ArtSlant - Recently added en-us 40 Xavier Mary - Albert Baronian - November 7th - December 20th <p style="text-align: justify;"><em>I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.</em><br />J.G. Ballard<br /><br />Albert Baronian is pleased to present the second solo exhibition of Xavier Mary, entitled &laquo; OVER DRIVE &raquo;. The works presented here clearly exemplify the themes and fascinations that have been informing his practice ever since his solo presentation at BOZAR in 2006. By giving a contemporary twist to the Duchampian ready-made, the artist relocates industrial objects within the white cube, isolating them from our usual, everyday conception. From carpet motifs to video games, from Khmer temples to hi-res three-dimensional renderings, hybridity is a core element in the understanding of Xavier Mary&rsquo;s work. His position as an artist is one of constant negotiation between different visual and value regimes, connecting tradition and avant-garde, sincerity and irony, past and future, actual and virtual. <br /><br /><em>Krauss</em> and <em>Foster</em> (2014), dedicated to the artist&rsquo;s favorite thinkers, are two works consisting of acoustic panels that usually isolate the roadway noise from the surrounding area. The metal panels are treated using various industrial techniques such as polishing, powdering, sanding or blasting, each leading to a different aesthetic. Noise barriers mark the divide between the linear culture of speed, somewhat nostalgically emblematized by the automobile, and the cyclical structure of the countryside situated behind it (think of meadows, fields, pastures, etc.) <br />As if to simulate the absent scenic vistas or to somehow conjure their loss, some noise barriers feature abstract designs that turn into rhythmic and almost melodic lines when passing by at high speed. This variation in design was mainly to avoid a monotonous feeling or a tunnel effect for motorists. However, looked at from a less common, frontal perspective, these sound panels become gridded canvases that only vary in color (samples of which are taken from the RAL color chart). Simultaneously, one might also recognize the visuals of popular retro games such as Breakout, released in 1976.<br /><br />In that very same year, Frank Stella got commissioned for the BMW Art Car Project, where he used a drawing on graph paper to cover the car&rsquo;s bodywork. As a painter, he was basically treating the car as if it were a shaped canvas. Xavier Mary&rsquo;s work still carries this same legacy. But instead of searching for the specificity of the medium by reducing it to its &ldquo;pure essence&rdquo;, so typical of American modernism (advocated by Greenberg and co.), Mary starts off from the specificity of objects. In this way, one might define his practice as a &ldquo;reverse engineering&rdquo; of modernism, disassembling it into its components and putting them back together. <br /><br /><em>Tree of Woe (2014)</em> is a straightforward reference to Duchamp&rsquo;s <em>Bottle Rack</em> (1914). Mary found the piece during a residency in New York, in an auto body shop in Willets Point, Queens, a dodgy, industrial area (nicknamed &lsquo;Iron Triangle&rsquo;) which is now being gentrified. By manipulating the muffler sculpture and putting it in a different, artistic setting, the object practically turns into a monument to the bygone, Fordist era of production.<br /><br />Much akin to this piece is <em>Wheel of Pain</em> (2014), a display stand for tires. The tires are covered with a specific texture that emphasizes the object&rsquo;s autonomous existence and material features.</p> <p style="text-align: justify;"><em>Highway Rings</em> (2013) equally refers to technological culture of speed, conceived by figures like J.G. Ballard or Paul Virilio. The monumental ensemble is produced from guardrails, forming entangled, topological rings exemplary of a &lsquo;hyperbolic geometry&rsquo;, exceeding the Euclidean model. A similar and more recent version, in the shape of huge five-pointed star, goes by the name of <em>Highway Star</em> (2014).<br /><br />Pieter Vermeulen<br /><em><br />Xavier Mary was born in 1982 in Li&egrave;ge, Belgium. He lives and works in Brussels. Recent solo exhibitions include Eat The Magic Lions #2, Do Not Open Project Space, Brussels (BE), Iron Triangle, APT Institute, New York (US), Petrolatum, Galerie Christian Nagel, Berlin (DE) and Eat the Magic Lions, Kunstlerhaus Bethanien, Berlin (DE). His work was presented in many group exhibitions such as Bande &agrave; Part, Albert Baronian, CAB Art Center, Brussels (BE), Acid Rain, Island, Brussels (BE) and Pop-up, Liens artistiques, Mus&eacute;e d&rsquo;Ixelles, Brussels (BE), N&eacute;on, Who&rsquo;s afraid of red, yellow and blue?, La Maison Rouge, Paris (FR). Currently he is participating in Paradise Lost, curated by Damien &amp; the love guru, Quincaillerie Vander Eycken, Brussels (BE), Le Canal/Het Kanaal, Espace251 Nord, Li&egrave;ge (BE) and Encounters at the boundary, organized by Wilfried &amp; Yannicke Cooreman, CC De Kollebloem, Puurs (BE). </em></p> <hr /> <p style="text-align: justify;"><em>&Agrave; mes yeux, le 20e si&egrave;cle atteint sa plus haute expression sur l'autoroute. Tout s'y trouve : la vitesse et la violence de notre &egrave;re ; l'&eacute;trange histoire d'amour avec la machine, avec sa propre fin.</em><br />J.G. Ballard<br /><br />Albert Baronian est heureux de pr&eacute;senter la seconde exposition solo de Xavier Mary, intitul&eacute;e &laquo; OVER DRIVE &raquo;. Les &oelig;uvres qui y sont pr&eacute;sent&eacute;es illustrent sans d&eacute;tour les th&egrave;mes et fascinations qui fa&ccedil;onnent sa pratique depuis sa pr&eacute;sentation solo au BOZAR en 2006. En conf&eacute;rant une touche contemporaine au ready-made de Duchamp, l'artiste replace des objets industriels dans le &lsquo;white cube&rsquo;, en les isolant de notre conception habituelle du quotidien. Des motifs de tapis aux jeux vid&eacute;o, des temples khmers aux rendus tridimensionnels haute r&eacute;solution, l'hybridit&eacute; est un &eacute;l&eacute;ment central dans la compr&eacute;hension de l'&oelig;uvre de Xavier Mary. Sa position en tant qu'artiste est celle d'une n&eacute;gociation permanente entre diff&eacute;rents r&eacute;gimes visuels et r&eacute;gimes de valeur, jetant un pont entre la tradition et l'avant-garde, la sinc&eacute;rit&eacute; et l'ironie, le pass&eacute; et le futur, le r&eacute;el et le virtuel. <br /><br /><em>Krauss</em> et <em>Foster</em> (2014), d&eacute;di&eacute; aux penseurs pr&eacute;f&eacute;r&eacute;s de l'artiste, sont deux &oelig;uvres compos&eacute;es de panneaux acoustiques qui isolent habituellement les nuisances sonores routi&egrave;res des zones riveraines. Les panneaux m&eacute;talliques sont trait&eacute;s en recourant &agrave; diverses techniques industrielles comme le polissage, le poudrage, le sablage ou le d&eacute;capage, cr&eacute;ant chacune une esth&eacute;tique sp&eacute;cifique. Les murs antibruit marquent le foss&eacute; entre la culture lin&eacute;aire de la vitesse, quelque peu embl&eacute;matis&eacute;e avec nostalgie par l'automobile, et la structure cyclique de la campagne, de l'autre c&ocirc;t&eacute; (prairies, champs, p&acirc;turages, etc.) <br />Comme pour stimuler les paysages absents ou d'une certaine fa&ccedil;on conjurer leur perte, certains murs antibruit pr&eacute;sentent des lignes abstraites qui se fondent en lignes rythmiques, presque m&eacute;lodiques quand on les longe &agrave; grande vitesse. Cette variation de design visait essentiellement &agrave; &eacute;viter toute sensation de monotonie ou un &laquo; effet tunnel &raquo; pour les automobilistes. Toutefois, d'une perspective frontale moins commune, ces panneaux deviennent des toiles maill&eacute;es dont seules les couleurs &eacute;voluent (tir&eacute;es du nuancier RAL). En parall&egrave;le, il se peut que l'on y reconnaisse &eacute;galement les visuels de jeux retro populaires comme Breakout, sorti en 1976.<br /><br />Cette ann&eacute;e-l&agrave;, Frank Stella fut d&eacute;sign&eacute; pour le BMW Art Car Project, pour lequel il utilisa un dessin r&eacute;alis&eacute; sur du papier millim&eacute;tr&eacute; pour couvrir la carrosserie du v&eacute;hicule. En tant que peintre, il consid&eacute;rait simplement la voiture comme un &laquo; shaped canvas &raquo;. L'&oelig;uvre de Xavier Mary est empreinte du m&ecirc;me h&eacute;ritage. Mais au lieu de rechercher la sp&eacute;cificit&eacute; du m&eacute;dium en le r&eacute;duisant &agrave; sa &laquo; plus simple expression &raquo;, si caract&eacute;ristique du modernisme am&eacute;ricain (pr&ocirc;n&eacute; par Greenberg &amp; Co.), Mary part de la sp&eacute;cificit&eacute; des objets. Il se peut ainsi que l'on d&eacute;finisse sa pratique comme un &laquo; reverse engineering&raquo; du modernisme, le d&eacute;montant jusqu'&agrave; ses moindres composants, pour ensuite les r&eacute;assembler. <br /><br /><em>Tree of Woe</em> (2014) est une r&eacute;f&eacute;rence directe &agrave; <em>Bottle Rack</em> de Duchamp (1914). Mary d&eacute;couvrit cette pi&egrave;ce lors d'un s&eacute;jour &agrave; New York, dans un atelier de carrosserie de Willets Point, dans le Queens, une zone industrielle douteuse (surnomm&eacute;e Iron Triangle ou Triangle de fer), aujourd'hui en voie d'embourgeoisement. En manipulant les pots d&rsquo;&eacute;chappement et en les pla&ccedil;ant dans une perspective artistique diff&eacute;rente, l'objet s'est pratiquement transform&eacute; en un monument appartenant &agrave; l'&egrave;re de production fordiste, aujourd'hui r&eacute;volue.<br /><em>Wheel of Pain</em> (2014), un pr&eacute;sentoir de pneus, est une pi&egrave;ce qui s'y apparente. Les pneus sont couverts d'une texture sp&eacute;cifique qui met en exergue l'existence autonome et les caract&eacute;ristiques mat&eacute;rielles de l'objet. <br /><em>Highway Rings</em> (2013) fait tout aussi bien r&eacute;f&eacute;rence &agrave; la culture technologique de la vitesse, p&eacute;trie par des personnages comme J.G. Ballard ou encore Paul Virilio. L'ensemble monumental se compose de glissi&egrave;res de s&eacute;curit&eacute;, dessinant un entrelacs d'anneaux topologiques d'une &laquo;g&eacute;om&eacute;trie hyperbolique &raquo;, outrepassant le mod&egrave;le euclidien. Une version similaire et plus r&eacute;cente, baptis&eacute;e <em>Highway Star </em>(2014), se pr&eacute;sente sous la forme d'une imposante &eacute;toile &agrave; cinq branches.<br /><br />Pieter Vermeulen<br /><br /><em>Xavier Mary est n&eacute; &agrave; Li&egrave;ge en 1982. Il vit et travaille &agrave; Bruxelles. Ses r&eacute;centes expositions en solo comprennent Eat The Magic Lions #2, Do Not Open Project Space, Bruxelles (BE), Iron Triangle, APT Institute, New York (US), Petrolatum, Galerie Christian Nagel, Berlin (DE) et Eat the Magic Lions, Kunstlerhaus Bethanien, Berlin (DE). Son &oelig;uvre a &eacute;t&eacute; pr&eacute;sent&eacute;e dans de nombreuses expositions de groupe, telles que Bande &agrave; Part, Albert Baronian, CAB Art Center, Bruxelles (BE), Acid Rain, Island, Bruxelles (BE) et Pop-up, Liens artistiques, Mus&eacute;e d&rsquo;Ixelles, Bruxelles (BE), N&eacute;on, Who&rsquo;s afraid of red, yellow and blue?, La Maison Rouge, Paris (FR). Il participe actuellement &agrave; Paradise Lost, curat&eacute; par Damien &amp; the love guru, Quincaillerie Vander Eycken, Bruxelles (BE), Le Canal/Het Kanaal, Espace251 Nord, Li&egrave;ge (BE) et Encounters at the boundary, organis&eacute; par Wilfried &amp; Yannicke Cooreman, CC De Kollebloem, Puurs (BE). </em></p> <hr /> <p style="text-align: justify;"><em>Voor mij komt de 20ste eeuw het best tot uitdrukking op de autosnelweg. Daar vind je alles: de snelheid en het geweld van onze generatie; de vreemde liefdesverhouding met de machine en onze eigen dood.</em><br />J.G. Ballard<br /><br />Albert Baronian stelt met plezier de tweede solotentoonstelling van Xavier Mary voor, met als titel &ldquo;OVER DRIVE&rdquo;. De werken die worden tentoongesteld, geven duidelijk blijk van de thema&rsquo;s en fascinaties die zijn kunst al sinds zijn eerste solopresentatie in BOZAR in 2006 be&iuml;nvloeden. De kunstenaar geeft een moderne draai aan de readymades van Duchamp door industri&euml;le voorwerpen in een &lsquo;white cube&rsquo; te plaatsen en hen zo af te zonderen van onze gebruikelijke, alledaagse opvatting. Van tapijtpatronen tot videospelletjes, van Khmer-tempels tot driedimensionale hoge-resolutieweergaven: hybriditeit speelt een cruciale rol bij de interpretatie van het werk van Mary. Als kunstenaar slalomt hij voortdurend tussen verschillende visuele stromingen en waardestelsels, waarbij hij traditie en avant-garde, oprechtheid en ironie, het verleden en de toekomst en re&euml;el en virtueel met elkaar verbindt. <br /><br /><em>Krauss</em> en <em>Foster</em> (2014), gewijd aan de favoriete denkers van Mary, zijn twee werken bestaande uit akoestische panelen, die gewoonlijk worden gebruikt om het straatlawaai te isoleren van de rest van de omgeving. De metalen panelen worden met verschillende industri&euml;le technieken (waaronder polijsten, bepoederen, schuren en bestralen) behandeld, waardoor de onderdelen telkens een verschillende esthetische vorm krijgen. Geluidsbarri&egrave;res markeren de grens tussen de lineaire snelheidscultuur, waarvoor de auto op ietwat nostalgische wijze symbool staat, en de cyclische structuur van het platteland op de achtergrond (denk aan weiden, velden, graslanden, enz.) <br />Sommige geluidsbarri&egrave;res hebben een abstract ontwerp, dat tot ritmische en bijna melodische lijnen wordt omgetoverd als je er aan een hoge snelheid voorbijkomt, alsof hiermee de afwezige pittoreske vergezichten worden nagebootst of het gebrek eraan wordt oproepen. Deze afwisseling in het ontwerp is vooral bedoeld om een monotoon gevoel en een tunneleffect te vermijden voor automobilisten. Als we echter vanuit een minder gebruikelijk, frontaal perspectief naar deze geluidspanelen kijken, worden deze gerasterde doeken, die enkel in kleur van elkaar verschillen (stalen daarvan werden uit de RAL-kleurenwaaier gehaald). Tegelijkertijd zou men hierin ook beelden van populaire retrogames kunnen herkennen, zoals het in 1976 uitgebrachte Breakout.<br /><br />In datzelfde jaar kreeg Frank Stella de opdracht voor het BMW Art Car Project, waarbij hij een tekening op millimeterpapier gebruikte om de carrosserie van een auto mee te bedekken. Als schilder behandelde hij de auto dus eigenlijk alsof het een &lsquo;shaped canvas&rsquo; was. Deze nalatenschap komt ook tot uiting in het werk van Mary. In plaats van echter op zoek te gaan naar de specificiteit van het medium door het terug te brengen tot zijn &ldquo;pure essentie&rdquo; (wat typisch is voor het Amerikaanse modernisme met Greenberg &amp; co als voorstanders), baseert Mary zich op de specificiteit van voorwerpen. Je zou zijn methode dus kunnen beschrijven als een &ldquo;omgekeerde techniek&rdquo; van het modernisme, waarbij de verschillende elementen van deze stroming uit elkaar worden gehaald en dan opnieuw in elkaar worden gezet. <br /><br /><em>Tree of Woe</em> (2011) is een duidelijke verwijzing naar <em>Bottle Rack</em> (1914) van Duchamp. Tijdens een verblijf in New York ontdekte Mary het object in een carrosseriebedrijf in Willets Point, Queens, een onveilig industriegebied (met als bijnaam de &lsquo;Iron Triangle&rsquo;) dat momenteel gegentrificeerd wordt. Door de uitlaatsculptuur om te vormen en deze in een nieuw, artistiek kader te plaatsen, verandert het object in een monument van het vervlogen Fordistische productietijdperk.<br />Een gelijkaardig kunstwerk is<em> Wheel of Pain</em> (2014), een uitstalrek voor autobanden. De banden werden bedekt met een specifieke textuur, die het autonome bestaan en de materi&euml;le kenmerken van het object benadrukt. <br /><em>Highway Rings</em> (2013) verwijst eveneens naar de technologische snelheidscultuur, die door figuren als J.G. Ballard of Paul Virilio werd bedacht. Dit monumentale ensemble bestaat uit vangrails, die tot in elkaar verstrikte, topologische ringen werden vervormd. De structuur doet denken aan &lsquo;hyperbolische geometrie&rsquo; en overtreft zelfs het Euclidische model. Een gelijkaardige en meer recente versie van dit werk heeft een vijfpuntig stervorm en werd <em>Highway Star</em> (2014) gedoopt.<br /><br />Pieter Vermeulen<br /><br /><em>Xavier Mary is geboren in Luik in 1982. Hij woont en werkt in Brussel. Recente solotentoonstellingen waren Eat the Magic Lions #2, Do Not Open Project Space, Brussel (BE), Iron Triangle, APT Institute, New York (US), Petrolatum, Galerie Christian Nagel, Berlijn (DE) en Eat the Magic Lions, Kunstlerhaus Bethanien, Berlijn (DE). Zijn werk werd getoond in groepstentoonstellingen zoals Bande &agrave; Part, Albert Baronian, CAB Art Center, Brussel (BE), Acid Rain, Island, Brussel (BE) en Pop-up, Liens artistiques, Mus&eacute;e d&rsquo;Ixelles, Brussel (BE), N&eacute;on, Who&rsquo;s afraid of red, yellow and blue?, La Maison Rouge, Parijs (FR). Hij neemt momenteel deel aan Paradise Lost, gecureerd door Damien &amp; the love guru, Quincaillerie Vander Eycken, Brussel (BE), Le Canal/Het Kanaal, Espace251 Nord, Luik (BE) and Encounters at the boundary, georganiseerd door Wilfried &amp; Yannicke Cooreman, CC De Kollebloem, Puurs (BE).</em></p> Thu, 20 Nov 2014 18:11:06 +0000 Walter Swennen - Xavier Hufkens - 107 rue St-Georges - November 20th - January 17th, 2015 <p style="text-align: justify;">Xavier Hufkens is proud to present a new exhibition dedicated to the graphic work of <a href="" rel="nofollow" target="_blank">Walter Swennen</a> (b. 1946, Brussels). The presentation focuses on the last three decades of the artist&rsquo;s career and brings together over 130 works on paper in a variety of media.</p> <p style="text-align: justify;">Walter Swennen is a painter and a draughtsman in equal measure. While his works in oil often engage with the complex questions inherent to the art of painting &ndash; its potential and limitations; what, why and how to paint &ndash; his works on paper can be read as the laboratory that not only fuels his ideas, but also points to possible answers. Like his paintings, Swennen&rsquo;s sketches take the form of enigmatic compositions of recognisable elements: words, letters, pictograms, heraldic devices, strip cartoon figures, advertising slogans, geometric forms, animals, stereotypical characters and everyday imagery. Although this gives rise to obvious visual correspondences between certain paintings and drawings, and a sketch might form a springboard for a larger work, his graphics are always autonomous creations. Often executed in layers and in mixtures of pencil, ink, watercolour, pen or crayon, they can be viewed as a visual compendium of ideas, insights, discoveries, juxtapositions and associations.</p> <p style="text-align: justify;">Modest in scale (often no larger than the page of a standard sketchbook), humorous and bursting with life, Swennen&rsquo;s joyful graphic inventions nevertheless point to a greater conceptual significance. To define what they are, it is often easier to state what they are <em>not</em>: they do not attempt to accurately represent anything, be it a person, place, situation or thing; nor are they abstract or expressionist; they are not studies of isolated objects, nor evocations of inner emotional states. They do not open up onto a three-dimensional pictorial space that can, figuratively speaking, be entered. In other words, they are not mimetic. Instead, they can be read as complex mental constructions in which images and meanings, ideas and language overlap, intersect or converge.</p> <p style="text-align: justify;">A poet and philosopher before becoming an artist, language plays a vital role in <a href="" rel="nofollow" target="_blank">Swennen</a>'s oeuvre. Not only does he incorporate text in his work &ndash; blocks of words, individual letters, brand names and sentences &ndash; but he also combines it with other visual elements that suggest a &lsquo;puzzle&rsquo; or rebus. Occasionally, letters and images coalesce into a clearly identifiable play on words or phonetics; at other times, they merely allude to a potential &lsquo;answer&rsquo; that might (or might not) be hovering just beneath the surface. In this sense, they are a form of visual poetry, a vehicle for specific observations and experiences of the world. And therein lies the intrigue. Each of Swennen&rsquo;s drawings is a poetic distillation of the beguiling complexity, but essential simplicity, of not just art and language, but life itself.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Recent solo exhibitions include: <em>So Far So Good</em>, Wiels, Brussels (2013-14), <em>Continuer</em>, Culturgest Lisbon (2013), <em>Garibaldi Slept Here</em>, Kunstverein Freiburg (2012) and <em>How To Paint A Horse</em>, Cultuurcentrum Strombeek and De Garage, Mechelen (2008). Notable group exhibitions include: <em>Blue Times</em> (Kunsthalle Vienna, 2014-2015), <em>De Vierkantigste Rechthoek</em> (Kunsthal KAdE, Amersfoort, curated by Tom Barman, 2014-2015), <em>La Belgique Visionnaire/Visionair Belgi&euml;</em> (curated by Harald Szeemann, Palais des Beaux-Arts/Paleis voor Schone Kunsten, Brussels, 2005), <em>Voir en Peinture</em> (Frac Ile-de-France/Le Plateau, Paris, 2003), <em>La Consolation</em> (Centre National d&rsquo;Art Contemporain, Le Magasin, Grenoble, 1999) and <em>Trouble Spot Painting</em> (MUHKA, Antwerp, 1999).</p> Thu, 20 Nov 2014 18:07:37 +0000 Alessandro Pessoli - Xavier Hufkens - November 20th - December 20th <p style="text-align: justify;">Xavier Hufkens is pleased to announce the exhibition of a new series of works by <a href="" rel="nofollow" target="_blank">Alessandro Pessoli</a>.&nbsp;</p> <p style="text-align: justify;">Painter, sculptor, filmmaker, draughtsman and printmaker: Pessoli is a true polymath, an artist in love with materials and every conceivable form of expression. Comprising painted ceramics and bronze sculptures, works on paper, ceramic tiles, painting and film, the myriad forms and mediums in <em>Testa Matta</em> not only bear witness to the artist&rsquo;s fertile imagination, but also to the truly interdisciplinary nature of his practice.</p> <p style="text-align: justify;"><em>Testa Matta</em> &ndash; which means &lsquo;madcap&rsquo; or &lsquo;screwball&rsquo; &ndash; is Pessoli&rsquo;s second solo show with the gallery. Central to the exhibition is Fortunello, an imaginary Dadaist character created by the Italian actor and playwright Ettore Petrolini (1884-1936). Based on a cartoon character, and hinging on slapstick, parody and nonsense, Petrolini&rsquo;s semi-mechanical performances as Fortunello captured the attention of the Italian Futurists. Marinetti described the character as &lsquo;the most difficult to analyse of all Petrolini&rsquo;s masterpieces&rsquo;. Deeply engaged with both history and art history, Pessoli uses Fortunello as the springboard for a poetic, personal and richly layered visual essay on the themes of culture, identity and about what it means to be an artist.&nbsp;</p> <p style="text-align: justify;">Fortunello is brought to life &ndash; quite literally &ndash; in a stop-motion film entitled <em>Autorittrato Petrolini.</em> The work is based on a short film of Petrolini performing as Fortunello in 1915. To create the work, Pessoli projected the original clip onto a canvas: as the film rolled, he started painting. Drawing upon a wide range of media and tools &ndash; oils, acrylics, tempera, airbrushes, stencils, pastels, pencils, rollers, spatulas and rags &ndash; he painted the 1,000 frames of <em>Autorittrato Petrolini</em> on a total of seven canvases. Each frame of his film corresponds to a change in the painting, which the artist then photographed. There is no other post-production: the animation is simply the result of editing the photos in sequential order.</p> <p style="text-align: justify;">Fortunello&rsquo;s song is almost untranslatable: it is a nonsense rhyme. The actor attempts to describe his own personality in words that slip into repetitive, contradictory phrases. The character of Fortunello is almost a hundred years old but, for Pessoli, he embodies several fundamental truths: not just about Italy and art, but about himself. In this sense, the work can be regarded as a self-portrait, a meditation upon the Italian character, or as a statement of identity. Yet <em>Autorittrato Petrolini</em> also touches upon more universal themes. This &lsquo;moving painting&rsquo; spans the history of twentieth-century Italian art and includes references to Futurism, Surrealism, metaphysical art <em>(pittura metafisica),</em> <em>Novecento Italiano</em> and European pop art. It can thus also be interpreted as reflection upon Italy&rsquo;s history, particularly during the Fascist era, as well as the emergence of modernism and its legacy. A related film, <em>I Salamini,</em> is based on a Petrolini song of the same title (1918) and shows the artist dressed as Fortunello.&nbsp;</p> <p style="text-align: justify;"><em>Testa Matta</em> also includes a recent series of amorphous figures and busts, some rendered in bronze, others in painted ceramic. The largest and most complex of these comprises four busts separated by thin, spray-painted canvases hung from iron tripods. Pessoli&rsquo;s installation can be read as a loose interpretation of a classic portrait gallery in both two- and three-dimensions and is as much a paean to free-expression as it is to Petrolini/Fortunello, or the different images and modes of representation that are embedded in Western visual culture. What appears, at first glance, to be a collection of incompletely rendered portraits and rough-hewn plinths is, in fact, a sophisticated exercise in composition and juxtaposition. The dynamic contrasts between the heavy, malleable clay and the nebulous airbrushing, the surface textures, colours, materials and techniques radiate with vital energy. Pessoli&rsquo;s characters are arranged as though engaged in a conversation, albeit one that takes place in separate &lsquo;rooms&rsquo;: whichever way you approach the installation, it can never be viewed in its entirety; there is always the awareness of the figures on the &lsquo;other side&rsquo;.&nbsp;</p> <p style="text-align: justify;">In addition to a recent film and a suite of drawings, Pessoli will also be exhibiting two new series of prints: unique silkscreens on fabric and a collection of monoprints.</p> <p style="text-align: justify;"><a href="" rel="nofollow" target="_blank">Alessandro Pessoli</a> (b. 1963, Cervia, Italy) studied at the Academy of Fine Arts in Bologna, and currently lives and works in Los Angeles, California. He has had solo exhibitions at the San Francisco Museum of Modern Art, San Francisco, CA (2012); Collezione Maramotti, Reggio Emilia (2011); MACRO Museo d&rsquo;Arte Contemporane di Roma (2009); The Chisenhale, London (2005) and The Drawing Center, New York (1997). His work has also been included in exhibitions throughout Europe and the United States, including <em>Making Worlds,</em> the Italian Pavilion at the 53rd Biennale di Venezia (2009).</p> Thu, 20 Nov 2014 18:04:57 +0000 Margaret Salmon - Office Baroque - November 13th - December 20th <p style="text-align: justify;">Shot on colour 16mm film and presented as a short film as well as a flip book <em>Oyster</em> is a minimalist cinematic poem showcasing the Native Oyster, Ostrea edulis. <em>Oyster</em> engages with various aspects of the molluscs history, life and consumption, while exploring how we imagine the sea and our relationship to it. The work unfolds the form and fragility of sea organisms, their capture and trade, and subtly questions the future ecology of its habitat and local trade. <em>Oyster</em> brings elements of modernism and abstraction to its natural subject, with an accompanying soundscape traversing Kentish dialect, electro pop, free jazz and silence. The accompanying flip book reconstructs the basic principles of filmmaking, whilst presenting another aspect of the oyster's life.</p> Thu, 20 Nov 2014 18:02:49 +0000 Group Show - Meessen De Clercq - November 7th - December 6th Thu, 20 Nov 2014 17:59:47 +0000 - Levy.Delval - November 20th - January 10th, 2015 <p style="text-align: justify;">"THE SHOW IN BRUSSELS AT ELAINE AND FLORENT'S GALLERY WITH CHARLEMAGNE PALESTINE"<br /><br />(They say that romance has become a lost art, but art only gets lost when it becomes hard work. Nowadays machines do all the work. That makes men lazy. Could it be romance is dead because it's too much work not to be primitive? Too bad machines can't do the work of romance, but can anyone love a machine? Let me tell you about a very special girl who found out...)</p> <p style="text-align: justify;">-------------------------------------------------------------------------------</p> <p style="text-align: justify;">At the time of writing this some of the work is still unfinished, so anything said here is retractable. &nbsp;We reserve the right to break promises, to show up late and if it all falls apart it's not our problem. &nbsp;</p> <p style="text-align: justify;">This is a "genre" exhibition, but not "genre" like painting, sculpture, video or any of that, etc. We mean genre in this case like Western, Romance, Horror, Fantasy, Sci-Fi. This show in particular borrows elements of Noir. &nbsp;Godard became famous for his meta- gangster films in the 60s before he directed commercials for fashion line Marith&egrave; &amp; Fran&ccedil;ois Girbaud in the 80s and before rappers in the US wore Girbaud jeans in the 90s. Godard, Girbaud, Gangster. &nbsp;Gangster, in the traditional 1930s-40s sense, and "gangsta", in the rap/hip hop sense of the 90s, are both more or less out of fashion terms, which pretty much no one uses anymore.* &nbsp;</p> <p style="text-align: justify;">The exhibition will feature photographs (photography!) of two nameless protagonists (stand-ins for the artists?). &nbsp;They both are wearing grotesque Special FX makeup. &nbsp;Are these from a "press kit" for an unreleased film? &nbsp;Let's say it's a sci-fi gangsta film. &nbsp;The bald guy with the prominent vein is &nbsp;"The Boss." &nbsp;The trench-coated androgyne is "The Assassin." &nbsp;A heist plot ensues with double, triple and quadruple crossings... &nbsp; But it should be reiterated that there is NO movie. &nbsp;Like the Singing Detective's Phillip Marlowe, this exhibition could be the imagination run amok of an author suffering from a debilitating skin and bone disease, who, in a way to escape from the intolerable conditions of his reality, falls into a fever dream where he's a noir detective. &nbsp;</p> <p style="text-align: justify;">There will also be a robot (if it doesn't break on the way over the Atlantic ocean)...the robot is very primitive on a set of wheels, a kinetic platform that will hopefully move Charlemagne's sound (and animals) through a space. &nbsp;Dmitriy, who is currently building the robot in our apartment, asked us the other night somewhat philosophically about the nature of robots. &nbsp;What makes a robot a robot? &nbsp;Is it just about autonomy or something else? &nbsp;For example, is an elevator a robot? &nbsp;We said something like "Um...not sure, but we need to finish this pronto because it's gotta be shipped on Wednesday."</p> <p style="text-align: justify;">Meanwhile, this is happening:</p> <p style="text-align: justify;"><a href="" target="_blank"></a></p> <p style="text-align: justify;">*Science fiction as a genre has been gentrified as well, evoked frequently in academic papers and annoyingly in art world contexts. Taken seriously, nerds/geeks and fanboys have become curiosities to not only be inspected but their communities theorized upon, their hobbies and fetishes appropriated and exploited. &nbsp; (see "Furries") (We ourselves are guilty of it, by link-baitishly titling our 2012 show "Ghost in the Puka Shell" and hiring DeviantArt artists) &nbsp;We get it, Sci-fi. Sci-fi. Sci-fi. Sci-fi. It says so much about our current condition. Could the appropriation of the near-forgotten Girbaud brand be another cynical round of contemporary "thrift-store" re-evaluation a la William Gibson circa 2004?</p> Thu, 20 Nov 2014 17:55:53 +0000 Andy Meerow - Levy.Delval - November 20th - January 10th, 2015 <p style="text-align: justify;">Earlier this year, I made a video titled "Struggle." It was a screening of "The Lion King" without any color or sound. I thought if I cleared out some space in the film, the viewer might expand to fill it up. The paintings in this show operate on the same negative principle (addition by subtraction), but this time I've edited out pretty much everything.<br /><br />The first recorded use of the word boredom was in the novel "Bleak House," by Charles Dickens, 1852. He used it six times. I have never read the book. Insofar as a work might be realized uniquely each time it is seen by somebody new, "Bleak House," from my end, has not yet been made. There is an early Lawrence Weiner that goes ONE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL. That piece was not executed, yet it definitely exists.&nbsp;<br /><br />Perception is a brick. Cognition is a brick. In between them, it is mud.</p> Thu, 20 Nov 2014 17:54:05 +0000 Elizabeth Peyton - Gladstone Gallery (Brussels) - November 18th - January 16th, 2015 Thu, 20 Nov 2014 17:29:38 +0000 Dora Garcia - Michel Rein Brussels - November 6th - December 20th Thu, 20 Nov 2014 17:27:49 +0000 Zachary Susskind - Galerie Rodolphe Janssen - Livourne 32 - November 27th - December 20th <p style="text-align: justify;">A gallery exhibition challenges the artist to negotiate the intersection of freedom and responsibility.</p> <p style="text-align: justify;">Presenting to a self-selected, generally open-minded audience is a privilege to be handled with care.</p> <p style="text-align: justify;">When considering what to say &ndash; and for whom &ndash; there is a paradox. The artist, completely free, does not need a platform to be heard, yet those who are not, do.</p> <p style="text-align: justify;">Amongst the voiceless, none lack access to an audience more than the incarcerated. Which raises the question: could providing them the freedom promised by an exhibition prove to be rehabilitative?</p> <p style="text-align: justify;">In April 2014, American artist Zachary Susskind entered the inner rings of a Belgian prison to lead three workshops with a group of inmates. He spoke no French &ndash; they, no English. The purpose was to demonstrate the exhibition as an art form in itself, one particularly conducive to collaboration and broader statement-making than the sole artist achieves with a singular work. By engaging those in prison in intellectual discourse and bridging the depths of their insular existence to the world outside, he hoped this project would be emotionally therapeutic and psychologically liberating.</p> <p style="text-align: justify;">The art-appreciation context provides a viable, apolitical arena in which to stage a meeting. Susskind spent months campaigning to organize an opening night conference in Brussels amongst inmates, prison officials, advocates, artists, gallerists and the viewing public.</p> <p style="text-align: justify;">Ultimately, this could not be realized.</p> <p style="text-align: justify;">This winter, however, the inmates he worked with are curating three exhibitions in a major Belgian museum, arranging works from the permanent collection, works from The Still House Group and works of their own.</p> <p style="text-align: justify;">The silenced conference presented here formally acknowledges the impediments to necessary discussions with the absent and overlooked.</p> <p style="text-align: justify;"><em>The artist would like to thank the organization Art Without Bars vzw asbl ( for its invaluable collaboration and support.</em></p> <p style="text-align: justify;"><strong>About the artist :</strong></p> <p style="text-align: justify;">Zachary Susskind (born 1986 in Los Angeles, CA USA) has worked on a number of projects and group exhibitions as part of the Still House Group. His work was included in <em>To do as one would </em>(2014), at David Zwirner, New York ; <em>Fondazione Museo Pino Pascali Presents: The Still House Group </em>(2014) at Fondazione Museo Pino Pascali, Italy ; the Still House exhibition <em>Straight II DVD </em>programmed alongside the NADA art fair in Miami in December 2013 and<em>+1</em>, a Still House Group project commissioned by Art in General featuring an artist-run storefront space in New York that presents rotating exhibitions.</p> <h3 style="text-align: justify;"><em>(CONFERENCE) </em>is his first solo exhibition.</h3> Thu, 20 Nov 2014 17:20:06 +0000 Peter Sutherland - Galerie Rodolphe Janssen - Livourne 32 - October 25th - November 22nd <p style="text-align: justify;">One day, a beautiful woman wrote Peter Sutherland on Facebook to tell him that she liked his photos. She invited him to visit her in Nepal, where she was living at the time, and he obliged.<br /> <br /> During a second trip to Nepal a few years later, they were married.<br /> <br /> Peter Sutherland&rsquo;s films, photography, publications, and installations are intimate documents of his extensive travels, collages of encounters that form spontaneously interconnected narratives. For his first solo exhibition at Galerie Rodolphe Janssen, Peter will present an installation comprised of two series of works that juxtapose a web of stories and iconography - from healing rocks and inexpensive construction materials, to majestic mountain scapes and Colorado bonfires.</p> Thu, 20 Nov 2014 17:17:33 +0000 Group Show - Galerie Rodolphe Janssen - November 6th - December 20th <p style="text-align: justify;">blackout (<em>plural</em> blackouts)</p> <ol> <li style="text-align: justify;">a large-scale power failure, and resulting loss of electricity to consumers&nbsp;</li> <li style="text-align: justify;">the mandatory blocking of all light emanating from buildings as imposed during World War II</li> <li style="text-align: justify;">a temporary loss of memory caused by the intake of any substance or medication in which long term memory creation is impaired, therefore causing a complete inability to recall the past</li> </ol> Thu, 20 Nov 2014 17:14:57 +0000 Michael Delucia - Galerie Nathalie Obadia - Bruxelles - November 6th - January 17th, 2015 <p style="text-align: justify;">Galerie Nathalie Obadia Brussels is pleased to present the fourth solo exhibition by Michael DeLucia in Europe since their first collaboration in 2008.</p> <p style="text-align: justify;">The twenty or so works on show represent the latest artistic research by this young American artist. The readymade objects that were the subject of his last exhibition here are supplanted by virtual models of natural forms, removed from a readymade substrate of formica laminated plywood through his computer aided modeling and carving process.</p> <p style="text-align: justify;">Playing with 3D modeling software, Michael DeLucia manipulates virtual objects that he collects &ldquo;readymade&rdquo; from online stock model libraries, usually used by architects, film or animated movie makers, and video game makers. The digital forms are stretched and compressed to fit within the prescribed bounds of the standardized 4&rsquo; x 8&rsquo; formica/plywood sheets. Then the virtual objects are translated into the physical world by a computer controlled router which, by carving the plywood, removes their form from the volume of the sheet material. The result is an impression of an object which never existed yet which penetrates the simulated materiality of the faux stone formica, revealing the physical reality of the natural wood beneath.</p> <p style="text-align: justify;">Two new subjects, those of clouds and rocks, allow Michael DeLucia to further his research into digital sculptural abstraction. Once processed through his software, the clouds and stones which are complete opposites in their natural state (gas/solid), lose their distinctive properties and become astonishingly similar in their digital state. This comparison highlights the disassociation and recomposition of physical properties that digital sculptural process involves. This transformation is a compelling source of confusion and importunes the viewer visually, physically and mentally.</p> <p style="text-align: justify;">Under the aegis of the phenomenology, this three-faceted experience has its roots in New British sculpture, which, from Henry Moore to Tony Cragg, invented a new plastic language that is primarily sensorial. Following this common thread, Michael DeLucia &ndash; the &ldquo;first sculptor of virtuality&rdquo; in the words of Pierre Sterckx &ndash; continually investigates the tenuous boundary between the material and the virtual, between the physical object and its digital manifestation. It is an intuitive exploration that Michael DeLucia likens to Plato&rsquo;s Allegory of the Cave. In this famous metaphor, Human beings believe that they can gain access to the Truth thanks to their senses. It was, of course, an elusive quest for the Greek philosopher ; while for the American visual artist it is a simulacrum of reality.</p> <p style="text-align: justify;">Michael DeLucia uses trompe-l&rsquo;oeil to exalt this new series of works. Their untreated plywood support &ndash; a reference to Arte Povera which also employed humble materials &ndash; is enhanced by the laminate sheet coloured to imitate marble, granite, agate and other colorful stones. Their chromatic turbulence introduces a new layer of abstraction that draws the viewer to reconstruct the motif mentally and subjects him to an additional experience of the form, which tends to extend beyond the structural limits of the sculpture or panel of wood.</p> <p style="text-align: justify;">The use of formica, like that of Richard Arstwager (1923-2013) in the 60&rsquo;s, in combination with playful use of common objects similar to Claes Oldenburg (1929), establishes a historic link with Pop Art. A second association is apparent with the Minimal Art of Sol Lewitt and Donald Judd through the use of basic geometric forms such as the sphere and cube applied to basic materials in order to appropriate their materiality.</p> <p style="text-align: justify;">The carefully crafted effect on forms directly inspired by nature, which Michael DeLucia has realized for the first time in his Brussels exhibition, offers the artist new directions that are both formal and sensorial, which bring the viewer face to face with the tangible and virtual duality of the real world.</p> <p class="Paragraphestandard" style="text-align: justify;">Michael DeLucia&rsquo;s monographic catalogue will be published in spring 2015 and will be immediately followed by the first solo exhibition devoted to his work by a museum, at the MCA (Museum of Contemporary Art) in Santa Barbara in summer 2015.</p> <hr /> <p style="text-align: justify;">La Galerie Nathalie Obadia Bruxelles est tr&egrave;s heureuse de pr&eacute;senter la 4&egrave;me exposition personnelle de Michael DeLucia en Europe depuis leur premi&egrave;re collaboration en 2008.</p> <p style="text-align: justify;">La vingtaine d&rsquo;&oelig;uvres expos&eacute;es t&eacute;moigne des derni&egrave;res recherches du jeune artiste am&eacute;ricain. Celles-ci prennent le pas sur les objets du quotidien, th&egrave;me de la derni&egrave;re exposition en date de l&rsquo;artiste, pour explorer de nouvelles formes d&eacute;riv&eacute;es de la nature et un nouveau mat&eacute;riau industriel, le stratifi&eacute;, plus connu sous le nom de formica.</p> <p style="text-align: justify;">L&rsquo;artiste con&ccedil;oit ses &oelig;uvres selon le m&ecirc;me processus de cr&eacute;ation. Il collecte des objets &laquo; readymade &raquo; issus de librairies online sp&eacute;cialis&eacute;es dans les images digitales, et destin&eacute;es aux architectes, cr&eacute;ateurs de jeux vid&eacute;o, r&eacute;alisateurs de films et dessins anim&eacute;s. Une fois les formes virtuelles s&eacute;lectionn&eacute;es, Michael DeLucia, gr&acirc;ce &agrave; un logiciel de modelage en trois dimensions, joue avec les formes et leurs propri&eacute;t&eacute;s naturelles intrins&egrave;ques. Il les manipule, les &eacute;tire, les comprime, afin de les faire contenir dans la limite du cadre des panneaux industriels de bois plaqu&eacute; standardis&eacute;s. Les formes digitales obtenues sont ensuite taill&eacute;es dans les panneaux de bois contreplaqu&eacute;s &agrave; l&rsquo;aide d&rsquo;un routeur CNC (computer controlled router). La gravure, &agrave; la fois digitale et m&eacute;canique, laisse alors appara&icirc;tre le sujet en creux, mat&eacute;rialis&eacute; par la couleur naturelle du bois, contreplaqu&eacute; d&rsquo;une lame de stratifi&eacute; imitant des pierres de couleur.</p> <p style="text-align: justify;">Deux nouveaux sujets, le nuage et le rocher, permettent &agrave; Michael DeLucia de pousser plus loin ses recherches actuelles sur l&rsquo;abstraction. Une fois soumis au logiciel de modelage, les deux &eacute;l&eacute;ments, que tout oppose &agrave; l&rsquo;&eacute;tat naturel (gaz, solide), se ressemblent &eacute;tonnement &agrave; l&rsquo;&eacute;tat digital. Cette mutation, source de confusion, sollicite le spectateur de mani&egrave;re &agrave; la fois visuelle, physique et mentale.</p> <p style="text-align: justify;">Cette triple exp&eacute;rience sous l&rsquo;&eacute;gide de la ph&eacute;nom&eacute;nologie s&rsquo;inscrit dans la descendance de la Nouvelle Sculpture anglaise qui, d&rsquo;Henri Moore &agrave; Tony Cragg, inventa un langage plastique avant tout sensoriel. Suivant ce fil rouge historique, Michael DeLucia, &laquo; premier sculpteur de la virtualit&eacute; &raquo; selon Pierre Sterckx, interroge en permanence la fronti&egrave;re t&eacute;nue entre le mat&eacute;riel et le virtuel, entre l&rsquo;objet physique et la forme digitale. Une exploration intuitive que l&rsquo;artiste associe &agrave; l&rsquo;all&eacute;gorie de la caverne de Platon, m&eacute;taphore du monde sensible o&ugrave; les hommes pensent acc&eacute;der &agrave; la v&eacute;rit&eacute; par leur sens. Une qu&ecirc;te illusoire pour le philosophe grec, un simulacre de la r&eacute;alit&eacute; pour le plasticien am&eacute;ricain.</p> <p style="text-align: justify;">Michael DeLucia use du trompe l&rsquo;&oelig;il pour magnifier ses &oelig;uvres. Leur support brut en contreplaqu&eacute;, r&eacute;f&eacute;rence &agrave; l&rsquo;Arte Povera qui utilisait aussi des mat&eacute;riaux pauvres, est rehauss&eacute; par la couche de stratifi&eacute; teint&eacute;e de couleur marbre, granite, agate, ou bois p&eacute;trifi&eacute;. La polychromie introduit une dose suppl&eacute;mentaire d&rsquo;abstraction qui entraine le spectateur vers une reconstruction mentale du motif et une exp&eacute;rience additive de la forme qui tend &agrave; d&eacute;border des limites structurelles de la sculpture ou du panneau de bois.</p> <p style="text-align: justify;">L&rsquo;emploi du stratifi&eacute;, comme le formica chez Richard Artschwager (1923-2013) &agrave; partir des ann&eacute;es 1960, combin&eacute; au d&eacute;tournement d&rsquo;objets du quotidien, comme chez Claes Oldenburg (1929), constitue un lien historique avec le Pop Art. Une seconde filiation peut-&ecirc;tre &eacute;tablie avec l&rsquo;Art Minimal de Sol Lewitt ou de Donald Judd, par l&rsquo;usage de formes g&eacute;om&eacute;triques &eacute;l&eacute;mentaires telles que le cercle, le carr&eacute; ou le rectangle dont les transpositions sur bois ou formica s&rsquo;imposent par leur simple mat&eacute;rialit&eacute;.</p> <p style="text-align: justify;">L&rsquo;effet recherch&eacute; sur des formes directement inspir&eacute;es de la nature, &eacute;prouv&eacute; pour la premi&egrave;re fois &agrave; l&rsquo;occasion de l&rsquo;exposition &agrave; Bruxelles, ouvre &agrave; Michael DeLucia de nouvelles perspectives, &agrave; la fois graphiques et sensorielles. Celles-ci confrontent le spectateur &agrave; la dualit&eacute; tangible et virtuelle du monde actuel.</p> <p style="text-align: justify;">Le catalogue monographique de Michael DeLucia sera &eacute;dit&eacute; au printemps 2015, et sera directement suivi par la premi&egrave;re exposition personnelle consacr&eacute;e &agrave; l&rsquo;artiste par un mus&eacute;e au MCA (Museum of Contemporary Art) de Santa Barbara, &agrave; l&rsquo;&eacute;t&eacute; 2015.</p> Thu, 20 Nov 2014 17:09:09 +0000 Carsten Höller - Galerie Micheline Szwajcer - December 19th - January 24th, 2015 Thu, 20 Nov 2014 17:05:06 +0000 Zoe Leonard - Galerie Micheline Szwajcer - October 31st - December 7th Thu, 20 Nov 2014 17:04:03 +0000 Tris Vonna-Michell - Galerie Jan Mot - November 22nd 4:00 PM - 5:00 PM <p style="text-align: justify;"><br /> Tris Vonna-Michell&acute;s latest publication is constructed around the two works, <em>Capitol Complex </em>(2012-2014) and <em>Ulterior Vistas </em>(2012-2013), both of which are encapsulated on a ten-inch vinyl record. The spoken-word compositions are enclosed within a gatefold design and accompanied by the <em>Capitol Complex </em>manuscript as a booklet insert and a bound series of <em>Ulterior Vistas </em>photographic montages.</p> <p style="text-align: justify;">The <em>Capitol Complex </em>(Side A) recording pans between improvised spoken word and musical composition, evolving around a manuscript set in the Indian city of Chandigarh, which serves as an underlining blueprint for the work. Traveller, the protagonist, extends his leisurely strolls to navigating the city by night in order to induce an experience of greater intensity and anxiety of its urban architecture. After his nocturnal explorations in the city&rsquo;s single-zone sectors he starts to grow weary and changes his course from architectural appreciation to searching for crevices and enclosures to reflect and observe. But urban fixtures of obstruction, surveillance and derailment direct his passages, until a shift in perception occurs.</p> <p style="text-align: justify;">The spoken word aspect of <em>Ulterior Vistas </em>(Side B) is backed by a musical score, and contextualised around the notion of a driven sales agent, orating a prospectus based on grand 18th Century English landscape garden design. The protagonist is soliciting a global perspective characterised by appropriation of cultural heritage in order to cultivate a desirable public persona for an unidentified client. Aside from offering an array of landscape gardening solutions and attributes he also proposes more abstract features such as synthetic spirituality and symbolic gestures of generosity.</p> <p style="text-align: justify;">The conceptual framework for the <em>Ulterior Vistas </em>photographic series derives from the English landscape architect Humphrey Repton&acute;s (1752-1818) famous Red Books. His books were bespoke landscape and architecture propositions for improving the estates and pleasure grounds of potential clients. The before-and-after illustrations were a key feature in Repton&acute;s Red Books as were his verbal presentations.</p> <p style="text-align: justify;"><em>Content and concept by Tris Vonna-Michell. Edited by Diana Kaur. Recorded by Martin Ehrencrona at Studio Cobra, Stockholm. Spoken word by Tris Vonna-Michell. Instruments by Martin Ehrencrona and Markus Lindmark. Mixdown by Martin Ehrencrona and Tris Vonna-Michell. Copy editing by Andrew Hunt and Sophie Sleigh-Johnson. Designed by Konst &amp; Teknik, assisted by Caroline Settergren. Image correction by Lena Hoxter Printing and binding by G&ouml;teborgstryckeriet, Sweden. Published by Focal Point Gallery and Mount Analogue, 2014. Distributed by Cornerhouse ISBN 978-1-907185-14-4. Price EUR 30.</em></p> <p style="text-align: justify;"><strong><em>Capitol Complex / Ulterior Vistas </em></strong><strong>and previous publications by Mount Analogue will be presented and offered for sale during the release on the 22</strong><strong>nd </strong><strong>of November (4pm). In the presence of Tris Vonna-Michell.</strong></p> Thu, 20 Nov 2014 17:01:49 +0000