Catherine Bastide – Brussels – Accrochage – 19.04.2017-02.05.2017 – 6742

Exhibition view
Nicolas Bourthoumieux, Sarah Crowner, Sebastian Diaz Morales, Jean-Pascal Flavien, Pope.L, Ola Rindal, Josh Smith, Valérie Snobeck, Kelley Walker

Catherine Bastide est heureuse de présenter un nouvel accrochage à l’occasion d’Art Brussels afin de soutenir la création d’un fond vert pour le développement durable et la protection de l’environnement mettant les artistes au centre de projets innovants.

YOU SHOULD BE AN ARTIST

La vision du fond vert You Should be An Artist repose sur notre conviction que les pratiques artistiques, créatives et culturelles sont au cœur de la transformation sociale. Ces pratiques peuvent jouer un rôle clé dans les enjeux environnementaux actuels en inspirant une vision critique, soulignant les imperfections des approches actuelles du développement durable, et en envisageant un avenir meilleur. La culture et les arts sont ainsi de puissants messagers pouvant engendrer une profonde transformation des perceptions, valeurs et comportements individuels.

Par la mise en œuvre d’actions concrètes, portées conjointement par des artistes, des citoyens et les acteurs du développement, YsbaA réunira les compétences techniques, humaines et artistiques pour promouvoir des solutions créatives, innovantes et pérennes contribuant à promouvoir une transformation sociale vers des comportements plus durables.

Catherine Bastide
Address
Regentschapsstraat 67
1000 Brussels
Opening hours
18.04 – 22.04 10h – 19h
From 23.04 by appointment
Website

Mathilde Hatzenberger Gallery – Brussels – Olivia Barisano – 28.04.2017-27.05.2017 – 6741

Olivia à propos de son travail
Issu d’une pratique artistique de l’ordre de l’espace et de l’art vivant,
la céramique devient progressivement mon médium de prédilection.
Mon parcours influence ma démarche et ainsi le processus d’élaboration
devient moteur de la pratique.
Dans ma recherche, l’objet domestique est sujet, qu’il soit usuel ou
décoratif. J’observe la trace du temps que l’on peut y lire, l’usure du
quotidien qui sculpte, érode ou métamorphose la matière. Comment
également lorsque nous touchons les objets, nous agissons sur
le monde et en modifions leurs structures.
Prenant pour exemple l’oeuvre de Giuseppe Penone « Être Fleuve », une
pierre tirée d’un fleuve puis présentée avec son double produite à
l’identique. Ce qui compte, n’est pas forcément la ressemblance
mimétique, mais l’identification au travail du temps. Penone sculpte le
temps en renouant avec les forces du fleuve érodant la pierre.
C’est dans cette direction que je questionne la céramique. Je sculpte la
matière pour une mise en abîme de l’action et du temps.
Je recherche une réponse à l’absurdité de la vie dans son éternel
recommencement tel que l’envisage Albert Camus dans « le mythe de
Sisyphe » qui fut condamné par les Dieux à faire rouler éternellement
jusqu’en haut d’une colline un rocher qui en redescendait chaque fois
avant de parvenir au sommet.

Au sujet d’Olivia
Après obtention d’un BTS en Design d’Espace à L’ENSAAMA Olivier de Serres en 2004, Olivia Barisano s’oriente sur l’Aménagement d’Espaces
Scénographiques en Art Visuels à La Cambre Bruxelles pour aboutir en 2009à son diplôme en Master.
Depuis lors, elle signe plusieurs créations en tant que scénographe et
costumière pour des projets théâtraux, muséographiques,
cinématographiques et socioculturels en collaboration avec différents
metteurs en scène, artistes et réalisateurs.
En parallèle de son travail scénographique, elle développe et nourrit une
pratique artistique qui prend source dans une relation filiale avec sa
grand-mère. Personnage charismatique et emblématique dans son travail,
incarnant les questions identitaires de l’origine, de la transmission, du
temps et de la mémoire.
Dans un premier temps, la Nonna est mise en scène dans des vidéos et des
performances pour progressivement se confronter à la question de
l’installation et de la sculpture. La céramique devient alors un nouveau
medium de recherche. Ce travail fut au coeur de « Human condition », une exposition en 2012 en duo avec Mai TABAKIAN et souvent montré de façonparcellaire depuis lors dans des expositions de groupe à la galerie.
C’est dans un désir de murir sa pratique en céramique qu’Olivia réintègre
le Master 1 en 2014 à La Cambre. Elle retrouve ainsi un cadre de travail
et un échange intellectuel avec l’équipe pédagogique.
Olivia Barisano confronte dans son travail le temps passé et présent,
créant ruptures et anachronismes. Elle donne à lire le passage de la vie
et la relation du quotidien aux objets usuels.
Irrévocablement Olivia Barisano utilise le geste, ancestral, quotidien,
rituel et répétitif de manière obsessionnel et inscrit son travail dans
le temps infini.

Website

Kristof De Clercq Gallery – Gent – Vicken Parsons 07.05.2017-11.06.2017 – 6740

Vicken Parsons, Untitled, 2017, oil on wood, 24 x 29 cm.
VICKEN PARSONS

Vicken Parsons is a British artist who was born in 1957 and studied at the Slade School of Fine Art. She is best-known for her small scale paintings that evoke architectural space and elemental landscape. Within a careful confusion of planes, lines and marks, Parsons’ paintings engage the eye of the viewer in continuous movement between an illusory deep space and the picture plane.

Vicken Parsons has had solo exhibitions at Tate St Ives, Kettle’s Yard (Cambridge), Christine König Galerie (Vienna), Alan Cristea Gallery (London), New Art Centre (Salisbury) and Kristof De Clercq gallery. She has taken part in group exhibitions at Whitechapel Gallery (London), Tate Modern (London), Tate Britain (London), the Royal Academy of Arts (London), the Institute of Contemporary Art (London), Southampton City Art Gallery, Kunsthalle Mannheim, Turner Contemporary (Margate), The Foundling Museum (London) and The Belvedere (Vienna).

Vicken Parsons’ work is included in a number of important public collections including Tate, the Arts Council Collection, the Jerwood Foundation, National Galleries Scotland, and was most recently acquired by the Government Art Collection. Vicken Parsons lives and works in London.

Kristf De Clerq Gallery
Address
Tichelrei 82
9000 Gent
Opening hours
Friday up until Sunday 14h – 18h
and by appointment
Website

Rodolphe Janssen – Brussels – Gert & Uwe Tobias / Patrizio Di Massimo – 19.04.2017-10.06.2017 – 6738

GERT & UWE TOBIAS
The visual language of Gert & Uwe Tobias is like a vibration between realms. It teeters on an imaginative edge between the contemporary and the archaic, the figurative and the abstract, portraiture and still life, the deeply alluring and the grotesque. For their fifth solo exhibition at rodolphe janssen, the Tobias brothers’ quirky play of opposites feels familiar, as if from a dream.

Engaging with the technique of xylography, the artistic duo’s woodcuts redevelop and subvert this ancient craft for their own conceptual ambitions. The resulting imagery is absolutely signature–autobiographical, even–for it is also a visual ode to their home country of Romania, its costume and mythology, where they grew up before their family immigrated to Germany.

There is distinct rhythm and movement to the Tobias brothers’ compositions as one’s eyes graze over their entire body of works, as though figures and graphic lines partake in a mysterious choreography. The whites of eyes of creatures and figures contrast the soft washes of color – their cryptic gaze seductive and unsettling. Decapitated heads with empty eyes and the silhouette of a demon lurking conjure a feeling of foreboding, as we stand witness to esoterica or cult ritual.

Narratives crop up and then fade in a lyrical smoke and mirrors; the logic of these fantastical sequences remains deliciously obscure. Feminine hues and female-like figures are set against decorative architecture, stirring connotations of the domestic. However, each is interrupted by the presence of exotic birds, hovering mosquitoes or creeping foliage. The idea of an interior is being permeated by the dreams of an outside world. Natural motifs make up bodily forms; it is a psychic state, as if they have internalized the exterior wild for which they yearn. Though each figure seems powerful and strong, we begin to wonder, are they free?
Kate Brown

PATRIZIO DI MASSIMO – Bread and Circuses

With his newest body of works, London-based Italian artist Patrizio Di Massimo devotes himself entirely to painting, the crux of his artistic practice. For an artist who is known to engage across many media, this essentialist return to works on canvas is born from his ongoing desire to confront the medium exclusively and directly. For his first solo exhibition at rodolphe janssen it becomes Di Massimo’s prevailing language, as the self-taught painter explores the body as a cultural site.

Standing before Di Massimo’s towering figures, our gaze rests on spectacles of human behavior. The curtain pulls back and subjects pose and perform as if on a stage or in a scene along a mysterious plot line. If portraiture is the exploration of human nature, then Di Massimo reveals a human being entangled in situations of violence, hedonism, and wantonness. What sympathy surfaces here as we behold others attempting to extend beyond themselves, the confines of boredom, the drudgery of the quotidian, and their own basic humanness? It is of bread and circuses, as though we have cried entertain us and Di Massimo’s characters oblige, at an apex of tragedy and humor.

Di Massimo positions the viewer as a cautious voyeur to a decisive moment: storylines balance on a tipping point before the slip of a knife or the drip of hot wax. Displayed in a classical presentation, each work is a blend of references: postmodernism, Otto Dix, and Walt Disney inform his distinguished style. Black backgrounds obfuscate speculations on place and the unknown looms in darkness. Nevertheless, our curiosity pervades and we seek out clues in objects, attempt to infer them with meaning, but it is in vain. Nothing concrete arises. Di Massimo has created a conundrum, obscuring any direct paths towards truth or knowledge. What is effectuated here is a brilliant subversion of cultural symbols and meaning making – we are not meant to know or, better said, we cannot ever really know.

Di Massimo does not paint the other, rather each work is somewhat a self-portrait. He poses for his studies of the male body while his partner stands in for female figures. This is, after all, about performance and acting, and a private exploration of the human form through fantasy and projection onto one’s own ego. In self-portraiture there is a rapprochement of maker and subject, in what is, for Di Massimo, an intuitive and fragile process. We behold a metaphoric undressing, a candid removal of the proverbial armor which one dons in daily life.

Subtle fear and expectation of danger dangles in the air, extending time. Di Massimo’s work is a watershed of desire, a violent release. While the story is unfinished, the direction is clear: what is undone cannot be mended; what may be damaged may not be healed so readily.
Kate Brown

Rodolphe Janssen
Address
Livornodtraat 32 & 35
Opening hours
Tuesday up until Friday 10h – 18h
Saturday 14h – 18h
Website

Office Baroque Gallery – Brussels – Junko Oki – 18.04.2017-27.05.2017 – 6736

JUNKO OKI

Office Baroque is pleased to presents the first solo exhibition of Junko Oki in Belgium at our downtown gallery on Bloemenhofplein 5 Place du Jardin aux Fleurs.

Junko Oki started her artistic practice in the year 2002 right before turning 40. Her work consists of embroidery on old fabrics, often several centuries old, collected by her late mother. The material used by Mrs. Oki is referred to as Boro, a term that may include textiles from various origins, clothing, weavings used for candle making, tatami rimmings, as well as old bags.

Mrs. Oki’s textile compositions are rich and dense. They consist of abstract colored thread drawings implanted like vertiginous, spiraling memories into fabric. The contrast between old and new textile strata signifies an elegiac distance from past ways of living, yet her palimpsest approach can equally evoke proximity. Her aesthetics are shaped by childhood memories as well as a multitude of subliminal experiences. The repetitive manual labor of stitching and sewing, in the words of Oki, is propelled by two gravitational forces, love and death. Her work focuses primarily on human relationships, particularly those of her family and while exploring these themes, her work ranges out into automatist drawing, surrealism, poetry, art brut as well as feminist art. Oki is known for her two and three dimensional stitched and embroidered works on fabric as well as for a series of artist books.

Junko Oki is based in Kanagawa, Japan and had solo exhibitions at Dee’s Hall,Tokyo and Morioka Shoten, Tokyo. Her work was recently exhibited at the 21st Century Museum of Contemporary Art, Kanazawa and Cookie Butcher, Antwerp.

Office Baroque Gallery
Address
Bloemenhofplein 5
1000 Brussels
Opening hours
Wednesday up until Saturday 11h – 18h
and by appointment
Website

RIOT – Gent – Na Kim – 29.04.2017-30.09.2017 – 6735

NA KIM: RED, YELLOW, BLUE

With a background in graphic design, Na Kim creates expansive work that freely traverses the edge between fine art and design. By doing away with pre-existing rules and symbolic meanings, she studies the essential elements in form, rearranging it based on its geometric standards. In her work, the formal elements of graphic design are transformed into the formal language of the fine art, presenting an ongoing experimentation with new forms and content that transcend the boundary and differences that exist between contemporary art and design. SET v. 8: red, yellow, blue and selected Found Compositions are two main parts of this show in RIOT.

SET v. 8: red, yellow, blue is part of an ongoing series titled SET, first shown as a solo exhibition in New York in 2015. In SET a collection of past works dating from 2006 were presented. The book with the eponymous title functions as a catalog and an exhibition plan. In the SET series, the contents of the catalog are installed in the exhibition space, where either past commissions or studio works are collectively shown regardless of their production year, medium, or context. They are imbued with a new order based on visual elements from each component. SET v. 8: red, yellow, blue is also based on a series of selected images by three basic colors taken from a catalog with the same title.

The composition of images in Found Compositions has been made by purposeless practices, sketches, and the complete works since 2006. Collected materials from different times and places became the medium of containing memories by being connected with each other visually. These images or happenings are rearranged in an order while organizing them.

Na Kim (b. 1979)
Na Kim is a graphic designer. After studying product design at KAIST and graphic design at Hong-ik Univ. in Korea, she participated to Werkplaats Typografie in the Netherlands. She had a design studio in Amsterdam and currently works in Seoul as a member of Table Union and involved in an artist-run-space, Common Center. She was selected as Next Generation Design Leaders in 2008, was awarded Doosan Artist Award in 2013, Today’s Young Artist Award in 2014, presented by the Ministry of Culture in Korea. Besides many other projects, she was responsible for concept and design of GRAPHIC magazine from 2009 to 2011. She has held solo exhibitions, such as SET, Doosan Gallery New York, 2015; Choice Specimen, Doosan Gallery Seoul, 2014; Found Abstracts, Gallery Factory, 2011; Fragile, BMH, 2006. In addition, she has been a curator for Brno Biennale, Chaumont Festival and Seoul International Typography Biennale. Her works been invited to many international exhibitions in Kukje Gallery, Seoul; MMCA, Seoul; V&A, London; MoMA, New York; Milan Triennale Museum, Milan; CAFA, Beijing and so on

RIOT
Address
Dendermondsesteenweg 80
9000 Gent
Opening hours
Monday up until Friday 10h – 18h
Saturday 11h – 16h
and by appointment
Website

Archiraar Gallery – Brussels – Caroline Le Méhauté – 14.04.2017-20.05.2017 – 6733

Caroline Le Méhauté

My work explores the philosophical notion of Dasein: the state of being present, of being-there. I negotiate between the laws of physics, the space-time continuum, matter and play with the duality of nature and culture to suggest a state in which space and time are diluted.
I approach the questions of immensity, the imperceptible, the infinite and the void, to invite the viewer to a new metaphysical experience in an ontological perspective. I create reversals and displacements between gravity and weightlessness, surface and depth, inertia and movement, and uncertain mass dynamics. The object is present both physically and palpably, but is not quite tangible, as the mysteries of its origins are not unveiled. The work is experienced through its physicality – suggested by the scale of my sculptures, and the way they are placed in space as much as their materiality.
The minerals used are extracted directly from their place of origin and have thus been chosen specifically. These materials have travelled through the ages and become almost timeless such as Irish peat, which is the result of a specific and rare ecosystem dating back thousands of years. The association of natural materials evoking the distant origins of humanity with industrial ones allows me to create a new paradigm between past, present and future. In the same way, I revisit archetypal architectures close to pyramidal constructions or mastabas in order to create a spatiotemporal breach.
Through a play of “communicating vessels”, I make this space-time continuum tangible and paradoxically reach a form of timelessness, which roots us in the state of being present: the moment when it is possible to feel only the existence of our being as an entity belonging to a whole. It is in this timelessness, which can either trigger a sense of uncertainty or a meditative connivance, that my work tests our sensations, our perceptions and our thoughts. By doing so, I question not the why but the how to be-there and the sense responsibility that comes with it.

Caroline Le Méhauté (1982) lives and Works in Brussels and in Toulouse.
Caroline Le Méhauté reveals the close connections between culture, space and thought. She uses resources with many different levels of understanding. They unravel from form, the most noticeable, to materials, the more obvious. Then come the stages of scale and proportion. Finally we reach the range the farthest from our conscience, more profound and structural: ontology, topology and cosmology. Her works force us to turn around, to go around and namely to change the direction of our gaze and of our body and so multiplying our perspective and the movements of our mind. We are asked to move as planets. By capturing space, Caroline Le Méhauté, enthrusts thought in things whose simplicity of form does not necessarily match the simplicity of experience.
After a degree at École des Beaux‐arts de Marseille (2007), Caroline Le Méhauté created the solo exhibitions Cocotrope, at Château de Servières in Marseille (2011), Linked & Keep us posted at Bloc B in Dublin (2012). She took part in 2013 to the group exhibition Égarements with in situ installations in Domaine départemental du Château d’Avignon during the Festival des arts éphémères (organised by the FRAC PACA). She was hosted by the residencies Loft at the Servais family’s Collection (Brussels 2012‐2013) and at Fondation d‘entreprises Vacances Bleues, réseau des Mécènes du Sud (Marseille 2014). The solo show Le Calcul des moments at La Médiatine (2014) and the group show Indent at La Société (2015) are some exemples of her recent exhibitions in Brussels. In 2016, Caroline Le Méhauté exhibits at the residencies Exoplanète Lot at Maison des Arts Georges Pompidou and Usine Utopik.

Archiraar Gallery
Address
Tulpstraat 31a – 35a
1000 Brussels
Opening hours
Thurdsday upuntil Saturday 13h – 18h
and by appointment
Website

Galerie Art Depot – Bonheiden – Jorg Doring – 05.05.2017-02.07.2017 – 6730

Jörg Döring

Net als bij Andy Warhol zijn voor Döring imago’s een vertrekpunt waardoor zijn werk overeenkomsten vertoont met de Amerikaanse popart. Volgens Döring is die overeenkomst echter niet meer dan oppervlakkig: Er zijn veel stijlelementen uit die tijd maar in feite gaat het om nieuw en origineel materiaal. In tegenstelling tot de klassieke popart, laat ik niet alleen het beeld zien maar ik voeg er een nieuwe inhoud aan toe over hedendaagse, zelfs actuele onderwerpen. Op die manier krijg je een interessante dubbele bodem.

Galerie Art Depot
Address
Dorp 31
2820 Bonheiden
Opening hours
Friday up until Sunday 14h – 18h
Website

Dauwens & Beernaert Gallery – Brussels – Lost & Found – 13.04.2017-03.06.2017 – 6729

LOST & FOUND
DANIEL SPOERRI – MARCO DE SANCTIS -ADAM VACKAR -LOIC VAN ZEEBROEK – QUINTEN INGELAERE  – ALEX VERHAEST – MAXIM FRANK – STANISLAS LAHAUT – KARL PHILLIPS – LAETITIA DE CHOCQUEUSE

Dauwens & Beernaert presents: Lost & Found, a group show commemorating the 100th anniversary of Marcel Duchamp’s famous, ‘Fountain’: a quintessential example of what Duchamp called a ‘readymade’; an ordinary manufactured object designated by the artist, as a work of art.
Lost & Found features found objects, assemblages and readymades. The group show features assemblages by Daniel Spoerri, and works from young, emerging artists from Belgium, France, Czech Republic and Switzerland.
The exhibition investigates how contemporary artists direct their distinct poetic and imaginative sensibility in engaging and observing, found objects.
Lost & Found features several assemblages by Daniel Spoerri explaining his “Tableaux Pièges” as follows: “objects found in chance positions, in order or disorder (on tables, in boxes, drawers, etc.) and are fixed (‘snared’) as they are. Only the plane is changed: since the result is called a picture, what was horizontal becomes vertical.” The snare-pictures at Dauwens & Beernaert Gallery consist of the remains of a meal eaten by guests of the waffle restaurant Kinders Siska.
Quinten Ingelaere and Loïc Van Zeebroek use found objects (a shelf, a pan, a folded copper plate) as carriers for a classic art form; painting. In a new series of photographs entitled, “The Archeology of Post-Capitalism” Adam Vackar investigates the (de)sexualization of mannequins. Laetitia de Chocqueuse’s unintended self-portrait is a found object, on the back of a frame: a posthumous self-portrait made by Time.
Other artists such as Maxim Frank, Stanislas Lahaut and Karl Philips deprive found objects: often household objects (a traffic sign, model ship, or ladder) from their initial teleology, their intrinsic purpose, and turn them into a Dadaist or absurdist and sometimes tragi-comic sculptures. Thus, profane yet functional objects are turned into sacred yet useless subjects: works of art. Alex Verhaest and Marco De Sanctis investigate what it means to be lost (and finally found) in translation.

Dauwens & Beernaert Gallery
Address
Av. de Stalingrad 26
1000 Brussels
Opening hours
Wednesday up until Saturday 11h – 18h
and by appointment
Exceptionally open on Sunday 23.04.2017
Website

Galerie Liehrmann – Liège – Quentin Carnaille – 22.04.2017-28.05.2017 – 6728

Originaire de Roubaix, Quentin Carnaille vit et travaille à Lille.

Alors qu’il était encore étudiant en architecture, ses premières pièces ont d’abord été conditionnées par sa fascination pour les mécanismes horlogers. Ceux-ci ont été employés pendant plus de 5 ans comme matière première pour la création de sculptures questionnant l’homme, le temps et l’espace.
Aujourd’hui, son travail est résolument conceptuel et c’est au travers d’une analyse autobiographique et rétrospective qu’est née sa réflexion actuelle sur l’esprit humain contemporain.

L’utilisation du cube et du miroir sont des éléments récurrents dans sa pratique récente et le thème de la singularité une constante.

Galerie Liehrmann
Address
Boulevard Piercot
4000 Liège
Opening hours
Wednesday up until Saturday 13h – 18h30
Sunday 11h – 13h
Website

Van der Mieden Gallery – Antwerpen – Adam Jeppesen – 25.03.2017-06.05.2017 – 6727

ADAM JEPPESEN
The Pond

Adam Jeppesen’s exhibition requires daylight for the most optimal perception of the works.
Therefore, the gallery will be open from Wednesday to Saturday, from 11am to 6pm during the running time of the exhibition.

Van der Mieden Gallery
Address
Mechelseplein 110
2000 Antwerpen
Opening hours
Wednesday up until Saturday 11h – 18h
Website

Gladstone Gallery – Brussels – Cyprien Gaillard – 18.04.2017-17.06.2017 – 6726

Cyprien Gaillard: Jinxed Variations

Gladstone Gallery presents an exhibition of new work by Cyprien Gaillard, the artist’s first at the gallery’s Brussels location. This unique presentation expands upon Gaillard’s unremitting anthropological inquiry into the rehabilitated readymade and the friction it proposes in both material and psychological states. Featuring in excess of 90 new photos as well as large scale graphite works on paper the exhibition digs deep into the artist’s interest in layered and loaded situations. His preoccupation with and appreciation of disorder, be it as an aesthetic device or a portal into pedestrian bedlam, presents a platform thick with sociopolitical reference and philosophical inquiry.

Gladstone Gallery
Address
Rue du Grand Cerf 12
1000 Brussels
Opening hours
Tuesday up until Friday 10h – 18h
Saturday 12h – 18h
Website

Puls Contemporary Ceramics – Brussels – Irina Razumovskaya & Ida Wieth – 29.04.2017-03.06.2017 – 6725

Puls Gallery presents two young talented artists: Russian ceramicist and painter Irina Razumovskaya and Danish glass maker Ida Wieth.

IRINA RAZUMOVSKAYA (Leningrad, 1990)
Razumovskaya is a ceramic artist and painter. Her relationship with art was formed in her early childhood: from the age of five she followed art classes at the Hermitage Museum in her hometown St. Petersburg and still today visits as often as possible. Another strong influence came from studying classical languages at the gymnasium. This led to a love for ancient objects and the classical architecture and culture which accompanied them. She says: I try to see myself as a maker with similar sensibilities to those of craftsmen and draftsmen of bygone eras.
Attentive to nuances Razumovskaya is thrilled by the poetry of everyday life.
At the core of her practice is the use of delicate imagery, like the ageing of architecture where rigid things are softened with the touch of time. Or the antiquated objects for uncertain rituals performed by unknowable participants and which we no longer remember how to use.
Making “Barkskin” – the series of works presented at Puls – Irina was partly inspired by a wistful longing for the post-soviet times: the subtle dilapidation of stark unadorned constructivist forms which over time have become eased and animated by their peeling layers. These soviet structures once bold and futuristic and built with uncompromising visual grammar, have through neglect and decay become lyrical.
Razumovskaya: – I come to these forms through research on various cultures and always bear in mind their reflection on my own reality, my everyday life. This way every artwork has a personal meaning for me. For the viewer however, I prefer the experience to be more ambiguous and open to various interpretations and possibilities.
Her work has been exhibited both in Russia and internationally. She has featured in various exhibitions, won several awards and held residencies in Germany, Spain, the USA, Hungary and Taiwan. She is currently completing her second Master’s Degree at the Royal College of Art in London.

IDA WIETH (Copenhagen, 1983)
Ida Wieth combines the conceptual poetical of the artist with the technical knowledge of materials and techniques of the artisan. She uses both glass and ceramics and sometimes wood to bring forth aesthetic innovation. Wieth’s artisan persona blows and pulls “straight lines” of hot glass into hollow tubes to form fragile structural layers. These layers are then re-shaped, re-melted and assembled with thin copper wire before being paired with ceramic tubes, revealing her conceptual approach.
Wieth’s idea for the series springs from both the found and made – and from persistent observations of seeing and valuing things from more than one perspective. The sculptures in her series “Both Sides Now” relate to composite and eclectic elements within things – how there is always another side, and how this can come across differently depending on preconception, perspective and sensory perception.
The copper wire that connects the two sides, is of the same origin and appears in both its fired and unfired clear form. This too, emphasises the variability of perception seized from processed and assembled material.
Wieth studied in Edinburgh, Sweden and Denmark. Her work has been mostly shown in Denmark and Japan.

Puls Ceramics
Address
Edelknaapstraat 19
1050 Brussels
Opening hours
Wednesday up until Saturday 13h – 18h
Website

Christine Colon – Liège – Julien Allègre et Bertrand Beaussillon – 22.04.2017-21.05.2017 – 6724

Julien Allègre et Bertrand Beaussillon

Julien Allègre parvient à créer des personnages dont la présence s’impose comme une évidence.
Un mécanisme secret les mettrait en mouvement que l’on n’en serait pas autrement surpris… B.L.

Le travail pictural de Bertrand Beaussillon s’annonce en cette composition exemplaire, dénuée de toute dissonance, tissée d’une harmonie si enveloppante qu’elle instaure les prémisses d’un univers pictural à part entière.

Christine Colon
Address
Rue Saint Rémy
4000 Liege
Opening hours
Tuesday up until Thursday 13h – 17h30
Friday & Saturday 12h30 – 18h
Sunday 10h30 – 12h & 14h – 18h
and by appointment
Website

Barbé Gallery – Gent – Frederik Schnieders- 13.04.2017-14.05.2017 – 6723

No retirement | Oil on canvas | 120 x 80 cm

Frederik Schnieders
The amended church

The exhibition “The amended church “ by Frederik Schnieders’ (BE,1977) refers to the relocation of his art studio where his work has evolved to a focus on daily processes and momentums.

The paintings often start from a photo which can be videostills, landscapes, portraits or captured moments which portray a strong and powerful image.

Going through many layers of thin paint to build up vivid and bright colours he creates self explanatory oilpaintings. The exhibition shows a search for dimensionality with respect for the old masters as well as the impressionists capturing movement on canvas.

Barbé Gallery
Address
Penitentenstraat 29
9000 Gent
Opening hours
Thursday up until Sunday 14h – 18h
and by appointment
Website

Shoobil Gallery – Antwerpen – Barbara Bütikofer & Lili Kobbe – 14.04.2017-30.04.2017 – 6722

BARBARA BÜTIKOFER
LILI KOBBE
easter parade

Met een knipoog naar Faust, verwijst ‘easter parade’ niet alleen naar de timing van de expo.
Lili en Barbara wonen en werken in Frankfurt, de geboortestad van Goethe.
De schrijver van ‘Faust’ wilde het universum van de zinnelijke fenomenen behoeden voor de greep van een al te kille rationaliteit.

Bij de beelden van Barbara Bütikofer worden we vaak geconfronteerd met figuren, die steeds een eigen systeem belichamen, en hun eigen werkelijkheid. Ze snijdt, bijna onbewust, willekeurige figuren die vrij bewegen en alleen onderworpen zijn aan hun eigen wetten. Al puzzelend ontstaat een spanningsveld dat constructief en met grote nauwkeurigheid wordt vastgelijmd.

Voor Lili Kobbe is film het archetype van de verruimtelijkte tijd: een shot van één seconde bestaat uit 24 frames die ze als sokkel in haal haar tekeningen gebruikt om, weliswaar met een zekere ambiguïteit, parallellen te maken met haar werk als televisiemaker.
Door de nadruk te leggen op statische camerashots, visuele associaties, ritmische kwaliteit, en formele organisatie, zou je haar tekeningen kunnen typeren als een poëtische documentaire.

Bij het collectieve initiatief ’Passagenwerk’ combineren beide kunstenaars hun abstracte vertaling van de werkelijkheid en relativeren ze op een speelse manier een geïndividualiseerde cultuur.
Ze weerspiegelen een realiteit die versneden wordt door tegenstrijdigheden.

Hun werk situeert zich in de wereld, zoals die door de generatie van de Sturm und Drang wordt beleefd.
“De stem van het hart is doorslaggevend in een verstandige beslissing” (“Die Stimme des Herzens ist ausschlaggebend für die vernünftige Entscheidung.“); citaat van Johann Gottfried Herder

Shoobil Gallery
Address
Museumstraat 4
2000 Antwerpen
Opening hours
Thursday up until Saturday 14h – 19h
Saturday 14h – 17h30
and by appointment
Website

Galerie ES – Nijlen – Jenny Van Gimst – 23.04 / 29 & 30.04.2017 / 01.05.2017 – 6721

Jenny Van Gimst (1957, Doel) noemt haar manier van schilderen ‘hedendaags realisme’.
Ze wil in haar schilderwerk de schoonheid van het alledaagse laten zien door voorwerpen uit hun gebruikelijke context te halen en ze in een nieuw kader te plaatsen, los van andere functies.
Daarbij wordt het object zelf zo waarheidsgetrouw mogelijk weergegeven maar in een verrassende omgeving.
Objecten hebben haar altijd gefascineerd.
Met de objecten trekt ze een parallel met het individu.
Jenny Van Gimst : “Oude, versleten of kapotte voorwerpen vormen een grote uitdaging
bv oude werktuigen, een stuk gebroken glas, stenen….
Ze hebben een leven gehad maar krijgen in die nieuwe dimensie een tweede leven.
En dan komt ‘schoonheid’ aan de oppervlakte.
Want die zit in alles, je moet ze alleen willen zien.”
Jenny schildert haar werken in ‘families’, series die ze ‘settings’ of ‘associaties’ noemt.
Jenny wist van zeer jonge leeftijd dat kunst zeer significant zou worden in haar leven.
Ze volgde opleidingen aan de KASKA in Antwerpen en heeft gewerkt als illustratrice voor tijdschriften.
Sinds de jaren ’70 stelt ze tentoon in binnen-en buitenland.
Ze is lid van verschillende kunstassociaties in Frankrijk en Engeland.

 
Website

NK Gallery – Antwerpen – Ivan Razumov – 31.03.2017-29.04.2017 – 6719

THE CITY OF SUBLIME LOVE AND GREAT FUCK

UNDRAWN GRAPHIC NOVELS BY
IVAN RAZUMOV

The City Of Sublime Love And Great Fuck by Ivan Razumov is a series of drawings on paper. Separately, they are still images, each telling a story of their own.
Together, they are like chapters in a book and embrace the viewer in a vivid hidden world.

Ivan Razumov (°1972, Moscow) is known for his works on paper. Looking to genres such as fantasy, science-fiction and humor, Razumov creates drawings revealing the complex process of reconstruction and fragmentation that continually inform the personal, social and fictive experience of remembrance.

NK Gallery
Address
Museumstraat 35
2000 Antwrpen
Opening hours
Thursday up until Saturday 12h – 18h
Website

Galerie Greta Meert – Brussels – Ian Wallace – 09.03.2017-06.05.2017 – 6718

IAN WALLACE

Greta Meert Gallery is proud to present the 6th exhibition (1989, 1993, 1999, 2008-2009, 2012 ) of work by Ian Wallace (°1943, lives and works in Vancouver, Canada).

The exhibition on the ground floor of the gallery features works that emphasize the contrasting strategies of pictorial art that have characterized the work of Ian Wallace over the past 50 years and that reconsider the historical shifts that have motivated his aesthetic. This first step of radical modernity is represented by a group of three monochrome canvases from 1967 that were recreated in 2009. This early work was soon followed by an equally radical turn to conceptual art and photography. The city street motifs introduced by this photographic imagery allowed for a critical reference to the world at large that contrasted with the pure space of the monochrome canvas. The recent large canvas works exhibited in this ground floor space refer to the space of the modern museum and contrasts and synthesizes the motifs of the street and abstraction. The canvas works picturing the interior and exterior of the Museum of Contemporary Art in Barcelona (MACBA) draw attention to the contrast between the pure ideals of contemporary art and the social realities that are found in the street. Another large canvas work shows a photograph of an abstract sculpture by Barnett Newman that forms a compositional device that contrasts with our observation of the deep space of the everyday world beyond it.
The works on the second floor of the gallery focus on the intimate space of the studio and on traces of the actual production of the works themselves. The group of recent canvases consists of photographs of a montage of texts on the studio work table that refers to the artist’s interest in the poetry of Stéphane Mallarmé. In these photographs, which were taken during the creation of these works, an open copy of Un Coup de dés, the poet’s great masterpiece of 1897, is displayed over the sensuous folds of the same canvas upon which the photographs would be laminated in the finished work. This folds the conceptual nature of the poetic subject directly into the material support of its pictorial presentation. The images laminated onto these canvases contain a complex relationship of intertextual references, both literary and material, that binds together all the works in the exhibition.
Ian Wallace’s interest in a pictorial poetics of the production of the art object is also reflected in a series of works that document Mallarmé’s struggle to articulate the spatial typographical concept for Un Coup de dés in images of his handwritten outline for the composition of the poem that he presents against a monochrome abstract field.
Another similar group of works from the Hotel Series shows Ian Wallace’s workdesk in a hotel room that functions as a temporary studio and where he creates new works when travelling. On the desk some completed monochrome drawings can be seen. These very same drawings are exhibited alongside these canvas works of the Hotel Series canvases. They thus present in actuality what is only pictorial in the canvases, while also making a reference to the monochrome paintings from 1967 exhibited on the ground floor of the gallery.

Galerie Greta Meert
Address
Rue du Canal 13
1000 Brussels
Opening hoursµTuesday up until Friday 10h – 18h
Saturday 14h – 18h
Website

Galerie Fred Lanzenberg – Brussels – Guy Leclercq – 19.04.2017-17.06.2017 – 6717

GUY LECLERCQ

Lorsqu’il y a quelques années, j’eus le privilège d’exposer les oeuvres de Guy Leclercq, il avait, après un long parcours, atteint ce qui est convenu d’appeler la maturité dans ses recherches picturales. Toute représentation était bannie, à plus forte raison toute anecdote. Comment des formes apparemment très simples, seront-elles de nature à provoquer l’émotion à laquelle tient l’artiste.

Ces formes sont renouvelées à l’infini, elles se croisent, se recoupent, se superposent, dialoguent. C’est pourquoi, tout au long des années, l’oeuvre, tout en reposant sur des bases immuables, se transforme nous surprend, nous fascine et nous entraine dans cette recherche d’une sérénité certaine. Sobriété des tons, subtilité des matières, large à plats, graphismes, quelquefois incisions et reliefs tendent à développer ce sentiments d’harmonie auquel Guy Leclercq nous convie.

Plaquette éditée à l’occasion de l’exposition ” Dialogue ” de Guy Leclercq à la galerie Fred Lanzenberg du 19 avril au 16 juin 2017. Il est tiré de cet ouvrage cent exemplaires numérotés de 1 à 100 et signés par Guy Leclercq et Fred Lanzenberg.

Galerie Frred Laznzenberg
Address
Klauwaartslaan 9
1050 Brussels
Opening hours
Tuesday up util Friday 14h – 19h
Saturday 10h – 19h
Website