"00ooOO” holes, dots, balls

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Apologie de l’aléatoire (pendolo), 2012 Platre, Cable En Acier 25 Cm © Courtesy of the Artist and Hopstreet
Rock’n Roll Dots, 2012 Lacquer On Hardboard 90 X 65 Cm © Courtesy of the Artist and Hopstreet
"00ooOO” holes, dots, balls

109 rue Saint-Georges
1050 Brussels
September 6th, 2013 - October 19th, 2013
Opening: September 6th, 2013 2:00 PM - 8:00 PM

Center - Uptown
Thursday - Friday - Saturday 13:00 - 18:00 & appointment; closed on Holidays


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

Hopstreet is representing the work of Davide Bertocchi since March 2013. While making plans to show his work at the gallery, we got in touch with Shila Khatami. On our first visit to her studio, we discussed her passion for 1980’s record covers. We immediately saw a correlation with Davide’s use of records in his sculptures. We assume that they have a common fascination with music, vinyl records and circular shapes.


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


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

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

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

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

SK: Exactly!

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

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

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

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

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

In the 1980s there was a very strong connection between the music scene and the art scene. You can see that in the covers. Blondie’s Parallel Lines record is special because even the title refers to art. I find this ambiguity very interesting.

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

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

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


Davide Bertocchi (°1969 Modena, Italy - lives in Paris) studied at the Academy of fine arts, Bologna, Dams University of Bologna and post-diplome at the Ecole de Beaux-Arts, Nantes. In 2000, he was chosen as one of the 10 Italian artists for the Studio Program at PS1-MoMa in New York. In 2002, he was artist in residence at the National Contemporary Art Centre Villa Arson, Nice, France. From 2003 through 2004 he participated in the artist in residence program, “Le Pavillon”, at Palais de Tokyo, Paris.

His work has been shown in many international institutions and galleries, including: La Maison Rouge, Paris; Fondation d'entreprise Ricard, Palais de Tokyo, Paris; MNAC, Bucharest; La Monnaie de Paris; Galerie Antoine Levi, Paris; Jarach Gallery, Venice; SintLukas Gallery, Brussels; Centre International d'Art et du Paysage de l'île de Vassivière; Centre Pompidou, Paris; Performa 09 at WhiteBox, New York; CAC Bretigny; Magazzino, Rome; Uqbar, Berlin; Tulips & Roses, Vilnius; MoCA, Shanghai; Galerie Pangée, Montreal; L’Ozio, Amsterdam; Biennale di Scultura, Carrara; Röda Sten, Göteborg; MLIS, Villeurbanne; N.O. Gallery, Milan; 10th Lyon Biennale; Kunstverein Göttingen; MAMbo, Bologna; De Appel, Amsterdam; Espace Louis Vuitton, Paris; 9th Lyon Biennial; Palazzo delle Esposizioni, Rome; MAC/VAL, Vitry-sur-Seine; Istituto Italiano di Cultura, Los Angeles; ViaFarini, Milano; Base, Florence; Prague Biennale 1; The Bronx Museum, New York and Walker Art Center, Minneapolis.


Shila Khatami (°1976 Saarbrucken, Germany – lives in Berlin) stu died at the Academy of Fine Arts, Munich and the Kunstakademie Düsseldorf. She currently lives and works in Berlin.

Solo exhibitions include: Galerie Susanna Kulli, Zürich, Clages, Köln, Galerie Samy Abraham, Paris, Treize, Paris, Center, Berlin, SOX, Berlin.

Group exhibitions include Hopstreet, Brussels, Sies + Höke, Düsseldorf, Kavi Gupta, Berlin, Pigna Project Space, Rome, SNO Contemporary Art Projects, Sydney, Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Villa Noailles, Hyères, Palais de Tokyo, Paris, Saarländische Galerie - Europäisches Kunstforum, Berlin, Kunstmuseum St. Gallen, St. Gallen. 

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

OPENING during the Brussels Art Days of
Friday 06 September 14-20h
Saturday 07 September 12-19h
Sunday 08 September 12-19h