund door de galerijen&nbsp;Cherry and Martin,&nbsp;Petzel,&nbsp;Marc Selwyn Fine Art&nbsp;en&nbsp;Rhona Hoffman.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In samenwerking met&nbsp;<a href="http://www.summerofphotography.be/" target="_blank">Summer of Photography 2014</a></span></p> Tue, 15 Apr 2014 05:10:29 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Allen Ruppersberg - WIELS - May 16th - August 17th <div class="heading"> <p style="text-align: justify;"><span style="font-size: small;"><strong>I'm basically a pulp artist. As popular culture&nbsp;</strong><strong>grows and at times threatens to overwhelm&nbsp;</strong><strong>everything, I think any artist is aware&nbsp;</strong><strong>of his relationship to it. At the same time,&nbsp;</strong><strong>I also believe art is not popular culture&nbsp;</strong><strong>or entertainment. &ndash; Allen Ruppersberg</strong></span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Allen Ruppersberg (born in 1944 in&nbsp;Cleveland, Ohio; lives and works in Santa&nbsp;Monica, California and Brooklyn, New&nbsp;York) is among the generation of American&nbsp;conceptual artists who changed the way art&nbsp;was thought about and made at the end of the&nbsp;1960s. His multiform artistic work, which&nbsp;includes paintings, sculptures, photographs,&nbsp;installations, performances and books,&nbsp;amongst other media, is inspired by the Beat&nbsp;Generation and anchored in a critical approach&nbsp;to the media and consumer society. Over&nbsp;the years, Ruppersberg, an avid collector,&nbsp;has accumulated an impressive quantity of&nbsp;books, posters, postcards, educational films,&nbsp;magazines, records and other documents or&nbsp;objects that bare witness to American popular&nbsp;culture. This archive serves as a regular&nbsp;resource for the artist, who tirelessly draws,&nbsp;copies, classifies and recycles elements in the&nbsp;making of his works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At WIELS, Ruppersberg presents one of his&nbsp;more recent works, titled <em>No Time Left To Start&nbsp;</em><em>Again/The B and D of R 'n' R</em>. It is a sweeping&nbsp;survey of American vernacular recorded music,&nbsp;from folk to rock, passing through gospel and&nbsp;blues. The monumental installation assembles&nbsp;various materials stemming from the archives&nbsp;of the artist, such as amateur snapshots,&nbsp;obituaries for deceased musicians and images&nbsp;of old records. A soundtrack composed of a&nbsp;hundred popular songs accompagnies the&nbsp;installation. The songs were taken from&nbsp;the artist's collection of over 4,000 78rpm&nbsp;records and are contained on 8 vinyl records&nbsp;specifically produced for the exhibition. In&nbsp;parallel with the installation, Ruppersberg&nbsp;presents a selection of his previous works that&nbsp;echoes certain notions important to <em>The B and&nbsp;</em><em>D of R 'n' R</em>, such as memory, the transmission&nbsp;of knowledge and the relationship between art&nbsp;and popular culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Winner of several prestigious prizes&nbsp;(National Endowment for the Arts, 1982 and&nbsp;1976 (1976 and 1982); Guggenheim Fellowship,&nbsp;1997), Ruppersberg has participated in&nbsp;numerous international collective exhibitions,&nbsp;such as <em>When Attitudes Become Form</em>,&nbsp;Kunsthalle, Bern, 1969; dOCUMENTA V,&nbsp;1972; Biennale de Lyon, 1996. Important solo&nbsp;exhibitions on him have been staged by the&nbsp;Museum of Contemporary Art, Los Angeles,&nbsp;1985; the Kunsthalle D&uuml;sseldorf, 2005; and&nbsp;the Museum of Art, Santa Monica, 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">In collaboration with&nbsp;The Art Institute of Chicago.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is generously supported by the galleries&nbsp;Greene Naftali, New York, and&nbsp;Micheline&nbsp;Szwajcer, Brussels.</span></p> <hr /> <div class="heading" style="text-align: justify;"> <p><span style="font-size: small;"><strong>I'm basically a pulp artist. As popular culture&nbsp;</strong><strong>grows and at times threatens to overwhelm&nbsp;</strong><strong>everything, I think any artist is aware&nbsp;</strong><strong>of his relationship to it. At the same time,&nbsp;</strong><strong>I also believe art is not popular culture&nbsp;</strong><strong>or entertainment. &ndash; Allen Ruppersberg</strong></span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Allen Ruppersberg (n&eacute; &agrave; Cleveland, Ohio&nbsp;en 1944 ; vit et travaille &agrave; Santa Monica,&nbsp;Californie et Brooklyn, New York) appartient &agrave;&nbsp;la premi&egrave;re g&eacute;n&eacute;ration d&rsquo;artistes conceptuels&nbsp;am&eacute;ricains qui ont r&eacute;volutionn&eacute; la mani&egrave;re&nbsp;de penser l&rsquo;art et de le cr&eacute;er &agrave; partir de la&nbsp;fin des ann&eacute;es 60. Sa pratique artistique&nbsp;multiforme, qui inclut peintures, sculptures,&nbsp;photographies, installations, performances&nbsp;et livres, parmi d&rsquo;autres m&eacute;dias, est nourrie&nbsp;de la Beat Generation et ancr&eacute;e dans une&nbsp;approche critique des m&eacute;dias et de la soci&eacute;t&eacute;&nbsp;de consommation. Insatiable collectionneur,&nbsp;Ruppersberg a, au cours des ann&eacute;es, accumul&eacute;&nbsp;une quantit&eacute; faramineuse de livres, affiches,&nbsp;cartes postales, films &eacute;ducatifs, magazines,&nbsp;disques et autres documents ou objets qui&nbsp;t&eacute;moignent de la culture populaire am&eacute;ricaine.&nbsp;Ces archives permettent &agrave; l&rsquo;artiste d&rsquo;y puiser,&nbsp;de les copier, classer et recycler inlassablement&nbsp;pour la production de ses oeuvres.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Au WIELS, Ruppersberg pr&eacute;sente une de&nbsp;ses pi&egrave;ces les plus r&eacute;centes, intitul&eacute;e<em> No Time&nbsp;</em><em>Left to Start Again/The B and D of R &lsquo;n&rsquo; R</em>, qui&nbsp;retrace l&rsquo;histoire de la musique vernaculaire&nbsp;am&eacute;ricaine enregistr&eacute;e, du folk au rock, en&nbsp;passant par le gospel et le blues. L'installation&nbsp;monumentale rassemble diff&eacute;rents mat&eacute;riaux&nbsp;issus des archives de l'artiste tels que des&nbsp;photos amateurs, des notices n&eacute;crologiques&nbsp;de musiciens d&eacute;funts et des images de vieux&nbsp;disques. Une bande-son compos&eacute;e de plus&nbsp;d'une centaine de chansons populaires&nbsp;accompagne le dispositif. Celles-ci proviennent&nbsp;de la collection de l'artiste qui poss&egrave;de plus&nbsp;de 4000 disques 78 tours et ont &eacute;t&eacute; grav&eacute;es sur&nbsp;8 disques vinyles produits sp&eacute;cialement pour&nbsp;l'exposition. Parall&egrave;lement &agrave; cette installation&nbsp;in&eacute;dite, Ruppersberg pr&eacute;sente une s&eacute;lection&nbsp;d&rsquo;oeuvres plus anciennes faisant &eacute;cho &agrave;&nbsp;certaines des notions mises en oeuvre par&nbsp;<em>The B and D of R &lsquo;n&rsquo; R</em> telles que la m&eacute;moire,&nbsp;la collection, la transmission des savoirs ainsi&nbsp;que le lien entre art et culture populaire.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Laur&eacute;at de plusieurs prix prestigieux&nbsp;(National Endowment for the Arts, 1982 et&nbsp;1976 ; Guggenheim Fellowship, 1997), Allen&nbsp;Ruppersberg a particip&eacute; &agrave; de nombreuses&nbsp;expositions collectives internationales, parmi&nbsp;lesquelles <em>When Attitudes Become Form</em>,&nbsp;Kunsthalle, Bern, 1969 ; dOCUMENTA V,&nbsp;1972 ; Biennale de Lyon, 1996. D&rsquo;importantes&nbsp;expositions personnelles lui ont &eacute;galement&nbsp;&eacute;t&eacute; consacr&eacute;es, notamment au Museum of&nbsp;Contemporary Art, Los Angeles, 1985, &agrave; la&nbsp;Kunsthalle, D&uuml;sseldorf, 2005 et au Museum&nbsp;of Art, Santa Monica, 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">En collaboration avec The Art Institute of Chicago.</span></p> <p style="text-align: justify;"><span style="font-size: small;">L'expositiion b&eacute;n&eacute;fice du soutien des galeries Greene Naftali, New York, et Micheline&nbsp;Szwajcer, Bruxelles</span></p> <hr /> <div class="heading" style="text-align: justify;"> <p><span style="font-size: small;"><strong>I'm basically a pulp artist. As popular culture&nbsp;</strong><strong>grows and at times threatens to overwhelm&nbsp;</strong><strong>everything, I think any artist is aware&nbsp;</strong><strong>of his relationship to it. At the same time,&nbsp;</strong><strong>I also believe art is not popular culture&nbsp;</strong><strong>or entertainment. &ndash; Allen Ruppersberg</strong></span></p> </div> <p style="text-align: justify;"><span style="font-size: small;">Allen Rupperberg (geboren in 1944 in Cleveland,&nbsp;Ohio; woont en werkt in Santa Monica,&nbsp;California en Brooklyn, New York) maakt&nbsp;deel uit van de eerste generatie Amerikaanse&nbsp;conceptuele kunstenaars die verandering bracht&nbsp;in de manier waarop kunst werd gedacht en&nbsp;geproduceerd aan het einde van de jaren 1960.&nbsp;Zijn veelvormig artistiek werk, dat naast&nbsp;andere media ook schilderijen, sculpturen, foto&rsquo;s,&nbsp;installaties, performances en boeken omvat,&nbsp;is ge&iuml;nspireerd door de Beat Generation en&nbsp;verankerd in een kritische benadering van de&nbsp;media en de consumptiemaatschappij. Door de&nbsp;jaren heen bracht Ruppersberg, een fervent verzamelaar,&nbsp;een astronomische hoeveelheid bijeen&nbsp;aan boeken, posters, postkaarten, educatieve&nbsp;films, tijdschriften, platen en andere documenten&nbsp;of objecten die getuigen van de Amerikaanse&nbsp;populaire cultuur. Deze archieven dienen als&nbsp;bronnen voor de kunstenaar die onvermoeibaar&nbsp;tekent, kopieert, classificeert en recycleert voor&nbsp;de productie van zijn werken.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In WIELS presenteert Ruppersberg &eacute;&eacute;n van&nbsp;zijn meest recente werken, getiteld <em>No Time Left&nbsp;</em><em>To Start Again/The B and D of R 'n' R</em>, die de&nbsp;geschiedenis van de Amerikaanse vernaculaire&nbsp;platenmuziek in kaart brengt, van folk en rock,&nbsp;tot gospel en blues. De momumentale installatie&nbsp;brengt verschillende materialen bijeen afkomstig&nbsp;uit de archieven van de kunstenaar, zoals&nbsp;amateursnapshots, necrologie&euml;n van gestorven&nbsp;kunstenaars en beelden van oude platen. Een&nbsp;soundtrack bestaande uit meer dan honderd&nbsp;populaire liedjes begeleidt de installatie. Deze&nbsp;liedjes zijn afkomstig uit de collectie van de&nbsp;kunstenaar, die meer dan 4000 78-toeren platen&nbsp;bezit, en werden speciaal voor de tentoonstelling&nbsp;gegraveerd op 8 vinylplaten. Parallel met deze&nbsp;installatie presenteert Ruppersberg een selectie&nbsp;van historische werken die bepaalde noties&nbsp;echo&euml;n die in het werk gebracht werden door&nbsp;<em>The B and D of R 'n' R</em>, zoals de herinnering,&nbsp;het doorgeven van kennis en de relatie tussen&nbsp;kunst en populaire cultuur.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ruppersberg won verschillende prestigieuze&nbsp;prijzen (National Endowment for the Arts,&nbsp;1976 en 1982; Guggenheim Fellowship, 1997)&nbsp;en nam deel aan talrijke internationale&nbsp;collectieve tentoonstellingen, zoals <em>When&nbsp;</em><em>Attitudes Become Form</em>, Kunsthalle, Bern,&nbsp;1969; dOCUMENTA V, 1972; Biennale de Lyon,&nbsp;1996. Belangrijke solotentoonstellingen werden&nbsp;onder meer georganiseerd in het Museum of&nbsp;Contemporary Art, Los Angeles, 1985; in de&nbsp;Kunsthalle, D&uuml;sseldorf, 2005 en in het Museum&nbsp;of Art, Santa Monica, 2009.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Curator: Devrim Bayar</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">In samenwerking met&nbsp;The Art Institute of Chicago.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling wordt gesteund door de galerijen&nbsp;Greene Naftali, New York, en&nbsp;Micheline&nbsp;Szwajcer, Brussel.</span></p> Tue, 15 Apr 2014 05:07:21 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Marco Bruzzone, Jan Freuchen, Linn Pedersen, André Tehrani, Sus Soddu, Magnhild Øen Nordahl, Ryan Brewer, Phillip Raiford Johnson - WIELS - April 17th - May 11th <p class="p1" style="text-align: justify;"><span style="font-size: small;"><em>Soft Measures</em>&nbsp;is a group exhibition curated by Andr&eacute; Tehrani and Anthea Buys for the project space at WIELS Art Centre in Brussels. The project is a conclusion of Tehrani&rsquo;s residency at WIELS and features a diverse group of young artists from Italy, Norway, South Africa and the United States.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Tehrani and Buys set out to make a group exhibition by employing the intuitive, often inexplicable processes of material and visual decision-making involved in producing works of art. The exhibition foregrounds the obscure but nevertheless central impulses that inform artistic production: the gut-feeling discriminations which gives preference to&nbsp;<em>this</em>&nbsp;over&nbsp;<em>that</em>, often as a result of a haptic, fetishistic or visual attraction to a specific quality or surface. This sensual intelligence plays an instrumental role in the processes of artistic production, but is curiously excluded from curatorial and mediative work in contemporary art.&nbsp;<em>Soft Measures</em>&nbsp;explores the possibility of curating as inhabiting and working through a sensual logic, rather than corralling works into a discursive structure. The purpose of this approach is to stage a shift in the dominance of discourse over visual and sensory properties in both artistic production and exhibition-making. Not only because discourse seems to have exhausted itself in contemporary art, but also because the subordination of the sensory to the discursive reflects an ideological bias that privileges reason, order, and inflexibility over provisionality and responsiveness. In so many fields of cultural history - in the histories of art, colonial education, Western philosophy, the written mediation of scientific discovery - this ideological bias is taken as a natural hierarchy. The only fitting way to challenge this notion is to work contrary to it (as opposed merely to writing contrary to it), creating space for the sensory, non-conceptual qualities that distinguish artistic practice to guide the formation of ideas and knowledge.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">The counterpoint this exhibition seeks out is consolidated in the works that have been selected for the show through the metaphor of softness. In each work slack or unstable materials such as ropes, fabric and salvaged scrap provide a structure that gives the work its formal integrity. Moreover, several of the included pieces display a shared interest in obscure and ritualistic encounters with these types of flaccid and flexible materials.&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;"><em>Soft Measures</em>&nbsp;opens at WIELS' project space on April 16th, 2014 and presents recent works by Marco Bruzzone (IT), Jan Freuchen &amp; Linn Pedersen (NO), Andr&eacute; Tehrani &amp; Sus Soddu (NO/SE), Magnhild &Oslash;en Nordahl (NO), Ryan Brewer (US) and Phillip Raiford Johnson (SA).</span></p> <hr /> <p class="p1" style="text-align: justify;"><span style="font-size: small;"><em>Soft Measures</em>&nbsp;est une exposition de groupe organis&eacute;e par Andr&eacute; Tehrani et Anthea Buys pour la Project Room de WIELS. Le projet conclut la r&eacute;sidence de Tehrani au WIELS et pr&eacute;sent un groupe de jeunes artistes d'Italie, de Norv&egrave;ge, d'Afrique du Sud et des &Eacute;tats-Unis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tehrani et Buys ont &eacute;labor&eacute; une exposition de groupe en utilisant les processus intuitifs, souvent inexplicables, &agrave; la fois mat&eacute;riels et visuels qui participent &agrave; la production d'&oelig;uvres d'art. L'exposition met en avant les pulsions obscures mais n&eacute;anmoins centrales qui informent la production artistique : les discriminations instinctives qui donnent la pr&eacute;f&eacute;rence &agrave; <em>ceci</em> sur <em>cela</em>, souvent &agrave; la suite d'une attraction haptique, f&eacute;tichiste ou visuele d'une qualit&eacute; ou surface sp&eacute;cifique. Cette intelligence sensuelle joue un r&ocirc;le d&eacute;terminant dans les processus de production artistique, mais est curieusement exclue du travail curatorial ou de m&eacute;diation en art contemporain. <em>Soft Measures&nbsp;</em>explore la possibilit&eacute; de curater une exposition en habitant et en travaillant avec une logique sensuelle, plut&ocirc;t que de rassembler des &oelig;uvres dans une structure discursive. Le but de cette approche est de faire valoir un changement dans la domination du discours sur les propri&eacute;t&eacute;s visuelles et sensorielles dans les d&eacute;cisions qui gouvernent la production artistique et dans exposition de d&eacute;cision. Non seulement parce que le discours semble s'&ecirc;tre &eacute;puis&eacute; en art contemporain, mais aussi parce que la subordination du sensible au discours refl&egrave;te un parti pris id&eacute;ologique qui privil&egrave;ge la raison, l'ordre et l'inflexibilit&eacute; sur le provisoire et la r&eacute;activit&eacute;. Dans de nombreux domaines de l'histoire culturelle - dans les histoires de l'art, l'&eacute;ducation coloniale, la philosophie occidentale, la m&eacute;diation &eacute;crite de la d&eacute;couverte scientifique - ce parti pris id&eacute;ologique est consid&eacute;r&eacute; comme une hi&eacute;rarchie naturelle. La seule fa&ccedil;on appropri&eacute;e de contester cette notion est de travailler &agrave; son encontre (et non pas &eacute;crire &agrave; son encontre), de cr&eacute;er un espace pour les qualit&eacute;s sensorielles, non conceptuelles qui distinguent la pratique artistique.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Le contrepoint que cette exposition cherche est consolid&eacute; dans les travaux qui ont &eacute;t&eacute; s&eacute;lectionn&eacute;s pour l'exposition &agrave; travers la m&eacute;taphore de la douceur. Dans chaque oeuvre, des mat&eacute;riaux instables tels que des cordes, du tissu et de la ferraille r&eacute;cup&eacute;r&eacute;e fournissent une structure qui donne &agrave; l'&oelig;uvre son int&eacute;grit&eacute; formelle. En outre, plusieurs des pi&egrave;ces affichent un int&eacute;r&ecirc;t commun dans les rencontres obscures et rituelles avec ce type de mat&eacute;riaux souples et flasques.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Soft Measures</em>&nbsp;ouvre dans la Project Room de WIELS le 16 avril 2014 et pr&eacute;sente les &oelig;uvres r&eacute;centes de Marco Bruzzone (IT), Jan Freuchen &amp; Linn Pedersen (NO), Andr&eacute; Tehrani &amp; Sus Soddu (NO/SE), Magnhild &Oslash;en Nordahl (NO), Ryan Brewer (Etats-Unis) et Phillip Raiford Johnson (SA).</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Soft Measures is een groepstentoonstelling gecureerd door Andr&eacute; Tehrani en Anthea Buys in WIELS Centrum voor Hedendaagse Kunst te Brussel. De expo vormt het slotproject van Tehrani&rsquo;s residentie in WIELS en presenteert een diverse groep jonge kunstenaars uit Itali&euml;, Noorwegen, Zuid-Afrika en de Verenigde Staten.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tehrani en Buys besloten voor deze tentoonstelling gebruik te maken van de intu&iuml;tieve, vaak onverklaarbare processen van materi&euml;le en visuele keuzes die gepaard gaan met het maken van een kunstwerk. De tentoonstelling brengt de enigzins obscure maar niettemin centrale impulsen die aan de basis liggen van de artistieke schepping; het buikgevoel dat de voorkeur geeft aan het ene boven het andere, vaak als resultaat van een haptische, fetisjistische of visuele aantrekkingskracht naar een specifieke kwaliteit of ondergrond. Deze zinnelijke intelligentie speelt een semantische rol in het artistieke proces, maar wordt vreemd genoeg uitgesloten bij het curationele en mediatieve werk binnen de hedendaagse kunst.&nbsp;<em>Soft Measures </em>onderzoekt de mogelijkheid van de curator om zich in te leven in het artistieke proces en te werken vanuit een sensuele logica eerder dan de werken in een discursieve structuur te wringen. De bedoeling van deze benadering is het teweegbrengen van een verschuiving van de huidige dominantie van de discursieve vermogens naar de visuele en zintuiglijke vermogens, zowel bij het maken van kunstwerken als tentoonstellingen. Niet alleen lijkt het discursieve zich in de hedendaagse kunst te hebben uitgeput, ook reflecteert dit ondergeschikte van het zintuiglijke een ideologie die rede, orde en inflexibiliteit prefereert boven het veranderlijke en responsieve. In vele bereiken binnen de culturele geschiedenis &ndash; de kunsten, de koloniale beschaving, de Westerse filosofie en het wetenschappelijk onderzoek &ndash; werd dit ideologisch standpunt als een natuurlijke hi&euml;rarchie beschouwd.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De enige passende manier om deze notie uit te dagen is om ermee in strijd te gaan en - behalve het louter schrijven hierover - ruimte te cre&euml;ren voor de zintuiglijke, niet-conceptuele kwaliteiten van de artistieke praktijk en deze de ontwikkeling van idee&euml;n en kennis te laten begeleiden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Het contrapunt waar deze tentoonstelling naar zoekt wordt gerepresenteerd door de geselecteerde werken, waarbij de zachtheid fungeert als metafoor. Instabiele materialen als stof en touw voorzien de kunstwerken van hun formele integriteit. Voorts tonen de verschillende werken een gedeelde interesse van de kunstenaars in obscure en rituele ervaringen met dit soort flexibele materialen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De opening van <em>Soft Measures</em> vindt plaats in de exporuimtes van WIELS op 16 April 2014 en presenteert recente werken van Marco Bruzzone (IT), Jan Freuchen &amp; Linn Pedersen (NO), Andr&eacute; Tehrani &amp; Sus Soddu (NO/SE), Magnhild &Oslash;en Nordahl (NO), Ryan Brewer (US) en Phillip Raiford Johnson (SA).</span></p> Tue, 15 Apr 2014 05:04:36 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list