ArtSlant - Openings & events http://www.artslant.com/brx/Events/show en-us 40 Issa Touma, Nicolas Righetti, Florian Göttke, Hrair Sarkissian, Nermine Hammam, Joachim Ben Yakoub, Marco Bohr - FotoMuseum - February 15th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;">A cheering crowd in a Libyan sports stadium, gazing hopefully in the direction of their leader. Thus started the dubious political career of Muammar Gaddafi, a career which would end 42 years later in blood and gore. The photos went around the world. The FoMu focuses on the power of photography during recent events in the Arab world. The extensive Gaddafi archives are complemented by photographs on Syria, Egypt and Tunisia. Even though photography is clearly the ultimate propaganda tool for leaders in authoritarian regimes, it can also prove to be an important weapon for the people during a revolution.</p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;">FoMu shows work of the following artists and photographers: Issa Touma (SY, °1962), Nicolas Righetti (CH, °1967), Florian Göttke (DE, °1965), Hrair Sarkissian (SY, °1973), Nermine Hammam (EG, °1967), Joachim Ben Yakoub (BE, °1982) and Marco Bohr (DE, °1978). Next to these the civil journalism collective Mosireen (Egypt) and Facebook group ‘Uprising of Women in the Arab World’ are presented as well.</p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Een juichende mensenmassa in een Libisch sportstadium, hoopvol kijkend richting Mouammar Kadhafi. Dit was de start van zijn dubieuze politieke carrière, die 42 jaar later bloedig zou eindigen. De foto’s gingen de wereld rond. Het FoMu focust op de kracht van fotografie tijdens de recente gebeurtenissen in de Arabische wereld. Het omvangrijke Kadhafi archief wordt aangevuld met fotografische projecten over Syrië, Egypte en Tunesië. </span><br /><br /><br /><span style="font-size: small;"> Fotografie blijkt het ultieme propagandamiddel voor leiders in autoritaire regimes, maar kan ook een belangrijk wapen zijn voor het volk bij revoluties.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Het FoMu toont werk van volgende fotografen en kunstenaars: Issa Touma (SY, °1962), Nicolas Righetti (CH, °1967), Florian Göttke (DE, °1965), Hrair Sarkissian (SY, °1973), Nermine Hammam (EG, °1967), Joachim Ben Yakoub (BE, °1982) en Marco Bohr (DE, °1978). Daarnaast komt ook het burgerjournalistiek collectief Mosireen (Egypte) en de Facebook groep Uprising of Women in the Arab World aan bod.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="margin: 0cm 0cm 0pt; text-align: justify;">Une foule en délire dans un stade sportif libyen, les yeux pleins d'espoir tournés vers Mouammar Kadhafi. Ce fut le début de sa carrière politique douteuse qui allait s’achever 42 années plus tard dans un bain de sang. Les photos ont fait le tour du monde. Le Musée de la Photo se concentre sur la force de la photographie au cours des récents événements dans le monde arabe. Les considérables archives de Khadafi sont complétées par des projets photographiques consacrés à la Syrie, à l’Égypte et à la Tunisie. La photographie s’avère être le moyen de propagande par excellence pour les chefs de régimes autoritaires, mais elle peut tout aussi bien se transformer en une arme de taille pour le peuple en cas de révolution.</p> <p style="margin: 0cm 0cm 0pt; text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Artistes et photographes: Issa Touma (SY, °1962), Nicolas Righetti (CH, °1967), Florian Göttke (DE, °1965), Hrair Sarkissian (SY, °1973), Nermine Hammam (EG, °1967), Joachim Ben Yakoub (BE, °1982) et Marco Bohr (DE, °1978). </span></p> <p style="text-align: justify;"><span style="font-size: small;">Collectifs: Mosireen (journalisme citoyen de l‘Égypte) et «Uprising of Women in the Arab World» (groupe Facebook).<br /></span></p> Mon, 04 Feb 2013 19:21:38 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Charles Fréger - FotoMuseum - February 15th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Who are these people, covered in heavy animal skins or straw skirts and adorned with cow bells or goat's legs? Charles Fréger (born in France in 1975) accompanied traditional groups to remote, unspoilt places. The rituals create a sense of unity with the land, with the ancient customs and with each other.  Fréger shows us a forgotten slice of European culture, which is as close as it is alive.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Wie zijn deze mensen, gehuld in zware dierenhuiden of strobussels en versierd met koebellen of bokkenpoten? Charles Fréger (°FR, 1975) vergezelde traditionele groepen en gemeenschappen naar afgelegen stukjes ongerepte natuur. De rituelen die zich hier afspelen, creëren een gevoel van eenheid met het land, met de eeuwenoude gebruiken en met elkaar. Fréger toont ons een vergeten stukje van de Europese cultuur, dat even dichtbij als springlevend is.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Qui sont ces gens vêtus de lourdes peaux de bêtes, couverts de tresses de paille et ornés de cloches ou de pieds de bouc ? Charles Fréger (°FR, 1975) a accompagné des groupes traditionnels vers des lieux éloignés encore immaculés. Dans ces traditions séculaires, les rituels qui s’y déroulent créent un sentiment d’union avec la nature et la terre, et l’humanité tout entière. Fréger nous dévoile un volet oublié de la culture européenne, qui est aussi proche que vivante.</span></p> Mon, 04 Feb 2013 19:23:12 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - FotoMuseum - February 15th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Photography played an important role in the western European perception of the exotic worlds, because it opened up a dialogue about what is 'foreign' and fuelled people's imagination in the process.  The FoMu shows a selection of photographs from its own collection going back to the very beginning of photography up until the 1960s.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Fotografie speelde een belangrijke rol in de West-Europese beeldvorming van de exotische werelden.  Ze droeg bij tot de ontsluiting én de verbeelding van het ‘vreemde’.  Het FoMu toont een selectie foto’s uit de eigen collectie van het ontstaan van de fotografie tot in de jaren 1960.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">La photographie a joué un rôle important dans l’image que l’Europe occidentale s'est faite des contrées exotiques. Elle a contribué à dévoiler mais aussi à imaginer ‘le monde étranger’. Le Musée de la Photo présente une sélection de photos de sa propre collection, de la naissance de la photographie jusqu’aux années 1960.</span></p> Mon, 04 Feb 2013 19:24:11 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Neo Rauch - Bozar - Palais des beaux-arts de Bruxelles - February 20th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Following major solo exhibitions in the Metropolitan in New York, the Pinakothek in Munich, and the Leipzig museum of art, BOZAR EXPO presents the first exhibition in Belgium of work by this internationally popular artist, a key pioneer of the Neue Leipziger Schule. Neo Rauch (born in Leipzig in 1960) is known for his puzzling, seemingly narrative paintings. The people in them are busy with something or other; they don’t seem to entirely fit in with their surroundings. Rauch has developed a highly individual style, a mix of realism, abstraction with a surrealist touch, and influences from pop art and comic strips. His dreamlike compositions seem to be peopled by memories of the GDR. “My paintings have something vital about them, like an animal, a living thing,” says Rauch. “You don’t have to understand them, just to feel that this creation, to the greatest possible extent, is at peace with itself.” Following the success with Belgian exhibitiongoers of the Luc Tuymans exhibition, BOZAR is keen to introduce them to this German artist, a kindred spirit with a highly individual visual idiom.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Après de grandes expositions solo au Metropolitan de New York, à la Pinacothèque de Munich et au Musée d'art de Leipzig, BOZAR EXPO organise la première exposition en Belgique consacrée à ce fameux pionnier de la Neue Leipziger Schule, très populaire sur la scène internationale. Neo Rauch (Leipzig, 1960) est connu pour ses tableaux énigmatiques et, en apparence, narrateurs. Ses personnages sont toujours vaguement occupés, ils semblent hors contexte. Neo Rauch a développé un style très personnel, qui mélange réalisme, abstraction teintée de surréalisme et influences du pop art et de la B.D. Des souvenirs de la RDA semblent peupler ses compositions oniriques. « Mes tableaux ont quelque-chose de vital, comme un animal, un être vivant », explique Rauch. « Il n'y a pas besoin de les comprendre, il faut seulement sentir que cette créature est, au plus haut degré possible, en paix avec elle-même. » Après le succès de l’exposition sur Luc Tuymans, BOZAR souhaite désormais faire découvrir au public belge un artiste allemand similaire, qui utilise un langage visuel très personnel.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Na grote solotentoonstellingen in het Metropolitan in New York, de Pinakothek in München en het kunstmuseum in Leipzig organiseert BOZAR EXPO de eerste expositie in België van deze belangrijke voortrekker van de Neue Leipziger Schule met een brede internationale populariteit. Neo Rauch (Leipzig, 1960) staat bekend om zijn raadselachtige, ogenschijnlijk verhalende schilderijen. Mensen zijn met iets onbestemds in de weer, ze lijken niet helemaal te passen in de omgeving. Rauch ontwikkelde een hoogstpersoonlijke stijl, een mix van realisme, surrealistisch aandoende abstractie en invloeden uit popart en strips. Herinneringen aan de DDR lijken de droomachtige composities te bevolken. “Mijn schilderijen hebben iets vitaals, als een dier, een levend ding”, zegt Rauch. “Je hoeft ze niet te begrijpen, alleen te voelen dat dit schepsel, in de hoogst mogelijke graad, vrede heeft met zichzelf.”. Na het publiekssucces van de Luc Tuymans-tentoonstelling, wil BOZAR het Belgische publiek nu kennis laten maken met deze Duitse gelijkgestemde artiest die gebruik maakt van een heel persoonlijke beeldentaal.</span></p> Wed, 13 Feb 2013 14:36:55 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Thomas Bayrle - WIELS - February 20th, 2013 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Talk-guided tour of Thomas Bayrle's exhibition <em>All-in-One</em> by Devrim Bayar, curator of the exhibition. 20.02.2013, 7pm</span></p> <p style="text-align: justify;"><span style="font-size: small;">In French </span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Visite guidée de l'exposition<em> All-in-One </em>de Thomas Bayrle par Devrim Bayar, curatrice de l'exposition.</span></p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Rondleiding van de tentoonstelling <em>All-in-One</em> van Thomas Bayrle door Devrim Bayar, curator van de tentoonstelling</span></p> Wed, 06 Feb 2013 18:43:21 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - Bodson Gallery - February 21st, 2013 6:00 PM - 9:00 PM Sat, 12 Jan 2013 15:10:47 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Zachary Formwalt - D+T PROJECT Gallery - February 21st, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><b>Zachary Formwalt</b> employs photography and film to investigate economic and social history. While his works cast light on historical events, they are at the same time an inquiry into the quality and origins of still and moving images. A recurrent concern in Formwalt’s work is that material outcomes of economic and social processes, such as architectural constructions, can be captured and visualized, while the economic processes underlying these outcomes remain elusive.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The video work <b><i>unsupported transit </i></b>is set on a construction site in Shenzhen, the first of China’s Special Economic Zones, where a new stock exchange designed by Rem Koolhaas’s Office for Metropolitan Architecture (OMA) is now being built. On this site, a story is told that begins with Eadweard Muybridge’s (1830-1904) early sequential photographs and a commissioned work he carried out for Leland Stanford (1824-1893) before the famous horse pictures were produced. The mechanism by which the images in the film were produced becomes clearer as the story moves on to a description of time-lapse photography and what Karl Marx described as the “abbreviated form of capital” – a form that makes capital appear to move of its own accord.</span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;"><small></small></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="text-decoration: underline;"></span> <span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;"><small></small></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Zachary Formwalt</b> (1979, Georgia, USA) studied at the School of the Art Institute of Chicago and at Northwestern University, Evanston, Illinois. In 2008 and 2009 he was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam. He has had solo exhibitions at Kunsthalle, Basel (2009) and ar/ge kunst Galerie Museum, Bolzano (2011) He has participated in group exhibitions such as<i>Monumentalism</i> at Stedelijk Museum, Amsterdam (2010), <i>The End of Money</i> at Witte de With, Rotterdam (2011) and <i>Homo Economicus</i> at Cabinet Gallery, London (2012).</span></p> <p></p> Thu, 21 Feb 2013 09:08:14 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Stephen Felton - Levy.Delval - February 21st, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Stephen Felton’s utterly concrete and pragmatic approach to painting is the main ingredient to a very specific kind of conversation. When the works are viewed as a group they seem to each hold a different deck of cards even though they are all playing the same game. As if each has a role: The historian, the explorer, the good child, the bad child and so on. Yet each quirk of all these very different personality traits seem to make it into each and every painting he makes.  Their wit relies on sharpness and sparingly used means. No nonsense: everything that would distract the audience from the immediate effect is carefully removed.</span><br /><br /><span style="font-size: small;">Although the technique applied on the canvas is quite limited, Stephen Felton’s work rely on a lot of rehearsing. Rehearsing until it works, like a stage performance. Either a painting works or it doesn’t. There’s no in between.</span><br /><br /><br /><span style="font-size: small;">"<em>Once I have an image that I am working with I tend to keep working it. Since the paintings are so sparse I have to start over every time I am not satisfied.<br /><br />So that means I have to white wash it and start over. It is pretty rare when I get it right the first time, although of course that is my goal. Sometimes the image is just a failure and I have to let it go.</em>"</span><br /><br /><span style="font-size: small;">For the same reasons, there’s no mystery in the making.</span><br /><br /><span style="font-size: small;">"<em>I don't often mix colors, they are pretty much straight out of the tube. My paintings usually consist of only one color so I do think about it. Sometimes there is a reason for picking that color but more often than not I just want to see it, see what it looks like. The standard size I use just came out of practicality. It was the largest square I could get out of a 6 foot roll of canvas which is what a standard roll is at my local art supply shop. Over time I became really comfortable working with that size and I never really changed. I could tell you it had something to do with the scale of the human body, but that wouldn't be true.</em>"</span><br /><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">This minimalistic approach could have been done on another medium. But a lot would have been lost without the strange cohabitation between painting’s remains of grandeur and its actual materiality. Stephen Felton depicts his work as materialistic; nonetheless he allows himself some idealistic digressions. “I definitely feel, like a lot of painters, that like it or not: painting chooses them. I know that sounds a bit too romantic.” According to him, painting conveys only one mystery:  how the viewer will fill its empty space with an interpretation, like one would put feeling on a neutral mask.  Painting is a screen, either you believe it reflects a hidden dimension, the artist intention or the viewer interpretation.</span><br /><br /><span style="font-size: small;">"<em>Actually, its kind of a strange idea that I came up with in Rome over the summer. I was looking at all of this amazing art that is of course based mostly on the ideals of religion. I knew then that I wanted to be able to depict ideas. That’s when I came up with this show, which is more about an action than an image in itself. This seemed to have all the drama of the subject I was looking for, as a starting point.</em>"</span></p> Thu, 31 Jan 2013 08:38:05 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Evariste Richer - Meessen De Clercq - February 21st, 2013 6:00 PM - 9:00 PM Mon, 04 Feb 2013 19:09:25 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Susan Collis - Meessen De Clercq - February 21st, 2013 6:00 PM - 9:00 PM Mon, 04 Feb 2013 19:10:07 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list James Lee Byars - Meessen De Clercq - February 21st, 2013 6:00 PM - 9:00 PM Thu, 07 Feb 2013 15:26:49 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Group Show - MuHKA Museum of Contemporary Art Antwerp - February 21st, 2013 6:00 PM - 11:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Moments on Moments<em> is a concentrated and reworked version of the exhibition <em>Moments: A History of Performance in 10 Acts<em>, curated <strong>Boris Charmatz</strong>, <strong>Sigrid Gareis</strong> and <strong>Georg Schöllhammer</strong> for ZKM | Centre for Art and Media in Karlsruhe, with support from Germany’s Federal Cultural Foundation. Before travelling to M HKA <em>Moments on Moments<em> is shown at Lunds konsthall in Sweden.</em></em></em></em></em></em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><em><em><em></em></em></em></em></span></p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> Wed, 13 Feb 2013 15:16:45 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Mira Sanders - MuHKA Museum of Contemporary Art Antwerp - February 21st, 2013 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><em>La Chambre de Tania</em> is a meeting between two artworks. It carefully interweaves collages by <strong>Mira Sanders</strong> with a science fiction story by <strong>Cédric Noël</strong>. Both artists share similar interests: architecture, psychology, engineering, painting and drawing. Sanders draws new lines of flight along and around the surface of photographic images taken from do-it-yourself magazines from the sixties. Figures and hands of makers assemble and disassemble things. Are they professional or hobbyists?</span><br /> <br /><span style="font-size: small;"> This work using the machinery of the imagination reveals gestures and their potential. Noël writes about the 'imago' and creates a tension between the concept of a perfect form and an ideal representation. The story consists of a series of clashes in a world which is managed by the Arantèle - a place where people dress in the suits of symbiotic plants or insects.</span><br /> <br /><span style="font-size: small;"> This edition is the fifth by <strong>Posture Editions</strong> – a series of artists' books which for each issue an artist is invited to organise his/her work as a sort of printed exhibition.</span><br /> <br /><span style="font-size: small;"> 64 pages</span><br /><span style="font-size: small;"> black | white – 21 x 30cm</span><br /><span style="font-size: small;"> French | Dutch</span><br /><span style="font-size: small;"> ISBN 978 94 9126 205 0</span><br /><span style="font-size: small;"> € 10.00</span><br /> <br /><span style="font-size: small;"> <a href="http://www.posture-editions.com">www.posture-editions.com</a></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><em>La Chambre de Tania</em> is een ontmoeting tussen twee kunstwerken. Het is een zorgvuldige verweving van de collages van <strong>Mira Sanders</strong> met een sciencefictionverhaal van <strong>Cédric Noël</strong>. Beide raken dezelfde domeinen aan: architectuur, psychologie, ingenieurswerk, schilder- en tekenkunst. Mira Sanders trekt nieuwe vluchtlijnen langs de oppervlakte en rond fotografische beelden afkomstig uit tijdschriften voor doe-het-zelvers uit de jaren zestig. Figuren en handen van installateurs monteren en demonteren dingen.</span><br /> <br /><span style="font-size: small;"> Uitvinders of doe-het-zelvers? Het werk met de machines van de verbeelding onthullen het gebaar en zijn verloop. Cédric Noël schrijft over het 'imago' en ontwikkelt een spanning tussen het concept van een perfecte vorm en de ideale uitbeelding. Dit verhaal bestaat uit een reeks botsingen in een</span><br /><span style="font-size: small;"> wereld die beheerd wordt door de Arantèle – een wereld waarin de mensen gehuld zijn in symbiotische pakken van planten of insecten.</span><br /> <br /><span style="font-size: small;"> Deze editie is de vijfde uit de reeks <strong>Posture Editions</strong>, een reeks kunstenaarsboeken waarin een kunstenaar een gedrukte tentoonstelling organiseert over zijn/haar werk.</span><br /> <br /><span style="font-size: small;"> 64 pagina’s </span><br /><span style="font-size: small;"> zwart | wit – 21x30cm</span><br /><span style="font-size: small;"> Frans | Nederlands</span><br /><span style="font-size: small;"> ISBN 978 94 9126 205 0</span><br /><span style="font-size: small;"> € 10,00</span><br /> <br /><span style="font-size: small;"> <a href="http://www.posture-editions.com">www.posture-editions.com</a></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><em>La Chambre de Tania</em> est une rencontre de deux oeuvres plastiques. Une imbrication minutieuse entre des collages de <strong>Mira Sanders</strong> et un récit de science-fiction de <strong>Cédric Noël</strong>, qui traversent des champs communs: l'architecture, la psychologie, l'ingénierie, la peinture et le dessin. Mira Sanders trace de nouvelles lignes de fuite à la surface et autour d'images photographiques issues de magazines de bricolage datant des années 60. Des figures et des mains d'ajusteurs-monteurs y démontent et remontent des choses. </span><br /> <br /><span style="font-size: small;"> Savants ou bricoleurs? Le travail sur les machines-imagination articule le geste et son tracé précis. Cédric Noël écrit sur 'l'imago' et développe un rapport tendu entre la conception d'une forme parfaite et sa représentation idéale. Ce récit est une suite de collisions dans un monde organisé par l'Arantèle où les hommes sont affublés de costumes symbiotiques de végétaux ou d'insectes.</span><br /> <br /><span style="font-size: small;"> Ce livre d'artiste est le cinquième de la série produite par <strong>Posture Editions</strong>, dans laquelle les artistes invités ont un usage libre de la publication.</span><br /> <br /><span style="font-size: small;"> 64 pages</span><br /><span style="font-size: small;"> noir | blanc – 21x30cm</span><br /><span style="font-size: small;"> Français | Néerlandais</span><br /><span style="font-size: small;"> ISBN 978 94 9126 205 0</span><br /><span style="font-size: small;"> € 10,00</span><br /> <br /><span style="font-size: small;"> <a href="http://www.posture-editions.com">www.posture-editions.com</a></span></p> Wed, 13 Feb 2013 15:19:18 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list - The Affordable Art Fair Brussels - February 21st, 2013 12:00 PM - 10:00 PM <div class="entry-content"> <p style="text-align: justify;">A fun four-day event hosting a wealth of galleries and a huge array of contemporary art, the Affordable Art Fair Brussels will be taking place between the 21 – 24 February 2013, in the Tour &amp; Taxis.</p> <p style="text-align: justify;">Our concept is simple, yet unique: an inspiring and friendly atmosphere in which you can find thousands of original paintings, prints, sculpture and photography all under one roof, and all priced between €50 to €5,000. The work of young, emerging artists hangs alongside some of the biggest household names, while the compulsory labelling of all the artwork means you know exactly what suits your budget.</p> </div> <p><strong> </strong></p> <p><strong>Opening times</strong><br /> Thursday 21 February 12.00pm – 6.00pm<br /> AAFter work  6.00pm – 10.00pm<br /> Friday 22 February 12.00pm – 8.00pm<br /> Saturday 23 February 11.00am – 7.00pm<br /> Sunday 24 February  11.00am – 7.00pm</p> <p><strong>Admission</strong><br /> Adult €13<br /> Concessions  €11<br /> Children under 16 Free</p> Wed, 13 Feb 2013 07:06:49 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Edi Rama, Alexander Schellow - WIELS - February 21st, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Edi Rama and Anri Sala in conversation: 7pm</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Edi Rama created the condition for a deep evolution in the life conditions in the Albanian capital city, turning it green, purifying its waterways, giving back public spaces to citizens; but also having the green facades of the centercity re-painted in bright colours, These changements are strongly intertwined with the artistic practice of Anri Sala; his films, installations and photographs explore the borders of history and geography from the point of view of marginal characters, involuntary protagonists of collective dramas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Edi Rama and Anri Sala question the possibilities of affecting the preception of a specific place, the life in a city and the notion itself of citizenship, in relation to such artistic and urbanistic interventions.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Screening: Alexander Schellow, <em>OHNE TITEL </em>(fragment) - 4'40''</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Catherine Perret and Alexander Schellow in conversation: 8pm</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>How to memorize what we didn’t photograph? </em>Asked Chris Marker at the beginning of <em>Sans Soleil</em>. Conversely: how to remember at the time of the industrialization of the memory, an industrialization where the photography was the first tool?</span></p> <p style="text-align: justify;"><span style="font-size: small;">Between those two questions, beyond the aporia they draw, Alexander Shellow develops an art founded on the dynamic of recollection. Recollection of the feeling into a perfomative drawing practice. Recollection of places into the transfert of the unmoving image in the animated image. Recollection of times and stories in the process of archives’ constitution. Recollection of memory in the films. Each of these practices put the question of the moment where the movement borns inside the image, implicating not only the raising of the past in the present, but also the re-writing of the past by the present. His work asks one of the main questions in the art today: how to turn images into an instrument for exploring the living memory, and how not to turn inert memories into material of falsely living images?</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>In the frame of Alexander Schellow’s exhibition <em>Tirana</em>, opening on Febrary 20th at erg’s gallery</strong></span></p> <hr /> <p style="text-align: justify;" align="right"><span style="font-size: small;"><strong>Conversation, Edi Rama et Anri Sala - 19h</strong> </span></p> <div style="text-align: justify;"><span style="font-size: small;">Edi Rama a été l’un des principaux acteurs de la transformation des conditions de vie dans la capitale albanaise, Tirana, la faisant plus verte, assainissant ses cours d’eau, rendant l’espace public aux citoyens, mais également restaurant et repeignant en couleurs vives les façades délabrées des immeubles du centre-ville. Ces changements sont liés de façon conséquente à la pratique artistique d’Anri Sala : ses films, installations et photographies explorent les frontières de l’histoire et de la géographie du point de vue de personnages marginaux, de protagonistes involontaires de drames collectifs. Edi Rama et Anri Sala interrogeront les possibilités d’influer sur la perception d’un lieu, la vie dans la cité et la notion même de citoyen, en relation à leurs initiatives artistiques et urbanistiques.</span></div> <p style="text-align: justify;"><br /><span style="font-size: small;"> <strong>Projection de OHNE TITEL (fragment) - 4’40’’, d’Alexander Schellow</strong></span></p> <p style="text-align: justify;" align="right"><span style="font-size: small;"><strong><strong>Conversation, Catherine Perret et Alexander Schellow - 20h</strong> <br /> <br /> </strong><em>Comment font pour se souvenir ceux qui ne photographient pas ?</em> demandait Chris Marker dans l’ouverture de <em>Sans Soleil</em>. Inversement : comment se souvenir à l’heure de l’industrialisation de la mémoire, industrialisation dont la photographie fut le premier outil ? Entre ces deux questions, au-delà de l’aporie qu’elles dessinent, Alexander Schellow développe un art fondé sur la dynamique de la remémoration. Remémoration de la sensation dans une pratique performative du dessin. Remémoration des lieux dans le transfert de l’image immobile à l’image animée. Remémoration des temps et des histoires dans le processus de constitution des archives. Remémoration du souvenir dans le film. Chacune de ces pratiques pose la question de l’instant où le mouvement naît dans l’image, impliquant non seulement la remontée du passé dans le présent, mais la réécriture du passé par le présent. Son travail pose une des questions majeures de l’art d’aujourd’hui : comment faire des images un instrument d’exploration de la mémoire vivante et non du souvenir inerte le matériau d’images faussement vivantes ? <strong><br /></strong></span></p> <p style="text-align: justify;" align="right"><span style="font-size: small;"><strong>Dans le cadre de l’exposition <em>Tirana</em> de Alexander Schellow, qui s'ouvre le 20 Février à la galerie de l'erg <br /></strong></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><strong>Edi Rama en Anri Sala in gesprek: 19:00</strong></span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Edi Rama en Anri Sala stellen de mogelijkheden in vraag van de beïnvloeding van een specifieke plaats, het leven in een stad en het begrip burgerschap, met betrekking tot artistieke en stedenbouwkundige interventies.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"><strong>Screening: Alexander Schellow, Ohne Titel (fragment) - 4'40''</strong></span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"><strong>Catherine Perret en Alexander Schellow in gesprek: 20:00</strong></span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Alexander Schellow ontwikkelt een kunst gebaseerd op de dynamiek van herinnering. Zijn werk stelt een van de belangrijkste vragen in de kunst van vandaag: hoe kunnen we beelden omzetten in een instrument voor het verkennen van de levendige herinnering?</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>In het kader van de tentoonstelling <em>Tirana</em> van Alexander Schellow, die op 20 februari opent in de galerie van erg.</strong></span></p> <p><strong> </strong></p> <p><strong> </strong></p> Mon, 18 Feb 2013 19:16:48 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list Jimmie Durham - Appartement Elisa Platteau - February 23rd, 2013 2:00 PM - 8:00 PM <p style="text-align: justify;"><strong><br /> </strong></p> <p style="text-align: justify;">"I must be more than the idea of a Cherokee that the world has. Like I have to be more than the idea the Cherokee have of ourselves. I have to keep my head outside of the reservation." (JD)</p> <p style="text-align: justify;">Writer, poet, political activist, performance artist and sculptor, Durham’s practice is not one to be easily harnessed by the limiting categories of ‘western’ specialisations. His work is carried by a deep mistrust towards the achievements of western civilisation and characterised by an inexhaustible engagement to destabilise the mythical story of a western dominated culture. Razor-sharp wit, mockery and a consciously chosen formal awkwardness are shaped into a poetical expression, that is not afraid of disconnecting time and space and using them against all conventions. We, the viewers, are continuously misled and put on a wrong track and, as a consequence, obliged to shift our points of view and place ourselves in new contexts, as if we have to reinvent ourselves permanently.</p> <p style="text-align: justify;">The exhibition is called after the homonymous video ‘The man who had a beautiful house’ from 1994, which was produced and directed by Maria-Thereza Alves. The work is based upon a story written by Julian Villasenhor and Jimmie Durham. The cast includes one character, played by Jimmie Durham. </p> <p style="text-align: justify;">It is about a man, who speaks badly French –or even plainly talks gibberish- and who owns a so-called beautiful house even though he actually owns nothing…except for a brick in his pocket.<br /> THE proof for ‘his house’ is a brick, which is carefully wrapped in cloth and proudly presented in front of the camera. Besides a kitchen, its tools (in silver!) and the furniture in oak (wood with a heavy weight!) the character calls upon this brick as an argument for the existence of his house; the brick as the basic element of a house and architecture. Since 1994, the year in which Jimmie Durham chose Europe as his residence, the stone –as a counterpart of language- has played a major role in his work. The more the artistdoubts about the possibility to free words from their ‘weight’, the more he attempts to relieve stone from it’s weight, stone as the smallest brick of our civilization. “I want to make different things with stone, to make stone light, to make it free of its historical weight, its architectural weight, to make it light…free of monumentality” (JD), so that we could be liberated of the mental rigidity, the discipline and the restraints that civilisation forces upon us.</p> <p style="text-align: justify;">And more: The video seems to be a metaphor that –as the artist states - “usually visual arts is presented within a system of believing” (JD, 1993). In ‘The man who had a beautiful house’ it is not merely the art-world that suffers hereof, but first of all the protagonist himself. Does this man actually believe he owns a house? And why do we develop sympathy for him, or even feel sorry for him?</p> <p style="text-align: justify;">The second work that is shown in this exhibition is ‘A long list’ from the year 1999. Durham writes (in different languages and with spelling mistakes) with different colour-crayons a hybrid list that looks like something inbetween a shopping-list and a cash-form. Like a good housewife, he has made an accounting of all the expenditures done and the purchases still to do: zoete uien (2x!), brood, tomaten, grey PVC, graniet, red stone, yellow PVC, rozemarijn, OK bananas, nails, saw, etc…However absurd the list may seem, we can easily presume he actually buys most of these ‘articles’ (except for the words maybe) to produce his work as an artist and get through daily life.<br /> The banality (and humour) of this, does not feed the mystification of a contemporary artist, of which the art-world is often an eager accomplice. It is as if the work tells us: “No secrets, no magic tricks involved, you get what you see.”</p> <p style="text-align: justify;"><em>Ulrike Lindmayr</em></p> Fri, 01 Mar 2013 08:10:00 +0000 http://www.artslant.com/brx/Events/list http://www.artslant.com/brx/Events/list