ArtSlant - Closing soon en-us 40 Roe Ethridge - Gladstone Gallery (Brussels) - September 8th, 2012 - October 12th, 2012 <p style="text-align: justify;" class="bodyText"><span style="font-size: small;"><strong>Gladstone Gallery</strong> is pleased to announce an exhibition of photographs by<strong> Roe Ethridge</strong> installed at the gallery’s Brussels location. Effortlessly employing an array of classic photographic genres – from portraiture to still life to landscape – Ethridge captures his subjects and surrounding environment in vivid, intimate detail. Ethridge combines the glossy, prefabricated affect of commercial photography with the thought-provoking perspective of fine art photography to create works at once familiar and uncanny, nostalgic and distinctly contemporary.</span></p> <p style="text-align: justify;" class="bodyText"><span style="font-size: small;">For the exhibition “Interiors,” Ethridge draws on the tradition of domestic portraiture, depicting scenes of kitchens, dining rooms, and bedrooms to create tableaux that invert conventional ideas of domesticity and transform mundane scenes into captivating and often unsettling portraits. “Interiors” investigates the broad world of personal space, featuring images of Ethridge’s home and studio, magazine photographs of staged bedrooms inspired by the suburban aesthetic, and billboard advertisements. Drawing on diverse manifestations of interior design and the representation of space, Ethridge creates unexpected portraits that challenge the viewer’s perspective and turn familiar objects into nearly abstract images.</span></p> <p style="text-align: justify;" class="bodyText"><span style="font-size: small;">Born in 1969 in Miami, Florida, Roe Ethridge studied photography in Atlanta, Georgia before leaving the southern states to work in New York. His photographs have appeared in solo exhibitions at the Institute of Contemporary Art, Boston; Garage, Moscow; and Le Consortium, Dijon, France. His work has also been included in numerous group exhibitions, including at the Metropolitan Museum of Art, New York; Aspen Art Museum, Aspen, Colorado; 2008 Whitney Biennial, New York; The Barbican Center, London; and at the Museum of Modern Art/P.S. 1, New York.</span></p> Mon, 24 Sep 2012 09:57:14 +0000 Gilbert & George - Albert Baronian - August 31st, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Special opening during Brussels Art Days on September 7, 8 and 9</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Albert Baronian</strong> is pleased to announce the return of <strong>Gilbert &amp;</strong></span> <span style="font-size: small;"><strong>George</strong> in Brussels with the presentation of 13 unique pieces </span><span style="font-size: small;">from their last series<em><strong> London Pictures</strong></em>. </span></p> <p style="text-align: justify;"><br style="font-size: small;" /><strong><span style="font-size: small;">THE EXHIBITION</span></strong><br /><span style="font-size: small;">The series<em> London Pictures</em> - consisting of 292 new works -</span> <span style="font-size: small;">enables the city to speak for itself in the language of 3712 </span><span style="font-size: small;">newspaper posters, one by one stolen/retrieved by the artists</span> <span style="font-size: small;">themselves for more than 6 years, and then sorted and </span><span style="font-size: small;">classified by them according to subject. This method, in the </span><span style="font-size: small;">words of the artists, allows each picture to ‘decide itself’ –</span> <span style="font-size: small;">its subject, title and size determined and denoted </span><span style="font-size: small;">alphabetically and numerically by the findings of the </span><span style="font-size: small;">classification process. In this, Gilbert &amp; George have sought</span> <span style="font-size: small;">to eliminate the conscious act of ‘art-making’, asserting </span><span style="font-size: small;">instead the reality, as reported by the print news media of</span> <span style="font-size: small;">London, that lies at the heart of their subject: the routine </span><span style="font-size: small;">volatility of contemporary society. Behind each poster, </span><span style="font-size: small;">however blunt or abbreviated, lies the truth and inviolable</span> <span style="font-size: small;">realism of a human situation, its impact and consequences. It </span><span style="font-size: small;">is this truth that Gilbert &amp; George have described as the </span><span style="font-size: small;">‘moral dimension’ that they must identify within a subject</span> <span style="font-size: small;">before they can engage with it within their art. Brooding and </span><span style="font-size: small;">violent, at times absurd and at others disquieting, the<em> London Pictures</em> reveal what might be termed the nervous system</span> <span style="font-size: small;">of quotidian contemporary society: the impulses, outbursts, </span><span style="font-size: small;">sorrows, hopes, temper and desires of daily urban life. The </span><span style="font-size: small;">extraneous detail in these pictures is sparse and limited: the</span> <span style="font-size: small;">figures of Gilbert &amp; George, their expressions at once stern </span><span style="font-size: small;">or seemingly distracted; streets, net curtains, reflections in</span> <span style="font-size: small;">car windows. Within the townscape of this moral audit, the</span> <span style="font-size: small;">artists appear to pass like ghosts or seers, alternately </span><span style="font-size: small;">watchful and inert, as though their spirits were haunting the </span><span style="font-size: small;">very streets and buildings that these pictures describe. In</span> <span style="font-size: small;">this the artists have been inspired by their readings of Lord </span><span style="font-size: small;">Dowding’s published accounts, as delivered to him, he claimed, </span><span style="font-size: small;">by the ghosts of killed R.A.F. pilots, of an induction into</span> <span style="font-size: small;">the afterlife.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">Gilbert was born in the Dolomites, Italy in 1943; George was </span><span style="font-size: small;">born in Devon in 1942. They met in 1967 as students at the </span><span style="font-size: small;">Saint Martins School of Art in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is accompanied by an amply illustrated </span><span style="font-size: small;">catalogue including a text written by Michael Bracewell, </span>novelist and cultural journalist.</p> Mon, 24 Sep 2012 22:11:28 +0000 Jean-Baptiste Maitre - anyspace - September 7th, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><em>            Dans le Vêtement, Il y a une Poche</em></span><br /><span style="font-size: small;"> <em>            Dans la Poche, un Carnet</em></span><br /><span style="font-size: small;"> <em>            Dans le Carnet, une Lettre</em></span><br /><span style="font-size: small;"> <em>            Et Voici cette Lettre:</em>                                                                           </span><br /><span style="font-size: small;">            </span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> The <strong>Anyspace Gallery</strong> is pleased to present this first exhibition in Belgium by<strong> Jean-Baptiste Maitre</strong>. The title of the exhibition was borrowed from a book by Conan Doyle. When read, this sentence generates a mental motion similar to a camera travelling. It jumps into a garments pocket to reveal a hidden notebook with a letter inside. This work is directly linked to the recent works of the artist which deals with the mental construction of images, notably those representing artworks, their representation through media and their presence within the gallery exhibition space.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> It is of common knowledge that a large number of artworks deal with representation process: photographs, films, documentaries, texts or even simple conversations which describes and builds the mental image we can get from all sorts of shapes and volumes produced by artists. This process transforms the exhibition space within the viewer's mind - directly opposed to the exhibition space.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Poster of the film 'Deep Throat' (1972) introduces the show. It deals with the notion of space by being retouched and stuck onto the window of the gallery. <em><span style="text-decoration: underline;">Deep Throat Expanded</span></em> is composed of an original poster cut into 25 equal parts. When exhibited, they are meant to be spread all over, thus covering the entire surface. If the exhibition surface is smaller than the poster itself, the different parts are superposed, contracting the image (which becomes <em><span style="text-decoration: underline;">Deep Throat Contracted</span></em>).</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> In the series of drawings: <em><span style="text-decoration: underline;">Various combinations of camera movements using dolly tracks following parts of Sol LeWitt wall drawing #138: “Circles and Arcs from the midpoints of four sides, July 1972</span></em>, the artist presents various plans through different camera's motions inspired by a drawing by Sol LeWitt virtually presented on the floor. The plans suggest using the drawing's structure by Sol LeWitt as a guideline through various video sequences which clearly show the exhibition options within the gallery space.</span><br /><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">The series <em><span style="text-decoration: underline;">Brush strokes magazine</span></em> point out various views of the exhibitions printed and organized in order to respect the shape and the layout of art magazines. A flat brushstroke creates a clear contrast with the perspective of the exhibition space presented within the image.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> The exhibition also refers to the way the artworks are mounted, communicated through the image, animated or not, and the way this specific presentation changes the works and the ideas they generate. The video <em><span style="text-decoration: underline;">Fitting frames</span></em> is an excerpt from a documentary made in 1965 by Mike Wallace on the occasion of the exhibition 'The responsive eye' at the MoMA (NYC). The sequence used shows an artist (Richard Anuszkiewicz) making an abstract geometric painting within two minutes time thanks to a technique of his own. The sequence was re-edited and the images of the film reorganized so that every stage of the painting are synchronized, placed on the same level of time. The process of the making of the painting is visible but its logic is the one of the video medium, transforming the description of the pictorial process used by the painter.  </span><br /><span style="font-size: small;"> </span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><em>            Dans le Vêtement, Il y a une Poche</em></span><br /><span style="font-size: small;"> <em>            Dans la Poche, un Carnet</em></span><br /><span style="font-size: small;"> <em>            Dans le Carnet, une Lettre</em></span><br /><span style="font-size: small;"> <em>            Et Voici cette Lettre:</em>                                                                           </span><br /><span style="font-size: small;">            </span><br /><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">La<strong> Galerie Anyspace</strong> est heureuse de proposer cette première exposition en Belgique de l'artiste<strong> Jean-Baptiste Maitre</strong>. Le titre de l'exposition est tiré d'un livre de Conan Doyle. Lorsque cette phrase est lue, il se crée un travelling mental plongeant de l'image d'un vêtement vers sa poche découvrant un carnet dans lequel se trouve une lettre. Évoluant autour de ce mouvement suggéré, JBM propose plusieurs œuvres récentes traitant de la construction mentale des images, notamment celles représentant des œuvres d'art, leur représentation "médiatique", et leur véritable espace d'exposition (la galerie).</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Nombre d'œuvres que nous connaissons le sont par le biais de représentations: photographies, films documentaires, textes ou même simples conversations qui décrivent et construisent l'image mentale que nous avons de certaines formes en volume produites par des artistes. L'espace de leur exposition devient alors celui de notre imagination opposé à l'espace réel de la galerie.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> En guise d'introduction à l'exposition, l'affiche du film 'Deep Throat' (1972), qui d'une certaine manière traite de la notion d'espace, est retravaillée dans sa structure et placardée sur la vitrine de la galerie. <em><span style="text-decoration: underline;">Deep Throat Expanded</span></em> est constitué de l'affiche originale découpée en 25 parties égales. Chaque élément est réparti de manière à couvrir la totalité de la surface sur laquelle elle est montée, quelle qu'elle soit. Si la surface d'exposition est plus petite que l'affiche elle-même, les différentes parties se superposent, contractant l'image (devenant <em><span style="text-decoration: underline;">Deep Throat Contracted</span></em>). </span><br /><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Dans la série de dessins: <em><span style="text-decoration: underline;">Various combinations of camera movements using dolly tracks following parts of Sol LeWitt wall drawing #138: 'Circles and Arcs from the midpoints of four sides', july 1972</span>,</em> l'artiste propose le plan de plusieurs mouvements de caméra possibles dans l'espace de la galerie, à partir d'un dessin de Sol LeWitt appliqué virtuellement au sol. Ces plans proposent d'employer la structure du dessin de Sol LeWitt comme un guide pour de possibles séquences vidéo évoluant dans l'espace de la galerie et montrant ce qui pourrait y être exposé.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> La série <em><span style="text-decoration: underline;">Brush strokes magazine</span></em> présente différentes vues d'expositions imprimées et agencées afin de respecter l'apparence et la mise en page de magazines d'art. Un coup de pinceau a été appliqué avant que l'encre d'impression ne soit sèche à l'emplacement de chaque œuvre montrée dans chaque image. Le coup de pinceau plat s'oppose à la perspective de l'espace d'exposition représenté dans l'image.</span><br /><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">L'exposition traite également de la façon dont les œuvres d'artistes sont montrées, communiquées au travers des images, animées ou non, et comment cette présentation spécifique change les œuvres et les idées qu'elles véhiculent. La vidéo <em><span style="text-decoration: underline;">Fitting frames</span></em> est extraite d'un documentaire de 1965 par Mike Wallace réalisé à l'occasion de l'exposition 'The responsive eye' au MoMA de NY. La séquence utilisée montre un artiste (Richard Anuszkiewicz) réalisant une toile géométrique abstraite en l'espace de deux minutes grâce à une technique de son invention. La séquence a été remontée, les images du film ré-ordonnées afin de mettre sur le même plan temporel chaque étape de la réalisation de la peinture. Le déroulé de la réalisation de la peinture est visible mais sa logique est celle du médium vidéo, transformant la description du procédé pictural utilisé par le peintre.</span></p> Mon, 24 Sep 2012 09:58:54 +0000 Narcisse Tordoir - Galerie Van De Weghe - September 6th, 2012 - October 13th, 2012 <div align="left" lang="nl-BE" style="text-align: justify;"><span style="font-size: small;">(Tekst : Gaston Meskens)</span></div> <p style="text-align: justify;"><span style="font-size: small;">Een reeks kleinere werken leidt naar een gigantisch tableau dat de achterruimte van de </span><span style="font-size: small;">galerie als het ware uit haar voegen doet barsten. Het doek is te groot en past tegen geen </span><span style="font-size: small;">enkele muur. De andere van de reeks zijn opgeborgen wegens geen plaats meer.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De uitgebeelde scenes refereren naar de Scherzi reeks van de 18e eeuwse Italiaanse </span><span style="font-size: small;">schilder Giovanni Battista Tiepolo. Tiepolo wordt de laatste van de Venetiaanse schilders van </span><span style="font-size: small;">de Barok genoemd. Hij verwende de aristocratie met overweldigende ensceneringen in </span><span style="font-size: small;">heldere lieflijke tinten. Als celebrity transformeerde hij op aanvraag sacrale legendes in een </span><span style="font-size: small;">theatrale beeldtaal die bedoeld was om grandeur te laten afstralen op zijn opdrachtgevers en </span><span style="font-size: small;">hun kerken en paleizen, maar in feite testte hij hun scherpzinnigheid en tastte hij ook stiekem </span><span style="font-size: small;">de grenzen van hun tolerantie af. Dat de frisse taferelen barstten van de confronterende </span><span style="font-size: small;">ironie wordt onthuld door de Scherzi tekeningen. Daar vallen de maskers af en palmen de </span><span style="font-size: small;">freaks de scene in. De aristocraten hebben echter nooit de link gelegd en bleven glimmend </span><span style="font-size: small;">van trots naar hun verluchte plafonds en muren staren. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Narcisse Tordoir vertrekt van een gelijkaardige barokke opzet, maar er lijkt bij voorbaat iets </span><span style="font-size: small;">mis te zijn met de enscenering. Van sacraliteit en frisheid geen sprake, en in tegenstelling tot</span><br /><span style="font-size: small;">bij Tiepolo zweeft er hier niemand in de lucht. De scenes zijn ook niet bedoeld om een </span><span style="font-size: small;">plafond te decoreren. Ze staan zwaar verticaal in de ruimte, en toch lijken ze transparant en </span><span style="font-size: small;">instapklaar, tenminste voor wie bereid is zich vuil te maken. Want zonder hun waardigheid te </span><span style="font-size: small;">verliezen hebben de personages zich gelaten overgegeven aan het knip-en plakwerk en aan </span><span style="font-size: small;">de krassen, vlekken en brandmerken die tijdens het creatieproces op en rond hen </span><span style="font-size: small;">aangebracht werden. De outcasts hebben de verborgen tekeningen verlaten en hebben het </span><span style="font-size: small;">hoofdpodium ingenomen. Maar ze zijn er zich van bewust dat er iets ontbreekt. Wat </span><span style="font-size: small;">ontbreekt is het grote verhaal; het verhaal dat hen zou moeten samenhouden, maar dat in </span><span style="font-size: small;">Tiepolo’s tijd en ook vandaag nog steeds misbruikt wordt om macht in stand te houden.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Narcisse Tordoir doet geen moeite om de schijn op te houden. De ranzigheid van de scenes </span><span style="font-size: small;">is niet verborgen onder een laag frisheid, en zo wordt elk potentieel ideologisch misbruik van </span><span style="font-size: small;">deze evocatie bij voorbaat de pas afgesneden. De personages kunnen gerust zijn. Geen </span><span style="font-size: small;">enkele politieke of religieuze aristocraat heeft zin om hiermee zijn muren te decoreren, laat </span><span style="font-size: small;">staan om als hoofdacteur in deze scenes de aandacht op te eisen.</span></p> Sun, 26 Aug 2012 10:16:42 +0000 Seyran Kirmizitoprak, Laurie Charles - Komplot - September 7th, 2012 - October 13th, 2012 Fri, 09 Aug 2013 13:07:58 +0000 Jack Pierson - Xavier Hufkens - September 7th, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;">For his third exhibition with Xavier Hufkens, Jack Pierson (b. 1960, Plymouth, Massachusetts) explores the complex emotional narratives surrounding historic and contemporary icons and iconography, and has created a new body of work that can be read as a melancholic hymn to the subject of art and creation, fame, immortality and the passage of time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Central to the exhibition are two emblematic Gods of love: the figure of Jesus (represented by a life-size photograph of the famous crucifixion by Velázquez in the Prado) and Rudolph Valentino (1895-1920), one of the great early 20th century sex-symbols and star of the silent screen. Valentino’s sudden death aged 31 triggered mass hysteria and propelled the actor to mythical status. Although Valentino is never explicitly referred to in the exhibition, he has an emotional and physical presence in A Door from Falcon Lair, a door from the actor’s house. Created from random found letters, Pierson’s word sculptures are undeniably contemporary, yet steeped in nostalgia and the words they make (Nazimova, Fame, Symbolism, Souvenirs and Last Century) can also be interpreted through the prism of Valentino’s life and times.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nazimova refers to the Russian-born Hollywood actress Alla Nazimova (1879-1945) who had a love affair with Valentino’s second wife, the American silent film costume and set designer Natacha Rambova. It has been suggested that, like Nazimova, Valentino was gay despite being twice married and divorced. However, at the time of his death he was allegedly dating the actress Pola Negri (1897-1987), who was the subject of an exhibition by Pierson in 2010. In Fame, the viewer is confronted with a hauntingly beautiful object that is also broken and collapsed, thus perfectly evoking, both formally and conceptually, one of several recurrent themes in the artist’s work: the glamour and beauty associated with the Golden era of Hollywood, as well as decay and destruction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Delving into his own subconscious, the ideas and references explored in Jesus and Nazimova are deeply personal and spring from the artist’s inner intellectual and emotional world. Yet Pierson succeeds in transforming these private impulses into works of art that are, on the one hand, rooted in time and yet, on the other hand, seem to transcend it. The beauty lies in the openness – each viewer brings his own interpretation to the work, one that is generated by their own memories and desire. Like Proust, but using names and images, objects and photographs, drawings and collages instead of words, Pierson evokes the past in order to renew it.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">Jack Pierson has widely exhibited in both Europe and America. He has had important solo exhibitions at the Museum of Contemporary Art, Miami (2002) and at the Centre d’Art Santa Monica, Barcelona (2007). A retrospective exhibition of his work was held at the Irish Museum of Modern Art, Dublin, in 2008. His work is in the collections of CapcM (Bordeaux), the Whitney Museum of American Art (NY), the Metropolitan Museum (NY) and the Guggenheim (NY).</span></p> <p><img src="" style="display: block; margin-left: auto; margin-right: auto;" /></p> Mon, 01 Oct 2012 15:35:08 +0000 - CIVA - Centre International pour la ville, l'architecture et le paysage - June 8th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Dans le cadre de <span size="5">Brussels Design September 2012</span></span><br /><span style="font-size: small;"></span><br /><br /><span style="font-size: small;">Cette exposition est produite et organisée par le CIVA, en collaboration avec Origin, Willy Van Der Meeren Archives, Urban Splash, HawkinsBrown, Studio Egret West, Grant Associates et Claire Curtice Publicist dans le cadre de Brussels Design September 2012.</span><br /><br /><span style="font-size: small;">Du 08 juin au 14 octobre 2012, le CIVA présente 1000 chambres avec vue.</span><br /><span style="font-size: small;">Le Futur des grands ensembles de logements, une exposition originale sur</span><br style="font-weight: bold;" /><span style="font-size: small;">les immeubles de logements sociaux. Au travers de maquettes, films, photos,</span><br style="font-weight: bold;" /><span style="font-size: small;">éléments de façades, rampes d'escaliers, portes d'origine, mobilier… L'exposition met en lumière la rénovation de grands ensembles des années 50-60, en</span><br /><span style="font-size: small;">tentant d'apporter une réponse aux questions suivantes :</span><br /><span style="font-size: small;">Comment vivait-on à l'époque et comment vit-on aujourd'hui ? Les besoins sont-ils les mêmes ? Qu'en est-il des conditions de sécurité et d'isolation ? Comment le « vivre ensemble » a-t-il évolué ? Pourquoi tel bâtiment est-il classé plutôt que tel autre ? Quelles sont les conséquences des différentes évolutions sociale, culturelle et économique sur le devenir et la rénovation de ces grands complexes ?</span><br /><br /><span style="font-size: small;">Le CIVA a choisi d'aborder ces questions au travers de deux exemples emblématiques qui présentent de nombreux points communs.</span><br /><br /><span style="font-size: small;">L'immeuble Ieder Zijn Huis (Evere, BE), dont le projet a été proposé dans un premier temps à Le Corbusier, est finalement confié par la société immobilière Ieder Zijn Huis à l'architecte et designer Willy Van Der Meeren. Il conçoit un immeuble de 105 appartements qui permet de loger 282 habitants et qui est inauguré en décembre 1960.</span><br /><span style="font-size: small;">Il y applique des principes de construction innovants à l'époque comme par exemple les pilotis et les éléments de façade en béton préfabriqué, il répartit les appartements selon le « plan libre » préconisé par les principes des CIAM et utilise différentes couleurs dans les espaces communs. Son plan prévoit que tous les trois étages, les escaliers mènent à une coursive intérieure à l'immeuble, sorte de « rue dans le ciel », qui parcourt toute la longueur du bâtiment.</span><br /><br /><span style="font-size: small;">Aujourd'hui, les techniques de construction utilisées par Willy Van Der Meeren,</span><br /><span style="font-size: small;">autrefois audacieuses, ne répondent plus aux normes actuelles en vigueur. Une</span><br /><span style="font-size: small;">rénovation  lourde à l'initiative du maître d'ouvrage Beliris a été confiée au bureau ORIGIN Architecture &amp; Engineering.</span><br /><br /><span style="font-size: small;">L'ensemble de Park Hill (Sheffield, UK) est construit à la même époque par les</span><br style="font-weight: bold;" /><span style="font-size: small;">architectes Ivor Smith et Jack Lynn et inauguré officiellement en 1961. Avec ses</span><br /><span style="font-size: small;">995 appartements dans un domaine de 13 hectares, il constitue, dans la Grande-</span><br /><span style="font-size: small;">Bretagne de l'après-guerre, une des expériences les plus précoces et les plus ambitieuses de construction de logements sociaux de masse. Comme Ieder Zijn Huis, Park Hill a une structure en béton armé apparente, qui en fait un des plus anciens</span><br /><span style="font-size: small;">exemples du brutalisme anglais. En raison d'une série de facteurs socio-économiques,</span><br /><span style="font-size: small;">Park Hill se détériore à son tour : dès les années 1980, il n'est plus qu'un immeuble poubelle.</span><br /><br /><span style="font-size: small;">Park Hill est classé en 1998 après une étude thématique sur le logement social de</span><br /><span style="font-size: small;">l'après-guerre ce qui le place parmi les 7% d'immeubles classés les plus significatifs.</span><br /><span style="font-size: small;">On reconnaît ainsi sa valeur exceptionnelle.</span><br /><br /><span style="font-size: small;">La réhabilitation de Park Hill est réalisée par l'agence HawkinsBrown et le Studio</span><br /><span style="font-size: small;">Egret West avec les designers paysagistes Grant Associates, en collaboration par</span><br /><span style="font-size: small;">Urban Splash, le Sheffield City Council, le Great Places Housing Group, l'English</span><br /><span style="font-size: small;">Heritage et la Homes and Communities Agency. Les travaux débutent en 2008 dans</span><br /><span style="font-size: small;">le but d'insuffler au complexe une nouvelle vie pour un nouvel âge.</span><br /><br /><span style="font-size: small;">Éditions CIVA : « Willy Van Der Meeren : Ieder Zijn Huis, passé et futur d'une unité d'habitation à Evere »</span><br /><br /><span style="font-size: small;">Accompagnant l'exposition, une publication, « Willy Van Der Meeren : Ieder Zijn Huis, passé et futur d'une unité d'habitation à Evere » de 170 pages contenant plus de 200 illustrations est éditée en version française et en version néerlandaise.</span><br /><span style="font-size: small;">Elle est rédigée par les spécialistes du sujet, Mil De Kooning, professeur à l'UGent, Charlotte Nys, Barbara Pecheur et Jan de Moffarts du bureau ORIGIN Architecture &amp; Engineering.</span><br /><br /><span style="font-size: small;">Au travers de plans, de photographies anciennes, d'esquisses, ce livre présente le contexte sociologique, le concept architectural de Willy Van Der Meeren ainsi que</span><br /><span style="font-size: small;">toute la rénovation.</span><br /><br /><span style="font-size: small;">Il est disponible à la librairie du CIVA (30 €).</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">In het kader van <span style="color: #ff6666;" size="5">Brussels Design September 2012</span></span><br /><span style="font-size: small;"></span><br /><br /><span style="font-size: small;">Georganiseerd bij Het CIVA, met het samenwerking met Origin, Willy Van Der Meeren Archives, Urban Splash, HawkinsBrown, Studio Egret West, Grant Associates et Claire Curtice Publicist. </span><br /><br /><span style="font-size: small;">Van 8 juni tot 14 oktober 2012 presenteert het CIVA 1000 kamers met uitzicht.</span><br style="color: #ff6666;" /><span style="font-size: small;">De Toekomst van de grote woonensembles, een originele tentoonstelling over</span><br style="color: #ff6666; font-weight: bold;" /><span style="font-size: small;">sociale woningbouw. Aan de hand van maquettes, films, foto's, gevelelementen,</span><br style="color: #ff6666; font-weight: bold;" /><span style="font-size: small;">trapleuningen, deuren, meubilair en dergelijke meer richt het CIVA de schijnwerpers op de renovatie van grote woonensembles uit de jaren 1950-1960. Op de achtergrond spelen vragen als : </span><br /><span style="font-size: small;">hoe leefde men toen en hoe leeft men nu ? Zijn de behoeften nog dezelfde ? Hoe was en is het gesteld met veiligheid en isolatie ? Hoe is het samenleven geëvolueerd ? Waarom werd het ene gebouw wel en het andere niet op de monumentenlijst geplaatst ? Welke gevolgen hadden de sociale, culturele en economische ontwikkelingen voor de evolutie en de renovatie van deze grote complexen ? </span><br /><br /><span style="font-size: small;">Antwoorden op deze vragen zoekt het CIVA via twee typevoorbeelden die veel met elkaar gemeen hebben.</span><br style="color: #ff6666;" /><br /><span style="font-size: small;">Voor het complex Ieder Zijn Huis (Evere, BE) werd aanvankelijk Le Corbusier gecontacteerd, maar de vastgoedmaatschappij Ieder Zijn Huis vertrouwde het project uiteindelijk toe aan architect en designer Willy Van Der Meeren. Die ontwierp een flatgebouw met 105 appartementen voor alles samen 282 bewoners. Het gebouw</span><br style="color: #ff6666;" /><span style="font-size: small;">werd ingehuldigd in december 1960. Een aantal elementen was in die tijd nieuw : het gebouw rust op pilotis en heeft een gevel uit elementen in geprefabriceerd</span><br style="color: #ff6666;" /><span style="font-size: small;">beton, de appartementen zijn verdeeld volgens het 'vrij plan' waarvoor de CIAM hadden gepleit, en voor de gemeenschappelijke ruimten worden verschillende kleuren gebruikt. Om de drie verdiepingen leiden de trappen naar een binnengalerij over de hele lengte van het gebouw, een 'straat-in-de-lucht'.</span><br style="color: #ff6666;" /><br style="color: #ff6666;" /><span style="font-size: small;">De bouwtechnieken die Van Der Meeren gebruikte mogen in zijn tijd dan al gedurfd</span><br style="color: #ff6666;" /><span style="font-size: small;">zijn geweest, nu beantwoorden ze niet meer aan de heersende normen.</span><br style="color: #ff6666;" /><span style="font-size: small;">De ingrijpende renovatie waarvoor bouwheer Beliris het initiatief nam, werd toevertrouwd aan het architecten- en ingenieurskantoor ORIGIN Architecture &amp; Engineering.</span><br style="color: #ff6666;" /><br style="color: #ff6666;" /><span style="font-size: small;">Het ensemble van Park Hill (Sheffield, UK) dateert uit dezelfde tijd (het werd ingehuldigd in 1961) en werd ontworpen door de architecten Ivor Smith en Jack</span><br style="font-weight: bold; color: #ff6666;" /><span style="font-size: small;">Lynn. Met zijn 995 appartementen in een domein van 13 hectare vormt het een</span><br style="color: #ff6666;" /><span style="font-size: small;">van de vroegste en meest ambitieuze projecten van sociale woningbouw in het</span><br style="color: #ff6666;" /><span style="font-size: small;">Groot-Brittannië van na de Tweede Wereldoorlog. Het heeft (net zoals Ieder Zijn</span><br style="color: #ff6666;" /><span style="font-size: small;">Huis) een zichtbare structuur in gewapend beton en is daarmee een van de oudste</span><br style="color: #ff6666;" /><span style="font-size: small;">voorbeelden van het brutalisme in Engeland. Door een reeks sociaal-economische</span><br style="color: #ff6666;" /><span style="font-size: small;">factoren raakte Park Hill snel verloederd : al in de jaren 1980 was het een plaats</span><br style="color: #ff6666;" /><span style="font-size: small;">waar mensen werden gedumpt.</span><br style="color: #ff6666;" /><br style="color: #ff6666;" /><span style="font-size: small;">In 1998 werd Park Hill na een thematische studie over naoorlogse sociale woningbouw</span><br style="color: #ff6666;" /><span style="font-size: small;">op de monumentenlijst geplaatst. Qua belangrijkheid behoort het tot de eerste 7% van de gebouwen op deze lijst. Daarmee is duidelijk gemaakt dat het een bijzonder waardevol complex is. De renovatie van Park Hill, begonnen in 2008 en bedoeld om het complex in deze nieuwe tijd een nieuw leven te geven, is het werk van HawkinsBrown Architects, Studio Egret West en de landschapsarchitecten van Grant Associates. Zij konden rekenen op de steun van Urban Splash, de gemeenteraad van Sheffield, de Great Places Housing Group, English Heritage en het Homes and Communities Agency.</span><br style="color: #ff6666;" /><br /><span style="font-size: small;">Uitgeverij CIVA : "Willy Van Der Meeren : Ieder Zijn Huis, verlenden en toekomst van een unité d'habitation in Evere"</span><br style="color: #ff6666;" /><br /><span style="font-size: small;">Bij de tentoonstelling hoort een boek van 170 pagina's met meer dan 200 illustraties :</span><br style="color: #ff6666;" /><span style="font-size: small;">' Willy Van Der Meeren : Ieder Zijn Huis, verlenden en toekomst van een unité d'habitation in Evere"</span><br style="color: #ff6666;" /><span style="font-size: small;">'. Via plannen, schetsen en oude foto's krijgt de lezer een beeld van de sociologische</span><br style="color: #ff6666;" /><span style="font-size: small;">context, het architecturale concept van Willy Van Der Meeren en de renovatie.</span><br style="color: #ff6666;" /><span style="font-size: small;">Het boek, waarvan ook een Franse versie verschijnt, werd samengesteld door specialisten ter zake : Mil De Kooning, gewoon hoogleraar van UGent, Charlotte Nys, Barbara Pecheur en Jan de Moffarts van ORIGIN Architecture &amp; Engineering, en is te verkrijgen in de boekhandel van het CIVA (30 €).</span></p> Mon, 10 Sep 2012 15:42:09 +0000 Manuel Caeiro - Crown Gallery - September 7th, 2012 - October 20th, 2012 Mon, 17 Sep 2012 13:07:16 +0000 Pieter Vermeersch - Elisa Platteau - September 7th, 2012 - October 20th, 2012 <p></p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" /></p> Mon, 17 Sep 2012 13:11:26 +0000 Lucy McKenzie - Galerie Micheline Szwajcer - September 6th, 2012 - October 20th, 2012 <p>For her first solo exhibition in Belgium the Scottish artist Lucy McKenzie presents new paintings comprising several series dealing with different aspects of how an artist processes and transforms source material, and the problems of relying on distance or ambiguity with ones chosen sources.<br /><br />McKenzie’s work is expressed in many forms including painting, exhibition organization, writing, commercial design and illustration. Underpinning this pluralism is a desire to form new associations, where both appropriated and self-generated material combine to create a vision which is personal and critical of contemporary orthodoxies.<br /><br /><i>50 Shades </i>takes its title from the E.L. James novel <i>50 Shades of Grey</i>, a publishing phenomenon symbolic of women’s success within the field of commercial genre writing as opposed to ‘literature’. Another figure referenced within the exhibition is bestselling crime writer Agatha Christie.<br /><br />The paintings on show depict in meticulous trompe l’oeil research into several themes; themes never intended to be realized into fully formed works because of their subject matters, which the artist deems inappropriate for exhibition because of their controversial natures. They deal with two areas closely tied to aesthetics; misogyny and the politics of the far right, and their treatment reveals something of how vagueness is used as a tool to avoid accountability when dealing with material likely to offend. This is particularly true when relating to subculture, in honor of which she will create a ‘Fascist Bathroom’ after the anthology of writing on post punk by Greil Marcus ‘In the Fascist Bathroom’.</p> Sat, 14 Jul 2012 12:08:45 +0000 Bret Slater - Levy.Delval - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Bret Slater's first european solo show will open on September 7th on the occasion of Brussels Art Days.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Excerpts of a discussion with Bret Slater, Brussels, September 2012</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Early Works</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">At some point of my work, I think I was too literally referring to modern painting. And I was at a point where I was over perfecting it until it became too clean. It just looked like many hard edge abstraction that were already made in the 60’s ; it was not my ambition. So I started to gather found objects, as a support for painting.  There was something very honest in these objects, and real. But in the end it’s pretty easy to validate works made out of found material : « This is what it is because I found it that way ». And it’s speaking of its own context. So it works. But it is much more difficult to make something out of scratch, and have it equally as valid. (…) </p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Objects / Canvases / Sculptures</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Nonetheless, a lot of shapes or colors I use are influenced by other objects, like the Domino Pizza Box shape. They’re just more made and less found. But more and more, forms just happen by accident, in the work itself. And even Pizza Box shape, it’s now for me more a reference to a creative process I went through than to the original object. It’s not that I stick to them on purpose, but they just work for me. Also, during the past year they tend to become more and more organic. The one with two little squares on top is becoming something else to me now, like a crown or a castle. This other shape reminds me of a Hebrew character Since they’ve become more visceral and imperfect, the shapes bring more images to mind.(…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Even more recently, my paintings became a little bit more sculptural. They’re more cut into, sanded… There are different levels of pouring, there’s subtracted and added material. And everything become thus more organic. Yesterday I saw this older painting I’ve made, and if I was doing it now, I’d consider it unfinished because it was too perfect. (…) </p> <p style="text-align: justify;"></p> <p style="text-align: justify;">I took me a long time to dare to make my own canvas, because there were too many options. I was scared. That’s why maybe I had to pass by found objects first. Tons of artists work with stores bought stretchers; but what the point if the idea is to make objects as original and genuine as it can be. So I finally started to build strange formats… and funnily enough, I’m also making canvas that are close to conventional sizes. But in order to know what is working for me I had to experiment first. (…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Cracks on a hide</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">As far as I can remember, the first painter I really like was Mondrian. I learned about his work in class, and on the slides it looked so perfect and pristine. But when I actually saw his paintings in MOMA, I realized that now it is full of cracks and also that all his handwork is very apparent. (…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Also, I totally stopped making large paintings on stretchers. They became too strong and self-confident. They loose the quality of oddity and awkwardness, that an individual or a living thing has. I started again to make larger works after Elaine came to my studio and compared the texture of a work on paper to an animal hide. So I decided that if I make larger piece again, they should have this quality. I still need to vary the scale, but I don’t want my paintings to be awe inspiring. (…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">That’s why I’m hanging them quite low on the walls. For some time, I tried to hang my works in a scattered way on the wall. But then I tried to find a way that wouldn’t look too decorative, avoiding also a too scarce option. I try to show a relationship, but with without overdesigning the display. I could choose to show only four pieces in a show, but then they’d acquire some sort of importance. </p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Associations</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Color wise, everything is related to memory and nostalgia of certain objects like CD covers or action figures. That’s where the glow in the dark paint is coming from. Everybody has associations with the works, including myself. The titles are often coming from music I’m listening to, titles of songs, lyrics… It works for me as a time capsule. (…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">When a painting, hanging on the wall, visually activates the desire to touch, to weigh, to taste, (which are comments that are coming back often about my work), I assume it is because someone feels some kind of connection with it. It may be the same kind of relationship I have with some objects. But if my paintings can be perceived as objects to be held, for me, they’re meant to be hung on a wall like 2D objects. Even though the action figures I was referring to are 3D objects, they all come from comic books and TV shows, so I think of them as flat images. (…)</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Lichtenstein was the second ever artist that affected me, when I was five. There’s a huge connection with my work. Lichtenstein was working from comic books too. When I think comic books, I think Marvel and D.C., X-Men, and Batman. But it’s never specifically about the reference. I’m not using imagery, and yet, it’s paradoxical because everything I make is always a representation of something. Of course, at first glance, it’s more obviously related to minimal abstraction, that’s maybe why I never stress upon the pop references so much. There is this painting who looked like Wolverine costume as you told me. It wasn’t my intention, but it just totally did. (…)</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Friday September 7 from 4 to 9PM.</span><br /><span style="font-size: small;">Saturday 8 and Sunday 9 from noon to 7PM</span><br /><span style="font-size: small;"><a href=";id=1c2db2ccba&amp;e=9dd43ebcdf" target="_blank"></a></span></p> Mon, 01 Oct 2012 15:27:26 +0000 Matthew Brannon - Office Baroque - September 9th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The exhibition<strong><em> The Ventriloquist</em></strong> is the first individual exhibition by<strong> Matthew Brannon</strong> at <strong>Office Baroque Gallery</strong> and the first individual gallery exhibition of the artist in Belgium. Brannon has created a new body of works for <em>The Ventriloquist</em> including new sculpture, letterpress prints, wallpaper, hand painted signs and collage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition features a radical complexification of themes that have guided Brannon's oeuvre until today. For a first Brannon takes psychoanalysis, of all themes the one that he has been obscuring and repressing most, as a direct “narrative thread”. Many of Brannon's works are built around filmmakers, writers, or art directors, their fates often dangling as an outcome of overspent creative energies. For The Ventriloquist they are played out against the position of the psychoanalyst, causing an exponential growth of potential plots and questions raised.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Firmly rooted in his signature style letterpress prints, in recent years Brannon has expanded his artistic practice to include painting, sculpture, tapestry and collage and furthermore he has produced a limited number of audio works. Brannon's work plays with notions of failure, misfortune, desire and emotional contradictions and features a monde of successful individuals skyrocketing to creative heights, crashing fatally as they are pushed into existential corners. To paraphrase Jan Tumlir, anything that gets in the way of productivity; drinking, sex, fame, jealousy, guilt, shame are made manifest in aesthetic form and substance. Satire, fiction and reality interweave in props and images animated an reverted by text.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is structured over three different rooms. As one enters the first, a large “sofa and chair” sculpture, an iconic setting for an analysis session, sets the whole show in motion. Entering the space in the capacity of patient, the sculpture throws the visitor backstage into an analysts office where he/she enters the uncomfortable role of being a witness and of being audience. From a wall decorated with diplomas, hand painted signs describing dates, events or actions, lead into a champagne room with decorative wallpaper and collages. A third room is a painting gallery and includes an exit door to a coroner's office. Space and time become dynamic categories. The narrative plot is held in place by four letterpress prints, involving a documentary film maker who killed her husband and is responsible for her daughter's overdosing.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On a second reading, the show is divided in half, starting in the present and aided by hand painted signs flips into the past tense. Brannon's work is characterized by the use both of cinematic tricks (flashback, the sudden take back of narrative into time, the use of subtitles), and of strategies and parameters of other disciplines (theater, writing) introducing them into a fine art context. Many elements in the exhibition are visual double entendres. The exhibition underlines the importance of language and visual elements, as a way to animate visual still lifes and take their meaning elsewhere. The “city posters”, much like the “diplomas” are part of the exhibition's past tense, referring to an earlier innocence/naivety, an unattainable state, in order to throw us all the more into a complex unresolved present.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout his practice, Brannon typically and largely operates within “third tier” media as printing on paper, tapestry or wallpaper. Within the exhibition, Brannon seems to be reserving more and more territory for “first tier” media (oil painting, sculpture) but wherever they appear they seem to be doing so in disguise. Several oil paintings are props assisting the development of an action or stage in a story, sculptures are designed as stage sets, with an illusionist facade and visibly constructed backgrounds.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With “The Ventriloquist” we are left in the dark about the true identity of the ventriloquist and his dummies. One could draw a structuralist graph to determine these positions both within the exhibition, within the larger framework of art production and reception, and within the framework of art and psychoanalysis, and doing so, define the position of the artist, of the artworks and of the spectator throughout the exhibition. But each of these positions could be interchangeable on a meta level if we follow Brannon's cue of adding the analyst to the story, marking the positions of analyst and analysand both in the center of the graph.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matthew Brannon is an American artist living and working in New York City. Born in 1971, in St. Maries, Idaho, Brannon studied visual arts, art theory and psychology at the University of California, Los Angeles and received a Masters of Fine Arts from Columbia University in New York. Over 2010 and 2011, he presented Reservations, at Ursula Blickle Stiftung, Kraitchal, Germany, Mouse Trap, Light Switch, at the Museum M, Leuven, Belgium and a A question answered with a quote, at Portikus, Frankfurt, Germany a traveling exhibition with three adaptations. Other solo museum exhibitions include; Where Were We, Whitney Museum of American Art at Altria, New York and Try and Be Grateful, Art Gallery of York University, Toronto. Matthew Brannon has exhibited at Friedrich Petzel Gallery, New York, Gio Marconi Gallery, Milan, The Approach, London, Casey Kaplan Gallery, New York and David Kordansky Gallery in Los Angeles among others.</span></p> Sat, 22 Sep 2012 17:03:34 +0000 Hank Willis Thomas, Robin Rhode, Rashid Johnson, Theaster Gates - TWIG Gallery - September 8th, 2012 - October 20th, 2012 Mon, 01 Oct 2012 09:48:08 +0000 Petr Davydtchenko - Harlan Levey Projects - September 7th, 2012 - October 21st, 2012 <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-family: arial, helvetica, sans-serif;"><span style="font-family: 'comic sans ms', sans-serif;"><span style="font-family: terminal, monaco;"><span style="font-family: 'times new roman', times;"><span style="font-size: small;"><span style="font-family: helvetica;">The bank has nothing to do with your mental property. Or do they?  “Mental Properties” acknowledges that with no authority left to believe, in the words of German Philosopher Wolfgang Schirmacher, what we have to build a better future is ourselves: “thinking power, intellectual honesty and intuitive understanding.”</span></span></span></span></span></span></span></p> <p style="text-align: left;"><span style="font-family: helvetica;"><span style="font-family: arial, helvetica, sans-serif;"><span style="font-family: 'comic sans ms', sans-serif;"><span style="font-family: terminal, monaco;"><span style="font-family: 'times new roman', times;"><span style="font-size: small;"><span style="font-family: helvetica;">The first solo exhibition by Petr Davydtchenko involves site-specific installation, sculpture, video and photographic works, which deal with the civility of aesthetics as we enter what can rightly be called European Autumn</span></span><span style="font-family: helvetica;">.</span></span></span></span></span></span></p> Sat, 25 Aug 2012 15:51:03 +0000