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I think the 20th century r eaches its highest expression on the highway. Everything is there: the spee d and violence of our age\; the strange love affair with the machine\, with its own death.
J.G. Ballard

Albert Baronian is please d to present the second solo exhibition of Xavier Mary\, entitled «\; OVER DRIVE »\;. The works presented here clearly exemplify the themes and fascinations that have been informing his practice ever since his solo presentation at BOZAR in 2006. By giving a contemporary twist to the Ducham pian ready-made\, the artist relocates industrial objects within the white cube\, isolating them from our usual\, everyday conception. From carpet mot ifs to video games\, from Khmer temples to hi-res three-dimensional renderi ngs\, hybridity is a core element in the understanding of Xavier Mary&rsquo \;s work. His position as an artist is one of constant negotiation between different visual and value regimes\, connecting tradition and avant-garde\, sincerity and irony\, past and future\, actual and virtual.

Krauss and Foster (2014)\, dedicated to the artist&rsquo\;s favorite thinkers\, are two works consisting of acoustic panels that usual ly isolate the roadway noise from the surrounding area. The metal panels ar e treated using various industrial techniques such as polishing\, powdering \, sanding or blasting\, each leading to a different aesthetic. Noise barri ers mark the divide between the linear culture of speed\, somewhat nostalgi cally emblematized by the automobile\, and the cyclical structure of the co untryside situated behind it (think of meadows\, fields\, pastures\, etc.)
As if to simulate the absent scenic vistas or to somehow conjure thei r loss\, some noise barriers feature abstract designs that turn into rhythm ic and almost melodic lines when passing by at high speed. This variation i n design was mainly to avoid a monotonous feeling or a tunnel effect for mo torists. However\, looked at from a less common\, frontal perspective\, the se sound panels become gridded canvases that only vary in color (samples of which are taken from the RAL color chart). Simultaneously\, one might also recognize the visuals of popular retro games such as Breakout\, released i n 1976.

In that very same year\, Frank Stella got commissioned f or the BMW Art Car Project\, where he used a drawing on graph paper to cove r the car&rsquo\;s bodywork. As a painter\, he was basically treating the c ar as if it were a shaped canvas. Xavier Mary&rsquo\;s work still carries t his same legacy. But instead of searching for the specificity of the medium by reducing it to its &ldquo\;pure essence&rdquo\;\, so typical of America n modernism (advocated by Greenberg and co.)\, Mary starts off from the spe cificity of objects. In this way\, one might define his practice as a &ldqu o\;reverse engineering&rdquo\; of modernism\, disassembling it into its com ponents and putting them back together.

Tree of Woe (2014)< /em> is a straightforward reference to Duchamp&rsquo\;s Bottle Rack (1914). Mary found the piece during a residency in New York\, in an auto body shop in Willets Point\, Queens\, a dodgy\, industrial area (nicknamed &lsquo\;Iron Triangle&rsquo\;) which is now being gentrified. By manipulati ng the muffler sculpture and putting it in a different\, artistic setting\, the object practically turns into a monument to the bygone\, Fordist era o f production.

Much akin to this piece is Wheel of Pain (2014)\, a display stand for tires. The tires are covered with a specific t exture that emphasizes the object&rsquo\;s autonomous existence and materia l features.

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Highway Rings (2 013) equally refers to technological culture of speed\, conceived by figure s like J.G. Ballard or Paul Virilio. The monumental ensemble is produced fr om guardrails\, forming entangled\, topological rings exemplary of a &lsquo \;hyperbolic geometry&rsquo\;\, exceeding the Euclidean model. A similar an d more recent version\, in the shape of huge five-pointed star\, goes by th e name of Highway Star (2014).

Pieter Vermeulen

Xavier Mary was born in 1982 in Liè\;ge\, Belgium. He lives a nd works in Brussels. Recent solo exhibitions include Eat The Magic Lions # 2\, Do Not Open Project Space\, Brussels (BE)\, Iron Triangle\, APT Institu te\, New York (US)\, Petrolatum\, Galerie Christian Nagel\, Berlin (DE) and Eat the Magic Lions\, Kunstlerhaus Bethanien\, Berlin (DE). His work was p resented in many group exhibitions such as Bande à\; Part\, Albert Ba ronian\, CAB Art Center\, Brussels (BE)\, Acid Rain\, Island\, Brussels (BE ) and Pop-up\, Liens artistiques\, Musé\;e d&rsquo\;Ixelles\, Brussel s (BE)\, Né\;on\, Who&rsquo\;s afraid of red\, yellow and blue?\, La Maison Rouge\, Paris (FR). Currently he is participating in Paradise Lost\, curated by Damien &\; the love guru\, Quincaillerie Vander Eycken\, Bru ssels (BE)\, Le Canal/Het Kanaal\, Espace251 Nord\, Liè\;ge (BE) and Encounters at the boundary\, organized by Wilfried &\; Yannicke Cooreman \, CC De Kollebloem\, Puurs (BE).

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À\; mes yeux\, le 20e siè\;cle atteint sa plus h aute expression sur l'autoroute. Tout s'y trouve : la vitesse et la violenc e de notre è\;re \; l'é\;trange histoire d'amour avec la machin e\, avec sa propre fin.
J.G. Ballard

Albert Baronian e st heureux de pré\;senter la seconde exposition solo de Xavier Mary\, intitulé\;e «\; OVER DRIVE »\;. Les &oelig\;uvres qui y so nt pré\;senté\;es illustrent sans dé\;tour les thè\ ;mes et fascinations qui faç\;onnent sa pratique depuis sa pré\ ;sentation solo au BOZAR en 2006. En confé\;rant une touche contempor aine au ready-made de Duchamp\, l'artiste replace des objets industriels da ns le &lsquo\;white cube&rsquo\;\, en les isolant de notre conception habit uelle du quotidien. Des motifs de tapis aux jeux vidé\;o\, des temple s khmers aux rendus tridimensionnels haute ré\;solution\, l'hybridit& eacute\; est un é\;lé\;ment central dans la compré\;hensi on de l'&oelig\;uvre de Xavier Mary. Sa position en tant qu'artiste est cel le d'une né\;gociation permanente entre diffé\;rents ré\; gimes visuels et ré\;gimes de valeur\, jetant un pont entre la tradit ion et l'avant-garde\, la sincé\;rité\; et l'ironie\, le pass&e acute\; et le futur\, le ré\;el et le virtuel.

Krauss et Foster (2014)\, dé\;dié\; aux penseurs pr&eac ute\;fé\;ré\;s de l'artiste\, sont deux &oelig\;uvres compos&ea cute\;es de panneaux acoustiques qui isolent habituellement les nuisances s onores routiè\;res des zones riveraines. Les panneaux mé\;talli ques sont traité\;s en recourant à\; diverses techniques indust rielles comme le polissage\, le poudrage\, le sablage ou le dé\;capag e\, cré\;ant chacune une esthé\;tique spé\;cifique. Les m urs antibruit marquent le fossé\; entre la culture liné\;aire d e la vitesse\, quelque peu emblé\;matisé\;e avec nostalgie par l'automobile\, et la structure cyclique de la campagne\, de l'autre cô \;té\; (prairies\, champs\, pâ\;turages\, etc.)
Comme pour stimuler les paysages absents ou d'une certaine faç\;on conjurer leu r perte\, certains murs antibruit pré\;sentent des lignes abstraites qui se fondent en lignes rythmiques\, presque mé\;lodiques quand on l es longe à\; grande vitesse. Cette variation de design visait essenti ellement à\; é\;viter toute sensation de monotonie ou un « \; effet tunnel »\; pour les automobilistes. Toutefois\, d'une perspec tive frontale moins commune\, ces panneaux deviennent des toiles maill&eacu te\;es dont seules les couleurs é\;voluent (tiré\;es du nuancie r RAL). En parallè\;le\, il se peut que l'on y reconnaisse é\;g alement les visuels de jeux retro populaires comme Breakout\, sorti en 1976 .

Cette anné\;e-là\;\, Frank Stella fut dé\;si gné\; pour le BMW Art Car Project\, pour lequel il utilisa un dessin ré\;alisé\; sur du papier millimé\;tré\; pour couvr ir la carrosserie du vé\;hicule. En tant que peintre\, il consid&eacu te\;rait simplement la voiture comme un «\; shaped canvas »\;. L' &oelig\;uvre de Xavier Mary est empreinte du mê\;me hé\;ritage. Mais au lieu de rechercher la spé\;cificité\; du mé\;dium en le ré\;duisant à\; sa «\; plus simple expression &raqu o\;\, si caracté\;ristique du modernisme amé\;ricain (prô\ ;né\; par Greenberg &\; Co.)\, Mary part de la spé\;cificit& eacute\; des objets. Il se peut ainsi que l'on dé\;finisse sa pratiqu e comme un «\; reverse engineering»\; du modernisme\, le dé \;montant jusqu'à\; ses moindres composants\, pour ensuite les r&eacu te\;assembler.

Tree of Woe (2014) est une ré\;f& eacute\;rence directe à\; Bottle Rack de Duchamp (1914). Mar y dé\;couvrit cette piè\;ce lors d'un sé\;jour à\; New York\, dans un atelier de carrosserie de Willets Point\, dans le Queens \, une zone industrielle douteuse (surnommé\;e Iron Triangle ou Trian gle de fer)\, aujourd'hui en voie d'embourgeoisement. En manipulant les pot s d&rsquo\;é\;chappement et en les plaç\;ant dans une perspecti ve artistique diffé\;rente\, l'objet s'est pratiquement transform&eac ute\; en un monument appartenant à\; l'è\;re de production ford iste\, aujourd'hui ré\;volue.
Wheel of Pain (2014)\, un pré\;sentoir de pneus\, est une piè\;ce qui s'y apparente. Les pneus sont couverts d'une texture spé\;cifique qui met en exergue l' existence autonome et les caracté\;ristiques maté\;rielles de l 'objet.
Highway Rings (2013) fait tout aussi bien ré\; fé\;rence à\; la culture technologique de la vitesse\, pé \;trie par des personnages comme J.G. Ballard ou encore Paul Virilio. L'ens emble monumental se compose de glissiè\;res de sé\;curité \;\, dessinant un entrelacs d'anneaux topologiques d'une «\;gé\; omé\;trie hyperbolique »\;\, outrepassant le modè\;le eucl idien. Une version similaire et plus ré\;cente\, baptisé\;e Highway Star (2014)\, se pré\;sente sous la forme d'une imposan te é\;toile à\; cinq branches.

Pieter Vermeulen

Xavier Mary est né\; à\; Liè\;ge en 1982. Il v it et travaille à\; Bruxelles. Ses ré\;centes expositions en so lo comprennent Eat The Magic Lions #2\, Do Not Open Project Space\, Bruxell es (BE)\, Iron Triangle\, APT Institute\, New York (US)\, Petrolatum\, Gale rie Christian Nagel\, Berlin (DE) et Eat the Magic Lions\, Kunstlerhaus Bet hanien\, Berlin (DE). Son &oelig\;uvre a é\;té\; pré\;sen té\;e dans de nombreuses expositions de groupe\, telles que Bande &ag rave\; Part\, Albert Baronian\, CAB Art Center\, Bruxelles (BE)\, Acid Rain \, Island\, Bruxelles (BE) et Pop-up\, Liens artistiques\, Musé\;e d& rsquo\;Ixelles\, Bruxelles (BE)\, Né\;on\, Who&rsquo\;s afraid of red \, yellow and blue?\, La Maison Rouge\, Paris (FR). Il participe actuelleme nt à\; Paradise Lost\, curaté\; par Damien &\; the love guru \, Quincaillerie Vander Eycken\, Bruxelles (BE)\, Le Canal/Het Kanaal\, Esp ace251 Nord\, Liè\;ge (BE) et Encounters at the boundary\, organis&ea cute\; par Wilfried &\; Yannicke Cooreman\, CC De Kollebloem\, Puurs (BE ).

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Voor mij komt de 20ste eeuw het best tot uitdrukking op de autosnelweg. Daar vind je alles: de snelheid en het geweld van onze generatie\; de vreemde liefdesverhoudin g met de machine en onze eigen dood.
J.G. Ballard

Albe rt Baronian stelt met plezier de tweede solotentoonstelling van Xavier Mary voor\, met als titel &ldquo\;OVER DRIVE&rdquo\;. De werken die worden tent oongesteld\, geven duidelijk blijk van de thema&rsquo\;s en fascinaties die zijn kunst al sinds zijn eerste solopresentatie in BOZAR in 2006 beï\; nvloeden. De kunstenaar geeft een moderne draai aan de readymades van Ducha mp door industrië\;le voorwerpen in een &lsquo\;white cube&rsquo\; te p laatsen en hen zo af te zonderen van onze gebruikelijke\, alledaagse opvatt ing. Van tapijtpatronen tot videospelletjes\, van Khmer-tempels tot driedim ensionale hoge-resolutieweergaven: hybriditeit speelt een cruciale rol bij de interpretatie van het werk van Mary. Als kunstenaar slalomt hij voortdur end tussen verschillende visuele stromingen en waardestelsels\, waarbij hij traditie en avant-garde\, oprechtheid en ironie\, het verleden en de toeko mst en reë\;el en virtueel met elkaar verbindt.

Krauss< /em> en Foster (2014)\, gewijd aan de favoriete denkers van Mary\, zijn twee werken bestaande uit akoestische panelen\, die gewoonlijk worden gebruikt om het straatlawaai te isoleren van de rest van de omgeving. De m etalen panelen worden met verschillende industrië\;le technieken (waaro nder polijsten\, bepoederen\, schuren en bestralen) behandeld\, waardoor de onderdelen telkens een verschillende esthetische vorm krijgen. Geluidsbarr iè\;res markeren de grens tussen de lineaire snelheidscultuur\, waarv oor de auto op ietwat nostalgische wijze symbool staat\, en de cyclische st ructuur van het platteland op de achtergrond (denk aan weiden\, velden\, gr aslanden\, enz.)
Sommige geluidsbarriè\;res hebben een abstract ontwerp\, dat tot ritmische en bijna melodische lijnen wordt omgetoverd al s je er aan een hoge snelheid voorbijkomt\, alsof hiermee de afwezige pitto reske vergezichten worden nagebootst of het gebrek eraan wordt oproepen. De ze afwisseling in het ontwerp is vooral bedoeld om een monotoon gevoel en e en tunneleffect te vermijden voor automobilisten. Als we echter vanuit een minder gebruikelijk\, frontaal perspectief naar deze geluidspanelen kijken\ , worden deze gerasterde doeken\, die enkel in kleur van elkaar verschillen (stalen daarvan werden uit de RAL-kleurenwaaier gehaald). Tegelijkertijd z ou men hierin ook beelden van populaire retrogames kunnen herkennen\, zoals het in 1976 uitgebrachte Breakout.

In datzelfde jaar kreeg Fran k Stella de opdracht voor het BMW Art Car Project\, waarbij hij een tekenin g op millimeterpapier gebruikte om de carrosserie van een auto mee te bedek ken. Als schilder behandelde hij de auto dus eigenlijk alsof het een &lsquo \;shaped canvas&rsquo\; was. Deze nalatenschap komt ook tot uiting in het w erk van Mary. In plaats van echter op zoek te gaan naar de specificiteit va n het medium door het terug te brengen tot zijn &ldquo\;pure essentie&rdquo \; (wat typisch is voor het Amerikaanse modernisme met Greenberg &\; co als voorstanders)\, baseert Mary zich op de specificiteit van voorwerpen. J e zou zijn methode dus kunnen beschrijven als een &ldquo\;omgekeerde techni ek&rdquo\; van het modernisme\, waarbij de verschillende elementen van deze stroming uit elkaar worden gehaald en dan opnieuw in elkaar worden gezet.

Tree of Woe (2011) is een duidelijke verwijzing naar < em>Bottle Rack
(1914) van Duchamp. Tijdens een verblijf in New York on tdekte Mary het object in een carrosseriebedrijf in Willets Point\, Queens\ , een onveilig industriegebied (met als bijnaam de &lsquo\;Iron Triangle&rs quo\;) dat momenteel gegentrificeerd wordt. Door de uitlaatsculptuur om te vormen en deze in een nieuw\, artistiek kader te plaatsen\, verandert het o bject in een monument van het vervlogen Fordistische productietijdperk.
Een gelijkaardig kunstwerk is Wheel of Pain (2014)\, een uitstal rek voor autobanden. De banden werden bedekt met een specifieke textuur\, d ie het autonome bestaan en de materië\;le kenmerken van het object bena drukt.
Highway Rings (2013) verwijst eveneens naar de techno logische snelheidscultuur\, die door figuren als J.G. Ballard of Paul Viril io werd bedacht. Dit monumentale ensemble bestaat uit vangrails\, die tot i n elkaar verstrikte\, topologische ringen werden vervormd. De structuur doe t denken aan &lsquo\;hyperbolische geometrie&rsquo\; en overtreft zelfs het Euclidische model. Een gelijkaardige en meer recente versie van dit werk h eeft een vijfpuntig stervorm en werd Highway Star (2014) gedoopt.< br />
Pieter Vermeulen

Xavier Mary is geboren in Luik i n 1982. Hij woont en werkt in Brussel. Recente solotentoonstellingen waren Eat the Magic Lions #2\, Do Not Open Project Space\, Brussel (BE)\, Iron Tr iangle\, APT Institute\, New York (US)\, Petrolatum\, Galerie Christian Nag el\, Berlijn (DE) en Eat the Magic Lions\, Kunstlerhaus Bethanien\, Berlijn (DE). Zijn werk werd getoond in groepstentoonstellingen zoals Bande &agrav e\; Part\, Albert Baronian\, CAB Art Center\, Brussel (BE)\, Acid Rain\, Is land\, Brussel (BE) en Pop-up\, Liens artistiques\, Musé\;e d&rsquo\; Ixelles\, Brussel (BE)\, Né\;on\, Who&rsquo\;s afraid of red\, yellow and blue?\, La Maison Rouge\, Parijs (FR). Hij neemt momenteel deel aan Pa radise Lost\, gecureerd door Damien &\; the love guru\, Quincaillerie Va nder Eycken\, Brussel (BE)\, Le Canal/Het Kanaal\, Espace251 Nord\, Luik (B E) and Encounters at the boundary\, georganiseerd door Wilfried &\; Yann icke Cooreman\, CC De Kollebloem\, Puurs (BE).

DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141107 GEO:50.8330549;4.3611011 LOCATION:Albert Baronian\,Rue Isidore Verheyden 2 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:Over Drive\, Xavier Mary UID:365229 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Xavier Hufkens is proud to pre sent a new exhibition dedicated to the graphic work of Wa lter Swennen (b. 1946\, Brussels). The presentation focuses on the last three decades of the artist&rsquo\;s career and brings together over 130 w orks on paper in a variety of media.

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Walter Swennen is a painter and a draughtsman in equal measure. While his w orks in oil often engage with the complex questions inherent to the art of painting &ndash\; its potential and limitations\; what\, why and how to pai nt &ndash\; his works on paper can be read as the laboratory that not only fuels his ideas\, but also points to possible answers. Like his paintings\, Swennen&rsquo\;s sketches take the form of enigmatic compositions of recog nisable elements: words\, letters\, pictograms\, heraldic devices\, strip c artoon figures\, advertising slogans\, geometric forms\, animals\, stereoty pical characters and everyday imagery. Although this gives rise to obvious visual correspondences between certain paintings and drawings\, and a sketc h might form a springboard for a larger work\, his graphics are always auto nomous creations. Often executed in layers and in mixtures of pencil\, ink\ , watercolour\, pen or crayon\, they can be viewed as a visual compendium o f ideas\, insights\, discoveries\, juxtapositions and associations.

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Modest in scale (often no larger than the pa ge of a standard sketchbook)\, humorous and bursting with life\, Swennen&rs quo\;s joyful graphic inventions nevertheless point to a greater conceptual significance. To define what they are\, it is often easier to state what t hey are not: they do not attempt to accurately represent anything\ , be it a person\, place\, situation or thing\; nor are they abstract or ex pressionist\; they are not studies of isolated objects\, nor evocations of inner emotional states. They do not open up onto a three-dimensional pictor ial space that can\, figuratively speaking\, be entered. In other words\, t hey are not mimetic. Instead\, they can be read as complex mental construct ions in which images and meanings\, ideas and language overlap\, intersect or converge.

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A poet and philosopher b efore becoming an artist\, language plays a vital role in Swennen's oeuvre. Not only does he incorporate text in his work &ndash \; blocks of words\, individual letters\, brand names and sentences &ndash\ ; but he also combines it with other visual elements that suggest a &lsquo\ ;puzzle&rsquo\; or rebus. Occasionally\, letters and images coalesce into a clearly identifiable play on words or phonetics\; at other times\, they me rely allude to a potential &lsquo\;answer&rsquo\; that might (or might not) be hovering just beneath the surface. In this sense\, they are a form of v isual poetry\, a vehicle for specific observations and experiences of the w orld. And therein lies the intrigue. Each of Swennen&rsquo\;s drawings is a poetic distillation of the beguiling complexity\, but essential simplicity \, of not just art and language\, but life itself.

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Recent solo exh ibitions include: So Far So Good\, Wiels\, Brussels (2013-14)\, Continuer\, Culturgest Lisbon (2013)\, Garibaldi Slept Here \, Kunstverein Freiburg (2012) and How To Paint A Horse\, Cultuurc entrum Strombeek and De Garage\, Mechelen (2008). Notable group exhibitions include: Blue Times (Kunsthalle Vienna\, 2014-2015)\, De Vier kantigste Rechthoek (Kunsthal KAdE\, Amersfoort\, curated by Tom Barma n\, 2014-2015)\, La Belgique Visionnaire/Visionair België\; (c urated by Harald Szeemann\, Palais des Beaux-Arts/Paleis voor Schone Kunste n\, Brussels\, 2005)\, Voir en Peinture (Frac Ile-de-France/Le Pla teau\, Paris\, 2003)\, La Consolation (Centre National d&rsquo\;Ar t Contemporain\, Le Magasin\, Grenoble\, 1999) and Trouble Spot Paintin g (MUHKA\, Antwerp\, 1999).

DTEND:20150117 DTSTAMP:20141123T073328 DTSTART:20141120 GEO:50.8235717;4.3766927 LOCATION:Xavier Hufkens - 107 rue St-Georges\,107 rue St-Georges St-Jorisst raat\nBrussels\, 1050 SEQUENCE:0 SUMMARY:Works on Paper\, Walter Swennen UID:365227 END:VEVENT BEGIN:VEVENT DTEND:20141120T200000 DTSTAMP:20141123T073328 DTSTART:20141120T170000 GEO:50.8235717;4.3766927 LOCATION:Xavier Hufkens - 107 rue St-Georges\,107 rue St-Georges St-Jorisst raat\nBrussels\, 1050 SEQUENCE:0 SUMMARY:Works on Paper\, Walter Swennen UID:365228 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Xavier Hufkens is pleased to a nnounce the exhibition of a new series of works by Al essandro Pessoli. \;

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Painter\ , sculptor\, filmmaker\, draughtsman and printmaker: Pessoli is a true poly math\, an artist in love with materials and every conceivable form of expre ssion. Comprising painted ceramics and bronze sculptures\, works on paper\, ceramic tiles\, painting and film\, the myriad forms and mediums in Te sta Matta not only bear witness to the artist&rsquo\;s fertile imagina tion\, but also to the truly interdisciplinary nature of his practice.

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Testa Matta &ndash\; which means &lsquo\;madcap&rsquo\; or &lsquo\;screwball&rsquo\; &ndash\; is Pessoli&rs quo\;s second solo show with the gallery. Central to the exhibition is Fort unello\, an imaginary Dadaist character created by the Italian actor and pl aywright Ettore Petrolini (1884-1936). Based on a cartoon character\, and h inging on slapstick\, parody and nonsense\, Petrolini&rsquo\;s semi-mechani cal performances as Fortunello captured the attention of the Italian Futuri sts. Marinetti described the character as &lsquo\;the most difficult to ana lyse of all Petrolini&rsquo\;s masterpieces&rsquo\;. Deeply engaged with bo th history and art history\, Pessoli uses Fortunello as the springboard for a poetic\, personal and richly layered visual essay on the themes of cultu re\, identity and about what it means to be an artist. \;

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Fortunello is brought to life &ndash\; quite liter ally &ndash\; in a stop-motion film entitled Autorittrato Petrolini. The work is based on a short film of Petrolini performing as Fortunello in 1915. To create the work\, Pessoli projected the original clip onto a ca nvas: as the film rolled\, he started painting. Drawing upon a wide range o f media and tools &ndash\; oils\, acrylics\, tempera\, airbrushes\, stencil s\, pastels\, pencils\, rollers\, spatulas and rags &ndash\; he painted the 1\,000 frames of Autorittrato Petrolini on a total of seven canva ses. Each frame of his film corresponds to a change in the painting\, which the artist then photographed. There is no other post-production: the anima tion is simply the result of editing the photos in sequential order.

\n< p style="text-align: justify\;">Fortunello&rsquo\;s song is almost untransl atable: it is a nonsense rhyme. The actor attempts to describe his own pers onality in words that slip into repetitive\, contradictory phrases. The cha racter of Fortunello is almost a hundred years old but\, for Pessoli\, he e mbodies several fundamental truths: not just about Italy and art\, but abou t himself. In this sense\, the work can be regarded as a self-portrait\, a meditation upon the Italian character\, or as a statement of identity. Yet Autorittrato Petrolini also touches upon more universal themes. Th is &lsquo\;moving painting&rsquo\; spans the history of twentieth-century I talian art and includes references to Futurism\, Surrealism\, metaphysical art (pittura metafisica)\, Novecento Italiano and Europea n pop art. It can thus also be interpreted as reflection upon Italy&rsquo\; s history\, particularly during the Fascist era\, as well as the emergence of modernism and its legacy. A related film\, I Salamini\, is base d on a Petrolini song of the same title (1918) and shows the artist dressed as Fortunello. \;

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Testa Matt a also includes a recent series of amorphous figures and busts\, some rendered in bronze\, others in painted ceramic. The largest and most comple x of these comprises four busts separated by thin\, spray-painted canvases hung from iron tripods. Pessoli&rsquo\;s installation can be read as a loos e interpretation of a classic portrait gallery in both two- and three-dimen sions and is as much a paean to free-expression as it is to Petrolini/Fortu nello\, or the different images and modes of representation that are embedd ed in Western visual culture. What appears\, at first glance\, to be a coll ection of incompletely rendered portraits and rough-hewn plinths is\, in fa ct\, a sophisticated exercise in composition and juxtaposition. The dynamic contrasts between the heavy\, malleable clay and the nebulous airbrushing\ , the surface textures\, colours\, materials and techniques radiate with vi tal energy. Pessoli&rsquo\;s characters are arranged as though engaged in a conversation\, albeit one that takes place in separate &lsquo\;rooms&rsquo \;: whichever way you approach the installation\, it can never be viewed in its entirety\; there is always the awareness of the figures on the &lsquo\ ;other side&rsquo\;. \;

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In additi on to a recent film and a suite of drawings\, Pessoli will also be exhibiti ng two new series of prints: unique silkscreens on fabric and a collection of monoprints.

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Alessandro Pessoli (b. 1963\, Cervia\, Italy) studied at the Academy of Fine Arts in Bologna\, and currently lives and works in Los Angeles\, Cali fornia. He has had solo exhibitions at the San Francisco Museum of Modern A rt\, San Francisco\, CA (2012)\; Collezione Maramotti\, Reggio Emilia (2011 )\; MACRO Museo d&rsquo\;Arte Contemporane di Roma (2009)\; The Chisenhale\ , London (2005) and The Drawing Center\, New York (1997). His work has also been included in exhibitions throughout Europe and the United States\, inc luding Making Worlds\, the Italian Pavilion at the 53rd Biennale d i Venezia (2009).

DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141120 GEO:50.8189731;4.3693763 LOCATION:Xavier Hufkens\,Rue Saint-Georges 6-8 \nBrussel\, 1050 SEQUENCE:0 SUMMARY:Testa Matta\, Alessandro Pessoli UID:365225 END:VEVENT BEGIN:VEVENT DTEND:20141120T200000 DTSTAMP:20141123T073328 DTSTART:20141120T170000 GEO:50.8189731;4.3693763 LOCATION:Xavier Hufkens\,Rue Saint-Georges 6-8 \nBrussel\, 1050 SEQUENCE:0 SUMMARY:Testa Matta\, Alessandro Pessoli UID:365226 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shot on colour 16mm film and p resented as a short film as well as a flip book Oyster is a minima list cinematic poem showcasing the Native Oyster\, Ostrea edulis. Oyste r engages with various aspects of the molluscs history\, life and cons umption\, while exploring how we imagine the sea and our relationship to it . The work unfolds the form and fragility of sea organisms\, their capture and trade\, and subtly questions the future ecology of its habitat and loca l trade. Oyster brings elements of modernism and abstraction to it s natural subject\, with an accompanying soundscape traversing Kentish dial ect\, electro pop\, free jazz and silence. The accompanying flip book recon structs the basic principles of filmmaking\, whilst presenting another aspe ct of the oyster's life.

DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141113 GEO:50.8484055;4.3432246 LOCATION:Office Baroque\,Place du Jardin aux Fleurs 5 Bloemenhofplein \nBru ssels\, 1000 SEQUENCE:0 SUMMARY:Oyster\, Margaret Salmon UID:365224 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141206 DTSTAMP:20141123T073328 DTSTART:20141107 GEO:50.8191663;4.369869 LOCATION:Meessen De Clercq\,2 rue de l'Abbaye \nBrussels\, 1000 SEQUENCE:0 SUMMARY:Homo Ludens\, Ignasi Aballí\, Jordi Colomer\, Lieven de Boeck\, Hre inn Fridfinnsson\, Filip Gilissen\, Adam Henry\, Rinko Kawauchi\, Nicolas L amas\, Bruce Nauman\, Sarah Ortmeyer\, BENOÎT PYPE\, Evariste Richer\, Kell y Schacht\, Maarten Vanden Eynde\, Leon Vranken UID:365223 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"THE SHOW IN BRUSSELS AT ELAIN E AND FLORENT'S GALLERY WITH CHARLEMAGNE PALESTINE"

(They say th at romance has become a lost art\, but art only gets lost when it becomes h ard work. Nowadays machines do all the work. That makes men lazy. Could it be romance is dead because it's too much work not to be primitive? Too bad machines can't do the work of romance\, but can anyone love a machine? Let me tell you about a very special girl who found out...)

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At the time o f writing this some of the work is still unfinished\, so anything said here is retractable.  \;We reserve the right to break promises\, to show up late and if it all falls apart it's not our problem.  \;

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This is a "genre" exhibition\, but not "genre" lik e painting\, sculpture\, video or any of that\, etc. We mean genre in this case like Western\, Romance\, Horror\, Fantasy\, Sci-Fi. This show in parti cular borrows elements of Noir.  \;Godard became famous for his meta- g angster films in the 60s before he directed commercials for fashion line Ma rithè\; &\; Franç\;ois Girbaud in the 80s and before rappers in the US wore Girbaud jeans in the 90s. Godard\, Girbaud\, Gangster. &nbs p\;Gangster\, in the traditional 1930s-40s sense\, and "gangsta"\, in the r ap/hip hop sense of the 90s\, are both more or less out of fashion terms\, which pretty much no one uses anymore.*  \;

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The exhibition will feature photographs (photography!) of two na meless protagonists (stand-ins for the artists?).  \;They both are wear ing grotesque Special FX makeup.  \;Are these from a "press kit" for an unreleased film?  \;Let's say it's a sci-fi gangsta film.  \;The b ald guy with the prominent vein is  \;"The Boss."  \;The trench-coa ted androgyne is "The Assassin."  \;A heist plot ensues with double\, t riple and quadruple crossings...  \; But it should be reiterated that t here is NO movie.  \;Like the Singing Detective's Phillip Marlowe\, thi s exhibition could be the imagination run amok of an author suffering from a debilitating skin and bone disease\, who\, in a way to escape from the in tolerable conditions of his reality\, falls into a fever dream where he's a noir detective.  \;

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There will a lso be a robot (if it doesn't break on the way over the Atlantic ocean)...t he robot is very primitive on a set of wheels\, a kinetic platform that wil l hopefully move Charlemagne's sound (and animals) through a space.  \; Dmitriy\, who is currently building the robot in our apartment\, asked us t he other night somewhat philosophically about the nature of robots.  \; What makes a robot a robot?  \;Is it just about autonomy or something e lse?  \;For example\, is an elevator a robot?  \;We said something like "Um...not sure\, but we need to finish this pronto because it's gotta be shipped on Wednesday."

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Meanwhile\, this is happening:

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http: //www.dailymail.co.uk/news/article-2824057/Brussels-burns-100-000-protester s-clash-police-march-against-EU-austerity-measures.html

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*Science fiction as a genre has been gentrified as w ell\, evoked frequently in academic papers and annoyingly in art world cont exts. Taken seriously\, nerds/geeks and fanboys have become curiosities to not only be inspected but their communities theorized upon\, their hobbies and fetishes appropriated and exploited.  \; (see "Furries") (We oursel ves are guilty of it\, by link-baitishly titling our 2012 show "Ghost in th e Puka Shell" and hiring DeviantArt artists)  \;We get it\, Sci-fi. Sci -fi. Sci-fi. Sci-fi. It says so much about our current condition. Could the appropriation of the near-forgotten Girbaud brand be another cynical round of contemporary "thrift-store" re-evaluation a la William Gibson circa 200 4?

DTEND:20150110 DTSTAMP:20141123T073328 DTSTART:20141120 GEO:50.8226298;4.3566043 LOCATION:Levy.Delval\,Rue Fourmoisstraat 9 \nBruxelles\, 1050 SEQUENCE:0 SUMMARY:Body By Body UID:365217 END:VEVENT BEGIN:VEVENT DTEND:20141120T210000 DTSTAMP:20141123T073328 DTSTART:20141120T180000 GEO:50.8226298;4.3566043 LOCATION:Levy.Delval\,Rue Fourmoisstraat 9 \nBruxelles\, 1050 SEQUENCE:0 SUMMARY:Body By Body UID:365218 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Earlier this year\, I made a v ideo titled "Struggle." It was a screening of "The Lion King" without any c olor or sound. I thought if I cleared out some space in the film\, the view er might expand to fill it up. The paintings in this show operate on the sa me negative principle (addition by subtraction)\, but this time I've edited out pretty much everything.

The first recorded use of the word boredom was in the novel "Bleak House\," by Charles Dickens\, 1852. He used it six times. I have never read the book. Insofar as a work might be reali zed uniquely each time it is seen by somebody new\, "Bleak House\," from my end\, has not yet been made. There is an early Lawrence Weiner that goes O NE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL. That piec e was not executed\, yet it definitely exists. \;

Perception is a brick. Cognition is a brick. In between them\, it is mud.

DTEND:20150110 DTSTAMP:20141123T073328 DTSTART:20141120 GEO:50.8226298;4.3566043 LOCATION:Levy.Delval\,Rue Fourmoisstraat 9 \nBruxelles\, 1050 SEQUENCE:0 SUMMARY:Lying in a Field \, Andy Meerow UID:365215 END:VEVENT BEGIN:VEVENT DTEND:20141120T210000 DTSTAMP:20141123T073328 DTSTART:20141120T180000 GEO:50.8226298;4.3566043 LOCATION:Levy.Delval\,Rue Fourmoisstraat 9 \nBruxelles\, 1050 SEQUENCE:0 SUMMARY:Lying in a Field \, Andy Meerow UID:365216 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150116 DTSTAMP:20141123T073328 DTSTART:20141118 GEO:50.8369917;4.3553515 LOCATION:Gladstone Gallery (Brussels)\,12 rue du Grand Cerf \nBrussels\, 10 00 SEQUENCE:0 SUMMARY:Dark Incandescence\, Elizabeth Peyton UID:365214 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141106 GEO:50.8240762;4.3632882 LOCATION:Michel Rein Brussels\,51A Washington street \nBrussels \, 1050 SEQUENCE:0 SUMMARY:Philip K Dick and the vesica piscis\, Dora Garcia UID:365213 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A gallery exhibition challenge s the artist to negotiate the intersection of freedom and responsibility.\n

Presenting to a self-selected\, genera lly open-minded audience is a privilege to be handled with care.

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When considering what to say &ndash\; and for w hom &ndash\; there is a paradox. The artist\, completely free\, does not ne ed a platform to be heard\, yet those who are not\, do.

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Amongst the voiceless\, none lack access to an audience more than the incarcerated. Which raises the question: could providing them the freedom promised by an exhibition prove to be rehabilitative?

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In April 2014\, American artist Zachary Sussk ind entered the inner rings of a Belgian prison to lead three workshops wit h a group of inmates. He spoke no French &ndash\; they\, no English. The pu rpose was to demonstrate the exhibition as an art form in itself\, one part icularly conducive to collaboration and broader statement-making than the s ole artist achieves with a singular work. By engaging those in prison in in tellectual discourse and bridging the depths of their insular existence to the world outside\, he hoped this project would be emotionally therapeutic and psychologically liberating.

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The a rt-appreciation context provides a viable\, apolitical arena in which to st age a meeting. Susskind spent months campaigning to organize an opening nig ht conference in Brussels amongst inmates\, prison officials\, advocates\, artists\, gallerists and the viewing public.

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Ultimately\, this could not be realized.

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This winter\, however\, the inmates he worked with are curating three exhibitions in a major Belgian museum\, arranging works from the per manent collection\, works from The Still House Group and works of their own .

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The silenced conference presented h ere formally acknowledges the impediments to necessary discussions with the absent and overlooked.

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The artis t would like to thank the organization Art Without Bars vzw asbl (www.artwi thoutbars.be) for its invaluable collaboration and support.

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About the artist :

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Zachary Susskind (born 1986 in Los Angeles\, CA USA) has worked on a number of projects and group exhibitions as part of th e Still House Group. His work was included in To do as one would ( 2014)\, at David Zwirner\, New York \; Fondazione Museo Pino Pascali Pr esents: The Still House Group (2014) at Fondazione Museo Pino Pascali\ , Italy \; the Still House exhibition Straight II DVD programmed a longside the NADA art fair in Miami in December 2013 and+1\, a Sti ll House Group project commissioned by Art in General featuring an artist-r un storefront space in New York that presents rotating exhibitions.

\n(CONFERENCE) is his first solo exh ibition. DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141127 GEO:50.8291979;4.359693 LOCATION:Galerie Rodolphe Janssen - Livourne 32\,32 Livourne 1st floor\nBru ssels\, 1050 SEQUENCE:0 SUMMARY:(Conference)\, Zachary Susskind UID:365210 END:VEVENT BEGIN:VEVENT DTEND:20141127T210000 DTSTAMP:20141123T073328 DTSTART:20141127T180000 GEO:50.8291979;4.359693 LOCATION:Galerie Rodolphe Janssen - Livourne 32\,32 Livourne 1st floor\nBru ssels\, 1050 SEQUENCE:0 SUMMARY:(Conference)\, Zachary Susskind UID:365211 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One day\, a beautiful woman wr ote Peter Sutherland on Facebook to tell him that she liked his photos. She invited him to visit her in Nepal\, where she was living at the time\, and he obliged.

During a second trip to Nepal a few years later\, they were married.

Peter Sutherland&rsquo\;s films\, photogra phy\, publications\, and installations are intimate documents of his extens ive travels\, collages of encounters that form spontaneously interconnected narratives. For his first solo exhibition at Galerie Rodolphe Janssen\, Pe ter will present an installation comprised of two series of works that juxt apose a web of stories and iconography - from healing rocks and inexpensive construction materials\, to majestic mountain scapes and Colorado bonfires .

DTEND:20141122 DTSTAMP:20141123T073328 DTSTART:20141025 GEO:50.8291979;4.359693 LOCATION:Galerie Rodolphe Janssen - Livourne 32\,32 Livourne 1st floor\nBru ssels\, 1050 SEQUENCE:0 SUMMARY:Reversed Effort\, Peter Sutherland UID:365209 END:VEVENT BEGIN:VEVENT DESCRIPTION:

blackout (plural blac kouts)

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  1. a large-scale power fai lure\, and resulting loss of electricity to consumers \;
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  3. the mandatory blocking of all light emanating fro m buildings as imposed during World War II
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  5. a temporary loss of memory caused by the intake of any substance or medication in which long term memory creation is impaired\, therefore caus ing a complete inability to recall the past
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DTEND:20141220 DTSTAMP:20141123T073328 DTSTART:20141106 GEO:50.8300607;4.3588315 LOCATION:Galerie Rodolphe Janssen\,Rue de Livourne 35 Livornostraat\nBrusse ls\, 1050 SEQUENCE:0 SUMMARY:Blackout\, David Adamo\, davide balula\, Walead Beshty\, Andy Boot\ , Anne Collier\, Jürgen Drescher\, Leo Gabin\, Dan Graham\, Mark Handforth\ , Adam McEwen\, Sam Moyer\, Raymond Pettibon\, Torbjørn Rødland\, Ned Vena\ , Banks Violette\, Christopher Williams UID:365208 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Nathalie Obadia Brusse ls is pleased to present the fourth solo exhibition by Michael DeLucia in E urope since their first collaboration in 2008.

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The twenty or so works on show represent the latest artistic rese arch by this young American artist. The readymade objects that were the sub ject of his last exhibition here are supplanted by virtual models of natura l forms\, removed from a readymade substrate of formica laminated plywood t hrough his computer aided modeling and carving process.

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Playing with 3D modeling software\, Michael DeLucia mani pulates virtual objects that he collects &ldquo\;readymade&rdquo\; from onl ine stock model libraries\, usually used by architects\, film or animated m ovie makers\, and video game makers. The digital forms are stretched and co mpressed to fit within the prescribed bounds of the standardized 4&rsquo\; x 8&rsquo\; formica/plywood sheets. Then the virtual objects are translated into the physical world by a computer controlled router which\, by carving the plywood\, removes their form from the volume of the sheet material. Th e result is an impression of an object which never existed yet which penetr ates the simulated materiality of the faux stone formica\, revealing the ph ysical reality of the natural wood beneath.

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Two new subjects\, those of clouds and rocks\, allow Michael DeLucia to further his research into digital sculptural abstraction. Once processe d through his software\, the clouds and stones which are complete opposites in their natural state (gas/solid)\, lose their distinctive properties and become astonishingly similar in their digital state. This comparison highl ights the disassociation and recomposition of physical properties that digi tal sculptural process involves. This transformation is a compelling source of confusion and importunes the viewer visually\, physically and mentally.

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Under the aegis of the phenomenology \, this three-faceted experience has its roots in New British sculpture\, w hich\, from Henry Moore to Tony Cragg\, invented a new plastic language tha t is primarily sensorial. Following this common thread\, Michael DeLucia &n dash\; the &ldquo\;first sculptor of virtuality&rdquo\; in the words of Pie rre Sterckx &ndash\; continually investigates the tenuous boundary between the material and the virtual\, between the physical object and its digital manifestation. It is an intuitive exploration that Michael DeLucia likens t o Plato&rsquo\;s Allegory of the Cave. In this famous metaphor\, Human bein gs believe that they can gain access to the Truth thanks to their senses. I t was\, of course\, an elusive quest for the Greek philosopher \; while for the American visual artist it is a simulacrum of reality.

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Michael DeLucia uses trompe-l&rsquo\;oeil to exalt th is new series of works. Their untreated plywood support &ndash\; a referenc e to Arte Povera which also employed humble materials &ndash\; is enhanced by the laminate sheet coloured to imitate marble\, granite\, agate and othe r colorful stones. Their chromatic turbulence introduces a new layer of abs traction that draws the viewer to reconstruct the motif mentally and subjec ts him to an additional experience of the form\, which tends to extend beyo nd the structural limits of the sculpture or panel of wood.

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The use of formica\, like that of Richard Arstwager (1923-2013) in the 60&rsquo\;s\, in combination with playful use of common objects similar to Claes Oldenburg (1929)\, establishes a historic link wit h Pop Art. A second association is apparent with the Minimal Art of Sol Lew itt and Donald Judd through the use of basic geometric forms such as the sp here and cube applied to basic materials in order to appropriate their mate riality.

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The carefully crafted effect on forms directly inspired by nature\, which Michael DeLucia has realized for the first time in his Brussels exhibition\, offers the artist new direc tions that are both formal and sensorial\, which bring the viewer face to f ace with the tangible and virtual duality of the real world.

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Michael DeLucia&rsquo\;s monographic catalogue will be published in spring 2015 and will be immedia tely followed by the first solo exhibition devoted to his work by a museum\ , at the MCA (Museum of Contemporary Art) in Santa Barbara in summer 2015.< /p>\n


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La Galerie Nathalie Obadia Br uxelles est trè\;s heureuse de pré\;senter la 4è\;me expo sition personnelle de Michael DeLucia en Europe depuis leur premiè\;r e collaboration en 2008.

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La vingtaine d&rsquo\;&oelig\;uvres exposé\;es té\;moigne des derniè\ ;res recherches du jeune artiste amé\;ricain. Celles-ci prennent le p as sur les objets du quotidien\, thè\;me de la derniè\;re expos ition en date de l&rsquo\;artiste\, pour explorer de nouvelles formes d&eac ute\;rivé\;es de la nature et un nouveau maté\;riau industriel\ , le stratifié\;\, plus connu sous le nom de formica.

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L&rsquo\;artiste conç\;oit ses &oelig\;uvres s elon le mê\;me processus de cré\;ation. Il collecte des objets & laquo\; readymade »\; issus de librairies online spé\;cialis&eac ute\;es dans les images digitales\, et destiné\;es aux architectes\, cré\;ateurs de jeux vidé\;o\, ré\;alisateurs de films et dessins animé\;s. Une fois les formes virtuelles sé\;lectionn&e acute\;es\, Michael DeLucia\, grâ\;ce à\; un logiciel de modelag e en trois dimensions\, joue avec les formes et leurs proprié\;t&eacu te\;s naturelles intrinsè\;ques. Il les manipule\, les é\;tire\ , les comprime\, afin de les faire contenir dans la limite du cadre des pan neaux industriels de bois plaqué\; standardisé\;s. Les formes d igitales obtenues sont ensuite taillé\;es dans les panneaux de bois c ontreplaqué\;s à\; l&rsquo\;aide d&rsquo\;un routeur CNC (compu ter controlled router). La gravure\, à\; la fois digitale et mé \;canique\, laisse alors apparaî\;tre le sujet en creux\, maté\; rialisé\; par la couleur naturelle du bois\, contreplaqué\; d&r squo\;une lame de stratifié\; imitant des pierres de couleur.

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Deux nouveaux sujets\, le nuage et le rocher \, permettent à\; Michael DeLucia de pousser plus loin ses recherches actuelles sur l&rsquo\;abstraction. Une fois soumis au logiciel de modelag e\, les deux é\;lé\;ments\, que tout oppose à\; l&rsquo\; é\;tat naturel (gaz\, solide)\, se ressemblent é\;tonnement &ag rave\; l&rsquo\;é\;tat digital. Cette mutation\, source de confusion\ , sollicite le spectateur de maniè\;re à\; la fois visuelle\, p hysique et mentale.

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Cette triple exp& eacute\;rience sous l&rsquo\;é\;gide de la phé\;nomé\;nol ogie s&rsquo\;inscrit dans la descendance de la Nouvelle Sculpture anglaise qui\, d&rsquo\;Henri Moore à\; Tony Cragg\, inventa un langage plast ique avant tout sensoriel. Suivant ce fil rouge historique\, Michael DeLuci a\, «\; premier sculpteur de la virtualité\; »\; selon Pier re Sterckx\, interroge en permanence la frontiè\;re té\;nue ent re le maté\;riel et le virtuel\, entre l&rsquo\;objet physique et la forme digitale. Une exploration intuitive que l&rsquo\;artiste associe &agr ave\; l&rsquo\;allé\;gorie de la caverne de Platon\, mé\;taphor e du monde sensible où\; les hommes pensent accé\;der à\; la vé\;rité\; par leur sens. Une quê\;te illusoire pour l e philosophe grec\, un simulacre de la ré\;alité\; pour le plas ticien amé\;ricain.

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Michael DeL ucia use du trompe l&rsquo\;&oelig\;il pour magnifier ses &oelig\;uvres. Le ur support brut en contreplaqué\;\, ré\;fé\;rence à \; l&rsquo\;Arte Povera qui utilisait aussi des maté\;riaux pauvres\, est rehaussé\; par la couche de stratifié\; teinté\;e de couleur marbre\, granite\, agate\, ou bois pé\;trifié\;. La po lychromie introduit une dose supplé\;mentaire d&rsquo\;abstraction qu i entraine le spectateur vers une reconstruction mentale du motif et une ex pé\;rience additive de la forme qui tend à\; dé\;border d es limites structurelles de la sculpture ou du panneau de bois.

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L&rsquo\;emploi du stratifié\;\, comme le formica chez Richard Artschwager (1923-2013) à\; partir des ann&eacut e\;es 1960\, combiné\; au dé\;tournement d&rsquo\;objets du quo tidien\, comme chez Claes Oldenburg (1929)\, constitue un lien historique a vec le Pop Art. Une seconde filiation peut-ê\;tre é\;tablie avec l&rsquo\;Art Minimal de Sol Lewitt ou de Donald Judd\, par l&rsquo\;usage de formes gé\;omé\;triques é\;lé\;mentaires telles que le cercle\, le carré\; ou le rectangle dont les transpositions su r bois ou formica s&rsquo\;imposent par leur simple maté\;rialit&eacu te\;.

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L&rsquo\;effet recherché\ ; sur des formes directement inspiré\;es de la nature\, é\;prou vé\; pour la premiè\;re fois à\; l&rsquo\;occasion de l&r squo\;exposition à\; Bruxelles\, ouvre à\; Michael DeLucia de n ouvelles perspectives\, à\; la fois graphiques et sensorielles. Celle s-ci confrontent le spectateur à\; la dualité\; tangible et vir tuelle du monde actuel.

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Le catalogue monographique de Michael DeLucia sera é\;dité\; au printemps 20 15\, et sera directement suivi par la premiè\;re exposition personnel le consacré\;e à\; l&rsquo\;artiste par un musé\;e au MCA (Museum of Contemporary Art) de Santa Barbara\, à\; l&rsquo\;é \;té\; 2015.

DTEND:20150117 DTSTAMP:20141123T073328 DTSTART:20141106 GEO:50.8280529;4.3676176 LOCATION:Galerie Nathalie Obadia - Bruxelles\,Rue Charles Decoster 8 \nBrus sels\, 1050 SEQUENCE:0 SUMMARY:Solo Exhibition\, Michael Delucia UID:365207 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150124 DTSTAMP:20141123T073328 DTSTART:20141219 GEO:50.8382746;4.3535219 LOCATION:Galerie Micheline Szwajcer\,Rue de la Régence Rue de la Régence - Regentschapsstraat 67\nBrussels\, 1000 SEQUENCE:0 SUMMARY:Solo Exhibition\, Carsten Höller UID:365205 END:VEVENT BEGIN:VEVENT DTEND:20141218T200000 DTSTAMP:20141123T073328 DTSTART:20141218T180000 GEO:50.8382746;4.3535219 LOCATION:Galerie Micheline Szwajcer\,Rue de la Régence Rue de la Régence - Regentschapsstraat 67\nBrussels\, 1000 SEQUENCE:0 SUMMARY:Solo Exhibition\, Carsten Höller UID:365206 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141207 DTSTAMP:20141123T073328 DTSTART:20141031 GEO:50.8382746;4.3535219 LOCATION:Galerie Micheline Szwajcer\,Rue de la Régence Rue de la Régence - Regentschapsstraat 67\nBrussels\, 1000 SEQUENCE:0 SUMMARY:Sun Photographs\, Zoe Leonard UID:365204 END:VEVENT BEGIN:VEVENT DESCRIPTION:


Tris Vonna-Michell&acut e\;s latest publication is constructed around the two works\, Capitol C omplex (2012-2014) and Ulterior Vistas (2012-2013)\, both of which are encapsulated on a ten-inch vinyl record. The spoken-word composit ions are enclosed within a gatefold design and accompanied by the Capit ol Complex manuscript as a booklet insert and a bound series of Ul terior Vistas photographic montages.

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The Capitol Complex (Side A) recording pans between improvise d spoken word and musical composition\, evolving around a manuscript set in the Indian city of Chandigarh\, which serves as an underlining blueprint f or the work. Traveller\, the protagonist\, extends his leisurely strolls to navigating the city by night in order to induce an experience of greater i ntensity and anxiety of its urban architecture. After his nocturnal explora tions in the city&rsquo\;s single-zone sectors he starts to grow weary and changes his course from architectural appreciation to searching for crevice s and enclosures to reflect and observe. But urban fixtures of obstruction\ , surveillance and derailment direct his passages\, until a shift in percep tion occurs.

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The spoken word aspect o f Ulterior Vistas (Side B) is backed by a musical score\, and cont extualised around the notion of a driven sales agent\, orating a prospectus based on grand 18th Century English landscape garden design. The protagoni st is soliciting a global perspective characterised by appropriation of cul tural heritage in order to cultivate a desirable public persona for an unid entified client. Aside from offering an array of landscape gardening soluti ons and attributes he also proposes more abstract features such as syntheti c spirituality and symbolic gestures of generosity.

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The conceptual framework for the Ulterior Vistas ph otographic series derives from the English landscape architect Humphrey Rep ton´\;s (1752-1818) famous Red Books. His books were bespoke landscape and architecture propositions for improving the estates and pleasure groun ds of potential clients. The before-and-after illustrations were a key feat ure in Repton´\;s Red Books as were his verbal presentations.

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Content and concept by Tris Vonna-Michell . Edited by Diana Kaur. Recorded by Martin Ehrencrona at Studio Cobra\, Sto ckholm. Spoken word by Tris Vonna-Michell. Instruments by Martin Ehrencrona and Markus Lindmark. Mixdown by Martin Ehrencrona and Tris Vonna-Michell. Copy editing by Andrew Hunt and Sophie Sleigh-Johnson. Designed by Konst &a mp\; Teknik\, assisted by Caroline Settergren. Image correction by Lena Hox ter Printing and binding by Gö\;teborgstryckeriet\, Sweden. Published b y Focal Point Gallery and Mount Analogue\, 2014. Distributed by Cornerhouse ISBN 978-1-907185-14-4. Price EUR 30.

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Capitol Complex / Ulterior Vistas and previous publications by Mount Analogue will be presented and offered f or sale during the release on the 22nd of November (4pm). In the presence of Tris Vonna-Michell.

DTEND:20141122T170000 DTSTAMP:20141123T073328 DTSTART:20141122T160000 GEO:50.8382746;4.3535219 LOCATION:Galerie Jan Mot\,Rue de la Régence / Regentschapsstraat 67 \nBruss els\, 1000 SEQUENCE:0 SUMMARY:Publication release and conversation with the artist: Capitol Compl ex / Ulterior Vistas\, Tris Vonna-Michell UID:365201 END:VEVENT END:VCALENDAR