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Brussels

Appartement Elisa Platteau

Exhibition Detail
Overlapping Exhibition-Construct #2: Jonge Spaanse Kunst
Curated by: Moritz Küng
Varkensmarkt 12 rue du Marché aux Porcs
B-Brussel
1000 Bruxelles
Belgium


November 8th, 2012 - December 9th, 2012
Opening: 
November 8th, 2012 6:00 PM - 9:00 PM
 
,
© Courtesy of the Artist and Appartement Elisa Platteau
> QUICK FACTS
WEBSITE:  
http://www.elisaplatteau.com/
NEIGHBORHOOD:  
Center - Downtown
EMAIL:  
elisa@elisaplatteau.com
PHONE:  
+32(0)485142365
OPEN HOURS:  
Thur-Sat 2-6 pm & on appointment
TAGS:  
installation, film
> DESCRIPTION

The second exhibition in the series Overlapping Exhibition-Construct

Curated by Moritz Kung,Barcelona

At the invitation of Elisa Platteau

 

In September 2012, Elisa Platteau organized an exhibition in her apartment that would run parallel to her gallery show with Belgian artist Pieter Vermeersch. The apartment exhibition consisted of a site-specitic work by the same artist (Untitled [Black 0-100%], 2003-2012), who pointed all the walls of two connected and equally-sized spaces, the living and the dining-room, in such a way as to produced a counter clockwise gradation from white to black. This gentle but imposing gesture inspired the idea of inviting several curators to superimpose a new exhibition on these spaces and/or this particular inter- vention. My proposal, as the First guest curator to be invited, was to bring three artistic positions from Barcelona that seemed to me to be related to Vermeersch's intervention. These positions are numerical (Ignasi Aballí’s newspaper clippings), phenomenological (Luz Broto’s film) and meteorological (Oriol Vilanova’s sunset postcards). Elisa Platteau’s idea is to keep a work from each exhibition - the work will be integrated into the Forth- coming exhibition - and so I suggested that we could publish a limited edition catalogue: that is what would remain instead. This catalogue is a re-edition of the exhibition catalogue Jonge Spaanse Kunst (Young Spanish Art), published in 1971 by the Museum of Fine Arts, Ghent, and containing only four pages: a title page, a blank page, a page listing the eighteen artists and torty-seven works in the show, and a sparse colophon. The re-edition keeps the original silkscreen cover, whose typography alludes to the Spanish flag, but replaces the original pages with four new pages that document the three art- ists and their tour works in this exhibition. As self-effacing as the gesture may be, one can read in the catalogue’s title a political commentary on the tensions, which flare up regularly, and with particular vehemence this time around, between the state govern- ments in Madrid and Barcelona, with the latter renewing its claims to independence, and the former pleading for the country's lasting unification. Ultimately, however, the gradation itself proves that the sum of parts and nuances alone can form a whole. (MK)

The second exhibition in the series Overlapping Exhibition-Construct Curated by Moritz Kiing, Barcelona At the invitation of Elisa Platteau In September 2012, Elisa Platteau organized an exhibition in her apartment that would run parallel to her gallery show with Belgian artist Pieter Vermeersch. The apartment exhibition consisted of a site-specitic work by the same artist (Untitled [Black 0-100%], 2003-2012), who pointed all the walls of two connected and equally-sized spaces, the living and the dining-room, in such a way as to produced a counter clockwise gradation from white to black. This gentle but imposing gesture inspired the idea of inviting several curators to superimpose a new exhibition on these spaces and/or this particular inter- vention. My proposal, as the First guest curator to be invited, was to bring three artistic positions from Barcelona that seemed to me to be related to Vermeersch's intervention. These positions are numerical (lgnasi Aballi’s newspaper clippings), phenomenological (Luz Broto’s film) and meteorological (Oriol Vilanova’s sunset postcards). Elisa Platteau’s idea is to keep a work from each exhibition - the work will be integrated into the Forth- coming exhibition - and so I suggested that we could publish a limited edition catalogue: that is what would remain instead. This catalogue is a re-edition of the exhibition cata- logue Jonge Spaanse Kunst (Young Spanish Art), published in 1971 by the Museum of Fine Arts, Ghent, and containing only four pages: a title page, a blank page, a page listing the eighteen artists and torty-seven works in the show, and a sparse colophon. The re-edition keeps the original silkscreen cover, whose typography alludes to the Spanish flag, but replaces the original pages with four new pages that document the three art- ists and their tour works in this exhibition. As sell-eliacing as the gesture may be, one can read in the catalogue’s title a political commentary on the tensions, which flare up regularly, and with particular vehemence this time around, between the state govern- ments in Madrid and Barcelona, with the latter renewing its claims to independence, and the former pleading for the country's lasting unification. Ultimately, however, the gradation itself proves that the sum of parts and nuances alone can form a whole. (MK)

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