BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Hopstreet kindly invites you to the opening of the exhibition \;"00ooOO" holes\, dots\, balls \;by Davide Bertocchi &\; Shila Khatami on \;Friday 6 September \;from 14 to 20h.

\n

Hopstreet is representing the work of Davide Bertocchi since Marc h 2013. While making plans to show his work at the gallery\, we got in touc h with Shila Khatami. On our first visit to her studio\, we discussed her p assion for 1980&rsquo\;s record covers. We immediately saw a correlation wi th Davide&rsquo\;s use of records in his sculptures. We assume that they ha ve a common fascination with music\, vinyl records and circular shapes.

\n

 \;

\n

A conversation between Davide Bertocchi &\; Shila Khatami (which will clarify things... or maybe not) Davide Bertocchi: When you showed me your work for the fir st time\, I was immediately intrigued by your obsession with holes and dots . I have been focusing on round shapes and circular movements for quite a l ong time. So I guess it makes sense to have a sort of &lsquo\;double confro ntation&rsquo\; in an exhibition. Please tell me\, how did you come up with this idea?

\n

 \;

\n

Shila Khatami: I started working with pegboards in 2004. Initially I used them as stencils to form a grid\, then I started working with the pegboards as a surface. T his gave me a grid that resembled millimetre paper.

\n

DB: So you use pegboards as a kind of basic matrix structure?

\n

SK: Yes\, and coming up with geometrical forms by connecting the holes is a way for me to work with a formal language without having the immediate association with modernism. Pegboard is an everyday material\, still commo nly used\, and so are the colours. That links up to where the forms come fr om: I am pursuing the way geometric shapes are used and appear in today's s ociety and in everyday culture since Constructivism.

\n

DB : Like the perforated metal industrial screens and grids we see all over th e city?

\n

SK: Exactly!

\n

In your work it seems that musi c and the universe are important influences and that several round forms ar ise from these contexts. What kind of connection do you see between music a nd the universe?

\n

DB: Well\, it's a big issue but they a re two parallel lines that I often try to bend and eventually cross in my w ork. They both imply the possibility of a certain metaphysical freedom with in a common matter that everyone is somehow connected to.

\n

Most important ly\, in both music and outer space there is a constant rotating\, circular movement: information on a CD or a record player\, a solar system or a gala xy\, they all move in circles. I think music has more to do with an "inner universe" linked to human emotions\, and outer space is where we encounter the abstract\, imagination\, challenges to physics laws\, and vice versa...

\n

But I can see that you also have a fascination with music\, especially record covers. Why is that?

\n

SK: The record cover design s that I use are examples of geometric shapes that are an integral part of our \;everyday life. Working on record covers is an opportunity for me to work with the shapes I deal with in my \;paintings but then dir ectly on a given surface.

\n

In the 1980s there was a very strong connectio n between the music scene and the art scene. You can see that in the covers . Blondie&rsquo\;s Parallel Lines record is special because even t he title refers to art. I find this ambiguity very interesting.

\ n

Are you also interested in a certain ambiguity when you use marble or other referen ces to Italian art history and technology?

\n

DB: Ambiguit y always depends on the context\, so that's where I usually try to focus my research. Of course the materials also play an important role\, especially marble with its history\, references to monuments and sculptures. But what I am really interested in goes beyond materials: it's when ambiguity becom es an enigma. Many of my works functions like that.

\n

Ambiguity as a resul t of human advanced science research is a paradox that has always intrigued me. For instance\, when new technology goes so far that existing theories don't make sense anymore and they can't follow or explain\, like in the phy sics of subatomic particles\, then that new scientific discovery becomes an enigma. My piece entitled SuperCollider plays with this idea\, it acts as both a physical and emotional collider. \;In the end\, shouldn't this entire exhibition be seen a s an enigma?

\n

____________________________________________________________ ________________

\n

Davide Bertocchi (°\;1969 Modena\, Italy - lives in Paris) studied at the Academy of fine arts\, Bologna\, Dam s University of Bologna and post-diplome at the Ecole de Beaux-Arts\, Nante s. In 2000\, he was chosen as one of the 10 Italian artists for the Studio Program at PS1-MoMa in New York. In 2002\, he was artist in residence at th e National Contemporary Art Centre Villa Arson\, Nice\, France. From 2003 t hrough 2004 he participated in the artist in residence program\, &ldquo\;Le Pavillon&rdquo\;\, at Palais de Tokyo\, Paris.

\n

His work has been sh own in many international institutions and galleries\, including: La M aison Rouge\, Paris\; Fondation d'entreprise Ricard\, Palais de Tokyo\, Par is\; MNAC\, Bucharest\; La Monnaie de Paris\; Galerie Antoine Levi\, Paris\ ; Jarach Gallery\, Venice\; SintLukas Gallery\, Brussels\; Centre Internati onal d'Art et du Paysage de l'î\;le de Vassiviè\;re\; Centre Pom pidou\, Paris\; Performa 09 at WhiteBox\, New York\; CAC Bretigny\; Magazzi no\, Rome\; Uqbar\, Berlin\; Tulips &\; Roses\, Vilnius\; MoCA\, Shangha i\; Galerie Pangé\;e\, Montreal\; L&rsquo\;Ozio\, Amsterdam\; Biennal e di Scultura\, Carrara\; Rö\;da Sten\, Gö\;teborg\; MLIS\, Villeur banne\; N.O. Gallery\, Milan\; 10th Lyon Biennale\; Kunstverein Gö\;tti ngen\; MAMbo\, Bologna\; De Appel\, Amsterdam\; Espace Louis Vuitton\, Pari s\; 9th Lyon Biennial\; Palazzo delle Esposizioni\, Rome\; MAC/VAL\, Vitry- sur-Seine\; Istituto Italiano di Cultura\, Los Angeles\; ViaFarini\, Milano \; Base\, Florence\; Prague Biennale 1\; The Bronx Museum\, New York and Wa lker Art Center\, Minneapolis.

\n

 \;

\n

Shila Khatami (°\;1976 Saarbrucken\, Germany &ndash\; lives in Berli n) stu died at the Academy of Fine Arts\, \;Munich and the Kunstakademie Dü\;sseldorf. She currently l ives and works in Berlin.

\n

Solo exhibitions include: Galerie Sus anna Kulli\, Zü\;rich\, Clages\, Kö\;ln\, Galerie Samy Abraham\, Pa ris\, \;Treize\, Paris\, Center \, Berlin\, SOX\, Berlin.

\n

Group exhibitions include Hopstreet\, Brussels\, Sies + Hö\;ke\, Dü\;sseldorf\, Kavi Gupta\, Berlin\, Pi gna Project \;Space\, Rome\, SN O Contemporary Art Projects\, Sydney\, Wilhelm-Hack-Museum\, Ludwigshafen a m \;Rhein\, Villa Noailles\, Hy è\;res\, Palais de Tokyo\, Paris\, Saarlä\;ndische Galerie - Euro pä\;isches Kunstforum\, \;B erlin\, Kunstmuseum St. Gallen\, St. Gallen. \;

\n



On \ ;Saturday 7 and Sunday 8 September \;we&rsquo\;re open form 12 till 19h on occasion of the \;Brussels Art Days.

\n< p style="text-align: justify\;">OPENING du ring the Brussels Art Days of
Friday 06 September 14-20h
Sat urday 07 September 12-19h
Sund ay 08 September 12-19h

DTEND:20131019 DTSTAMP:20141221T021416 DTSTART:20130906 GEO:50.8160872;4.3683322 LOCATION:Hopstreet\,Sint-Jorisstraat 109 rue Saint-Georges\nBrussels\, 1050 SEQUENCE:0 SUMMARY:"00ooOO” holes\, dots\, balls\, Davide Bertocchi\, Shila Khatami UID:283741 END:VEVENT BEGIN:VEVENT DTEND:20130906T200000 DTSTAMP:20141221T021416 DTSTART:20130906T140000 GEO:50.8160872;4.3683322 LOCATION:Hopstreet\,Sint-Jorisstraat 109 rue Saint-Georges\nBrussels\, 1050 SEQUENCE:0 SUMMARY:"00ooOO” holes\, dots\, balls\, Davide Bertocchi\, Shila Khatami UID:283742 END:VEVENT END:VCALENDAR