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Almine Rech gallery is pleased to present Peter Peri’s first exhibition in Brussels\, ‘Last Family’\, his second show at the gallery.

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On this occasion\, the ar tist 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-disso lution.

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For Peri\, these notions can be inherent in the experience of ar t: his artworks suggest\, but never reduce themselves to\, an externalised entity\, an embodied intelligence that stands in confrontation with the vie wer\, even when the work is seemingly near-abstract. The nature of this con frontation is cued by various influences that feed into the work\, among th em the writings of the Russian science-fiction novelist Yvegeny Zamyatin\, and a 19th-century illustration purporting to depict the last fa mily on Earth: a cluster of huddled skeletons inhabiting a distant future w hen the sun has burned out and the Earth frozen over. This image is a phant asmal presence in Peri’s new 'Skeleton' paintings\, wherein ghostly penumbr a appear through the successive layers of the painted image\, revealing the paintings’ process and personal histories\, imbuing them with tentative li fe.

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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 sh ortfall of twentieth-century utopic visions and the erasings within his wor k.  Another salient influence on this work is existential psychology\, wher ein ideas of dark and blocked space that relate to schizophrenia\, a kind o f self-dissolving\, find echoes in Peri’s paintings\, his drawings (some of which relate directly to drawings from psychological research) and his hea vily frontal\, confrontational sculptures. In Peri’s art\, this self-dissol ving is recouped\, both as a framework for understanding how we might relat e 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 surrender ing geometry and abstraction (or\, indeed\, in Peri’s painting\, the virtue s 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 con structed otherness. Speaking of what he finds powerful and moving in histor ical art\, Peri talks of ‘a blank clarity that just tips into self-dissolut ion’\; this is the state his current work pursues.

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— Martin Herbert.

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Born in 1971 in London\, England\, Peri’s solo exhibitions include\; ' Country 10'\, Kunsthalle Basel (2006) and 'ARTNOW'\, Tate Britain (2007). H is work has been included in numerous group exhibitions internationally inc luding the Hayward Gallery\, London (2006)\; Kestnergesellschaft\, Hannover (2008) \; CCA Andratx\, Mallorca (2009) \; The Saatchi Gallery\, London (2 010) and the Museum of Old and New Art\, Hobart\, Tasmania (2012). His work is conserved in both public and private collections including Tate Collect ion\, the Victoria &\; Albert Museum and the Arts Council of Great Brita in.

DTEND:20130525 DTSTAMP:20141020T225905 DTSTART:20130418 GEO:50.819109;4.368526 LOCATION:Almine Rech Gallery\,20 rue de l'Abbaye \nBrussels \, 1050 SEQUENCE:0 SUMMARY:Last Family\, Peter Peri UID:269210 END:VEVENT BEGIN:VEVENT DTEND:20130418T200000 DTSTAMP:20141020T225906 DTSTART:20130418T170000 GEO:50.819109;4.368526 LOCATION:Almine Rech Gallery\,20 rue de l'Abbaye \nBrussels \, 1050 SEQUENCE:0 SUMMARY:Last Family\, Peter Peri UID:269211 END:VEVENT END:VCALENDAR