ArtSlant - Recently added http://www.artslant.com/brx/Events/show en-us 40 Nicholas Knight - Rectangle - September 11th - November 10th Mon, 01 Sep 2014 14:35:21 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Benoît Maire - La Verrière Hermès - September 6th - October 18th <div class="attribute-presentation"> <p style="text-align: justify;"><strong>'LETRE is a performance in the present tense, the essence of moments of being, in writing.' The fourth exhibition in the <em>Gesture, and thought</em> series at La Verri&egrave;re presents a minimalist installation by French artist Beno&icirc;t Maire, marking the latest stage in the philosophical exploration underpinning his work.</strong></p> </div> <p style="text-align: justify;">Bare walls and sculptures placed not on plinths, but directly on the floor: Beno&icirc;t Maire's project <em>LETRE</em> is a striking work highlighting the relationship between its parts, described by curator Guillaume D&eacute;sanges as 'a vast installation of sculptures, materials and collages, organised into a composition governed by no explicit rules, exploring sensation and the expression of thought as form.' <em>LETRE</em> embraces the expression of the idea in form, the object as the physical host, the embodiment of thought.</p> <p style="text-align: justify;">Playing on the title's French homonyms (<em>lettre</em> or letter, and <em>l'&ecirc;tre</em>, meaning a creature or being), Beno&icirc;t Maire presents a personal exploration of the concept of 'address, and the purpose or destination of things.' One emblematic piece features the pointing finger of Leonardo da Vinci's <em>Saint John the Baptist</em>, as a cut-out sticker applied to a stone.&nbsp;</p> <p style="text-align: justify;">The third in a series of recent exhibitions in London and Vancouver, <em>LETRE</em> applies Maire's signature process: the 'sampling' of de-contextualised elements, composed in relation to one another. As such, the exhibition resonates closely with the Duchampian themes of the current season at La Verri&egrave;re, exploring the symbiosis of concepts and objects.&nbsp;</p> <p style="text-align: justify;">Born in 1978, Beno&icirc;t Maire studied philosophy before shifting to art at the Villa Arson in Nice, and post-graduate work at the Palais de Tokyo, Paris. His work enacts a continuous dialogue between art and metaphysics, exploring ideas and concepts in plastic, proteiform, often collaborative installations. He was the joint winner of the Prix Fondation d&rsquo;entreprise Ricard in 2010, and is the author of numerous exhibitions in France and elsewhere.</p> <div class="attribute-presentation" style="text-align: justify;"> <p><strong>&laquo; LETRE est une performance au pr&eacute;sent. &raquo; &laquo; LETRE est la contingence &eacute;crite des moments de l'&ecirc;tre. &raquo; Quatri&egrave;me exposition monographique du cycle &laquo; Des gestes de la pens&eacute;e &raquo; &agrave; La Verri&egrave;re, <em>LETRE</em> d&eacute;voile, au c&oelig;ur d&rsquo;un accrochage d&eacute;pouill&eacute;, une nouvelle &eacute;tape du cheminement philosophique de l&rsquo;artiste fran&ccedil;ais Beno&icirc;t Maire.</strong></p> </div> <div class="attribute-texte_projet" style="text-align: justify;"> <p>D&eacute;pourvues de socles, les sculptures sont &agrave; terre, tandis que les murs demeurent vides : avec le projet <em>LETRE</em> con&ccedil;u par Beno&icirc;t Maire, La Verri&egrave;re accueille un projet des plus singuliers. L&rsquo;exposition, au sol donc, privil&eacute;gie la relation entre les pi&egrave;ces ; elle se pr&eacute;sente, selon son commissaire Guillaume D&eacute;sanges, comme une &laquo; vaste installation de sculptures, mati&egrave;res et collages agenc&eacute;s comme une composition aux r&egrave;gles non explicites, qui joue &agrave; la fois de la pens&eacute;e mise en forme et de la sensation &raquo;. <em>LETRE</em> assume pleinement la pr&eacute;gnance de l&rsquo;id&eacute;e dans l&rsquo;objet m&ecirc;me.</p> <p>Jouant avec l&rsquo;homophonie du titre &ndash; entre lettre et l&rsquo;&ecirc;tre &ndash;, Beno&icirc;t Maire revendique &laquo; la question de l&rsquo;adresse, de la destination des choses &raquo; qu&rsquo;il se r&eacute;approprie. Une pi&egrave;ce embl&eacute;matique convoque ainsi le doigt dress&eacute; du <em>Saint Jean-Baptiste</em> de L&eacute;onard de Vinci, devenu un sticker appliqu&eacute; sur une pierre. Pr&eacute;lever des &eacute;l&eacute;ments, les sortir de leur contexte et les mettre en relation avec d&rsquo;autres pi&egrave;ces, elles-m&ecirc;mes d&eacute;contextualis&eacute;es : fid&egrave;le &agrave; ce processus, <em>LETRE</em> fait suite &agrave; une s&eacute;rie d&rsquo;expositions r&eacute;centes de l&rsquo;artiste &agrave; Londres et &agrave; Vancouver. Elle s&rsquo;inscrit &eacute;galement dans le cycle duchampien de La Verri&egrave;re dans lequel concepts et objets entrent en r&eacute;sonance.</p> <p>De formation philosophique, Beno&icirc;t Maire, n&eacute; en 1978, a effectu&eacute; un post-dipl&ocirc;me au Palais de Tokyo &agrave; Paris apr&egrave;s un cursus &agrave; la Villa Arson, &agrave; Nice. Dans un dialogue permanent entre art et m&eacute;taphysique, il interroge pens&eacute;es et concepts &eacute;tablis dans une &oelig;uvre plastique prot&eacute;iforme et souvent collaborative. Laur&eacute;at ex-aequo du Prix Fondation d&rsquo;entreprise Ricard en 2010, il a b&eacute;n&eacute;fici&eacute; de nombreuses expositions en France comme &agrave; l&rsquo;&eacute;tranger.</p> <p><a href="http://www.fondationdentreprisehermes.org/Savoir-faire-et-creation/Expositions-de-la-Fondation/Exposition-Des-gestes-de-la-pensee-a-La-Verriere" target="_blank">&gt;&gt; Red&eacute;couvrir l'exposition inaugurale &laquo;&nbsp;Des gestes de la pens&eacute;e&nbsp;&raquo; &agrave; La Verri&egrave;re</a></p> </div> <hr /> <div class="attribute-presentation" style="text-align: justify;"> <p><strong>&laquo; LETRE est une performance au pr&eacute;sent. &raquo; &laquo; LETRE est la contingence &eacute;crite des moments de l'&ecirc;tre. &raquo; Quatri&egrave;me exposition monographique du cycle &laquo; Des gestes de la pens&eacute;e &raquo; &agrave; La Verri&egrave;re, <em>LETRE</em> d&eacute;voile, au c&oelig;ur d&rsquo;un accrochage d&eacute;pouill&eacute;, une nouvelle &eacute;tape du cheminement philosophique de l&rsquo;artiste fran&ccedil;ais Beno&icirc;t Maire.</strong></p> </div> <div class="attribute-texte_projet"> <p style="text-align: justify;">D&eacute;pourvues de socles, les sculptures sont &agrave; terre, tandis que les murs demeurent vides : avec le projet <em>LETRE</em> con&ccedil;u par Beno&icirc;t Maire, La Verri&egrave;re accueille un projet des plus singuliers. L&rsquo;exposition, au sol donc, privil&eacute;gie la relation entre les pi&egrave;ces ; elle se pr&eacute;sente, selon son commissaire Guillaume D&eacute;sanges, comme une &laquo; vaste installation de sculptures, mati&egrave;res et collages agenc&eacute;s comme une composition aux r&egrave;gles non explicites, qui joue &agrave; la fois de la pens&eacute;e mise en forme et de la sensation &raquo;. <em>LETRE</em> assume pleinement la pr&eacute;gnance de l&rsquo;id&eacute;e dans l&rsquo;objet m&ecirc;me.</p> <p style="text-align: justify;">Jouant avec l&rsquo;homophonie du titre &ndash; entre lettre et l&rsquo;&ecirc;tre &ndash;, Beno&icirc;t Maire revendique &laquo; la question de l&rsquo;adresse, de la destination des choses &raquo; qu&rsquo;il se r&eacute;approprie. Une pi&egrave;ce embl&eacute;matique convoque ainsi le doigt dress&eacute; du <em>Saint Jean-Baptiste</em> de L&eacute;onard de Vinci, devenu un sticker appliqu&eacute; sur une pierre. Pr&eacute;lever des &eacute;l&eacute;ments, les sortir de leur contexte et les mettre en relation avec d&rsquo;autres pi&egrave;ces, elles-m&ecirc;mes d&eacute;contextualis&eacute;es : fid&egrave;le &agrave; ce processus, <em>LETRE</em> fait suite &agrave; une s&eacute;rie d&rsquo;expositions r&eacute;centes de l&rsquo;artiste &agrave; Londres et &agrave; Vancouver. Elle s&rsquo;inscrit &eacute;galement dans le cycle duchampien de La Verri&egrave;re dans lequel concepts et objets entrent en r&eacute;sonance.</p> <p style="text-align: justify;">De formation philosophique, Beno&icirc;t Maire, n&eacute; en 1978, a effectu&eacute; un post-dipl&ocirc;me au Palais de Tokyo &agrave; Paris apr&egrave;s un cursus &agrave; la Villa Arson, &agrave; Nice. Dans un dialogue permanent entre art et m&eacute;taphysique, il interroge pens&eacute;es et concepts &eacute;tablis dans une &oelig;uvre plastique prot&eacute;iforme et souvent collaborative. Laur&eacute;at ex-aequo du Prix Fondation d&rsquo;entreprise Ricard en 2010, il a b&eacute;n&eacute;fici&eacute; de nombreuses expositions en France comme &agrave; l&rsquo;&eacute;tranger.</p> <p style="text-align: justify;"><a href="http://www.fondationdentreprisehermes.org/Savoir-faire-et-creation/Expositions-de-la-Fondation/Exposition-Des-gestes-de-la-pensee-a-La-Verriere" target="_blank">&gt;&gt; Red&eacute;couvrir l'exposition inaugurale &laquo;&nbsp;Des gestes de la pens&eacute;e&nbsp;&raquo; &agrave; La Verri&egrave;re</a></p> </div> Mon, 01 Sep 2014 14:29:26 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list William Pope.L - Galerie Catherine Bastide - September 13th - November 15th Mon, 01 Sep 2014 14:25:28 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Etablissement d'en face projects - September 11th - October 24th Mon, 01 Sep 2014 14:22:56 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Delire Gallery - September 11th - October 25th Mon, 01 Sep 2014 14:19:40 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Thomas Sauvin, Melinda Gibson, Lei Lei - Paris-Beijing Gallery - Hotel Winssinger - September 20th - November 1st <p style="text-align: justify;"><span style="font-size: small;">&nbsp;P<span style="font-family: arial,helvetica,sans-serif;">roject by Thomas Sauvin, Melinda Gibson and Lei Lei</span></span></p> <h2 style="text-align: justify;"><span style="font-size: 12.0pt; font-family: 'Arial','sans-serif'; font-weight: normal; mso-bidi-font-weight: bold;"><span style="font-size: small;">Hundreds of thousands of images &ndash; so many moments snapped by strangers are tirelessly salvaged by Thomas Sauvin, following a meeting in the Northern periphery of the capital city, with Xiao Ma, a recycler who collects negatives in order to retrieve the Silver Nitrate. Sauvin, a collector, curator and publisher who has resided in Beijing since 2003 gathers half a million anonymous negatives in 35 mm colour, dating from 1985 to 2005 and ultimately destined for destruction.</span><br /> <br /><span style="font-size: small;"> Rescuing these snapshots, not only date the period in which digital photography over took silver photography but also further provide an authentic portrait of the Chinese capital following the Cultural Revolution, at a time of outward-looking reform.</span><br /> <br /><span style="font-size: small;"> Women proudly posing in front of their first refrigerator, children with Ronald McDonald, notably family photos often showed only a single child, (a policy instituted as of 1979) and adolescents beside portraits of Hollywood stars. Popular imagery symbolized an opening to the world and bears witness to a country in metamorphosis. With Deng Xiaoping in the 1980&rsquo;s, China entered into the capitalist era, and the acquisition of goods was no longer condemned as a &ldquo;rightist&rdquo; deviance. At the same time, leisure time became institutionalized, and employees began taking holidays, travelling and taking advantage of their free time. Chinese subjects pose in front of monuments, theme parks and Western masterpieces like of the Mona Lisa.</span><br /> <br /><span style="font-size: small;"> A strange homogeneity emanates from the diversity of the photographs, which constitute an inestimable archival source and inspiration. The framing, the distance from the subject and the static poses all seem to respond to the same codes. Some might even say that it was the work of a single photographer.</span><br /> <br /><span style="font-size: small;"> Presented on the second floor, is the debut of <em>Lunar Caustic</em>, a conceptual collaborative reworking of the archive by British artist Melinda Gibson. Between art and chemistry, prints are burned with Hydrochloric Acid and coated with Silver Nitrate, isolating the true essence of the imagery, revealing the unstable, palpable, organic uncontrollable object. Their scientifically charged intervention gives the already digested images a new existence, poetically evolving the tale of destructive innovation and leading to ultimately rebirth. It is down to Gibson&rsquo;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo;s world.</span><br /> <br /><span style="font-size: small;"> Born in 1985, Melinda Gibson studied Photography at The London College of Communication and is widely regarded for her re-contextualisation and appropriation techniques that examine the evolution of perspectives in Photography.</span><br /> <br /><span style="font-size: small;"> Presented upstairs in the H&ocirc;tel Winssinger, the video installation <em>Recycled</em> was born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive, connected to one another by themes, places or similar compositions, and revealing their profound nature in just a few minutes.</span><br /> <br /><span style="font-size: small;"> Born in 1985, Lei Lei studied animated film at the University of Tsinghua. His film <em>Recycled</em> was the 2013 recipient of the Grand Prize for short, non-narrative animated films in the Holland International Animation Film Festival, as well as in the animated film festival AnifestInternational 2012. He earned a special honor from the jury of the Cyprus Countryside Animafest in 2012 and was selected by the International Animation Festival of Annecy in 2013.</span><br /> <br /><span style="font-size: small;"> The Beijing Silvermine project paints a positive portrait of a country that is opening up to the world. Through the documentary, sociological: presenting the face of post- socialist China, light-hearted and carefree to the conceptual and poetic provoking of the tale of rebirth. Each part saviours a newfound freedom, and new access to consumer society. Originating from the collaborations between three different but complementary figures, this project twists and turns in its approach to the archived images. It&rsquo;s a view of the quotidian into which the trio induces the poetry of happiness, love and joy.</span> </span></h2> <p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; font-family: 'Arial','sans-serif';">&nbsp;</span></p> <h2 style="text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Hundreds of thousands of images &ndash; so many moments snapped by strangers are tirelessly salvaged by Thomas Sauvin, following a meeting in the Northern periphery of the capital city, with Xiao Ma, a recycler who collects negatives in order to retrieve the Silver Nitrate. Sauvin, a collector, curator and publisher who has resided in Beijing since 2003 gathers half a million anonymous negatives in 35 mm colour, dating from 1985 to 2005 and ultimately destined for destruction.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Rescuing these snapshots, not only date the period in which digital photography over took silver photography but also further provide an authentic portrait of the Chinese capital following the Cultural Revolution, at a time of outward-looking reform.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Women proudly posing in front of their first refrigerator, children with Ronald McDonald, notably family photos often showed only a single child, (a policy instituted as of 1979) and adolescents beside portraits of Hollywood stars. Popular imagery symbolized an opening to the world and bears witness to a country in metamorphosis. With Deng Xiaoping in the 1980&rsquo;s, China entered into the capitalist era, and the acquisition of goods was no longer condemned as a &ldquo;rightist&rdquo; deviance. At the same time, leisure time became institutionalized, and employees began taking holidays, travelling and taking advantage of their free time. Chinese subjects pose in front of monuments, theme parks and Western masterpieces like of the Mona Lisa.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> A strange homogeneity emanates from the diversity of the photographs, which constitute an inestimable archival source and inspiration. The framing, the distance from the subject and the static poses all seem to respond to the same codes. Some might even say that it was the work of a single photographer.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Presented on the second floor, is the debut of <em>Lunar Caustic</em>, a conceptual collaborative reworking of the archive by British artist Melinda Gibson. Between art and chemistry, prints are burned with Hydrochloric Acid and coated with Silver Nitrate, isolating the true essence of the imagery, revealing the unstable, palpable, organic uncontrollable object. Their scientifically charged intervention gives the already digested images a new existence, poetically evolving the tale of destructive innovation and leading to ultimately rebirth. It is down to Gibson&rsquo;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo;s world.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Born in 1985, Melinda Gibson studied Photography at The London College of Communication and is widely regarded for her re-contextualisation and appropriation techniques that examine the evolution of perspectives in Photography.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Presented upstairs in the H&ocirc;tel Winssinger, the video installation <em>Recycled</em> was born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive, connected to one another by themes, places or similar compositions, and revealing their profound nature in just a few minutes.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> Born in 1985, Lei Lei studied animated film at the University of Tsinghua. His film <em>Recycled</em> was the 2013 recipient of the Grand Prize for short, non-narrative animated films in the Holland International Animation Film Festival, as well as in the animated film festival AnifestInternational 2012. He earned a special honor from the jury of the Cyprus Countryside Animafest in 2012 and was selected by the International Animation Festival of Annecy in 2013.</span><br /> <br /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> The Beijing Silvermine project paints a positive portrait of a country that is opening up to the world. Through the documentary, sociological: presenting the face of post- socialist China, light-hearted and carefree to the conceptual and poetic provoking of the tale of rebirth. Each part saviours a newfound freedom, and new access to consumer society. Originating from the collaborations between three different but complementary figures, this project twists and turns in its approach to the archived images. It&rsquo;s a view of the quotidian into which the trio induces the poetry of happiness, love and joy.</span></h2> Mon, 01 Sep 2014 14:15:49 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Wang Bing - Paris-Beijing Gallery - Hotel Winssinger - September 20th - November 1st <p style="text-align: justify;">Lauded by international critics for his films and docu-fictions, Wang Bing will exclusively present his latest documentary, <em>Father and Sons</em>, as well as a series of photographs that has never been exhibited before. <br /> <br /> For several days, Wang Bing filmed and photographed the wretched daily life of Cai, who left the countryside to work as a stonemason in a factory in the city of Fuming, in the province of Yunnan. His two children have joined him and the three of them live in a four square-meter room, containing only one bed and an oven. At night, the father goes to work and leaves the bed to his sons. Wang Bing met the two boys while he was filming <em>Three Sisters</em>.<br /> <br /> With his camera over his shoulder, Wang Bing captures the lives of men and women on the margins of contemporary Chinese society. He films their life experiences using long shots and without artifice. The empathy and discretion of his camera are so apparent that the protagonists of the film manage to completely forget that it&rsquo;s there. Thus, Bing shows their humanity, their strengths and their vulnerability without concession.<br /> <br /> An observer of profound cultural, human, political and economic changes in his country, Want Bing bears witness with an astonishing realism to the social outcasts of China&rsquo;s triumphal march. Through the portrait of these destinies, he shows the social realities facing the Chinese population. His activist films provide a somber perspective on the increasing seriousness of hardship and inequality in China. The Western values of democracy and the welfare state have not penetrated the borders of the country, which has allowed individual material and economic interests to run wild. <br /> <br /> Though he is a major Chinese filmmaker, Wang Bing nevertheless films in secret, and his films are forbidden in China. After the Pompidou Center in Paris, the Cinematek in Brussels will be dedicating a full retrospective to his cinematographic work this autumn.<br /> <br /> As a photographer, Wang Bing began to develop an original artistic direction as of the 1980s. Differing from the photographic direction taken in his films, for his photographs he has decided to return to the sites where he has filmed, after the fact. Thus, his photographic series also echo his work as a filmmaker. <br /> <br /> Born in 1967 in Shaanxi, a province in central China, Wang Bing first studied photography at the Shenyang Academy of Fine Art before taking classes in cinema at the Film School as of 1985. Released in 2003, his first opus, <em>West of the Tracks</em> (Tie Xi Qu), is a monumental feature length film of 551 minutes, filmed in the northern Chinese district of Tiexi. He retraces the lives of workers and their families in an enormous, declining industrial complex at the turn of the 21st century.</p> Mon, 01 Sep 2014 14:13:47 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Artist of the gallery - Galerie Micheline Szwajcer - September 13th - October 4th <p>Giovanni&nbsp;Anselmo,&nbsp;stanley brouwn,&nbsp;Angela Bulloch,&nbsp;David Claerbout,&nbsp;Fran&ccedil;ois Curlet,&nbsp;Koenraad Dedobbeleer,&nbsp;Jos de Gruyter &amp; Harald Thys,&nbsp;Daniel Dewar &amp; Gr&eacute;gory Gicquel,&nbsp;Lili Dujourie,&nbsp;Luciano Fabro,&nbsp;Hans-Peter Feldmann,&nbsp;Bernard Frize,&nbsp;Liam Gillick,&nbsp;Dan Graham,&nbsp;Carsten H&ouml;ller,&nbsp;Ann Veronica Janssens,&nbsp;On Kawara,&nbsp;Peter Lemmens,&nbsp;Zoe Leonard,&nbsp;Mark Luyten,&nbsp;Lucy McKenzie,&nbsp;Guy Mees,&nbsp;Marion M&ouml;ller,&nbsp;Matt Mullican,&nbsp;Manfred Pernice,&nbsp;Tobias Rehberger,&nbsp;Allen Ruppersberg,&nbsp;Joe Scanlan,&nbsp;Lawrence Weiner and&nbsp;Heimo Zobernig</p> Sat, 30 Aug 2014 15:00:19 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Dominic Samsworth - Mon Chéri - September 12th - November 8th Wed, 27 Aug 2014 16:31:59 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Group Show - Villa Empain - Boghossian Foundation - September 25th - February 8th, 2015 <p style="text-align: justify;">Music Palace, as a call for freedom that awakens all the promises of the music in the sumptuous setting of the Villa Empain !</p> <p style="text-align: justify;"><br />In this exhibition, a selection of contemporary work examines the relationship between music and cultures through artistic creation. With boldness, humor and enthusiasm, these works will rock the Villa Empain becoming a ‘Music Palace’ for the occasion.</p> <p style="text-align: justify;">Music has this power to transport us, to have a complete hold over us, to rid us of our inhibitions, and play with our bodies, our minds, and their rhythms.</p> <p style="text-align: justify;">Music also has this strange ability to galvanize crowds, and bring people together in an odd communion, something which has not escaped the notice of the political world of different cultures and periods.<br /><br />The history, phenomenology and sociology of modern and contemporary music run parallel with the development of technologies and their distribution. Radio and television, with their music stations and channels, have undoubtedly contributed to the commercialization of music and its standards. But the growth of its diffusion, production and consumption, greatly helped nowadays by digitization, permits the discovery of artists, singers and musicians who elude the usual distribution channels.</p> <p style="text-align: justify;">Like a shock wave, music can thus be imposed on the collective imagination in unexpected ways. The Mahraganat phenomenon, also called Electro Cha&acirc;bi, offers recent proof of this. Starting from the working-class suburbs of Cairo, transmitted by cell phone, Mahraganat concerts have electrified a whole generation of young people who identify with them, re-invent themselves in them, and find in them an energy which transgresses prohibitions.<br /><br />“Music is the supreme mystery of the human sciences, the one against which they stumble, and which holds the key to their progress”, said Claude L&eacute;vi-Strauss in The Raw and the Cooked in 1964. We might extend this observation to artistic creation as a whole, and note the links and cross-links constructed between these different manners of creation and expression.</p> <p style="text-align: justify;"><br />In this show, a selection of visual works questions the relations between music and the culture which convey it, as well as between music and the social phenomena which it introduces and incarnates. With daring, wit, and keen verve, these works will make the Villa Empain throb !</p> <hr /> <p style="text-align: justify;">Music Palace, comme un appel &agrave; la libert&eacute; qui r&eacute;veille toutes les promesses de la musique dans l&lsquo;&eacute;crin de la Villa Empain !<br />Dans cette exposition, une s&eacute;lection d&lsquo;oeuvres actuelles interroge les relations entre la musique et les cultures &agrave; travers la cr&eacute;ation artistique. Avec audace, humour et ferveur, ces oeuvres feront vibrer la Villa Empain devenue ‘Music Palace&lsquo; pour la circonstance.<br />La musique a ce pouvoir de nous emporter, de nous saisir enti&egrave;rement, de nous d&eacute;sinhiber, de jouer avec notre corps, notre esprit et leurs rythmes.<br /><br />La musique a aussi cette &eacute;trange facult&eacute; de galvaniser les foules, de les rassembler en une &eacute;trange communion, ce qui n&lsquo;a pas &eacute;chapp&eacute; au monde politique de diff&eacute;rentes cultures et &eacute;poques.<br /><br />L&lsquo;histoire, la ph&eacute;nom&eacute;nologie et la sociologie de la musique moderne et contemporaine s&lsquo;inscrivent en parall&egrave;le &agrave; l&lsquo;&eacute;volution des technologies et de leur distribution. La radio et la t&eacute;l&eacute;vision, avec leurs cha&icirc;nes musicales, ont certainement contribu&eacute; &agrave; la commercialisation de la musique et de ses standards. Mais l&lsquo;&eacute;volution de sa diffusion, de sa production et de sa consommation, aujourd&lsquo;hui largement facilit&eacute;e par le num&eacute;rique, permet la d&eacute;couverte de cr&eacute;ateurs, chanteurs et musiciens qui &eacute;chappent aux canaux de distribution habituels.<br />Telle une onde de choc, la musique peut ainsi s&lsquo;imposer dans l&lsquo;imaginaire collectif sans qu&lsquo;on s&lsquo;y attende. Le ph&eacute;nom&egrave;ne Mahraganat, aussi appel&eacute; Electro Cha&acirc;bi, en est la preuve r&eacute;cente. A partir des banlieues populaires du Caire, transmis par t&eacute;l&eacute;phone portable les concerts Mahraganat ont &eacute;lectris&eacute; toute une jeunesse qui s&lsquo;y projette, s&lsquo;y r&eacute;invente et y puise une &eacute;nergie qui transgresse les interdits.<br /><br />&laquo; La musique est le supr&ecirc;me myst&egrave;re des sciences de l&lsquo;homme, celui contre lequel elles butent, et qui garde la cl&eacute; de leur progr&egrave;s &raquo;, affirmait Claude L&eacute;vi-Strauss dans Le Cru et le Cuit en 1964. On pourrait &eacute;tendre cette r&eacute;flexion &agrave; la cr&eacute;ation artistique dans son ensemble et observer les liens, les transversalit&eacute;s construites entre ces diff&eacute;rents modes de cr&eacute;ation et d&lsquo;expression.</p> <p>&nbsp;</p> Wed, 27 Aug 2014 16:06:16 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Philippe Parreno - Vanhaerents Art Collection - May 3rd - January 30th, 2016 <p style="text-align: justify;">The film Marilyn conjures up Marilyn Monroe through a phantasmagoric s&eacute;ance in a suite at the Waldorf Astoria hotel in New York, where she lived in the 50s.</p> <p style="text-align: justify;">It reproduces Monroe&rsquo;s presence by means of three algorithms: the camera becomes her eyes, a computer reconstructs the prosody of her voice and a robot recreates her handwriting. The Hollywood icon is carnated in an image that is in fact an automaton, something resembling a human, and yet not quite real.</p> <hr /> <p style="text-align: justify;">In de video Marilyn van Philippe Parreno zien we de wereld door de ogen van Marilyn Monroe, terwijl ze in haar suite van het Waldorf Astoria Hotel mijmert en plaatsneemt aan haar schrijftafel. Parreno reconstrueerde de hotelkamer van de filmdiva tot in de kleinste details en liet haar stem en handschrift nabootsen door een speciaal ontworpen robot.</p> <p style="text-align: justify;">Over de reden waarom hij de actrice zelf &ndash; of eventueel een lookalike &ndash; niet in beeld bracht, zei hij: &lsquo;Ik wilde het anders aanpakken. Marilyn ging ten onder als gevolg van de relatie die ze had met de film en met haar eigen imago. Deze video illustreert dat.&rsquo;</p> <hr /> <p style="text-align: justify;">Dans la vid&eacute;o Marilyn, Philippe Parreno nous fait voir le monde &agrave; travers les yeux de Marilyn Monroe qui, perdue dans ses r&ecirc;veries dans sa suite du Waldorf Astoria Hotel, s&rsquo;installe &agrave; son bureau pour &eacute;crire. Parreno a reconstitu&eacute; jusque dans les moindres d&eacute;tails la chambre d&rsquo;h&ocirc;tel de la star du cin&eacute;ma et a fait imiter sa voix et son &eacute;criture par un robot sp&eacute;cialement con&ccedil;u &agrave; cet effet.</p> <p style="text-align: justify;">S&rsquo;agissant de la raison pour laquelle il n&rsquo;a pas port&eacute; &agrave; l&rsquo;image l&rsquo;actrice elle-m&ecirc;me &ndash; ou &eacute;ventuellement une doublure &ndash; il a d&eacute;clar&eacute;: &laquo; Je souhaitais une autre approche. Marilyn a sombr&eacute; &agrave; cause du rapport qu&rsquo;elle avait au cin&eacute;ma et &agrave; sa propre image. C&rsquo;est ce qu&rsquo;illustre cette vid&eacute;o. &raquo;</p> Wed, 27 Aug 2014 15:57:06 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Group Show - Vanhaerents Art Collection - May 3rd - October 30th, 2017 <p style="text-align: justify;"><span style="font-size: small;">The Vanhaerents Art Collection is pleased to announce its third exhibition, entitled <em>Man in the Mirror</em>, which will be open to the public from May 3,2014 . For this presentation, the founder and patron of the collection &ndash; the former building contractor Walter Vanhaerents &ndash; joined forces with Emma Dexter, who in recent years has curated widely acclaimed shows for ICA and Tate Modern.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Set to run for a period of three years, the exhibition Man in the Mirror features a selection of over 40 largescale works from the Vanhaerents Art Collection. On display are paintings, sculptures and installations that incorporate mirrors or reflecting materials, as well as artworks that hold a mirror up to the audience, encouraging introspection, critical self-awareness and reflective thought.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With a nod to the eponymous comedy film from 1936 and Michael Jackson&rsquo;s famous song, this thematic exhibition extends over three floors. Combining recently created artworks with seminal, historical exponents of arte povera, Conceptualism and Neo-Geo, it covers a wide array of topics such as time and space, matter and mind, and individual and collective identity. Concurrently, it raises intricate questions about art, society and the human body.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Curatoren: Walter Vanhaerents, Emma Dexter</em></span><br /><span style="font-size: small;"> <em>Assistent curator: Vincent Verbist</em></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Begin mei 2014 opent de Vanhaerents Art Collection, een priv&eacute;-initiatief van de voormalige bouwondernemer Walter Vanhaerents, zijn derde tentoonstelling, met als titel <em>Man in the Mirror</em>. Net zoals bij de vorige expositie Sympathy for the Devil, die hij met B.P.S. 22-directeur Pierre-Olivier Rollin concipieerde, deed Walter Vanhaerents voor deze gelegenheid een beroep op een curator van buitenaf. Samen met Emma Dexter, die de afgelopen jaren belangrijke tentoonstellingen verzorgde in opdracht van ICA en Tate Modern, maakte hij een selectie uit zijn omvangrijke collectie hedendaagse kunst.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De groepsexpositie Man in the Mirror, die over een periode van drie jaar zal lopen, omvat 45 monumentale werken van internationaal gereputeerde kunstenaars. De keuze viel niet alleen op schilderijen, sculpturen en installaties die gebruikmaken van spiegels of reflecterende materialen, maar ook op werken die de toeschouwer een spiegel voorhouden en aanzetten tot reflectie, zelfbewustzijn of introspectie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Met een knipoog naar de gelijknamige Britse filmkomedie uit 1936 en de bekende song van Michael Jackson strekt deze thematentoonstelling zich uit over drie verdiepingen. Het parcours loopt langs historische en canonieke werken uit de arte povera, de conceptuele kunst en neo-geo, maar houdt ook halt bij recente creaties in diverse disciplines. Op een associatieve manier legt de tentoonstelling kruiselingse verbanden tussen individuele artistieke praktijken. Het primaire thema van Man in the Mirror wordt zo in verschillende richtingen uitgewerkt, in relatie tot begrippen als tijd, ruimte, individuele en collectieve identiteit, materie en spiritualiteit. Vragen over kunst en maatschappij, het lichaam en de werkelijkheid worden in dezelfde beweging aangesneden.</span><br /><span style="font-size: small;"> &nbsp;</span><br /><span style="font-size: small;"> <em>Curatoren: Walter Vanhaerents, Emma Dexter</em></span><br /><span style="font-size: small;"> <em>Assistent curator: Vincent Verbist</em></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">D&eacute;but mai 2014 , la Vanhaerents Art Collection &ndash; initiative priv&eacute;e de l&rsquo;ancien entrepreneur Walter Vanhaerents &ndash; inaugurera sa troisi&egrave;me exposition intitul&eacute;e <em>Man in the Mirror</em>. Tout comme la pr&eacute;c&eacute;dente exposition Sympathy for the Devil, con&ccedil;ue avec Pierre-Olivier Rollin, directeur de B.P.S. 22, Walter Vanhaerents a fait appel pour l&rsquo;occasion &agrave; un commissaire ext&eacute;rieur. En collaboration avec Emma Dexter, qui a organis&eacute; ces derni&egrave;res ann&eacute;es d&rsquo;importantes expositions pour la ICA et Tate Modern, il a op&eacute;r&eacute; une s&eacute;lection dans sa riche collection d&rsquo;art contemporain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">L&rsquo;exposition de groupe Man in the Mirror, qui s&rsquo;&eacute;tendra sur une p&eacute;riode de trois ans, se compose de 45 oeuvres monumentales d&rsquo;artistes d&rsquo;envergure internationale. Au-del&agrave; de tableaux, sculptures et installations utilisant des miroirs ou des mat&eacute;riaux r&eacute;fl&eacute;chissants, le choix s&rsquo;est &eacute;galement port&eacute; sur des oeuvres qui tendent un miroir au spectateur et l&rsquo;incitent &agrave; la r&eacute;flexion, &agrave; la prise de conscience et &agrave; l&rsquo;introspection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Faisant au passage un clin d&rsquo;oeil &agrave; la com&eacute;die britannique du m&ecirc;me nom sortie au cin&eacute;ma en 1936 ainsi qu&rsquo;&agrave; la c&eacute;l&egrave;bre chanson de Michael Jackson, cette exposition th&eacute;matique s&rsquo;&eacute;tend sur trois niveaux. Le parcours emm&egrave;nera le public &agrave; la d&eacute;couverte d&rsquo;oeuvres historiques et canoniques de l&rsquo;arte povera, passera par l&rsquo;art conceptuel et le n&eacute;o-g&eacute;o, et se penchera &eacute;galement sur des cr&eacute;ations r&eacute;centes dans diff&eacute;rentes disciplines. Par associations, l&rsquo;exposition tisse des liens crois&eacute;s entre les diff&eacute;rentes pratiques artistiques. Le th&egrave;me primaire de Man in the Mirror est donc trait&eacute; selon plusieurs approches, en lien avec des concepts tels que le temps, l&rsquo;espace, l&rsquo;identit&eacute; individuelle et collective, la mati&egrave;re et la spiritualit&eacute;. Des questions relatives &agrave; l&rsquo;art et la soci&eacute;t&eacute;, ou encore le corps et la r&eacute;alit&eacute;, sont abord&eacute;es dans un m&ecirc;me mouvement.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Curatoren: Walter Vanhaerents, Emma Dexter</em></span><br /><span style="font-size: small;"> <em>Assistent curator: Vincent Verbist</em></span></p> Wed, 27 Aug 2014 15:53:27 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - NICC - September 12th 6:00 PM - 7:00 PM <p style="text-align: justify;">Bruce High Quality Foundation is a New York based collective founded in 2001 by&nbsp;alumni from Cooper Union. Concurrently with the opening of their show &lsquo;Vive la sociale!&rsquo;&nbsp;at Almine Rech gallery in Brussels, the talk will deal with several underlying topics&nbsp;including the Bruce High Quality University and the influential Belgian painter James&nbsp;Ensor.</p> <p style="text-align: justify;">The Bruce High Quality Foundation is an arts collective in Brooklyn, New York City, the United States, which was "created to foster an alternative to everything." The collective is made up of five to eight rotating and anonymous members, most or all of whom are Cooper Union graduates. The group has attracted attention with the subversive, humorous and erudite style of their work and operates an unaccredited art school, the Bruce High Quality Foundation University.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">More info:</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">http://www.thebrucehighqualityfoundation.com/</p> <p style="text-align: justify;">http://www.alminerech.com/</p> Wed, 27 Aug 2014 15:36:58 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Daniel Dewar - NICC - September 12th 7:30 PM - 8:30 PM <p style="text-align: justify;">Daniel Dewar will speak, as one half of the artist duo Dewar &amp; Gicquel, about their current show at Mus&eacute;e Rodin titled &lsquo;La Jeune Sculpture&rsquo;, their views on ceramics and other ongoing projects. Dewar &amp; Gicquel have been working together since 1997 and were awarded the Prix Marcel Duchamp in 2012. Their work will also be on show at Galerie Micheline Szwajcer (Brussels) in October of this year.</p> <p style="text-align: justify;">Daniel Dewar (b. 1976 in the UK) lives and works in Brussels. Gregory Gicquel (b.1975 in&nbsp;France) lives and works in Paris. Recent solo shows include "Le Hall," Espace 315,&nbsp;Centre Pompidou, Paris; "Jus d'orange," Palais de Tokyo, Paris; "Mr I / Dewar &amp; Gicquel,"&nbsp;Graff Mourgue d'Algue, Geneva; "Cr&ecirc;pe Suzette," Spike Island, Bristol. Group exhibitions&nbsp;include "Labour and Wait," Santa Barbara Museum of Art, California; "Conjuring for&nbsp;Beginners", Project Arts Centre, Dublin; "Making is Thinking", Witte de With, Center for&nbsp;contemporary Art, Rotterdam; "Unto This Last", Raven Row, London, UK.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">More info:</p> <p style="text-align: justify;"><a href="http://www.musee%C2%ADrodin.fr/en/exhibition/exposition/la%C2%ADjeune%C2%ADsculpture%C2%ADdaniel%C2%ADdewar%C2%ADand-gregory%C2%ADgicquel" target="_blank">http://www.musee&shy;rodin.fr/en/</a></p> <p style="text-align: justify;"><a href="http://www.gms.be" target="_blank">http://www.gms.be</a></p> Wed, 27 Aug 2014 15:37:02 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - NICC - September 13th - November 16th <p style="text-align: justify;"><span style="font-size: small;">For the start of the new season and during the Brussels Art Days, NICC will feature a brand new project in the NICC vitrine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&lsquo;Let the Artists Die (If They Want To)&rsquo; is the provocative title of the conceptual project developed by Triple Candie for the NICC vitrine. Triple Candie is founded by art historians Shelly Bancroft and Peter Nesbett in 2001, and describes itself as an independent curatorial agency exploring the critical potential of exhibition making.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Its primary purpose since late 2005 has been to explore the possibilities of exhibition&shy;making as a truly alternative, critical practice. From 2001 to 2010, Triple Candie operated a series of galleries in Harlem. Since 2011, it has been guest&shy;curating exhibitions for organizations in the United States and Europe.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="http://www.triplecandie.org/" target="_blank">http://www.triplecandie.org/</a></span></p> Wed, 27 Aug 2014 15:33:58 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Antonin De Bemels - iMAL, Center for Digital Cultures and Technology - July 1st - September 15th <div id="About"> <p style="text-align: justify;"><span style="font-size: small;">An installation at the crossroads of sculpture, mapping and animation film. Antonin De Bemels transforms a wood sculpture into a living dummy, that tries desperately to find out whether it is human or not. It misses a lot of important body parts, like legs, arms, eyes, mouth... but wonders if all these human attributes are really necessary to be human. How can an inanimate object become a living thing? The installation shows the existential quest of a nonexistent being, and is at the same time a reflection on our own existential drift.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Autoscopy</strong> was defined by Critchley (1950) as "delusional dislocation of the body image into the visual sphere" and by Lukianowicz (1958) as "a complex psychosensorial hallucinatory perception of one's own body image projected into the external visual space". Both these imply that the self remains associated with the physical body and that a duplicate body is seen at a distance. (Susan Blackmore, Ph.D.)&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Dummy</strong> 1) a figure representing the human form, used for displaying clothes, in a ventriloquist's act, as a target, etc. 2) a copy or imitation of an object, often lacking some essential feature of the original.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="http://vimeo.com/55669856" target="_blank">Trailer of the installation</a></span></p> <h5 style="text-align: justify;"><span style="font-size: small;">About&nbsp;Antonin De Bemels&nbsp;</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Antonin De Bemels was born in Brussels in 1975. Since 1997 he directed several experimental videos which were presented at various international festivals, mainly in Europe but also in the United States, Canada, Asia, South America and Australia. He also makes audiovisual performances, and creates audiovisual backgrounds for contemporary dance and theatre shows. His music and sound research is carried out under the pseudonym of Petite Porte de Bronze. Since 2002 he has been developing video installation projects. He collaborates on a regular basis with the entity known as Bonhomme Daniel.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>More info</strong>&nbsp;on&nbsp;<a href="http://www.werktank.org" target="_blank">www.werktank.org</a></span></p> <hr /> <div id="About"> <p style="text-align: justify;"><span style="font-size: small;">Une installation au croisement entre sculpture, mapping et film&nbsp;d'animation. Antonin De Bemels transforme une sculpture en papier-m&acirc;ch&eacute; en&nbsp;un mannequin vivant qui tenterait d&eacute;sesp&eacute;r&eacute;ment de d&eacute;terminer sa possible&nbsp;humanit&eacute;. Il lui manque un tas d'&eacute;l&eacute;ments importants, comme les jambes,</span><br /><span style="font-size: small;">les bras, les yeux, la bouche... mais il se demande si tous ces attributs&nbsp;sont vraiment n&eacute;cessaires pour &ecirc;tre humain. Comment un objet inanim&eacute;&nbsp;peut-il prendre vie? L'installation met en sc&egrave;ne la qu&ecirc;te existentialiste&nbsp;d'un &ecirc;tre non-existant, et est en m&ecirc;me temps un reflet de notre propre&nbsp;d&eacute;rive existentielle.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Autoscopy</strong> was defined by Critchley (1950) as "delusional dislocation of the body image into the visual sphere" and by Lukianowicz (1958) as "a complex psychosensorial hallucinatory perception of one's own body image projected into the external visual space". Both these imply that the self remains associated with the physical body and that a duplicate body is seen at a distance. (Susan Blackmore, Ph.D.)&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Dummy</strong> 1) a figure representing the human form, used for displaying clothes, in a ventriloquist's act, as a target, etc. 2) a copy or imitation of an object, often lacking some essential feature of the original.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="http://vimeo.com/55669856" target="_blank">Trailer de l'installation</a></span></p> <h5 style="text-align: justify;"><span style="font-size: small;">&Agrave; propos de Antonin De Bemels&nbsp;&nbsp;</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Antonin De Bemels na&icirc;t en 1975 &agrave; Bruxelles. Il a r&eacute;alis&eacute; &agrave; ce jour une&nbsp;quinzaine de courts-m&eacute;trages exp&eacute;rimentaux, montr&eacute;s dans de nombreux&nbsp;festivals internationaux, principalement en Europe mais aussi aux&nbsp;Etats-Unis, au Canada, en Am&eacute;rique du Sud, en Asie et en Australie. Il&nbsp;d&eacute;veloppe aussi des installations vid&eacute;os et des performances&nbsp;audiovisuelles, et collabore r&eacute;guli&egrave;rement avec des metteurs en sc&egrave;ne et&nbsp;chor&eacute;graphes en tant que vid&eacute;aste et cr&eacute;ateur sonore. Depuis quelques&nbsp;ann&eacute;es, il d&eacute;veloppe l'univers de son personnage et alter ego Bonhomme&nbsp;Daniel &agrave; travers des vid&eacute;os, des installations, des dessins, des&nbsp;sculptures, etc.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Plus d'informations:</strong>&nbsp;<a href="http://www.werktank.org" target="_blank">www.werktank.org</a></span></p> <hr /> <div id="About"> <p style="text-align: justify;"><span style="font-size: small;">Een installatie op de grens van beeldhouwkunst,mapping en animatiefilm. Een papier-mach&eacute; sculptuur wordt door projecties in een levende dummy getransformeerd. De dummy probeert wanhopig uit te zoeken of hij menselijk is of niet: hij mist dan ook een aantal belangrijke lichaamsdelen zoals benen, armen, ogen, mond.... En vraagt zich af of deze menselijke attributen eigenlijk echt wel nodig zijn om mens te zijn? Hoe kan een onbezield object een levend wezen worden? De installatie toont een existenti&euml;le zoektocht van een niet bestaand wezen en is tevens een reflectie op onze eigen existenti&euml;le drift.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Autoscopy</strong><em><br /></em>Autoscopy was defined by Critchley (1950) as "delusional dislocation of the body image into the visual sphere" and by Lukianowicz (1958) as "a complex psychosensorial hallucinatory perception of one's own body image projected into the external visual space". Both these imply that the self remains associated with the physical body and that a duplicate body is seen at a distance.</span><br /><span style="font-size: small;">(Susan Blackmore, Ph.D.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Dummy</strong><em><br /></em>1) a figure representing the human form, used for displaying clothes, in a ventriloquist's act, as a target, etc.</span><br /><span style="font-size: small;">2) a copy or imitation of an object, often lacking some essential feature of the original</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="http://vimeo.com/55669856" target="_blank">Trailer&nbsp;van de installatie</a></span></p> <h5 style="text-align: justify;"><span style="font-size: small;">Over Antonin De Bemels&nbsp;</span></h5> <p style="text-align: justify;"><span style="font-size: small;">Antonin De Bemels (1975) regisseerde sinds 1997 een aantal experimentele video's die werden getoond op verschillende internationale festivals, voornamelijk in Europa maar ook in de Verenigde Staten, Canada, Azi&euml;, Zuid-Amerika en Australia. Hij maakte ook een aantal audiovisuele performances en cre&euml;erde audiovisuele achtergronden voor hedendaagse dans- en theaterstukken. Zijn muziek- en geluidsonderzoek is uitgebracht onder het pseudoniem Petite Porte de Bronze. Sinds 2002 ontwikkelt hij videoinstallatieprojecten. Hij werkt op een reguliere basis samen met de entiteit gekend als Bonhomme Daniel.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Meer info:</strong>&nbsp;<a href="http://www.werktank.org" target="_blank">www.werktank.org</a></span></p> </div> </div> </div> Wed, 27 Aug 2014 15:23:13 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list