ArtSlant - Current exhibits en-us 40 Samuel Rousseau - AEROPLASTICS Contemporary - April 20th, 2013 - May 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The gallery will be exceptionally open during ART BRUSSELS Saturday 20th &amp; Sunday 21st from 10.00 till 18.00</span></p> Mon, 13 May 2013 21:52:51 +0000 Stanley Whitney - Albert Baronian - March 29th, 2013 - May 11th, 2013 <p style="text-align: justify;">For almost thirty years Whitney has been exploring two
central aspects of abstract painting: Colour and structure. <br />Colour is what structures the paintings. For a long time Whitney has been working with square
canvasses of different sizes, which he structures with up to four unequal bands consisting of one or more
lines the width of a paintbrush. Starting from the top left–almost like writing a text–he fills the bands
with a series of non-uniform rectangles and squares of different colour. This process, which ends at the
bottom right of the canvas, can be repeated two or three times. The choice of colour is intuitive and the
result of the painting process which is unpredictable an unknown.<br />Whitney works with the system of “call-and-response”, which is a principle used across multiple
disciplines, and in music is typical in spirituals, gospels, blues and jazz. He paints one colour and then
decides which colour responds to the first one. This very simple principle results in the fact that the same
colour is almost never used twice and the colours become more and more complex.
And yet, Whitney’s paintings seem easy, almost effortless. They are playful and strictly formal at the
same time. This is similar to Jazz–which seems easy–as Whitney explains: “As if you could just get up
and play the instruments, that there’s no struggle with how it’s done. It’s like Coltrane using a simple
melody. I just use a simple square”.<br />
Despite their complex colour scheme Whitney’s compositions are always harmonic and show his joy for
colour and composition. They are rhythmic, melodic, and intense. „The idea is sound through colour,
creating a polyrhythm and confronting something very beautiful with a lot of humanity to see something
that you think you know but then realize you don’t“ (Stanley Whitney).<br /><br />Stanley Whitney was born in 1946 in Philadelphia and currently lives and works in New York and Solignano, Italy.
His works have been featured in numerous international exhibitions since the early seventies. His work was part of
the 50th Venice Biennale (2003) in the project Utopia Station, and was also shown in the Dakar Biennal (2004).
Museum exhibitions include the National Academy Museum, New York (2012), the Nelson-Atkins Museum of Art,
Kansas City (2008), the University of Dayton, Dayton, Ohio (1991), the Pennsylvania Academy of Fine Arts,
Philadelphia (1985), the Brooklyn Academy of Music (1983), the Alternative Museum, New York (1981), the Studio
Museum in Harlem (1981) and the Aldrich Museum of Contemporary Art, Ridgefield (1976). He is the recipient of
the John Guggenheim Fellowship (1996) and Pollock-Krasner Fellowship (2002) as well as winning the First Robert
De Niro Sr. Prize in Painting (2011).</p> Mon, 15 Apr 2013 14:14:15 +0000 Magali Reus - Albert Baronian - March 29th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Magali Reus approaches our present-day excessive visual culture by means of a minimalist form. Her sculptures are based on the architecture and aesthetics of transitional and corporate spaces and are cast into abstract and essential forms. At first sight they seem to arouse a sterile, inhuman effect while resonating with allusions and meaning. They occupy a place between the visual world of consumerism and abstraction, mass production and minimalism. As such Reus distills physical forms from the intangibility of capital flows and the ubiquity of objects providing its infrastructure.</span></p> Mon, 22 Apr 2013 15:12:26 +0000 Peter Peri - Almine Rech Gallery Brussels - April 18th, 2013 - May 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Almine Rech</strong> gallery is pleased to present <strong>Peter Peri</strong>’s first exhibition in Brussels, ‘<strong><em>Last Family</em></strong>’, his second show at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On this occasion, the artist will present a selection of recent drawings, paintings and sculptures. The works in various mediums will be shown throughout the three distinct gallery spaces exploring notions such as empathy, intuition and self-dissolution.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For Peri, these notions can be inherent in the experience of art: his artworks suggest, but never reduce themselves to, an externalised entity, an embodied intelligence that stands in confrontation with the viewer, even when the work is seemingly near-abstract. The nature of this confrontation is cued by various influences that feed into the work, among them the writings of the Russian science-fiction novelist Yvegeny Zamyatin, and a 19<sup>th</sup>-century illustration purporting to depict the last family on Earth: a cluster of huddled skeletons inhabiting a distant future when the sun has burned out and the Earth frozen over. This image is a phantasmal presence in Peri’s new 'Skeleton' paintings, wherein ghostly penumbra appear through the successive layers of the painted image, revealing the paintings’ process and personal histories, imbuing them with tentative life.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The references to modernism that have inhabited Peri’s earlier work here recur – the artist’s grandfather was a constructivist, and Peri’s art, with its dark undertow, regularly establishes a parallel between the shortfall of twentieth-century utopic visions and the erasings within his work.  Another salient influence on this work is existential psychology, wherein ideas of dark and blocked space that relate to schizophrenia, a kind of self-dissolving, find echoes in Peri’s paintings, his drawings (some of which relate directly to drawings from psychological research) and his heavily frontal, confrontational sculptures. In Peri’s art, this self-dissolving is recouped, both as a framework for understanding how we might relate to art – as a process of empathy and intuition, a training ground – and also as a way for art to accept the failings of modernism without surrendering geometry and abstraction (or, indeed, in Peri’s painting, the virtues of improvisation). In his recent work, narratives of the modern begin to fall away, and one is left in an articulate state of encounter with a constructed otherness. Speaking of what he finds powerful and moving in historical art, Peri talks of ‘a blank clarity that just tips into self-dissolution’; this is the state his current work pursues.</span></p> <p style="text-align: justify;"><span style="font-size: small;">— Martin Herbert.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in 1971 in London, England, Peri’s solo exhibitions include; 'Country 10', Kunsthalle Basel (2006) and 'ARTNOW', Tate Britain (2007). His work has been included in numerous group exhibitions internationally including the Hayward Gallery, London (2006); Kestnergesellschaft, Hannover (2008) ; CCA Andratx, Mallorca (2009) ; The Saatchi Gallery, London (2010) and the Museum of Old and New Art, Hobart, Tasmania (2012). His work is conserved in both public and private collections including Tate Collection, the Victoria &amp; Albert Museum and the Arts Council of Great Britain.</span></p> Mon, 13 May 2013 21:52:10 +0000 Katja Strunz - Almine Rech Gallery Brussels - April 18th, 2013 - May 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Almine Rech Gallery</strong> is pleased to announce the second exhibition of German artist <strong>Katja Strunz</strong> in its Brussels gallery. </span><br /><br /><span style="font-size: small;">Strunz’s sculptural practice, seeped in history, finds its roots in the constructivists and avant-gardes. For this presentation the artist has installed a monumental sculptural relief that was exhibited in the São Paolo Biennale this past fall entitled <em>Zeittraum #10</em>, which the artist has been working on since 2003. The piece is situated within her iconic series of folded works, relates to both notions of time and space and is rendered out of wood and metal. While elegant in their construction, the sculptures also retain a handmade aspect, revealing their aging over time. The exhibition will also include a group of collages, which relate to the artist’s sculptural practice and a solitary steel relief sculpture. </span><br /><br /><span style="font-size: small;">Strunz was born in 1970 in Ottweiler, Germany, she lives and works in Berlin. She was recently awarded the <em>Vatenfall Contemporary 2013</em> and will be the subject of an exhibition at the Berlinische Galerie opening April 24th. A catalog will be published on the occasion. </span><br /><br /><span style="font-size: small;">Her work is included in numerous public and private collections including the Centre Pompidou, Paris and the Boros Collection, Berlin. </span></p> Sat, 13 Apr 2013 07:01:50 +0000 Boris Thiebaut - anyspace - April 19th, 2013 - May 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Boris Thiébaut remains faithfully loyal to a fixed choice of materials , dimensions,</span><strong><span style="font-size: small;"> </span></strong><span style="font-size: small;">and page layout. With a fine sense for -typographic- design he connects, in his drawings, out-of-context doodles with details from etched historical scenes. He always manages to reach a symbiosis of opposites within the confines of the paper base. It is one of his most important stylistic characteristcs . In essence he creates a dialogue between earlier, self-drawn notes with cut-outs of sixteenth century engravings. The hatchings, typical of this technique, are enlarged and coloured in like planes while the stains of his doodles in the enlargement are filled in with pencil lines. Copied details from the work of other -dead- artists are given as much importance as his own re-used old logo and boredom drawings.  The drawings are as it were a collection of "</span><span style="font-size: small;">appropriations" of fragments from his own and the collective memory.</span></p> <p style="text-align: justify;">In the drawings of Boris Thiébaut, details from the past are integrated in a contemporary environnement through the use of timeless materials. A few years ago, the artist started using the space outside of the picture plane. His first black and white wallpaitings consisted of extremely enlarged sections of etchings by Jacques Callot and Hendrick Goltzius. Through the enlargement, the lines of the old engravings became planes in a abstract network. It is hard to deduce the origin of the picture from what is presented here. These floor-to-ceiling sized logos became backgrounds (décor) for a serie of drawings. Aside from this evolution, current affairs are given more and more importance in his young oeuvre. In recent work made for the public space, the artist has incorporated traces from contemporary youth culture, such has graffiti and sprayed-on slogans, in an artistic commission assignement.</p> <p><span style="font-size: small;"></span></p> <hr /> <h1 style="text-align: justify;"><span style="font-size: small;">Boris Thiébaut. <em>Non-histoire discontinue</em></span><br /><span style="font-size: small;"> par Pierre-Olivier Rollin                                                                                 </span></h1> <p style="text-align: justify;"><span style="font-size: small;">Le travail plastique de Boris Thiébaut peut suggérer des rapprochements avec d’autres constructions éclatées, à la manière des écrits de William S. Burroughs. Certes, entre l’univers halluciné produit par les psychotropes et les emprunts à une histoire classique de la gravure et du dessin (Hendrik Goltzius, Jacques Callot), les accointances ne sautent pas immédiatement aux yeux ; mais le travail de Boris Thiébaut a cette faculté de rassembler en un ensemble cohérent des éléments disparates ou éloignés, voire a priori étrangers l’un à l’autre. Ses œuvres peuvent alors s’appréhender comme ces moments de rencontres improbables, où des fragments empruntés à des compositions plus anciennes croisent les développements de registres graphiques variés (traits dessinés, signes typographiques normalisés, effacements à la gomme, etc.), ou des formulations plastiques contemporaines.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Ainsi, dans ses dernières séries, des reproductions de détails des gravures anciennes naissent de l’effacement à la gomme d’un fond crayonné ; lui même obtenu par un réseau dense de traits libres, presque inconsciemment griffonnés par l’artiste, en réminiscence à ses travaux précédents, alors inspirés par les <em>doodles</em>. Le geste quasi automatique qui déroule les <em>doodles</em> ou les hachures se confronte ensuite à la rigueur maniériste d’un second geste, d’effacement cette fois, qui enfante le formes reconnaissables. Le fond des dessins peut ainsi évoquer une forme d’écriture hallucinée, produite sous influence ; tandis que la technique de gommage s’apparente au geste méticuleux du graveur qui burine sa plaque. Liberté gestuelle et maîtrise technique, raccourci du couple passion et raison, se télescopent ainsi pour donner forme à une figure mythologique ancienne, qui vient se confronter à la planéité autoritaire des formes rectangulaires noires, symbole d’un modernisme qui n’en finit pas d’hanter la production artistique actuelle.  </span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Le travail de Boris Thiébaut se construit ainsi comme un « montage par superposition », pour reprendre l’expression qu’utilise Jean Arnaud. Cette technique permet de « <em>traduire variablement une durée stratigraphique ou un espace-temps psychique, entre transparence et opacité</em> (…) <em>L’espace plastique ainsi feuilleté permet de confondre diverses durées dans un seul présent apparent de la fiction et le spectateur doit ordonner arbitrairement ce qui est dessus ou dessous, avant ou après, pour construire lui même le récit</em>. »(1)  Les univers de Burroughs et de Thiébaut sont donc peut-être moins éloignés qu’un premier abord le laisserait penser ; l’un comme l’autre se rejoignent encore sur la mise en forme de nouvelles modalités de récit.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Evidemment, il ne s’agit ni pour l’un, ni pour l’autre, de s’inscrire dans une narration linéaire, posant la maîtrise d’un continuum spatio-temporel, mais bien d’autres structurations de récit, davantage éclatées, obligeant le spectateur-lecteur à retisser les fils lâches de multiples narrations dispersées et juxtaposables. Exercice plus complexe pour nos habitudes d’entendement formatées par la communication de masse, mais probablement mieux adapté aux besoins de notre époque tourbillonnante. Le premier grand théoricien des médias, Marschal McLuhan, notait d’ailleurs que « <em>Si l’existence collective doit être transcrite sur papier, il faut employer la méthode de  “non-histoire discontinue” </em>». Et c’est bien de cette « non-histoire discontinue » dont traitent in fine les dessins et installations de Boris Thiébaut.</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> Pierre-Olivier Rollin</span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;">  </span><br /><span style="font-size: small;"> (1) Jean ARNAUD, « Les vêtements de l’Histoire. Sigmar Polke, Jean-Luc Godard et le montage par superposition », in Sylvie COËLLIER, <em>Le Montage dans les arts aux XXe et XXIe siècles. Actes des Journées d’Etudes du 27 et 28 octobre 2006</em>, Université de Provence, Coll. « Théorie et pratique des arts », 2008.     </span></p> <p></p> Mon, 13 May 2013 21:52:35 +0000 Jeremiah Day, Phillip Lai - Appartement Elisa Platteau - April 19th, 2013 - May 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Temporarily situated in a domestic apartment, Elisa Platteau gallery stands in the centre of Brussels, with a dominating view over the city in the backdrop. This panorama is hard to ignore and even if overlooked, still manifests its presence as a quiet, melancholic image. As such, the exhibition takes shapes in the wake of a view...</span></p> <p style="text-align: justify;"><span style="font-size: small;">How do artistic practices relate to the outside? How can artists produce works within a social, political, domestic and yet commercial context? But moreover how do we read the works when set in this context and what do they alter in to our reading of the outside? Within an interior that merges the codes of household and gallery spaces, on the 1oth floor of a modernist tower block with the lingering image of the exterior city, Jeremiah Day and Phillip lai set out their relationship with this view.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Subjects and Objects That Cannot Meet</em>, by Phillip Lai, enacts an ambivalent relationship with the outside landscape. In the wake of this work the view becomes a panorama, an image, part of the interior space. An installation of wooden strips presses fabric blankets to the ceiling, enclosing a lit lamp within the structure. Simultaneously embodying the aesthetics of the domestic and assimilating familiar elements from outdoors, the work creates a shelter inside the space. The shelter is an intimate, autonomous zone: a moment of enclosure that absorbs the entire space within. The construction stands in tension, its wooden strips are strained and tired. It is as if by feeling the pressure of the ceiling, the installation defines the fragility of this internal space and on the verge of collapsing undermines its own objecthood.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rather than a static image, Jeremiah Day approaches the landscape as a historical site permeated by lractured narratives, memories and conflicting interests. Notions of identity, progress and political struggles are addressed in relationship to the landscape.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Fall of the Twelve Acres Museum is centered on the legacy of a 1976 lawsuit over land in which a Native American tribe, the Wampanoag Indians, attempted to reclaim part of their native land, but was denied on the basis that they no longer constituted a tribe and thus had lost their political organizational form. Juxtaposing images of the historical site with an audio narration, Day encourages an open reading of the landscape. The trust in images is disputed, as it they fall short of the task of capturing and retelling the social and political histories that marked the landscape.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Phillip Lai</strong> was born in Kuala Lumpur in 1969 and lives and works in London. Recent solo exhibitions have been at Stuart Shave/Modern Art, London, Galleria Franco Noero, Turin (both 2012), Transmission gallery, Glasgow (2009) and Galerie Giti Nourbakhsch, Berlin (2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jeremiah Day</strong> is based in Berlin and Amsterdam. His work has been shown at the Stedeliik Museum, Amsterdam, the Shanghai Biennial, Kunstlerlhaus Stuttgart, Freymond Guth, Zurich, and Kunstverein Hannover. Day collaborated with Simone Forti on the exhibition <em>News Animations / No Words For You</em>, Springfield in 2008 at Project Arts Centre, Dublin. His most recent publication is Autonomy, published by Site Gallery. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>FormContent</strong> is a curatorial initiative in London. After 5 years of activities including exhibition-making, independent publishing, commissioning new works, FormContent decided to close its space and focus on a 15-month nomadic programme entitled <em>lt's Moving from I to It</em>. The programme takes the format of a script and develops gradually through insertion of scenes which each can either be a commissioned text, on exhibition or an event. <em>In the wake of a view</em> sits as Scene 14 within the script.</span></p> <p style="text-align: justify;"><br style="font-size: small; font-family: arial,helvetica,sans-serif;" /><span style="font-size: small; font-family: arial,helvetica,sans-serif;"></span></p> Fri, 17 May 2013 15:56:17 +0000 Harun Farocki - Argos Centre for Art and Media - April 21st, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">During his career, Harun Farocki (1944) has created over 100 productions for television or the cinema such as documentary films, film essays, story films. Since the mid-90s, he has also dedicated to videos and video installations. His oeuvre is a meditation about the social, political and economical spheres and reflects how they merge and blur their boundaries, but it's also a personal resistance to conventional cinema and visual art themes. The solo show <em>Side by Side</em> focuses on a selection of two-channel video installations. The show aims to inflect the strategies and the topics that Farocki approaches in his older and recent productions. Scrutiny of the changing status of the images is indeed a major concern in his work, but his analytical approach is not confined to certain genres of representations. Commissioned by the Lille Museum of Modern Art, <em>Interface</em> (1995) is a reflection on his own documentary work: from his beginning - when Farocki was making analogue films - to his current interest in digital images, <em>Interface</em> examines the question of what it means to work with existing images rather than producing one's own new images. In this respect, <em>The Silver and the Cross</em> (2010) starts from the painting <em>Description of Cerro Rico and the Imperial Municipality of Potosí</em>, painted by Gaspar Miguel de Berrío in 1758. This video essay applies an archaeological method to the portray of the city of Potosí in Bolivia and develops a discourse about colonization: in this way, the narration unfolds the victims and the perpetrators, those who won and those who lost. Furthermore, the notion of work becomes central in <em>Comparison via a third</em> (2007). Farocki takes bricks production sites as an example and pays tribute to the <em>cinéma vérité</em> tradition: the footages were originally shot on 16mm and edited without off-commentary, but twenty inter-titles comment on the images. The double projection enables the viewer to consider the various brick productions in comparison and reminds that bricks are the fundamentals of society: they store knowledge on social structures. Anyway, for over one hundred years, photography and film served not only to inform and entertain, but were also media of scientific research and documentation. Their objectivity contrasted the subjectivity of drawing and painting, but today computer animation is the prominent tool to represent, simulate and understand the nature: <em>Parallel</em> (2012) documents reality-effects and compares the development of surfaces and colorings over the past thirty years in computer animation images. But, then, which kind of images can be used to depict city today? In <em>Counter-Music</em> (2004), Farocki answers by starting from Vertov's <em>The Man with the Movie Camera</em> (1929) and builds a city symphony made of fragments from control camera, digital models of the city, representations of traffic regulation, thermo-cameras footages. Here, the city, specifically Lille agglomeration, needs to be intended as a production process. In order to remake the city films, different images are necessarily required. Farocki's images are not merely juxtaposed or opposed, two images seen at the same time are related to each other and create a critical space for reflection. In this way, <em>Side by Side</em> establishes a dialogue between Farocki's dual-channel installations, but it also proposes an approach to explore contemporary modes of representation. (AC)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Interface</em> (1995) is part of the Generali Foundation Collection (Wien).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Special thanks to the Artist, Matthias Rajmann, Doris Leutgeb and Sabine Folie (Generali Foundation, Wien) and Eidotech team (Berlin).</span></p> Mon, 25 Mar 2013 15:08:09 +0000 Marta Bergman, Marie André, Peter Krüger, Gerrit Messiaen - Argos Centre for Art and Media - April 21st, 2013 - May 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Group show in the frame of 'Erfgoeddag 2013' with works by Marie André, Marta Bergman and Peter Krüger &amp; Gerrit Messiaen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">In the context of 'Heritage Day 2013', with this year’s theme of 'Stop the Time',  Argos presents <em>In Remembrance of Times Past</em>, a series of video portraits from Argos’s own collection. The project presents the works in an architectural setting that incorporates elements from the works themselves, and also echoes the atmosphere to which they appeal. In the art of painting, the portrait can be viewed as a “freezing in time”. The video portraits presented here go back to the tradition of <em>direct cinema</em> and <em>cinéma vérité</em>, but they are also rooted in the tradition of the family and friends portrait, as well as in that of the <em>home movie</em>. They feature portraits of women of a certain age or who are getting on to a certain age, but they also contain personal reflections on how Brussels once started to transform and how it is strongly changing today.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">The spotlight is thus on memory. While the camera records images of women in Brussels, how they go about they daily business, how they reminisce about their youth in the capital or elsewhere, we hear stories about a Brussels that will never be the same again. The videos—Marie André’s collection of five portraits of women, Krüger &amp; Messiaen’s record of Roberte’s nocturnal escapade and Marta Bergman’s story of the last months of her grandmother in a Brussels home for the elderly—have all been made with a very limited budget. The authors all used a hand-held camera, and no complex post-production or editing was involved. The film makers are invariably close to their subjects: there is for example the filming mother and daughter or the filming granddaughter. On the one hand that allows them to record the everyday, seemingly trite actions of their subjects in an “objective” manner, as if the camera wasn’t there. On the other hand the lack of distance results in an emotional tension. The viewer is forced to enter into a particularly intimate relationship with the work: the portraits present to the viewer a contract that alternately seeks to command respect and gravitates towards voyeurism.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">The concept of <em>In Remembrance of Times Past</em> emphasizes this intimacy and recognizability. The works of the three film makers are presented in a setting of three small houses. What is evoked inside, is not the atmosphere of just any living room with a television set—it is the atmosphere of the home and the habitat of the filmed women themselves.  The videos as such belong to the collection of Argos, which comprises more than 4,000 audiovisual titles. (IS)</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Program:</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Marie André, <em>Galerie de portraits</em>, 1982, 45' 49".</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Marta Bergman, <em>Heureux séjour</em>, 2002, 59'.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Peter Krüger &amp; Gerrit Messiaen, <em>Roberte's Dance: a Saturday Night in Brussels</em>, </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">1998, 23'49".</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 05 Apr 2013 18:11:35 +0000 Pierre Radisic - Atelier 340 Muzeum - March 22nd, 2013 - May 26th, 2013 <p style="margin-bottom: 0cm; text-align: justify;">During its thematic exhibition <em>Approche aux Constellations</em>, the Atelier 340 Muzeum discovered the work of Belgian photographer, <strong>Pierre Radisic</strong>, and has invited him back for a major solo exhibition. The exhibition results from a meeting between a photographer and a sculptor. They share their interest in lines, volumes and textures, folds and amusing associations - on the body as if on unexplored territory.  An unknown which we should map, but not touch : at first selecting, drawing regions and areas, then gradually approaching them from afar to appreciate their visualisation. The projection of the film <em>Heavenly Bodies</em>, which Pierre Radisic produced with Walter Hus at the Brigittines in 2005, will be central to an exhibit of a selection of photographs from the 1994-1996 series bearing the same name, and covering half of the Atelier's 2000m²  exhibition floor. </p> <p style="margin-bottom: 0cm; text-align: justify;"></p> <p style="margin-bottom: 0cm; text-align: justify;">At the end of the exhibition, the Atelier 340 Muzeum will present a selection of Pierre Radisic's entertaining photographs and a short interview will be screened between the artist and the curator in the <em>café culturel</em>, which adjoins the exhibition space.</p> <hr /> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY">Lors de son exposition thématique <em>Approche aux Constellations</em>, l'Atelier 340 Muzeum a découvert l'oeuvre du photographe belge <strong>Pierre Radisic</strong> et l'invite à présent pour une importante exposition monographique.</p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"> Cette exposition est donc le résultat d'une rencontre, celle du photographe et du sculpteur. Ils parlent ensemble de lignes, volumes et textures. Plis et liaisons ludiques. Du corps comme d'une terre vierge à parcourir. Un inconnu qu'il nous faut cartographier. Et ne pas trop embrasser : sélectionner, dessiner régions et contrées, puis lentement s'approcher. Autour de la projection centrale du film <em>Heavenly Bodies</em>, réalisé avec Walter Hus aux Brigittines en 2005, une sélection de tirages de la série<em> </em>photographique du même nom, réalisée<em> </em>entre 1994 et 1996,<em> </em>sera présentée sur la moitié des 2000 m² d'espace au sol.</p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY">Pour l'occasion, l'Atelier 340 Muzeum présente également une sélection récréative de photos et un petit film d'entretien entre l'artiste et le commissaire de l'exposition, à découvrir en fin de parcours dans le <em>café culturel</em> attenant aux salles d'exposition.</p> <hr /> <p align="JUSTIFY">Door zijn thematische tentoonstelling <em><em>Approche aux Constellations</em>,</em> heeft het Atelier 340 Muzeum het oeuvre ontdekt van de Belgische fotograaf <strong>Pierre Radisic</strong> en hem uitgenodigd voor een belangrijke monografische tentoonstelling. Deze tentoonstelling is het resultaat van een ontmoeting tussen de fotograaf en de beeldhouwer. Samen praten ze over lijnen, volumes en texturen. Over plooien en ludieke verhoudingen. Over het lichaam als een maagdelijke aarde om te doorlopen. Als een onbekende die we in kaart moeten brengen. En niet te veel moeten omhelzen: selecteren, regio’s en ontmoetingen uittekenen, vervolgens langzaam toenaderen.</p> <p align="JUSTIFY">Rond de centrale projectie van de film <em>Heavenly Bodies</em>, gerealiseerd met Walter Hus in de Brigitijnen in 2005, wordt een selectie gepresenteerd van de fotografische serie met dezelfde naam, gerealiseerd tussen 1994 en 1996, dit op de helft van de 2000m² ruimte.</p> <p style="margin-bottom: 0cm;" align="JUSTIFY">Voor deze gelegenheid presenteert het Atelier 340 Muzeum eveneens een recreatieve selectie foto’s en een kleine film over een dialoog tussen de kunstenaar en de curator van de tentoonstelling, te ontdekken op het einde van het parcours in het <em>café culturel</em> grenzend aan de tentoonstellingszalen.</p> Wed, 20 Mar 2013 18:15:30 +0000 Pierre Radisic - Atelier 340 Muzeum - March 22nd, 2013 - May 26th, 2013 <p style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: small;">Since early childhood,  I have been intrigued by how couples resemble each other. While strolling in the streets, eating in restaurants or just observing daily life, I noted their similarities to the point of considering each couple as twins. This impression was so strong that when meeting Pierre Radisic - a photographer with both a sense of humour and a keen capacity for observation - I realized that the question I had been pondering had already been the subject of a series of his photographs. It was a great pleasure to have met him and to have had the opportunity to share this issue of duality.  In order to further share the sociological experience of physical similarities, the Atelier 340 Muzeum has invited Pierre Radisic to show a selection of his series, <em>Couples</em> (1982), in the exhibition <em>Figures Doubles</em>.</span></p> <p style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: small;"> </span></p> <p style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: small;">In parallel, the Atelier 340 Muzeum would like to invite you to discover the film, <em>Heavenly Bodies</em>, produced by Pierre Radisic and Walter Hus at the Brigitinnes in 2005. An interview between the artist and the curator of the exhibition will also be screened in the <em>café culturel</em> where a selection of the artist's entertaining photographs will be exhibited. </span></p> <p style="margin-bottom: 0cm; text-align: justify;"><span style="font-size: small;">WODEK, président-concièrge</span></p> <hr /> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">En marchant dans la rue, en mangeant dans les restaurants, enfin, en observant la société, depuis la plus tendre enfance, je suis intrigué par la ressemblance des couples, mariés et non-mariés. Au point de les envisager comme des jumeaux.</span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;"> </span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">Cette impression est si forte qu'en rencontrant Pierre Radisic, un photographe qui a beaucoup d'humour et aussi un grand intérêt pour l'observation, je me suis rendu compte que la question que je me posais, lui l'avait photographiée et imprimée. Cette rencontre fut un grand plaisir et m'a permis d'enfin partager ces questions sur la dualité. Afin de partager plus encore cette expérience sociologique, faite de correspondances physiques, l'Atelier 340 Muzeum a invité Pierre Radisic à montrer une sélection de sa série <em>Couples</em> (1982) sous le titre <em>Figures doubles</em>.</span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;"> </span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">Parallèlement à cette exposition, l'Atelier 340 Muzeum vous invite à découvrir le film <em>Heavenly Bodies</em> réalisé par Pierre Radisic et Walter Hus aux Brigittines en 2005. Un film d'entretien entre l'artiste et le commissaire de l'exposition est également à découvrir dans le c<em>afé culturel </em>attenant aux salles, ainsi qu'une sélection récréative de photographies de l'artiste.</span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;"> </span></p> <p style="margin-bottom: 0cm; text-align: left;" align="JUSTIFY"><span style="font-size: small;">WODEK, président-concièrge                                                                   </span></p> <hr /> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">Al wandelend door de straten, al etend in restaurants, kortom: terwijl ik de maatschappij observeer, ben ik al van kindsbeen af geïntrigeerd door de gelijkenis van koppels, getrouwd en niet getrouwd. Tot op het punt dat ik ze ging zien als tweelingen. Mijn indruk was zo sterk dat ik in een ontmoeting met Pierre Radisic, een fotograaf met veel humor en een grote interesse voor het observeren,vaststelde dat hij mijn vraag had gefotografeerd en afgedrukt. Deze ontmoeting was een waar plezier, en stelde me in staat mijn vragen over dualiteit eindelijk te delen. Ten einde dit sociologisch experiment nog meer te delen, door een fysieke correspondentie, heeft het Atelier 340 Muzeum Pierre Radisic uitgenodigd een selectie van zijn serie <em>Couples</em> (1982) te tonen onder de titel <em>Figures doubles</em><em>.</em></span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;"><em> </em></span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">Parallel aan deze tentoonstelling, nodigt het Atelier 340 Muzeum u uit de film <em>Heavenly Bodies</em> te ontdekken, gerealiseerd door Pierre Radisic en Walter Hus in de Brigitijnen in 2005. Een film over een dialoog tussen de artist en de curator van de tentoonstelling valt eveneens te ontdekken in het <em>café culturel</em> grenzend aan de zalen, alsook een recreatieve selectie foto’s van de kunstenaar.</span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;"> </span></p> <p style="margin-bottom: 0cm; text-align: justify;" align="JUSTIFY"><span style="font-size: small;">WODEK, président-concièrge</span></p> Wed, 20 Mar 2013 18:17:20 +0000 Simon Schubert - Bodson Gallery - April 19th, 2013 - May 25th, 2013 <p>Folded paper works</p> Thu, 25 Apr 2013 16:08:12 +0000 Antoine Watteau - Bozar - Palais des beaux-arts de Bruxelles - February 8th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Nearly thirty years after the last Antoine Watteau retrospective, BOZAR, in collaboration with the Palais des Beaux-Arts de Lille, is organizing an exhibition of this great early eighteenth century French painter. This will be a unique opportunity to rediscover this master along with some of his contemporaries through a hundred or so works, including paintings, drawings, prints and musical instruments. Thanks to the exceptional curatorship of conductor and musician William Christie, and to contemporary artist Michaël Borremans, the exhibition will highlight the multiple and often timeless facets of Watteau’s oeuvre. It will try to convey the echoes between painting and music. More than a monographic exhibition or a musical staging of his work, the Watteau exhibition aims to draw attention to the links connecting the various arts. There is music in Watteau and his contemporaries!</span></p> <p style="text-align: justify;"><span style="font-size: small;">General curator: William Christie </span><br /><span style="font-size: small;">Scientific curator: Florence Raymond </span><br /><span style="font-size: small;">Artistic Advisor: Michaël Borremans </span><br /><span style="font-size: small;">With the collaboration of: Palais des Beaux-Arts Lille</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Près de trente ans après la dernière rétrospective consacrée à Antoine Watteau, BOZAR organise, en collaboration avec le Palais des Beaux-Arts de Lille, une exposition sur le grand peintre du début du XVIIIe siècle français. Occasion unique de redécouvrir ce maître ainsi que certains de ses contemporains à travers une centaine d’œuvres, réunissant peintures, dessins, gravures et instruments de musique. Grâce à un commissaire d’exception en la personne du musicien et du chef d'orchestre William Christie et à l'artiste contemporain Michaël Borremans, l’exposition souligne les multiples facettes, souvent atemporelles, de l’œuvre de Watteau. Elle se propose de mettre en résonance peinture et musique. Plus qu’un regard sur un ensemble d’œuvres, plus qu’une mise en musique de la matière picturale, l’exposition Watteau fait le choix de la correspondance entre les arts. Il y a de la musique chez Watteau et ses contemporains ! </span><br /><br /><span style="font-size: small;">Commissaire général: William Christie </span><br /><span style="font-size: small;">Commissaire scientifique: Florence Raymond </span><br /><span style="font-size: small;">Conseiller artistique: Michaël Borremans </span><br /><span style="font-size: small;">En collaboration avec: Palais des Beaux-Arts Lille</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Bijna 30 jaar na de laatste Europese Watteau-retrospectieve organiseert het Paleis voor Schone Kunsten samen met het Palais des Beaux-Arts de Lille een tentoonstelling rond de grote Franse schilder van begin 18e eeuw. Het wordt een unieke kans om opnieuw kennis te maken met de meester en zijn tijdgenoten aan de hand van een honderdtal schilderijen, tekeningen, etsen en muziekinstrumenten. Door de tussenkomst van gastcurator William Christie (musicus en orkestdirigent) en hedendaags kunstenaar Michaël Borremans beklemtoont de tentoonstelling de vele, vaak tijdloze facetten van het oeuvre van Watteau. Schilderkunst en muziek treden in dialoog. Veeleer dan een verzameling werken of de muzikale vertaling van een reeks schilderijen belicht de Watteau-tentoonstelling de kruisbestuiving tussen de kunsten. Watteau en zijn tijdgenoten, daar zit muziek in! </span><br /><br /><span style="font-size: small;">Algemeen curator: William Christie </span><br /><span style="font-size: small;">Wetenschappelijk curator: Florence Raymond </span><br /><span style="font-size: small;">Artistiek raadgever: Michaël Borremans </span><br /><span style="font-size: small;">In samenwerking met: Palais des Beaux-Arts Lille</span></p> Mon, 14 Jan 2013 17:33:49 +0000 Dirk Braeckman - Bozar - Palais des beaux-arts de Bruxelles - February 8th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Dirk Braeckman, leading Belgian photographer with an international reputation, plans an intervention in the exhibition <i>Antoine Watteau. The Music Lesson</i> with new photographic works inspired by Watteau.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Dirk Braeckman, le grand photographe belge à la réputation internationale, interviendra dans l'exposition <i>Antoine Watteau. La Leçon de musique</i> avec de nouvelles créations photographiques, inspirées d'œuvres de Watteau.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">De internationaal gerenommeerde Belgische kunstenaar Dirk Braeckman plant een interventie in de tentoonstelling <i>Antoine Watteau. De Muziekles</i> met nieuwe fotografische creaties, geïnspireerd door het werk van Watteau.</span></p> Mon, 11 Feb 2013 12:59:54 +0000 Neo Rauch - Bozar - Palais des beaux-arts de Bruxelles - February 20th, 2013 - May 19th, 2013 <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 14:36:54 +0000 Francis Bacon - Bozar - Palais des beaux-arts de Bruxelles - February 28th, 2013 - May 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">True to its European mission, the Centre for Fine Arts, is hosting <i>Changing States: Contemporary Irish Art &amp; Francis Bacon’s Studio</i>. The contemporary exhibition is a unique opportunity to explore the concerns and innovations of a generation of artists who have made significant contributions to art practice since 2000. The exhibition underscores the vitality of the visual arts in Ireland bringing together a group of Irish artists who illuminate the interrelationship between local experiences and global perspectives. <i>Changing States</i> also includes a fascinating exhibition of material from Francis Bacon’s Studio. Born in Ireland Francis Bacon witnessed firsthand the tumultuous political changes of the 20th century. These violent experiences informed his sensibility and his paintings. His studio items from which he drew his inspiration reveal an intriguing mindset and create an original portrait of the artist. Photographs of friends and lovers, medical books, wildlife and sport are jumbled together with classical references and artists monographs as well as unfinished paintings. BOZAR has chosen to pay tribute to the genius of this artist as well as to the talents of a subsequent generation of Irish artists. </span><br /><br /><span style="font-size: small;">Curators: Margarita Cappock, Barbara Dawson, Michael Dempsey, Christina Kennedy </span><br /><span style="font-size: small;">In collaboration with: Irish Museum of Modern Art, Dublin City Gallery The Hugh Lane</span><br /><span style="font-size: small;">Support: Culture Ireland as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Fidèle à sa mission européenne, le Palais des Beaux-Arts accueille <i>Changing States: Contemporary Irish Art &amp; Francis Bacon’s Studio</i>. La partie contemporaine met en valeur les réflexions et les innovations d’une génération d’artistes qui ont apporté une contribution significative à la pratique artistique depuis 2000. L’exposition souligne la vitalité des arts plastiques en Irlande, réunissant un groupe d’artistes éclairant les liens entre expériences locale et universelle. <i>Changing States</i> présente également une série d’objets et de documents en provenance de l’atelier de Francis Bacon. Né en Irlande, Bacon a été le témoin privilégié des changements politiques tumultueux qui ont agité le XXe siècle. Sa sensibilité et ses peintures ont été nourries par ces expériences violentes. Les documents de son atelier et dans lesquels il puisait son inspiration, restituent un portrait original de l’artiste. Des photos d’amis et d’amants, des livres consacrés à la médicine, la nature et le sport se mêlent aux classiques et aux monographies d’artistes ainsi qu’à des peintures inachevées. BOZAR a choisi de rendre hommage au génie de cet artiste et au talent de la génération de plasticiens irlandais qui l’ont suivi. </span><br /><br /><span style="font-size: small;">Commissaires: Margarita Cappock, Barbara Dawson, Michael Dempsey, Christina Kennedy</span><br /><span style="font-size: small;">En collaboration avec: Irish Museum of Modern Art, Dublin City Gallery The Hugh Lane</span><br /><span style="font-size: small;">Soutien: Culture Ireland as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Trouw aan zijn Europese roeping presenteert het Paleis voor Schone Kunsten de tentoonstelling <i>Changing States: Contemporary Irish Art &amp; Francis Bacon’s Studio</i>. De expo is een unieke kans om zich te verdiepen in de bekommernissen en vernieuwingen van een hele generatie kunstenaars die sinds 2000 in belangrijke mate bijdroeg tot de kunst. De tentoonstelling benadrukt de dynamiek van de visuele kunsten in Ierland en brengt een groep van Ierse kunstenaars samen die getuigen van de relatie tussen lokale ervaringen en mondiale perspectieven. <i>Changing States</i> toont ook materiaal uit de studio van Francis Bacon, die in Ierland geboren werd en getuige was van de woelige politieke veranderingen in de 20e eeuw. Zijn gevoeligheid en zijn schilderijen werden beïnvloed door deze gewelddadige ervaringen. De documenten in Bacon’s studio waren een echte inspiratiebron voor hem; ze getuigen van een intrigerende zienswijze en tekenen een origineel portret van de kunstenaar. Door elkaar vind je foto’s van vrienden en minnaars, boeken over geneeskunde, wilde dieren en sport, klassiekers en monografieën van kunstenaars, of nog onafgewerkte schilderijen. BOZAR brengt eer aan het genie van deze kunstenaar en het talent van de volgende generatie Ierse artiesten. </span><br /><br /><span style="font-size: small;">Curatoren: Margarita: Cappock, Barbara Dawson, Michael Dempsey, Christina Kennedy</span><br /><span style="font-size: small;">In samenwerking met: Irish Museum of Modern Art, Dublin City Gallery The Hugh Lane</span><br /><span style="font-size: small;">Steun: Culture Ireland as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European</span></p> Mon, 18 Mar 2013 14:41:03 +0000