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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:20140722T152725 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:20140722T152725 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:20140722T152725 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:

Galerie Rodolphe Janssen is proud to present its second exhibition of Iranian artist Farhad Moshiri. The exhibiti on will show a selection of new paintings as well as «I’m in heaven» a wall installation with knives created specifically for the show.
< br /> The work “Streetfighter black on ora nge” is a bright beaded canvas portraying two gentleman embracing one anoth er in a movement both aggressive and erotic. A duality that opposes the vio lence of the subject and the grace of the embroidery. The beaded embroideri es 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 tur n it into something with western contemporary values.

«I’m in heaven» is an installation composed of knives\; objects that by their very nature\, present an undisputable as sociation 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 bea utiful» (as shown in the Palazzo Grassi in the Fran- cois Pinault’s collect ion exhibition in 2011) or even «Home Sweet Home».

Farhad Moshiri develops a colorful and attract ive work from where a more complexe reality originates. His inspirations ar e : woman\, kitsh\, pop culture\, globalization. But also the duality betwe en 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 interest ed in second-generation pop culture\, where culture is adapted\, culture th at 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\; th e overall look and aesthetic of the bottle changes.”

DTEND:20130511 DTSTAMP:20140722T152725 DTSTART:20130328 GEO:50.8300607;4.3588315 LOCATION:Galerie Rodolphe Janssen\,Rue de Livourne 35 Livornostraat\nBrusse ls\, 1050 SEQUENCE:0 SUMMARY:Solo Exhibition\, Farhad Moshiri UID:260016 END:VEVENT BEGIN:VEVENT DTEND:20130328T210000 DTSTAMP:20140722T152725 DTSTART:20130328T180000 GEO:50.8300607;4.3588315 LOCATION:Galerie Rodolphe Janssen\,Rue de Livourne 35 Livornostraat\nBrusse ls\, 1050 SEQUENCE:0 SUMMARY:Solo Exhibition\, Farhad Moshiri UID:260017 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gert Jan Kocken’s work is an ongoing research into the remembrance and v isual representation of pivotal episodes in world history. When these episo des are committed to our collective memory\, they form intricate constellat ions of facts\, interpretations\, opinions and visual impressions. This pro cess of memorization is influenced by official chronicles and mass media\, which offer clear-cut accounts of inherently ambiguous events. Kocken criti cally engages with these accounts\, and offers multiple viewpoints that enc ourage the contemplation of alternative readings and counterfactual histori es.

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Art Brussels Special gallery hours 

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18 – 20 April

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Thursday — Saturday 

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10 am – 6:30 pm

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Breakfast between 10 am and noon

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Gallery night

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Friday 6 pm — 10 pm

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DTEND:20130511 DTSTAMP:20140722T152725 DTSTART:20130323 GEO:50.8442098;4.338707 LOCATION:Motive Gallery\,Boulevard Poincarélaan 31 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:But We Cannot Speak about the Atoms in Ordinary Language -— W. Heis enberg 'Physics and Philosophy'\, Gert Jan Kocken UID:262579 END:VEVENT BEGIN:VEVENT DTEND:20130323T200000 DTSTAMP:20140722T152725 DTSTART:20130323T170000 GEO:50.8442098;4.338707 LOCATION:Motive Gallery\,Boulevard Poincarélaan 31 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:But We Cannot Speak about the Atoms in Ordinary Language -— W. Heis enberg 'Physics and Philosophy'\, Gert Jan Kocken UID:262580 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:20140722T152725 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:20140722T152725 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:20140722T152725 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:20140722T152725 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:

Harlan Levey Projects is delig hted to bring Frog King Kwok Mang Ho and Frog Queen Cho Hyun Jae into the m ix of all of the amazing exhibitions that will surround Art Brussels this m onth.

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Instead of a traditional exhibi tion\, with respect to the core values of Frogtopia and Harlan Levey Projec ts\, 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.  Followi ng 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.

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Frog King Kwok

DTEND:20130512 DTSTAMP:20140722T152725 DTSTART:20130412 GEO:50.8521839;4.3454155 LOCATION:Harlan Levey Projects\,37 Léon Lepagestraat \nBrussels \, 1000 SEQUENCE:0 SUMMARY:Frogtopia Brussels\, Frog King Kwok Mang Ho\, Frog Queen Cho Hyun J ae UID:269269 END:VEVENT BEGIN:VEVENT DTEND:20130412T213000 DTSTAMP:20140722T152725 DTSTART:20130412T180000 GEO:50.8521839;4.3454155 LOCATION:Harlan Levey Projects\,37 Léon Lepagestraat \nBrussels \, 1000 SEQUENCE:0 SUMMARY:Frogtopia Brussels\, Frog King Kwok Mang Ho\, Frog Queen Cho Hyun J ae UID:269270 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Moments on Moments is a concentrated and reworked version of the exhibition Moments: A History of Performance in 10 Acts\, curated Boris Charmatz\, Sigrid Gareis and Georg Schöllhammer for ZKM | Centre for Art and Media in Karlsru he\, with support from Germany’s Federal Cultural Foundation. Before travel ling to M HKA Moments on Moments is shown at Lunds konsthall in Swe den.

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DTEND:20130512 DTSTAMP:20140722T152725 DTSTART:20130222 GEO:51.2114733;4.3900446 LOCATION:MuHKA Museum of Contemporary Art Antwerp\,Leuvenstraat 32 \nAntwer p\, 2000 SEQUENCE:0 SUMMARY:Lonely at the Top: Moments on Moments\, Marina Abramovic\, Trisha B rown\, Graciela Carnevale\, Simone Forti\, Anna Halprin\, Lynn Hershman Lee son\, Reinhild Hoffmann\, Channa Horwitz\, Sanja Ivekovic\, Adrian Piper\, Yvonne Rainer UID:260367 END:VEVENT BEGIN:VEVENT DTEND:20130221T230000 DTSTAMP:20140722T152725 DTSTART:20130221T180000 GEO:51.2114733;4.3900446 LOCATION:MuHKA Museum of Contemporary Art Antwerp\,Leuvenstraat 32 \nAntwer p\, 2000 SEQUENCE:0 SUMMARY:Lonely at the Top: Moments on Moments\, Marina Abramovic\, Trisha B rown\, Graciela Carnevale\, Simone Forti\, Anna Halprin\, Reinhild Hoffmann \, Channa Horwitz\, Sanja Ivekovic\, Lynn Hershman Leeson\, Adrian Piper\, Yvonne Rainer UID:260368 END:VEVENT BEGIN:VEVENT DESCRIPTION:

WIELS is presenting the first major survey exhibition i n Belgium of German artist Thomas Bayrle\, a pioneer of Po p\, Seriality and Media Art. As such\, WIELS continues its alternative read ing of art history by foregrounding often overlooked artists whose work shi ft our understanding of major changes in the history of art and ideas.

Bayrle has worked as an arti st and a graphic designer since the mid 1960s\, inventing a unique visual l anguage through the production of collages\, paintings\, sculptures\, films and books. In the process\, he built an important body of work that is sur prisingly consistent\, obsessive even\, combining allegiances to Pop\, Conc eptual and Op art alike with wry humor. Despite this\, and indeed despite h is 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. 

Like his late Frankfurt artis t contemporaries Peter Roehr and Charlotte Posenenske\, Bayrle created work s in the mid 1960s based on the serial repetition of the same pattern\, for mal compositions indebted to the seriality of the then-emerging Minimal Art movement. Steeped in many of the ideas of the Frankfurt School\, with whic h it shares geographic proximity\, Bayrle's work has all along retained the critical engagement that drove his earliest experiments. His interest in m ass culture and incorporation\, in the midst of the Cold War\, of the symbo ls of the capitalist and communist societies then charting their antagonist ic course on either side of the Wall pervades his oeuvre.

The retrospective exhibition of Bayrle at WIELS will span the artist's entire carreer\, from his first painted kinet ic machines to his most recent engine installations\, the latter recently f eatured at dOCUMENTA (13). The show will eschew showing work along chronolo gical lines\; rather\, it will put forward the variety of\, at times\, cont radictory themes in the artist's work\, including consumerism and consumer society\, political propaganda\, sexuality\, and religion.

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Curated by De vrim Bayar

DTEND:20130512 DTSTAMP:20140722T152725 DTSTART:20130209 GEO:50.8249101;4.3261781 LOCATION:WIELS\,Av. Van Volxemlaan 354 \nBruxelles\, 1190 SEQUENCE:0 SUMMARY:All-in-One\, Thomas Bayrle UID:259190 END:VEVENT BEGIN:VEVENT DTEND:20130208T210000 DTSTAMP:20140722T152725 DTSTART:20130208T190000 GEO:50.8249101;4.3261781 LOCATION:WIELS\,Av. Van Volxemlaan 354 \nBruxelles\, 1190 SEQUENCE:0 SUMMARY:All-in-One\, Thomas Bayrle UID:259191 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:20140722T152725 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:20140722T152725 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: DTEND:20130518 DTSTAMP:20140722T152725 DTSTART:20130321 GEO:50.8184313;4.3691632 LOCATION:Jozsa Gallery\,24 rue Saint-Georges \n Brussels\, B- 1050 SEQUENCE:0 SUMMARY:Moi aussi je fais des trucs sympas mais n'oublie pas de brancher la prise !\, Natalia de Mello UID:262577 END:VEVENT BEGIN:VEVENT DTEND:20130316T200000 DTSTAMP:20140722T152725 DTSTART:20130316T160000 GEO:50.8184313;4.3691632 LOCATION:Jozsa Gallery\,24 rue Saint-Georges \n Brussels\, B- 1050 SEQUENCE:0 SUMMARY:Moi aussi je fais des trucs sympas mais n'oublie pas de brancher la prise !\, Natalia de Mello UID:262578 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130518 DTSTAMP:20140722T152725 DTSTART:20130318 GEO:50.8384009;4.3537076 LOCATION:Sorry we're closed\,Rue de la Régence 65A \nBrussels\, 1000 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dan Perjovschi UID:262581 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:20140722T152725 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:20140722T152725 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:

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:20140722T152725 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:20140722T152725 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:20140722T152725 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:20140722T152725 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 BEGIN:VEVENT DESCRIPTION:

"There are different theories. One of them states that the parallel worl d is a mirror of the real world and every attack from the parallel world wo uld therefore be a form of self-destruction."

– from Jos de Gruyter &\; Harald Thys’s video 'Ab out the Relationship between the Real World and the Parallel World'\, 2010< /span>

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Jos de Gruyter &\; Harald Thys’s art casts a merciless perspective on reality. Through their numerous artistic approaches – including installati ons\, video\, drawing\, sculpture\, performance and photographs – de Gruyte r &\; Thys visualise their imaginings of the parallel world inherent wit hin the modern human psyche\, along with how it manifests itself in the eve ryday aspects of life and civic conformity. Everything from work\, leisure and family\, to social class\, masculinity and marginalization are envisage d through convening an unlikely cast of non-professional actors\, family me mbers\, friends\, beards\, objects and mannequins alike\, often in banal\, homespun settings that are rife with awkward power dynamics.
< br /> Their major exhibition at M HKA enti tled OPTIMUNDUS – will be the broadest presentation of their work in Belgium and internationally to date\, followed by a second chapter at Ku nsthalle Wien early in 2014. The artists will create an environment bringin g together a key selection of their works in all media\, alongside a number of new works. OPTIMUNDUS will be a kind of panorama of de Gruyter &\; Thys’s practice\, bringing their unique conception of the alternati ve reality into the realm of an exhibition scenario. Form balances the work of de Gruyter &\; Thys on the edge of the idiotic. Ragged mannequins ar e made to share common space with traced drawings of trams\, the cries of a nimals\, polystyrene heads with false facial hair\, and monotonous monologu es about renovations. Visitors to OPTIMUNDUS will also be joined b y these and a cast of existing and new mannequins from the artists’ own uni verse.

The artists are inspired by myriad sources – like key scenes in films by Visconti or Fassb inder\; reality television\; the arsenal of videos that YouTube offers\, ra nging from Russian road rage to the home videos of Chechen President Ramzan Kadyrov\; as well as traumatic events the artists have experienced over th e years with various people and places. Their videos are often set within t he 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 th e broad issues of social class and deprivation but also consider our ways o f dealing with life through the logic of our inner worlds. The works De r Schlamm von Branst (The Clay from Branst\, 2008)\; Ten Weyngaert (2007)\; and The Frigate (2008)\, for example\, portray the banal\, tense environments of community spaces designated for people to par ticipate in artistic activity as forms of social interaction and therapy. H owever\, straightforward dialogue is replaced by events of the perverse and supernatural kind\, seemingly occurring through curious\, aggressive proce sses of sublimation.

I n their most recent works\, human characters are replaced altogether by mak eshift dummies with limited features\, inhuman computerised voices and a ce rtain emptiness at their core. For example\, the video Das Loch (T he Hole\, 2010)\, presents an all-mannequin cast\, and will also here incor porate a constellation of related mannequins and installations. This deadpa n work describes the complex rivalry between two artists – Johannes\, who b elieves 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. Where as in their recent video Les Énigmes de Saarlouis (The Riddles of Saarlouis\, 2012)\, the twin characters Kitty &\; Katty confront us with a series of impossible riddles. It is this internal\, ungraspable logic th at each of us possess that we are persistently reminded of in the work of d e Gruyter &\; Thys\, and which will be at the core of OPTIMUNDUS.

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"Er bestaan hier over 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."

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– uit de video van Jos de Gruyter &\; Harald Thys 'About the Relationship between the Real World and the Parallel World'\, 2010

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Het werk van Jos de Gruyter &a mp\; Harald Thys werpt een genadeloze blik op de realiteit. Aan de hand van video’s\, installaties\, tekeningen\, sculpturen\, performances en fotogra fie geven de kunstenaars gestalte aan hun verbeelding van de parallelle wer eld\, hoe die leeft in de hedendaagse menselijke psyche en hoe die zich man ifesteert in het alledaagse en in maatschappelijk conformisme. Verhalen ron d arbeid\, vrije tijd\, gezin\, sociale klasse\, mannelijkheid en marginali sering worden verbeeld door een cast van niet-professionele acteurs\, famil ieleden\, vrienden\, baarden\, objecten en poppen\, vaak in banale interieu rs\, geladen met gestoorde machtsverhoudingen.

De tentoonstelling OPTIMUNDUS in het M H KA wordt de meest uitgebreide en ambitieuze presentatie van hun werk in Bel gië en het buitenland tot op heden\, en krijgt in het begin van 2014 een ve rvolg in Kunsthalle Wien. De kunstenaars brengen een opmerkelijk overzicht hun artistieke praktijk bestaande uit een selectie sleutelwerken van de voo rbije jaren en enkele nieuwe werken. OPTIMUNDUS vormt een panorama van de kunstpraktijk van de Gruyter &\; Thys en brengt zo hun unieke vo orstelling van een alternatieve realiteit in een tentoonstellingsomgeving.< /span>
Vormelijk balanceert het werk van de Gruyter &\; Thys op de rand van de idiotie: lappenpoppen delen d e ruimte met gecalqueerde tekeningen van tramstellen\, dierlijke kreten\, e n monotone monologen over renovaties\, en piepschuimen koppen met valse baa rden. Bezoekers van OPTIMUNDUS worden door deze en andere figuren uit het universum van de Gruyter &\; Thys vergezeld.

Het werk vindt haar oorsprong in zeer uit eenlopende inspiratiebronnen\, gaande van bepaalde sleutelscènes in de film s 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 ja ren ervoeren met welbepaalde plaatsen en individuen. De films van de Gruyte r &\; Thys spelen zich vaak af binnen de muren van ruimten waar intermen selijke spanningen zich opbouwen en een uitgesproken somberheid in het hart van de uitzonderlijke maatschappelijke verbeelding van beide kunstenaars v oelbaar wordt. Toch bezinnen de werken niet enkel over de grote vraagstukke n van sociale klasse en ontbering\, maar zijn ze tevens obsessieve observat ies van innerlijke processen. De werken Der Schlamm von Branst (20 08)\, Ten Weyngaert (2007) en The Frigate (2008) bij voor beeld portretteren de gespannen omgeving van een gemeenschapscentrum waar m en verondersteld wordt kunst te beoefenen als vorm van sociale interactie e n therapie. Dialoog wordt hier echter vervangen door perverse en bovennatuu rlijke gebeurtenissen\, die verschijnen door bizarre\, agressieve processen van sublimatie.

In h un meest recente werken zijn de menselijke personages geheel vervangen door in elkaar geknutselde poppen\, die door hun minimale gelaatstrekken en onm enselijke computerstemmen een apathische leegte uitstralen. Zo worden alle rollen in Das Loch (2010) gespeeld door poppen die ook elders in d e tentoonstelling opduiken. In een laconieke verteltrant beschrijft dit wer k de complexe rivaliteit tussen Johannes\, een schilder die gelooft in de u niversele expressie van de schilderkunstige traditie en Fritz\, een kleine rode macho met een high-definition camera. In hun recente video Les Éni gmes de Saarlouis (De Raadsels van Saarlouis\, 2012) bedwelmt de tweel ing Kitty &\; Katty ons met een reeks onoplosbare raadsels die ze in cho rus afratelen. In het werk van de Gruyter &\; Thys worden we namelijk vo ortdurend herinnerd aan een interne\, moeilijk te definiëren logica die bin nen ieder van ons leeft\, en die centraal staat in OPTIMUNDUS.

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« Il y a différentes théories à ce sujet. L’une d’entre elles affir me 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 . »

– extrait de la vid éo de Jos de Gruyter &\; Harald Thys 'About the Relationship between the Real World and the Parallel World'\, 2010

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L’œuvre de Jos de Gruyter &am p\; Harald Thys porte un regard sans complaisance sur la réalité. Par le bi ais de la vidéo\, l’installation\, le dessin\, la sculpture\, la performanc e et la photographie\, le duo d’artistes donne corps à leur conception imag inaire du monde parallèle\, à la manière dont celui-ci vit dans la psyché h umaine contemporaine et se manifeste dans la vie quotidienne et le conformi sme social. Des histoires de travail\, de loisirs\, et de famille\, ainsi q ue des questions concernant la classe sociale\, la virilité et la marginali sation sont représentées par une distribution d’acteurs non professionnels\ , composée de membres de la famille\, d’amis\, d’objets\, de barbes et de m arionnettes\, le plus souvent dans des intérieurs assez banals\, chargés de rapports de force troublés et troublants.

L’exposition OPTIMUNDUS 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 prati que\, les artistes ont opéré une sélection d’œuvres clés des années précéde ntes et réalisé quelques nouvelles pièces\, offrant ainsi une rétrospective exclusive de leur réalité alternative dans un contexte d’exposition muséal e. Sur le plan formel\, l’œuvre du duo se situe au bord de l’absurdité : de s poupées de chiffon partagent l’espace avec des dessins calqués de rails d e tramway\, des cris d’animaux\, des monologues monotones sur des rénovatio ns\, et des têtes en polystyrène affublées de fausses barbes. Ces personnag es et bien d’autres figures issues de l’univers de De Gruyter &\; Thys a ccompagneront les visiteurs de l’exposition OPTIMUNDUS lors de leu r parcours.

L’œuvre s ’inspire de sources très diverses\, allant de certaines scènes cultes de fi lms de Fassbinder ou de Visconti\, à des émissions de téléréalité clandesti nes\, en passant par l’arsenal intarissable de films produits anonymement e t postés sur YouTube – de Russian Road Rage à des vidéos amateurs du présid ent 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 &\; Thys se déroulent souvent dans des espaces confinés où les tensions interpersonnelles s’accentuent et rendent tangibl e 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 pri vation\, mais constituent tout autant des observations obsessionnelles de p rocessus intérieurs. Les œuvres Der Schlamm von Branst (2008)\, Ten Weyngaert (2007) et The Frigate (2008)\, par exemple\, brossent le tableau de l’atmosphère tendue qui règne dans un centre communa utaire où l’on est censé pratiquer l’art comme forme de thérapie et interac tion sociale. Le dialogue est cependant remplacé par des événements pervers et surnaturels\, qui se manifestent à travers des processus de sublimation étranges et agressifs.

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 dégag ent vacuité et apathie. Ainsi\, tous les rôles de Das Loch (2010) sont joués par des marionnettes qui apparaissent ailleurs dans l’exposition . Dans un style narratif laconique\, cette œuvre décrit la rivalité complex e entre Johannes\, un peintre qui a foi en l’expression universelle de l’ar t pictural\, et Fritz\, un petit macho roux doté d’une caméra vidéo haute d éfinition. Dans leur vidéo récente\, Les Énigmes de Saarlouis (201 2)\, les jumelles Kitty &\; Katty nous abreuvent d’énigmes insolubles qu ’elles ânonnent en chœur. L’œuvre de De Gruyter et Thys évoque sans cesse u ne logique intérieure\, difficile à définir\, que chacun de nous porte en s oi et qui est cœur de l’exposition OPTIMUNDUS.

DTEND:20130519 DTSTAMP:20140722T152725 DTSTART:20130208 GEO:51.2114733;4.3900446 LOCATION:MuHKA Museum of Contemporary Art Antwerp\,Leuvenstraat 32 \nAntwer p\, 2000 SEQUENCE:0 SUMMARY:Optimundus\, Jos de Gruyter and Harald Thys UID:253346 END:VEVENT BEGIN:VEVENT DTEND:20130208T170000 DTSTAMP:20140722T152725 DTSTART:20130208T100000 GEO:51.2114733;4.3900446 LOCATION:MuHKA Museum of Contemporary Art Antwerp\,Leuvenstraat 32 \nAntwer p\, 2000 SEQUENCE:0 SUMMARY:Optimundus\, Jos de Gruyter and Harald Thys UID:253347 END:VEVENT END:VCALENDAR