ArtSlant - Closing soon en-us 40 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 Farhad Moshiri - Galerie Rodolphe Janssen - March 28th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Galerie Rodolphe Janssen</strong> is proud to present its second exhibition of Iranian artist<strong> Farhad Moshiri</strong>. The exhibition will show a selection of new paintings as well as «I’m in heaven» a wall installation with knives created specifically for the show.</span><br /> <br /><span style="font-size: small;"> The work “Streetfighter black on orange” is a bright beaded canvas portraying two gentleman embracing one another in a movement both aggressive and erotic. A duality that opposes the violence of the subject and the grace of the embroidery. The beaded embroideries are realized by housewives in Teheran. It is a challenge for Moshiri to use a technique such as embroidery that has a high value in Iran and to turn it into something with western contemporary values.</span><br /> <br /><span style="font-size: small;"> «I’m in heaven» is an installation composed of knives; objects that by their very nature, present an undisputable association with violence. To this violence, Moshiri opposes a word that is the contrary of the world of knives such as «I’m in heaven» or «Life is beautiful» (as shown in the Palazzo Grassi in the Fran- cois Pinault’s collection exhibition in 2011) or even «Home Sweet Home».</span><br /> <br /><span style="font-size: small;"> Farhad Moshiri develops a colorful and attractive work from where a more complexe reality originates. His inspirations are : woman, kitsh, pop culture, globalization. But also the duality between the East and the West, the culture shock, his origins and his relation to the Iranian culture. About pop culture he says : “I’m actually interested in second-generation pop culture, where culture is adapted, culture that is fed down by the media, [one that] is adapted by the general public”. “A very understandable example is when Coca-Cola is written in Arabic; the overall look and aesthetic of the bottle changes.”</span></p> Mon, 29 Apr 2013 15:49:18 +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 Frog King Kwok Mang Ho, Frog Queen Cho Hyun Jae - Harlan Levey Projects - April 12th, 2013 - May 12th, 2013 <p style="text-align: justify;">Harlan Levey Projects is delighted to bring Frog King Kwok Mang Ho and Frog Queen Cho Hyun Jae into the mix of all of the amazing exhibitions that will surround Art Brussels this month.</p> <p style="text-align: justify;">Instead of a traditional exhibition, with respect to the core values of Frogtopia and Harlan Levey Projects, we are offering workshops and creative exchange that will result in an exhibition that speaks through action about Co-Creation, Participation, Amateurism and the social role art can play outside of the market.  Following four days of workshops led by Frog King and Frog Queen, the exhibition created with more than 40 local participants will be open to the public for one month.</p> <p><img src="" alt="Frog King Kwok" style="float: left;" /></p> Tue, 02 Apr 2013 16:22:26 +0000 Group Show - MuHKA Museum of Contemporary Art Antwerp - February 22nd, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Moments on Moments<em> is a concentrated and reworked version of the exhibition <em>Moments: A History of Performance in 10 Acts<em>, curated <strong>Boris Charmatz</strong>, <strong>Sigrid Gareis</strong> and <strong>Georg Schöllhammer</strong> for ZKM | Centre for Art and Media in Karlsruhe, with support from Germany’s Federal Cultural Foundation. Before travelling to M HKA <em>Moments on Moments<em> is shown at Lunds konsthall in Sweden.</em></em></em></em></em></em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><em><em><em></em></em></em></em></span></p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> Wed, 13 Feb 2013 15:16:44 +0000 Thomas Bayrle - WIELS - February 9th, 2013 - May 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>WIELS</strong> is presenting the first major survey exhibition in Belgium of German artist<strong> Thomas Bayrle</strong>, a pioneer of Pop, Seriality and Media Art. As such, WIELS continues its alternative reading of art history by foregrounding often overlooked artists whose work shift our understanding of major changes in the history of art and ideas.</span><br /><br /><span style="font-size: small;">Bayrle has worked as an artist and a graphic designer since the mid 1960s, inventing a unique visual language through the production of collages, paintings, sculptures, films and books. In the process, he built an important body of work that is surprisingly consistent, obsessive even, combining allegiances to Pop, Conceptual and Op art alike with wry humor. Despite this, and indeed despite his far-reaching influence on a whole new generation of artists through his tenure as professor at the renowned Städelschule in Frankfurt between 1975 and 2002, he remains relatively little known to the general public. </span><br /><br /><span style="font-size: small;">Like his late Frankfurt artist contemporaries Peter Roehr and Charlotte Posenenske, Bayrle created works in the mid 1960s based on the serial repetition of the same pattern, formal compositions indebted to the seriality of the then-emerging Minimal Art movement. Steeped in many of the ideas of the Frankfurt School, with which it shares geographic proximity, Bayrle's work has all along retained the critical engagement that drove his earliest experiments. His interest in mass culture and incorporation, in the midst of the Cold War, of the symbols of the capitalist and communist societies then charting their antagonistic course on either side of the Wall pervades his oeuvre.</span><br /><br /><span style="font-size: small;">The retrospective exhibition of Bayrle at WIELS will span the artist's entire carreer, from his first painted kinetic machines to his most recent engine installations, the latter recently featured at dOCUMENTA (13). The show will eschew showing work along chronological lines; rather, it will put forward the variety of, at times, contradictory themes in the artist's work, including consumerism and consumer society, political propaganda, sexuality, and religion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curated by Devrim Bayar</span></p> Wed, 06 Feb 2013 18:29:30 +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 Natalia de Mello - Jozsa Gallery - March 21st, 2013 - May 18th, 2013 Mon, 25 Mar 2013 08:48:45 +0000 Dan Perjovschi - Sorry We're Closed - March 18th, 2013 - May 18th, 2013 Mon, 25 Feb 2013 18:23:05 +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 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 Jos de Gruyter and Harald Thys - MuHKA Museum of Contemporary Art Antwerp - February 8th, 2013 - May 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"There are different theories. One of them states that the parallel world is a mirror of the real world and every attack from the parallel world would therefore be a form of self-destruction." </span><br /><br /><span style="font-size: small;">– from Jos de Gruyter &amp; Harald Thys’s video 'About the Relationship between the Real World and the Parallel World', 2010</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jos de Gruyter &amp; Harald Thys’s art casts a merciless perspective on reality. Through their numerous artistic approaches – including installations, video, drawing, sculpture, performance and photographs – de Gruyter &amp; Thys visualise their imaginings of the parallel world inherent within the modern human psyche, along with how it manifests itself in the everyday aspects of life and civic conformity. Everything from work, leisure and family, to social class, masculinity and marginalization are envisaged through convening an unlikely cast of non-professional actors, family members, friends, beards, objects and mannequins alike, often in banal, homespun settings that are rife with awkward power dynamics.</span><br /> <br /><span style="font-size: small;"> Their major exhibition at M HKA entitled <em>OPTIMUNDUS</em> – will be the broadest presentation of their work in Belgium and internationally to date, followed by a second chapter at Kunsthalle Wien early in 2014. The artists will create an environment bringing together a key selection of their works in all media, alongside a number of new works. <em>OPTIMUNDUS</em> will be a kind of panorama of de Gruyter &amp; Thys’s practice, bringing their unique conception of the alternative reality into the realm of an exhibition scenario. Form balances the work of de Gruyter &amp; Thys on the edge of the idiotic. Ragged mannequins are made to share common space with traced drawings of trams, the cries of animals, polystyrene heads with false facial hair, and monotonous monologues about renovations. Visitors to <em>OPTIMUNDUS</em> will also be joined by these and a cast of existing and new mannequins from the artists’ own universe.</span><br /> <br /><span style="font-size: small;"> The artists are inspired by myriad sources – like key scenes in films by Visconti or Fassbinder; reality television; the arsenal of videos that YouTube offers, ranging from Russian road rage to the home videos of Chechen President Ramzan Kadyrov; as well as traumatic events the artists have experienced over the years with various people and places. Their videos are often set within the confines of spaces where the emotion of relationships is expressed and a heart of bleakness is palpable. They are works that not only reflect on the broad issues of social class and deprivation but also consider our ways of dealing with life through the logic of our inner worlds. The works <em>Der Schlamm von Branst</em> (The Clay from Branst, 2008); <em>Ten Weyngaert</em> (2007); and <em>The Frigate</em> (2008), for example, portray the banal, tense environments of community spaces designated for people to participate in artistic activity as forms of social interaction and therapy. However, straightforward dialogue is replaced by events of the perverse and supernatural kind, seemingly occurring through curious, aggressive processes of sublimation.</span><br /> <br /><span style="font-size: small;"> In their most recent works, human characters are replaced altogether by makeshift dummies with limited features, inhuman computerised voices and a certain emptiness at their core. For example, the video <em>Das Loch</em> (The Hole, 2010), presents an all-mannequin cast, and will also here incorporate a constellation of related mannequins and installations. This deadpan work describes the complex rivalry between two artists – Johannes, who believes in the universal expression of painting, and who feels insecure by the success of his friend Fritz, a red macho-man with an HD camera. Whereas in their recent video <em>Les Énigmes de Saarlouis</em> (The Riddles of Saarlouis, 2012), the twin characters Kitty &amp; Katty confront us with a series of impossible riddles. It is this internal, ungraspable logic that each of us possess that we are persistently reminded of in the work of de Gruyter &amp; Thys, and which will be at the core of <em>OPTIMUNDUS</em>.</span></p> <hr /> <p><span style="font-size: small;">"Er bestaan hierover verschillende theorieën. Eén ervan stelt dat de parallelle wereld een spiegel van de echte wereld is en iedere aanval vanuit de parallelle wereld zou zodoende een vorm van zelfvernietiging zijn." </span></p> <p style="text-align: justify;"><br /><span style="font-size: small;">– uit de video van Jos de Gruyter &amp; Harald Thys 'About the Relationship between the Real World and the Parallel World', 2010</span></p> <p style="text-align: justify;"><span style="font-size: small;">Het werk van Jos de Gruyter &amp; Harald Thys werpt een genadeloze blik op de realiteit. Aan de hand van video’s, installaties, tekeningen, sculpturen, performances en fotografie geven de kunstenaars gestalte aan hun verbeelding van de parallelle wereld, hoe die leeft in de hedendaagse menselijke psyche en hoe die zich manifesteert in het alledaagse en in maatschappelijk conformisme. Verhalen rond arbeid, vrije tijd, gezin, sociale klasse, mannelijkheid en marginalisering worden verbeeld door een cast van niet-professionele acteurs, familieleden, vrienden, baarden, objecten en poppen, vaak in banale interieurs, geladen met gestoorde machtsverhoudingen. </span><br /> <br /><span style="font-size: small;"> De tentoonstelling <em>OPTIMUNDUS</em> in het M HKA wordt de meest uitgebreide en ambitieuze presentatie van hun werk in België en het buitenland tot op heden, en krijgt in het begin van 2014 een vervolg in Kunsthalle Wien. De kunstenaars brengen een opmerkelijk overzicht hun artistieke praktijk bestaande uit een selectie sleutelwerken van de voorbije jaren en enkele nieuwe werken. <em>OPTIMUNDUS</em> vormt een panorama van de kunstpraktijk van de Gruyter &amp; Thys en brengt zo hun unieke voorstelling van een alternatieve realiteit in een tentoonstellingsomgeving.</span><br /><span style="font-size: small;"> Vormelijk balanceert het werk van de Gruyter &amp; Thys op de rand van de idiotie: lappenpoppen delen de ruimte met gecalqueerde tekeningen van tramstellen, dierlijke kreten, en monotone monologen over renovaties, en piepschuimen koppen met valse baarden. Bezoekers van <em>OPTIMUNDUS</em> worden door deze en andere figuren uit het universum van de Gruyter &amp; Thys vergezeld.</span><br /> <br /><span style="font-size: small;"> Het werk vindt haar oorsprong in zeer uiteenlopende inspiratiebronnen, gaande van bepaalde sleutelscènes in de films van Fassbinder en Visconti, over clandestiene reality-programma’s, het alsmaar groeiende arsenaal van anoniem geproduceerde films op YouTube – van Russian Road Rage tot de home video’s van de Tsjetsjeense president Ramzan Kadyrov maar ook traumatiserende confrontaties die ze in de loop van de jaren ervoeren met welbepaalde plaatsen en individuen. De films van de Gruyter &amp; Thys spelen zich vaak af binnen de muren van ruimten waar intermenselijke spanningen zich opbouwen en een uitgesproken somberheid in het hart van de uitzonderlijke maatschappelijke verbeelding van beide kunstenaars voelbaar wordt. Toch bezinnen de werken niet enkel over de grote vraagstukken van sociale klasse en ontbering, maar zijn ze tevens obsessieve observaties van innerlijke processen. De werken <em>Der Schlamm von Branst</em> (2008), <em>Ten Weyngaert</em> (2007) en <em>The Frigate</em> (2008) bij voorbeeld portretteren de gespannen omgeving van een gemeenschapscentrum waar men verondersteld wordt kunst te beoefenen als vorm van sociale interactie en therapie. Dialoog wordt hier echter vervangen door perverse en bovennatuurlijke gebeurtenissen, die verschijnen door bizarre, agressieve processen van sublimatie. </span><br /> <br /><span style="font-size: small;"> In hun meest recente werken zijn de menselijke personages geheel vervangen door in elkaar geknutselde poppen, die door hun minimale gelaatstrekken en onmenselijke computerstemmen een apathische leegte uitstralen. Zo worden alle rollen in <em>Das Loch</em> (2010) gespeeld door poppen die ook elders in de tentoonstelling opduiken. In een laconieke verteltrant beschrijft dit werk de complexe rivaliteit tussen Johannes, een schilder die gelooft in de universele expressie van de schilderkunstige traditie en Fritz, een kleine rode macho met een high-definition camera. In hun recente video <em>Les Énigmes de Saarlouis</em> (De Raadsels van Saarlouis, 2012) bedwelmt de tweeling Kitty &amp; Katty ons met een reeks onoplosbare raadsels die ze in chorus afratelen. In het werk van de Gruyter &amp; Thys worden we namelijk voortdurend herinnerd aan een interne, moeilijk te definiëren logica die binnen ieder van ons leeft, en die centraal staat in <em>OPTIMUNDUS</em>.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">« Il y a différentes théories à ce sujet. L’une d’entre elles affirme que le monde parallèle est un miroir du monde réel et que toute attaque venant du monde parallèle serait par conséquent une forme d’autodestruction. » </span><br /><br /><span style="font-size: small;">– extrait de la vidéo de Jos de Gruyter &amp; Harald Thys 'About the Relationship between the Real World and the Parallel World', 2010</span></p> <p style="text-align: justify;"><span style="font-size: small;">L’œuvre de Jos de Gruyter &amp; Harald Thys porte un regard sans complaisance sur la réalité. Par le biais de la vidéo, l’installation, le dessin, la sculpture, la performance et la photographie, le duo d’artistes donne corps à leur conception imaginaire du monde parallèle, à la manière dont celui-ci vit dans la psyché humaine contemporaine et se manifeste dans la vie quotidienne et le conformisme social. Des histoires de travail, de loisirs, et de famille, ainsi que des questions concernant la classe sociale, la virilité et la marginalisation sont représentées par une distribution d’acteurs non professionnels, composée de membres de la famille, d’amis, d’objets, de barbes et de marionnettes, le plus souvent dans des intérieurs assez banals, chargés de rapports de force troublés et troublants.</span><br /> <br /><span style="font-size: small;"> L’exposition <em>OPTIMUNDUS</em> au M HKA constitue la présentation la plus étendue et la plus ambitieuse de leur œuvre à ce jour, tant en Belgique qu’à l’étranger, et connaîtra une suite au début de l’année 2014 à la Kunsthalle Wien. Pour ce remarquable panorama de leur pratique, les artistes ont opéré une sélection d’œuvres clés des années précédentes et réalisé quelques nouvelles pièces, offrant ainsi une rétrospective exclusive de leur réalité alternative dans un contexte d’exposition muséale. Sur le plan formel, l’œuvre du duo se situe au bord de l’absurdité : des poupées de chiffon partagent l’espace avec des dessins calqués de rails de tramway, des cris d’animaux, des monologues monotones sur des rénovations, et des têtes en polystyrène affublées de fausses barbes. Ces personnages et bien d’autres figures issues de l’univers de De Gruyter &amp; Thys accompagneront les visiteurs de l’exposition <em>OPTIMUNDUS</em> lors de leur parcours. </span><br /> <br /><span style="font-size: small;"> L’œuvre s’inspire de sources très diverses, allant de certaines scènes cultes de films de Fassbinder ou de Visconti, à des émissions de téléréalité clandestines, en passant par l’arsenal intarissable de films produits anonymement et postés sur YouTube – de Russian Road Rage à des vidéos amateurs du président tchétchène Ramzan Kadyrov, outre des face à face traumatisants qu’ils ont vécu dans certains lieux ou avec certains individus au cours des années. Les films de De Gruyter &amp; Thys se déroulent souvent dans des espaces confinés où les tensions interpersonnelles s’accentuent et rendent tangible une mélancolie explicite qui est au cœur des représentations sociales si particulières des deux artistes. Leurs œuvres ne se penchent toutefois pas seulement sur les grandes questions relatives à la classe sociale et la privation, mais constituent tout autant des observations obsessionnelles de processus intérieurs. Les œuvres <em>Der Schlamm von Branst</em> (2008), <em>Ten Weyngaert</em> (2007) et <em>The Frigate</em> (2008), par exemple, brossent le tableau de l’atmosphère tendue qui règne dans un centre communautaire où l’on est censé pratiquer l’art comme forme de thérapie et interaction sociale. Le dialogue est cependant remplacé par des événements pervers et surnaturels, qui se manifestent à travers des processus de sublimation étranges et agressifs. </span><br /> <br /><span style="font-size: small;"> Dans leurs œuvres les plus récentes, les personnages humains sont tous remplacés par des marionnettes confectionnées assez sommairement, dont les traits très estompés du visage et les voix synthétiques d’ordinateur dégagent vacuité et apathie. Ainsi, tous les rôles de <em>Das Loch</em> (2010) sont joués par des marionnettes qui apparaissent ailleurs dans l’exposition. Dans un style narratif laconique, cette œuvre décrit la rivalité complexe entre Johannes, un peintre qui a foi en l’expression universelle de l’art pictural, et Fritz, un petit macho roux doté d’une caméra vidéo haute définition. Dans leur vidéo récente, <em>Les Énigmes de Saarlouis</em> (2012), les jumelles Kitty &amp; Katty nous abreuvent d’énigmes insolubles qu’elles ânonnent en chœur. L’œuvre de De Gruyter et Thys évoque sans cesse une logique intérieure, difficile à définir, que chacun de nous porte en soi et qui est cœur de l’exposition <em>OPTIMUNDUS</em>.</span></p> Mon, 11 Feb 2013 12:59:50 +0000