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

The gallery will be exceptionally open during ART BRUSSELS Saturday 20th &\; Sunday 21st from 10.00 till 18.00

DTEND:20130525 DTSTAMP:20141001T184141 DTSTART:20130420 GEO:50.8298126;4.3576464 LOCATION:AEROPLASTICS Contemporary\,32 rue Blanche \n Brussels\, 1060 SEQUENCE:0 SUMMARY:Les Soubresauts du Monde (The Convulsions of the World)\, Samuel Ro usseau UID:269804 END:VEVENT BEGIN:VEVENT DTEND:20130419T220000 DTSTAMP:20141001T184141 DTSTART:20130419T160000 GEO:50.8298126;4.3576464 LOCATION:AEROPLASTICS Contemporary\,32 rue Blanche \n Brussels\, 1060 SEQUENCE:0 SUMMARY:Les Soubresauts du Monde (The Convulsions of the World)\, Samuel Ro usseau UID:269805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For almost thirty years Whitne y has been exploring two
central aspects of abstract painting: Colour and s tructure.
Colour is what structures the paintings. For a long time Wh itney has been working with square
canvasses of different sizes\, which he structures with up to four unequal bands consisting of one or more
lines th e width of a paintbrush. Starting from the top left–almost like writing a t ext–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 c anvas\, can be repeated two or three times. The choice of colour is intuiti ve and the
result of the painting process which is unpredictable an unknown .
Whitney works with the system of “call-and-response”\, which is a pr inciple used across multiple
disciplines\, and in music is typical in spiri tuals\, gospels\, blues and jazz. He paints one colour and then
decides whi ch 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 be come more and more complex.
And yet\, Whitney’s paintings seem easy\, almos t effortless. They are playful and strictly formal at the
same time. This i s similar to Jazz–which seems easy–as Whitney explains: “As if you could ju st 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 ”.

Despite their complex colour scheme Whitney’s compositions are alw ays harmonic and show his joy for
colour and composition. They are rhythmic \, melodic\, and intense. „The idea is sound through colour\,
creating a po lyrhythm 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).

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 sevent ies. His work was part of
the 50th Venice Biennale (2003) in the project Ut opia Station\, and was also shown in the Dakar Biennal (2004).
Museum exhib itions include the National Academy Museum\, New York (2012)\, the Nelson-A tkins Museum of Art\,
Kansas City (2008)\, the University of Dayton\, Dayto n\, Ohio (1991)\, the Pennsylvania Academy of Fine Arts\,
Philadelphia (198 5)\, the Brooklyn Academy of Music (1983)\, the Alternative Museum\, New Yo rk (1981)\, the Studio
Museum in Harlem (1981) and the Aldrich Museum of Co ntemporary Art\, Ridgefield (1976). He is the recipient of
the John Guggenh eim Fellowship (1996) and Pollock-Krasner Fellowship (2002) as well as winn ing the First Robert
De Niro Sr. Prize in Painting (2011).

DTEND:20130511 DTSTAMP:20141001T184141 DTSTART:20130329 GEO:50.8330549;4.3611011 LOCATION:Albert Baronian\,Rue Isidore Verheyden 2 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:Goya's Lantern \, Stanley Whitney UID:265374 END:VEVENT BEGIN:VEVENT DTEND:20130328T210000 DTSTAMP:20141001T184141 DTSTART:20130328T180000 GEO:50.8330549;4.3611011 LOCATION:Albert Baronian\,Rue Isidore Verheyden 2 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:Goya's Lantern \, Stanley Whitney UID:265375 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Magali Reus approaches our present-day excessive visual culture by means of a minimalist form. Her sculptures are based on the architecture and aes thetics of transitional and corporate spaces and are cast into abstract and essential forms. At first sight they seem to arouse a sterile\, inhuman ef fect while resonating with allusions and meaning. They occupy a place betwe en the visual world of consumerism and abstraction\, mass production and mi nimalism. As such Reus distills physical forms from the intangibility of ca pital flows and the ubiquity of objects providing its infrastructure.

DTEND:20130511 DTSTAMP:20141001T184141 DTSTART:20130329 GEO:50.8330549;4.3611011 LOCATION:Albert Baronian\,Rue Isidore Verheyden 2 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:Out of Empty\, Magali Reus UID:265376 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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:20141001T184141 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:20141001T184141 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 BEGIN:VEVENT DESCRIPTION:

Almine Rech Gallery is pleased to announce the second e xhibition of German artist Katja Strunz in its Brussels ga llery. 

Strunz’s sculptu ral practice\, seeped in history\, finds its roots in the constructivists a nd avant-gardes. For this presentation the artist has installed a monumenta l sculptural relief that was exhibited in the São Paolo Biennale this past fall entitled Zeittraum #10\, 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 an d metal. While elegant in their construction\, the sculptures also retain a handmade aspect\, revealing their aging over time. The exhibition will als o include a group of collages\, which relate to the artist’s sculptural pra ctice and a solitary steel relief sculpture. 

Strunz was born in 1970 in Ottweiler\, Germany\, she lives and works in Berlin. She was recently awarded the Vatenfall Conte mporary 2013 and will be the subject of an exhibition at the Berlinisc he Galerie opening April 24th. A catalog will be published on the occasion.  

Her work is included i n numerous public and private collections including the Centre Pompidou\, P aris and the Boros Collection\, Berlin. 

DTEND:20130525 DTSTAMP:20141001T184141 DTSTART:20130418 GEO:50.819109;4.368526 LOCATION:Almine Rech Gallery\,20 rue de l'Abbaye \nBrussels \, 1050 SEQUENCE:0 SUMMARY:In the Project Room\, Katja Strunz UID:270988 END:VEVENT BEGIN:VEVENT DTEND:20130418T200000 DTSTAMP:20141001T184141 DTSTART:20130418T170000 GEO:50.819109;4.368526 LOCATION:Almine Rech Gallery\,20 rue de l'Abbaye \nBrussels \, 1050 SEQUENCE:0 SUMMARY:In the Project Room\, Katja Strunz UID:270989 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Boris Thiébaut remains faithfully loyal to a fixed choice of materials \ , dimensions\, and page layout. With a fine sense for -typographic- design he connects\, in his drawings\, out-of-context doodle s 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 dialo gue between earlier\, self-drawn notes with cut-outs of sixteenth century e ngravings. The hatchings\, typical of this technique\, are enlarged and col oured 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 boredo m drawings.  The drawings are as it were a collection of "appropriations" of fragments from his own and the co llective memory.

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In the drawin gs of Boris Thiébaut\, details from the past are integrated in a contempora ry environnement through the use of timeless materials. A few years ago\, t he artist started using the space outside of the picture plane. His first b lack and white wallpaitings consisted of extremely enlarged sections of etc hings by Jacques Callot and Hendrick Goltzius. Through the enlargement\, th e lines of the old engravings became planes in a abstract network. It is ha rd to deduce the origin of the picture from what is presented here. These f loor-to-ceiling sized logos became backgrounds (décor) for a serie of drawi ngs. Aside from this evolution\, current affairs are given more and more im portance in his young oeuvre. In recent work made for the public space\, th e artist has incorporated traces from contemporary youth culture\, such has graffiti and sprayed-on slogans\, in an artistic commission assignement.\n

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Boris Thiébaut. No n-histoire discontinue
p ar Pierre-Olivier Rollin                                                                                

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Le travail plastique de Boris Thiébaut p eut suggérer des rapprochements avec d’autres constructions éclatées\, à la manière des écrits de William S. Burroughs. Certes\, entre l’univers hallu ciné produit par les psychotropes et les emprunts à une histoire classique de la gravure et du dessin (Hendrik Goltzius\, Jacques Callot)\, les accoin tances ne sautent pas immédiatement aux yeux \; mais le travail de Boris Th iébaut a cette faculté de rassembler en un ensemble cohérent des éléments d isparates 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 d éveloppements de registres graphiques variés (traits dessinés\, signes typo graphiques normalisés\, effacements à la gomme\, etc.)\, ou des formulation s plastiques contemporaines.
 
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 d ense de traits libres\, presque inconsciemment griffonnés par l’artiste\, e n réminiscence à ses travaux précédents\, alors inspirés par les doodle s. Le geste quasi automatique qui déroule les doodles 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 métic uleux du graveur qui burine sa plaque. Liberté gestuelle et maîtrise techni que\, raccourci du couple passion et raison\, se télescopent ainsi pour don ner forme à une figure mythologique ancienne\, qui vient se confronter à la planéité autoritaire des formes rectangulaires noires\, symbole d’un moder nisme qui n’en finit pas d’hanter la production artistique actuelle.  
 
Le travail de Boris Thiébaut se construit ainsi comme un « m ontage par superposition »\, pour reprendre l’expression qu’utilise Jean Ar naud. Cette technique permet de « traduire variablement une durée strat igraphique ou un espace-temps psychique\, entre transparence et opacité (…) L’espace plastique ainsi feuilleté permet de confondre diverses d urées dans un seul présent apparent de la fiction et le spectateur doit ord onner arbitrairement ce qui est dessus ou dessous\, avant ou après\, pour c onstruire lui même le récit. »(1)  Les univers de Burroughs et de Thié baut sont donc peut-être moins éloignés qu’un premier abord le laisserait p enser \; l’un comme l’autre se rejoignent encore sur la mise en forme de no uvelles modalités de récit.
 
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 stru cturations de récit\, davantage éclatées\, obligeant le spectateur-lecteur à retisser les fils lâches de multiples narrations dispersées et juxtaposab les. Exercice plus complexe pour nos habitudes d’entendement formatées par la communication de masse\, mais probablement mieux adapté aux besoins de n otre époque tourbillonnante. Le premier grand théoricien des médias\, Marsc hal McLuhan\, notait d’ailleurs que « Si l’existence collective doit êt re transcrite sur papier\, il faut employer la méthode de  “non-histoire di scontinue” ». Et c’est bien de cette « non-histoire discontinue » dont traitent in fine les dessins et installations de Boris Thiébaut.
 
Pierre-Olivier Rollin
 
 
(1) Jean ARNAUD\, « Les vêtements de l’Histoire. Si gmar Polke\, Jean-Luc Godard et le montage par superposition »\, in Sylvie COËLLIER\, Le Montage dans les arts aux XXe et XXIe siècles. Actes des Journées d’Etudes du 27 et 28 octobre 2006\, Université de Provence\, Coll. « Théorie et pratique des arts »\, 2008.     

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DTEND:20130525 DTSTAMP:20141001T184141 DTSTART:20130419 GEO:50.8194978;4.3692157 LOCATION:anyspace\,59 RUE VAN EYCK \nBRUSSELS \, 1050 SEQUENCE:0 SUMMARY:Solo Exhibition\, Boris Thiebaut UID:269212 END:VEVENT BEGIN:VEVENT DTEND:20130419T220000 DTSTAMP:20141001T184141 DTSTART:20130419T180000 GEO:50.8194978;4.3692157 LOCATION:anyspace\,59 RUE VAN EYCK \nBRUSSELS \, 1050 SEQUENCE:0 SUMMARY:Solo Exhibition\, Boris Thiebaut UID:269213 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Temporarily situated in a domestic apartment\, Elisa Platteau gallery st ands in the centre of Brussels\, with a dominating view over the city in th e backdrop. This panorama is hard to ignore and even if overlooked\, still manifests its presence as a quiet\, melancholic image. As such\, the exhibi tion takes shapes in the wake of a view...

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How do artistic practices rel ate to the outside? How can artists produce works within a social\, politic al\, domestic and yet commercial context? But moreover how do we read the w orks when set in this context and what do they alter in to our reading of t he outside? Within an interior that merges the codes of household and galle ry 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 re lationship with this view.

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Subjects and Objects That Cannot Meet\, by Phillip Lai\, enacts an ambivalent relationship with the outside lan dscape. In the wake of this work the view becomes a panorama\, an image\, p art of the interior space. An installation of wooden strips presses fabric blankets to the ceiling\, enclosing a lit lamp within the structure. Simult aneously 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 absorb s 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 c eiling\, the installation defines the fragility of this internal space and on the verge of collapsing undermines its own objecthood.

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Rather than a static image\, Jeremiah Day approaches the landscape as a historical site p ermeated by lractured narratives\, memories and conflicting interests. Noti ons of identity\, progress and political struggles are addressed in relatio nship to the landscape.

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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 thu s had lost their political organizational form. Juxtaposing images of the h istorical 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 t he task of capturing and retelling the social and political histories that marked the landscape.

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Phillip Lai was born in Kual a Lumpur in 1969 and lives and works in London. Recent solo exhibitions hav e been at Stuart Shave/Modern Art\, London\, Galleria Franco Noero\, Turin (both 2012)\, Transmission gallery\, Glasgow (2009) and Galerie Giti Nourba khsch\, Berlin (2008).

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Jeremiah Day is based in Be rlin and Amsterdam. His work has been shown at the Stedeliik Museum\, Amste rdam\, the Shanghai Biennial\, Kunstlerlhaus Stuttgart\, Freymond Guth\, Zu rich\, and Kunstverein Hannover. Day collaborated with Simone Forti on the exhibition News Animations / No Words For You\, Springfield in 200 8 at Project Arts Centre\, Dublin. His most recent publication is Autonomy\ , published by Site Gallery.

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FormContent is a curatori al initiative in London. After 5 years of activities including exhibition-m aking\, independent publishing\, commissioning new works\, FormContent deci ded to close its space and focus on a 15-month nomadic programme entitled < em>lt's Moving from I to It. The programme takes the format of a scrip t and develops gradually through insertion of scenes which each can either be a commissioned text\, on exhibition or an event. In the wake of a vi ew sits as Scene 14 within the script.

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DTEND:20130518 DTSTAMP:20141001T184141 DTSTART:20130419 GEO:50.8503396;4.3517103 LOCATION:Appartement Elisa Platteau\,Varkensmarkt 12 rue du Marché aux Porc s B-Brussel\nBruxelles \, 1000 SEQUENCE:0 SUMMARY:Scene 14: In the Wake of a View\, Jeremiah Day\, Phillip Lai UID:270990 END:VEVENT BEGIN:VEVENT DTEND:20130419T210000 DTSTAMP:20141001T184141 DTSTART:20130419T180000 GEO:50.8503396;4.3517103 LOCATION:Appartement Elisa Platteau\,Varkensmarkt 12 rue du Marché aux Porc s B-Brussel\nBruxelles \, 1000 SEQUENCE:0 SUMMARY:Scene 14: In the Wake of a View\, Jeremiah Day\, Phillip Lai UID:270991 END:VEVENT BEGIN:VEVENT DESCRIPTION:

During his career\, Harun Farocki (1944) has created over 100 production s for television or the cinema such as documentary films\, film essays\, st ory films. Since the mid-90s\, he has also dedicated to videos and video in stallations. His oeuvre is a meditation about the social\, political and ec onomical spheres and reflects how they merge and blur their boundaries\, bu t it's also a personal resistance to conventional cinema and visual art the mes. The solo show Side by Side focuses on a selection of two-chan nel video installations. The show aims to inflect the strategies and the to pics 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 represen tations. Commissioned by the Lille Museum of Modern Art\, Interface (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\, Interface examines the question of what it means to work with existing images rather than producing one's own new images. In this r espect\, The Silver and the Cross (2010) starts from the painting Description of Cerro Rico and the Imperial Municipality of Potosí\ , painted by Gaspar Miguel de Berrío in 1758. This video essay applies an a rchaeological method to the portray of the city of Potosí in Bolivia and de velops a discourse about colonization: in this way\, the narration unfolds the victims and the perpetrators\, those who won and those who lost. Furthe rmore\, the notion of work becomes central in Comparison via a third (2007). Farocki takes bricks production sites as an example and pays tri bute to the cinéma vérité tradition: the footages were originally shot on 16mm and edited without off-commentary\, but twenty inter-titles co mment on the images. The double projection enables the viewer to consider t he 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 info rm and entertain\, but were also media of scientific research and documenta tion. Their objectivity contrasted the subjectivity of drawing and painting \, but today computer animation is the prominent tool to represent\, simula te and understand the nature: Parallel (2012) documents reality-ef fects and compares the development of surfaces and colorings over the past thirty years in computer animation images. But\, then\, which kind of image s can be used to depict city today? In Counter-Music (2004)\, Faro cki answers by starting from Vertov's The Man with the Movie Camera (1929) and builds a city symphony made of fragments from control camera\, digital models of the city\, representations of traffic regulation\, therm o-cameras footages. Here\, the city\, specifically Lille agglomeration\, ne eds to be intended as a production process. In order to remake the city fil ms\, different images are necessarily required. Farocki's images are not me rely juxtaposed or opposed\, two images seen at the same time are related t o each other and create a critical space for reflection. In this way\, Side by Side establishes a dialogue between Farocki's dual-channel ins tallations\, but it also proposes an approach to explore contemporary modes of representation. (AC)

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Interface (1995) is part of the Genera li Foundation Collection (Wien).

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Special thanks to the Artist\, Matthias Rajmann\, Doris Leutgeb and Sabine Folie (Generali Foundation\, Wien) and Eidotech team (Berlin).

DTEND:20130630 DTSTAMP:20141001T184141 DTSTART:20130421 GEO:50.856632;4.3496322 LOCATION:Argos Centre for Art and Media\,Werfstraat 13 rue du Chantier \nBr ussels\, B - 1000 SEQUENCE:0 SUMMARY:Side by Side\, Harun Farocki UID:267803 END:VEVENT BEGIN:VEVENT DTEND:20130420T210000 DTSTAMP:20141001T184141 DTSTART:20130420T180000 GEO:50.856632;4.3496322 LOCATION:Argos Centre for Art and Media\,Werfstraat 13 rue du Chantier \nBr ussels\, B - 1000 SEQUENCE:0 SUMMARY:Side by Side\, Harun Farocki UID:267804 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Group show in the frame of 'Erfgoeddag 2013' with works by Marie And ré\, Marta Bergman and Peter Krüger &\; Gerrit Messiaen.

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In the c ontext of 'Heritage Day 2013'\, with this year’s theme of 'Stop the Time'\,   Argos presents In Remembrance of Times Past\, 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 paint ing\, the portrait can be viewed as a “freezing in time”. The video portrai ts presented here go back to the tradition of direct cinema and cinéma vérité\, but they are also rooted in the tradition of the fam ily and friends portrait\, as well as in that of the home movie. T hey 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 on ce started to transform and how it is strongly changing today.

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The s potlight is thus on memory. While the camera records images of women in Bru ssels\, how they go about they daily business\, how they reminisce about th eir youth in the capital or elsewhere\, we hear stories about a Brussels th at will never be the same again. The videos—Marie André’s collection of fiv e portraits of women\, Krüger &\; Messiaen’s record of Roberte’s nocturn al 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-produ ction or editing was involved. The film makers are invariably close to thei r subjects: there is for example the filming mother and daughter or the fil ming 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 v oyeurism.

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The concept of In Remembrance of Times Past empha sizes 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 t he 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)

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Program:

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Marie André\, Galerie de portraits\, 1982\, 45' 49".

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Marta Bergman\, Heureux séjour\, 2002\, 59'.

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Peter Krüger &\; Gerrit Messiae n\, Roberte's Dance: a Saturday Night in Brussels\,

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1998\, 23'49".

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DTEND:20130519 DTSTAMP:20141001T184141 DTSTART:20130421 GEO:50.856632;4.3496322 LOCATION:Argos Centre for Art and Media\,Werfstraat 13 rue du Chantier \nBr ussels\, B - 1000 SEQUENCE:0 SUMMARY:In Remembrance of Times Past\, Marta Bergman\, Marie André\, Peter Krüger\, Gerrit Messiaen UID:267805 END:VEVENT BEGIN:VEVENT DTEND:20130420T210000 DTSTAMP:20141001T184141 DTSTART:20130420T180000 GEO:50.856632;4.3496322 LOCATION:Argos Centre for Art and Media\,Werfstraat 13 rue du Chantier \nBr ussels\, B - 1000 SEQUENCE:0 SUMMARY:In Remembrance of Times Past\, Marie André\, Marta Bergman\, Peter Krüger\, Gerrit Messiaen UID:267806 END:VEVENT BEGIN:VEVENT DESCRIPTION:

During it s thematic exhibition Approche aux Constellations\, the Atelier 34 0 Muzeum discovered the work of Belgian photographer\, Pierre Radis ic\, and has invited him back for a major solo exhibition. The exh ibition results from a meeting between a photographer and a sculptor. They share their interest in lines\, volumes and textures\, folds and amusing as sociations - on the body as if on unexplored territory.  An unknown which w e should map\, but not touch : at first selecting\, drawing regions and are as\, then gradually approaching them from afar to appreciate their visualis ation. The projection of the film Heavenly Bodies\, which Pierre R adisic produced with Walter Hus at the Brigittines in 2005\, will be centra l to an exhibit of a selection of photographs from the 1994-1996 series bea ring the same name\, and covering half of the Atelier's 2000m²  exhibition floor. 

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At the end of the exhib ition\, the Atelier 340 Muzeum will present a selection of Pierre Radisic's entertaining photographs and a short interview will be screened between th e artist and the curator in the café culturel\, which adjoins the exhibition space.

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Lors de son exposition thématique Approche au x Constellations\, l'Atelier 340 Muzeum a découvert l'oeuvre du photog raphe belge Pierre Radisic et l'invite à présent pour une importante exposition monographique.

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 Cette exposition est donc le résulta t d'une rencontre\, celle du photographe et du sculpteur. Ils parlent ensem ble de lignes\, volumes et textures. Plis et liaisons ludiques. Du corps co mme d'une terre vierge à parcourir. Un inconnu qu'il nous faut cartographie r. Et ne pas trop embrasser : sélectionner\, dessiner régions et contrées\, puis lentement s'approcher. Autour de la projection centrale du film H eavenly Bodies\, réalisé avec Walter Hus aux Brigittines en 2005\, une sélection de tirages de la série photographique du même nom\, réa lisée entre 1994 et 1996\, sera présentée sur la moitié d es 2000 m² d'espace au sol.

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Pour l'occasion\, l'Atelier 340 Muzeum présent e 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 café culturel attenant aux salles d'exposition.\n


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Door zijn thematische tentoonstelling Approche aux Constellations\, heeft het Atelier 340 Muzeum het oeuvre ontdekt van de Belgische fotograaf Pierre Radisic e n 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 plo oien 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\, ve rvolgens langzaam toenaderen.

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Rond de centrale proj ectie van de film Heavenly Bodies\, gerealiseerd met Walter Hus in de Brigitijnen in 2005\, wordt een selectie gepresenteerd van de fotografi sche serie met dezelfde naam\, gerealiseerd tussen 1994 en 1996\, dit op de helft van de 2000m² ruimte.

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Voor deze gelegenheid presenteert het Atelier 340 Muzeum eveneens ee n recreatieve selectie foto’s en een kleine film over een dialoog tussen de kunstenaar en de curator van de tentoonstelling\, te ontdekken op het eind e van het parcours in het café culturel grenzend aan de tentoonste llingszalen.

DTEND:20130526 DTSTAMP:20141001T184141 DTSTART:20130322 GEO:50.8747739;4.3314996 LOCATION:Atelier 340 Muzeum\,Drève de Rivierendreef 340 \nBrussels\, BE - 1 090 SEQUENCE:0 SUMMARY:Constellations\, Pierre Radisic UID:267057 END:VEVENT BEGIN:VEVENT DTEND:20130322T210000 DTSTAMP:20141001T184141 DTSTART:20130322T190000 GEO:50.8747739;4.3314996 LOCATION:Atelier 340 Muzeum\,Drève de Rivierendreef 340 \nBrussels\, BE - 1 090 SEQUENCE:0 SUMMARY:Constellations\, Pierre Radisic UID:267058 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Since early childhood\,  I have been intrigued by h ow couples resemble each other. While strolling in the streets\, eating in restaurants or just observing daily life\, I noted their similarities to th e point of considering each couple as twins. This impression was so strong that when meeting Pierre Radisic - a photographer with both a sense of humo ur 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 t o share this issue of duality.  In order to further share the sociological experience of physical similarities\, the Atelier 340 Muzeum has invited Pi erre Radisic to show a selection of his series\, Couples (1982)\, in the exhibition Figures Doubles.

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In parallel\, the Atelier 340 Muzeum would like to invit e you to discover the film\, Heavenly Bodies\, 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 café culturel where a selection of the artist's entertaining photograp hs will be exhibited. 

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WODEK\, président-concièrge< /span>

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En marchant dans la rue\, e n 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.< /p>\n

 

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Cette impression est si forte qu'en rencontrant Pierre Radisic\, un photogr aphe 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 pho tographiée 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'Ate lier 340 Muzeum a invité Pierre Radisic à montrer une sélection de sa série Couples (1982) sous le titre Figures doubles.

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Par allèlement à cette exposition\, l'Atelier 340 Muzeum vous invite à découvri r le film Heavenly Bodies réalisé par Pierre Radisic et Walter Hus aux Brigittines en 2005. Un film d'entretien entre l'artiste et le commiss aire de l'exposition est également à découvrir dans le café culturel attenant aux salles\, ainsi qu'une sélection récréative de photographies de l'artiste.

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WODEK\, président-concièrge                                                                   

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Al wandelend door de straten\, al etend in restaurants\, kortom : terwijl ik de maatschappij observeer\, ben ik al van kindsbeen af geïntri geerd door de gelijkenis van koppels\, getrouwd en niet getrouwd. Tot op he t 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 gefo tografeerd en afgedrukt. Deze ontmoeting was een waar plezier\, en stelde m e in staat mijn vragen over dualiteit eindelijk te delen. Ten einde dit soc iologisch experiment nog meer te delen\, door een fysieke correspondentie\, heeft het Atelier 340 Muzeum Pierre Radisic uitgenodigd een selectie van z ijn serie Couples (1982) te tonen onder de titel Figures doubl es.

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Parallel aan deze tentoonstelling\, nodig t het Atelier 340 Muzeum u uit de film Heavenly Bodies te ontdekke n\, gerealiseerd door Pierre Radisic en Walter Hus in de Brigitijnen in 200 5. Een film over een dialoog tussen de artist en de curator van de tentoons telling valt eveneens te ontdekken in het café culturel grenzend a an de zalen\, alsook een recreatieve selectie foto’s van de kunstenaar.

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WODEK\, président-concièrge

DTEND:20130526 DTSTAMP:20141001T184141 DTSTART:20130322 GEO:50.8747739;4.3314996 LOCATION:Atelier 340 Muzeum\,Drève de Rivierendreef 340 \nBrussels\, BE - 1 090 SEQUENCE:0 SUMMARY:Figures Doubles\, Pierre Radisic UID:267059 END:VEVENT BEGIN:VEVENT DTEND:20130322T210000 DTSTAMP:20141001T184141 DTSTART:20130322T190000 GEO:50.8747739;4.3314996 LOCATION:Atelier 340 Muzeum\,Drève de Rivierendreef 340 \nBrussels\, BE - 1 090 SEQUENCE:0 SUMMARY:Figures Doubles\, Pierre Radisic UID:267060 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Folded paper works

DTEND:20130525 DTSTAMP:20141001T184141 DTSTART:20130419 GEO:50.8283229;4.3673379 LOCATION:Bodson Gallery\,Rue de Hennin 70 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:The Unexpected Answer\, Simon Schubert UID:265377 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20141001T184141 DTSTART:20130419T180000 GEO:50.8283229;4.3673379 LOCATION:Bodson Gallery\,Rue de Hennin 70 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:The Unexpected Answer\, Simon Schubert UID:265378 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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 h is contemporaries through a hundred or so works\, including paintings\, dra wings\, prints and musical instruments. Thanks to the exceptional curatorsh ip of conductor and musician William Christie\, and to contemporary artist Michaël Borremans\, the exhibition will highlight the multiple and often ti meless facets of Watteau’s oeuvre. It will try to convey the echoes between painting and music. More than a monographic exhibition or a musical stagin g of his work\, the Watteau exhibition aims to draw attention to the links connecting the various arts. There is music in Watteau and his contemporari es!

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General curator: William Christie
Scientific curator: Florence Raymond
Artistic Advisor: Michaël Borremans
With the collaboration of: Palais des Beaux-Arts Lille

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Près de trente ans après la dernière rétrospective consac rée à Antoine Watteau\, BOZAR organise\, en collaboration avec le Palais de s Beaux-Arts de Lille\, une exposition sur le grand peintre du début du XVI IIe siècle français. Occasion unique de redécouvrir ce maître ainsi que cer tains de ses contemporains à travers une centaine d’œuvres\, réunissant pei ntures\, dessins\, gravures et instruments de musique. Grâce à un commissai re d’exception en la personne du musicien et du chef d'orchestre William Ch ristie et à l'artiste contemporain Michaël Borremans\, l’exposition soulign e les multiples facettes\, souvent atemporelles\, de l’œuvre de Watteau. El le 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 pictu rale\, l’exposition Watteau fait le choix de la correspondance entre les ar ts. Il y a de la musique chez Watteau et ses contemporains !
< br />Commissaire général: William Christie
Commissaire scientifique: Fl orence Raymond
Conseiller art istique: Michaël Borremans
En collaboration avec: Palais des Beaux-Arts Lille

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Bijna 30 jaar n a de laatste Europese Watteau-retrospectieve organiseert het Paleis voor Sc hone Kunsten samen met het Palais des Beaux-Arts de Lille een tentoonstelli ng rond de grote Franse schilder van begin 18e eeuw. Het wordt een unieke k ans om opnieuw kennis te maken met de meester en zijn tijdgenoten aan de ha nd van een honderdtal schilderijen\, tekeningen\, etsen en muziekinstrument en. Door de tussenkomst van gastcurator William Christie (musicus en orkest dirigent) en hedendaags kunstenaar Michaël Borremans beklemtoont de tentoon stelling de vele\, vaak tijdloze facetten van het oeuvre van Watteau. Schil derkunst en muziek treden in dialoog. Veeleer dan een verzameling werken of de muzikale vertaling van een reeks schilderijen belicht de Watteau-tentoo nstelling de kruisbestuiving tussen de kunsten. Watteau en zijn tijdgenoten \, daar zit muziek in!

Algemeen curator: William Christie
Wetenschappelijk curator: Florence Raymond
Artistiek raadgever: Michaël Borremans
In samenwerking met: Palais des Beaux-Arts Li lle

DTEND:20130512 DTSTAMP:20141001T184141 DTSTART:20130208 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:Antoine Watteau (1684-1721): The Music Lesson\, Antoine Watteau UID:255230 END:VEVENT BEGIN:VEVENT DTEND:20130208T180000 DTSTAMP:20141001T184141 DTSTART:20130208T100000 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:Antoine Watteau (1684-1721): The Music Lesson\, Antoine Watteau UID:255231 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dirk Braeckman\, leading Belgian photographer with an international repu tation\, plans an intervention in the exhibition Antoine Watteau. The Mu sic Lesson with new photographic works inspired by Watteau.

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Dirk Braeckman\, le grand photographe belge à la réputation internationale\ , interviendra dans l'exposition Antoine Watteau. La Leçon de musique avec de nouvelles créations photographiques\, inspirées d'œuvres de Watte au.

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De internationaal gerenommeerde Belgische kunstenaar Dirk Br aeckman plant een interventie in de tentoonstelling Antoine Watteau. De Muziekles met nieuwe fotografische creaties\, geïnspireerd door het wer k van Watteau.

DTEND:20130512 DTSTAMP:20141001T184141 DTSTART:20130208 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:A.W.-M.P.-13-2013\, Dirk Braeckman UID:255232 END:VEVENT BEGIN:VEVENT DTEND:20130208T180000 DTSTAMP:20141001T184141 DTSTART:20130208T100000 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:A.W.-M.P.-13-2013\, Dirk Braeckman UID:255233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Following major solo exhibitions in the Metropolitan in New York\, the P inakothek in Munich\, and the Leipzig museum of art\, BOZAR EXPO presents t he first exhibition in Belgium of work by this internationally popular arti st\, a key pioneer of the Neue Leipziger Schule. Neo Rauch (born in Leipzig in 1960) is known for his puzzling\, seemingly narrative paintings. The pe ople 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 st yle\, a mix of realism\, abstraction with a surrealist touch\, and influenc es from pop art and comic strips. His dreamlike compositions seem to be peo pled 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 underst and them\, just to feel that this creation\, to the greatest possible exten t\, is at peace with itself.” Following the success with Belgian exhibition goers of the Luc Tuymans exhibition\, BOZAR is keen to introduce them to th is German artist\, a kindred spirit with a highly individual visual idiom.< /span>

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Après de grandes expositions solo au Metropolitan de New York\, à la Pinacothèque de Munich et au Musée d'art de Leipzig\, BOZAR EXPO organ ise la première exposition en Belgique consacrée à ce fameux pionnier de la Neue Leipziger Schule\, très populaire sur la scène internationale. Neo Ra uch (Leipzig\, 1960) est connu pour ses tableaux énigmatiques et\, en appar ence\, narrateurs. Ses personnages sont toujours vaguement occupés\, ils se mblent hors contexte. Neo Rauch a développé un style très personnel\, qui m élange réalisme\, abstraction teintée de surréalisme et influences du pop a rt 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 possib le\, en paix avec elle-même. » Après le succès de l’exposition sur Luc Tuym ans\, BOZAR souhaite désormais faire découvrir au public belge un artiste a llemand similaire\, qui utilise un langage visuel très personnel.

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Na grote solotentoonstellingen in het Metropolitan in New York\, de Pinak othek in München en het kunstmuseum in Leipzig organiseert BOZAR EXPO de ee rste expositie in België van deze belangrijke voortrekker van de Neue Leipz iger Schule met een brede internationale populariteit. Neo Rauch (Leipzig\, 1960) staat bekend om zijn raadselachtige\, ogenschijnlijk verhalende schi lderijen. Mensen zijn met iets onbestemds in de weer\, ze lijken niet helem aal te passen in de omgeving. Rauch ontwikkelde een hoogstpersoonlijke stij l\, een mix van realisme\, surrealistisch aandoende abstractie en invloeden uit popart en strips. Herinneringen aan de DDR lijken de droomachtige comp osities 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 z ichzelf.”. Na het publiekssucces van de Luc Tuymans-tentoonstelling\, wil B OZAR het Belgische publiek nu kennis laten maken met deze Duitse gelijkgest emde artiest die gebruik maakt van een heel persoonlijke beeldentaal.

DTEND:20130519 DTSTAMP:20141001T184141 DTSTART:20130220 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:The Obsession of the Demiurge. Selected Works 1993-2012\, Neo Rauch UID:260356 END:VEVENT BEGIN:VEVENT DTEND:20130220T180000 DTSTAMP:20141001T184141 DTSTART:20130220T100000 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:The Obsession of the Demiurge. Selected Works 1993-2012\, Neo Rauch UID:260357 END:VEVENT BEGIN:VEVENT DESCRIPTION:

True to its European mission\, the Centre for Fine Arts\, is hosting Changing States: Contemporary Irish Art &\; Francis Bacon’s Studio. The contemporary exhibition is a unique opportunity to explore the concerns and innovations of a generation of artists who have made significant contr ibutions to art practice since 2000. The exhibition underscores the vitalit y of the visual arts in Ireland bringing together a group of Irish artists who illuminate the interrelationship between local experiences and global p erspectives. Changing States also includes a fascinating exhibition of material from Francis Bacon’s Studio. Born in Ireland Francis Bacon witn essed 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 lover s\, medical books\, wildlife and sport are jumbled together with classical references and artists monographs as well as unfinished paintings. BOZAR ha s chosen to pay tribute to the genius of this artist as well as to the tale nts of a subsequent generation of Irish artists.

Curators: Margarita Cappock\, Barbara Dawson\, Mi chael Dempsey\, Christina Kennedy
In collaboration with: Irish Museum of Modern Art\, Dublin City Galler y The Hugh Lane
Support: Cultu re Ireland as part of the International Culture Programme to celebrate Irel and’s Presidency of the Council of the European

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Fidèle à sa miss ion européenne\, le Palais des Beaux-Arts accueille Changing States: Con temporary Irish Art &\; Francis Bacon’s Studio. La partie contempora ine met en valeur les réflexions et les innovations d’une génération d’arti stes qui ont apporté une contribution significative à la pratique artistiqu e depuis 2000. L’exposition souligne la vitalité des arts plastiques en Irl ande\, réunissant un groupe d’artistes éclairant les liens entre expérience s locale et universelle. Changing States présente également une séri e 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 tu multueux qui ont agité le XXe siècle. Sa sensibilité et ses peintures ont é té 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 méd icine\, 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 ho mmage au génie de cet artiste et au talent de la génération de plasticiens irlandais qui l’ont suivi.

Commissaires: Margarita Cappock\, Barbara Dawson\, Michael Dempsey\, Ch ristina Kennedy
En collaborati on avec: Irish Museum of Modern Art\, Dublin City Gallery The Hugh Lane
Soutien: Culture Ireland as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European

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Trouw aan zijn Europese roeping pre senteert het Paleis voor Schone Kunsten de tentoonstelling Changing Stat es: Contemporary Irish Art &\; Francis Bacon’s Studio. De expo is ee n unieke kans om zich te verdiepen in de bekommernissen en vernieuwingen va n een hele generatie kunstenaars die sinds 2000 in belangrijke mate bijdroe g tot de kunst. De tentoonstelling benadrukt de dynamiek van de visuele kun sten in Ierland en brengt een groep van Ierse kunstenaars samen die getuige n van de relatie tussen lokale ervaringen en mondiale perspectieven. Cha nging States toont ook materiaal uit de studio van Francis Bacon\, die in Ierland geboren werd en getuige was van de woelige politieke verandering en in de 20e eeuw. Zijn gevoeligheid en zijn schilderijen werden beïnvloed door deze gewelddadige ervaringen. De documenten in Bacon’s studio waren ee n echte inspiratiebron voor hem\; ze getuigen van een intrigerende zienswij ze 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 tal ent van de volgende generatie Ierse artiesten.

Curatoren: Margarita: Cappock\, Barbara Dawson\, Mi chael Dempsey\, Christina Kennedy
In samenwerking met: Irish Museum of Modern Art\, Dublin City Gallery T he Hugh Lane
Steun: Culture Ir eland as part of the International Culture Programme to celebrate Ireland’s Presidency of the Council of the European

DTEND:20130519 DTSTAMP:20141001T184141 DTSTART:20130228 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:Changing States: Contemporary Irish Art & Francis Bacon’s Studio\, Francis Bacon UID:260358 END:VEVENT BEGIN:VEVENT DTEND:20130228T210000 DTSTAMP:20141001T184141 DTSTART:20130228T100000 GEO:50.8442366;4.3595392 LOCATION:Bozar - Palais des beaux-arts de Bruxelles\,Rue Ravenstein 23 \nBr ussels\, 1000 SEQUENCE:0 SUMMARY:Changing States: Contemporary Irish Art & Francis Bacon’s Studio\, Francis Bacon UID:260359 END:VEVENT END:VCALENDAR