Frédéric Bazille exhibition explores artist’s role in Impressionist movement at National Gallery of Art – Washington, DC – 09.04.2017-09.07.2017 – 12535

Frédéric Bazille, The Improvised Field Hospital, August 1865. Oil on canvas, 48 x 65 cm (18 7/8 x 25 9/16 in.). Musée d’Orsay, Paris © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt.

Frédéric Bazille (1841–1870) created paintings inspired by contemporary life that challenged the aesthetic conventions of his day and helped to lay the groundwork of impressionism. In celebration of the 175th anniversary of the artist’s birth, Frédéric Bazille and the Birth of Impressionism brings together some 75 paintings that examine Bazille as a central figure of impressionism. The National Gallery of Art, which holds the largest group of Bazille’s works outside of France, as well as important related impressionist paintings of the 1860s, is the sole American venue for the exhibition. The first major presentation of Bazille’s work in America in 25 years, the exhibition is on view in the East Building from April 9 through July 9, 2017.

Bazille was actively engaged with the most significant pictorial issues of his era—the revival of the still-life form, realist landscapes, plein-air figural painting, and the modern nude. Drawing inspiration from the vibrant cultural life of Paris as well as from his native Provence, Bazille painted with a style that was distinctly his own.

“This exhibition shows Bazille’s key role in the developments of French painting and provides new insight into this period of impressionism,” said Earl A. Powell III, director, National Gallery of Art, Washington. “The outstanding partnership between the National Gallery of Art, the Musée Fabre in Montpelier, and the Musée d’Orsay in Paris made it possible to undertake this new study of Bazille’s work. We are delighted to reveal brand-new scientific examinations that offer new analyses, identifications, dates, and attributions.”

Frédéric Bazille and the Birth of Impressionism is the most comprehensive retrospective of Bazille’s career, featuring nearly three-quarters of his artistic output. Organized thematically, this exhibition juxtaposes works by Bazille with important works by the predecessors who inspired him—Théodore Rousseau, Jean-Baptiste-Camille Corot, and Gustave Courbet—and by contemporaries such as Édouard Manet and Claude Monet with whom he was closely associated. Continue reading “Frédéric Bazille exhibition explores artist’s role in Impressionist movement at National Gallery of Art – Washington, DC – 09.04.2017-09.07.2017 – 12535”

The Petworth Park Antiques & Fine Art Fair to be held in May- 05.05-07.05.2017 – 8535

A view near Stroud in Sussex by Abraham Pether (1756-1812), oil on canvas, signed and dated 1788, 28″ x 36″ (35″ x 43″ in original Georgian carved gilded frame), £12,000 from The Parker Gallery

The market town of Petworth is getting excited in anticipation of visitors flocking to the area for The Petworth Park Antiques & Fine Art Fair, which is taking place for the third successive year in the ‘Capability’ Brown designed grounds of the palatial Petworth mansion from Friday 5 until Sunday 7 May 2017 in West Sussex.

Petworth town itself boasts around 30 antiques and art galleries, as well as award winning restaurants, pubs and much more. Easily accessible from London, the south and further afield, Petworth has a lot to offer those wishing to enjoy a day out or even a weekend away. Antiques fair ticket holders have the added advantage of free parking right outside the marquee inside Petworth Park and free entry to view the magnificent Turners, and other Old Masters by Van Dyck and Reynolds housed in the National Trust run property.

Over the 3 days across the first weekend in May, the purpose-built marquee accommodates 48 specialist dealers, all showing their finest wares. Traditional paintings sit alongside contemporary art on many stands, so there is plenty to appeal to differing tastes. Highlights include Arthur Rackham’s original illustration Hope For The World, priced at £29,500, which graced the cover of Hawthorn’s Wonderbook, to be found on Kaye Michie Fine Art’s stand alongside Mount Vesuvius by Mary Fedden (1915-2012), £15,850. Haynes Fine Art has two further Fedden paintings, both of which were reportedly painted at the same time, as the cat in Persian Still Life shows the feline with its tongue hanging out apparently enticed by the still life the artist was painting entitled Two Fish! Another highlight from Haynes Fine Art is a pencil sketch for Tribe of Benjamin Seizing their Brides by Sir John Everett Millais PRA (British, 1829-1896), 73⁄4″ x 111⁄2″, priced in the region of £15,000-£25,000. Continue reading “The Petworth Park Antiques & Fine Art Fair to be held in May- 05.05-07.05.2017 – 8535”

Christie’s to offer The Metropolitan Opera Guild Collection – New York – 15.06.2017 – 7535

Franz Schubert (1797-1828), Autograph manuscript signed for his piano sonata in A-flat major, D. 557, May 1817. 8 pages (240 x 320mm). Estimate: $350,000-500,000. © Christie’s Images Limited 2017

Christie’s announces The Metropolitan Opera Guild Collection, a dedicated auction of rare musical manuscripts and memorabilia, to take place in New York on June 15, 2017, with two exquisite pieces of jewelry to be sold in the Magnificent Jewels auction on June 20, 2017. Funds from the sale will benefit the Opera Guild and the Metropolitan Opera. Highlights will be previewed during a global tour with exhibitions in London and Hong Kong in April and May. The full collection will be on preview in New York June 10-14.

The collection includes approximately 90 lots and represents a selection of autograph material from some of the most important composers of the Western classical tradition spanning from the Baroque era to the 20th-century. The majority of manuscripts come from the carefully assembled gift of Edwin Franko Goldman (1878-1956), renowned American composer and trumpeter with the Metropolitan Opera. The sale is led by the sole surviving autograph musical manuscript by Schubert for his Piano Sonata in A flat Major (estimate: $350,000-500,000). Additional highlights include annotated manuscripts and letters by the trinity of Bach, Mozart and Beethoven. Illuminating the sale are objets d’art with provenance grounded in opera and classical music including Enrico Caruso’s Cartier gold eyeglass case with glasses and Arturo Toscanini’s Gubelin open-faced pocket watch.

Sven Becker, Head of Books & Manuscripts, Christie’s New York, remarks: “Christie’s is honored to be entrusted with this special collection offering a concentration of fine musical autograph material. Collections such as this come to the market very infrequently; even more rarely do they bear the name of such a well-regarded American institution.”

“We are pleased to be working with Christie’s to present this auction at the time of two important milestones in 2016/7: the 60th anniversary of the death of Edwin Franko Goldman and the 50th anniversary of the Met Opera at Lincoln Center,” says Richard J. Miller Jr., President of the Metropolitan Opera Guild. “Funds generated from this sale will ensure that the Guild and the Metropolitan Opera are poised to continue fulfilling their respective missions for years to come.”

Cataloguing and complete details of the sale will be available in May 2017.

Global Tour Dates and Locations:
• London | Highlights Exhibition | April 19-27
• Hong Kong | Highlights Exhibition | May 26-29
• New York | Sale Preview | June 10-14

Website : Christie’s
Source : Artdaily

Aurel Scheibler exhibits Öyvind Fahlström’s first variable sculpture Sitting…Blocks from 1965-66 – Berlin – 08.04.2017-24.06.2017 – 11535

Sitting…Blocks, 1965-1966. Tempera on vinyl and wood, 10 blocks, 38 x 38 x 38 cm (each).

Aurel Scheibler, in collaboration with The Öyvind Fahlström Foundation, presents the solo exhibition by Öyvind Fahlström (1928–1976) featuring his first variable sculpture, Sitting…Blocks from 1965-66. It is the first time this important work is presented in Germany since it was shown in 1968 at documenta IV in Kassel. A selection of his works from the 1960s and 1970s also are on view.

One of the most complex and extraordinary artists of his time, Öyvind Fahlström is regarded today as a pioneer of interactive multimedia art. Fahlström started his Sitting… series shortly after he moved to New York in 1961. It signifies a new period in Fahlström’s work in which he invented “variable painting” and began to express meanings and events solely with the use of abstract character-forms.

In the first work of the series, Sitting… (1962), Fahlström started using figurative elements and created a complex pictorial space in which many events happened at the same time, overlapping and influencing each other.

The subsequent work, Sitting…Six months later (1962) was Fahlström’s first variable painting. In these works, painted elements could be attached to a painted panel with magnets, string or inserted in slits in the panel. Theoretically, they could be arranged in any configuration. Continue reading “Aurel Scheibler exhibits Öyvind Fahlström’s first variable sculpture Sitting…Blocks from 1965-66 – Berlin – 08.04.2017-24.06.2017 – 11535”

Kunsthall Trondheim opens exhibition of works by Marjetica Potrč – 06.04.2017-21.05.2017 – 10535

Marjetica Potrč, The Sami, Along with Their Ashaninka Friends, Contemplate Coexistence with the Earth (2016), ink on paper, 76.0 x 56.0 cm. Courtesy the artist and Galerie Nordenhake, Berlin/Stockholm.

In the first ever issue of e-flux magazine (2008) Marjetica Potrč wrote a text on her 2006 experiences from the Acre region and The Croa River community – approximately four hundred families spread out across eighty thousand hectares of Amazonian forest. The community is built on ”self-organization, sustainable growth, and local knowledge”. Potrč argues that the standpoints of these small-scale structures could leave important contributions to discussions on contemporary societal issues in completely different contexts.

The exhibition On Coexistence builds on the research and projects Marjetica Potrč has carried out, in Acre and in many different parts of the world, but always with a focus on community, sustainability and building new knowledge on traditional grounds. As an artist and architect, she has often engaged in collaborations and participatory design projects. Energy and water infrastructures have often been at the core of her practise, as in the famous Caracas Case Project, Dry Toilet (2003): an eco-friendly, waterless toilet for the La Vega barrio. In 2015, the public art project Of Soil and Water: King’s Cross Pond Club (together with Ooze) gave Londoners the possibility to swim in a big pond, free of chemicals since the water was kept clean by plants. She states that the projects aim to emphasize: “the importance of soil and water, two natural resources we vitally depend on but often take for granted […] while giving visitors a first-hand experience of humanity’s relationships and responsibilities toward nature.”

Today, nine years after the e-flux text, Marjetica Potrč´s views on local knowledge are shared with a growing number of people. Climate changes are an everyday experience and discussions about “humanity’s relationships and responsibilities toward nature” are gaining momentum. It seems we have to find ways to identify with that which conditions our existence on this planet, to see the human in a broader context – not as a sovereign but as a small part entangled in and depending on a complex weave. The sharp border between the human, the animal, the nature, seems to be transgressed. Marjetica Potrč´s oeuvre offers many entrances to this current discussion. In On Coexistence the focus lies on indigenous knowledge. To coexisting with nature is for the indigenous peoples nothing new – it´s the foundation of their cultures. The large wall drawings can be read as narratives or thought maps, visual conclusions from Marjetica Potrč extensive research. Continue reading “Kunsthall Trondheim opens exhibition of works by Marjetica Potrč – 06.04.2017-21.05.2017 – 10535”

Mike Nichols’ The Graduate- New 4K restoration to be released nationwide for 50th anniversary – 8534

Photo: Rialto Pictures.

New York-based specialty distributor Rialto Pictures and Studiocanal will release Mike Nichols’ groundbreaking The Graduate, starring Dustin Hoffman and Anne Bancroft, in new 4K digital prints beginning in April.

The 50 anniversary restoration will have its World Premiere on April 8 at the TCL Grauman’s Chinese Theatre in Hollywood, as a centerpiece event of this year’s TCM Classic Film Festival. The new Graduate restoration will then play in over 700 movie theaters nationwide on April 23 and 26, as part of TCM and Fathom Events’ monthly “TCM Big Screen Classics” series.

The new restoration will also screen at this year’s Il Cinema Ritrovato festival in Bologna and will be released theatrically and as a special edition Home Entertainment release in all Studiocanal territories (France, Germany, U.K., Australia and New Zealand) throughout the summer.

Hoffman, in his star-making, breakout role, is Benjamin Braddock, the college track star suddenly adrift after graduation, and ripe for seduction by an older, married woman: Bancroft’s coldly calculating friend-of-the-family Mrs. Robinson. When Ben ultimately falls for dream girl Elaine (Katharine Ross), who happens to be the Robinsons’ daughter, it sets up a love triangle like no other in American films up to that time.

Adapted from the Charles Webb novel by Buck Henry and Calder Willingham (which immortalized the word “plastics” in the lexicon of hip expressions), THE GRADUATE was the biggest box office surprise of the decade, nominated for seven Oscars® andwinning for director Nichols’ sophomore effort. The classic “Top 40” score by Simon & Garfunkel started a new, youthful trend in soundtrack music as well.

Source : Artdaily

Exhibition explores archaeological finds from shipwrecks off the coast of Sicily – Copenhagen – 06.04.2017-20.08.2017 – 10534

Bronze ram from a warship, 8th cent. BC. Discovered off the west coast of Sicily, 2010.

The spring special exhibition at the Glyptotek plunges deep beneath the surface and explores archaeological finds from shipwrecks off the coast of Sicily. The exhibition will be presenting a wide selection of treasures from shipwrecks, ranging across exclusive bronze wares, vases and weapons reflecting the many facets of Antiquity. With a time frame of almost 3000 years the exhibition also sheds light on the significance of the Mediterranean for trade, cultural encounters and perilous journeys and demonstrates that the ancient world was also globalised.

Trade, Perils and Mythology
By virtue of its geographical position alone, Sicily has always been a natural trading nexus for merchants from near and far. So such races as the Phoenicians, Greeks, Romans, Byzantines, Arabs and Normans have exchanged goods, knowledge and cultural customs and have contributed to the island’s reputation as an exotic marketplace. This diversity has also led to the playing out of cultural strife on Sicily. This often resulted in naval battles and the exhibition also displays the legacy of this in the form of, for instance, war helmets and ships beaks for the ramming of enemy vessels. Today, shipwrecks form a wreath around the island like a unique pearl necklace – from warships sunk in historical sea battles to merchant vessels which foundered under the assault of wind and weather.

At the same time Sicily and the surrounding sea have always been an area where reality and mythology meet. One example of this is the way the island constituted a setting for the tale of how the narrow, dangerous Straits of Messina were the domain of the sea-monsters Scylla and Charybdis. The sea was clothed in mystery, and the exhibition illustrates the ancient world’s notions of sea-monsters, sirens and sea gods.

The Globalised Past
”War and Storm. Treasures from the Sea Around Sicily” shows how the sea shaped Antiquity’s world picture, while, at the same time demonstrating that global links and cultural encounters are anything but a purely modern phenomenon.

On the contrary: the sea formed the basis for a large part of the modern world, and mariners and merchants of Antiquity can be seen today as the forerunners of the European economic community.

The luxury items shown in the exhibition were transported round the world by water. For example: in this exhibition you can experience a life-sized elephant’s foot in bronze, which in all probability was part of a complete elephant. Even though the rest of the enormous figure is thought to lie at the bottom of the sea, the find is a reflection of the extraordinarily active and diverse world of ancient trade.

Website : Glyptotek
Source : Artdaily

Philippe Braquenier’s Palimpsest at the Ravestijn Gallery in Amsterdam – 07.04.2017-20.05.2017 – 11534

Palimpsest / ARNANO – Grenoble, France – 20/03/02014. Print size: 100 x 110 cm / framed. Edition of 5 + 1 AP.

The natural foundations of our memory are slowly collapsing. Remembering as a basic human activity is turning into an underrated exercise. This is because more and more information is externalized on portable devices, hard drives and online cloud services. Mankind’s burgeoning desire is to rescue every bit of information from obscurity and safeguard scien-tific and cultural knowledge. Yet, to do so means that we are becoming increasingly de-pendent on technology and digital media.

The acceleration of technology introduces some serious risks. It dangers the preservation of entire bodies of knowledge. This is due to the decreasing life-span of digital formats and platforms used to storing mankind’s memory. Large scientific institutions like NASA have had to encounter the challenges of digital revolution with diligence. Their efforts have been progressively focused on recovering data from complete obliteration from old file formats. This said, digital dark age is a factual threat if sustainable methods for safekeeping data are not addressed with urgency.

Philippe Braquenier’s Palimpsest is an exhibition that crops up from this hastily developing technological landscape. It bears witness to the contemporary infrastructures of information repositories. In architecture, the word palimpsest is used to refer to the accumulation of de-sign elements in a particular place over time. Braquenier’s photographs incorporate architec-tural, technological and natural components with impressive clarity. The libraries, data cen-tres and both natural and built environments Braquenier approaches, hold a strong reference to the legacies of human knowledge.

The proximity of natural and technological milieus seems to propose a dependency in which one cannot exist without the other. Braquenier’s interest in the information depots expands from the question of their relationship to landscape and urban infrastructures, to what is re-quired to sustain the archives of human history. The aesthetic quality of Braquenier’s work is exquisite and well-measured. It points us to consider our forever sprouting interactions with technology.

Philippe Braquenier, born in 1985, is a Belgian artist working in conceptual and documentary photography. He received his BFA in photography from the Helb INRACI and has exhibited in Foto Museum Antwerpen, The Brussels Royal Museum of Fine Arts and Aperture Foundation in New York among other institutions and galleries. His work has recently been published in Wired, Aint-Bad, Médor and Accattone Magazine. Palimpsest will be published as a book later on during the year.

Website : Ravestijn Gallery
Source : Artdaily

Masterworks by Moran, Sandzén, Couse, Rockwell highlight May 3 American Art Signature Auction – Dallas, TX – 03.05.2017 – 7534

Birger Sandzén (Swedish/American, 1871-1954), Creek at Twilight, 1927. Oil on canvas, 48 x 60 inches. Estimate: $300,000 – $500,000.

Continuing in its reputation for offering outstanding examples from virtually every category of American Art, Heritage Auctions’ American Art Signature Auction May 3 will feature masterworks by trailblazers such as Thomas Moran, E. Irving Couse, Birger Sandzén and Norman Rockwell. Additionally, a significant selection of Early American Modernist works on paper from the collection of Dr. and Mrs. Henry and May Ann Gans will prove a true highlight for savvy collectors.

Leading the sale is Thomas Moran’s Mountain Lion in Grand Canyon (Lair of the Mountain Lion) (est. $600,000-800,000). Previously owned by distinguished Western Art collector William Thomas Gilcrease, the painting’s impeccable provenance further underscores its importance within Moran’s oeuvre. Although Gilcrease donated the majority of his collection to his eponymous museum in Tulsa, he kept Mountain Lion in Grand Canyon for himself, ultimately gifting it to his daughter, Des Cygne. The painting has remained in the family of Des Cygne’s husband, the late Corwin D. Denney, a Gilcrease Museum board member and philanthropist in his own right.

“Once again, we have obtained a superb selection of American works from private sources, and we are thrilled to present fresh to market masterworks at various price points. Considered by many to be the premier painter of the American West, Thomas Moran captured the imagination of viewers at the turn of the century, and his works such as this helped inspire the creation of the National Park System,”said Aviva Lehmann, Heritage Auctions’ Director of American Art.

Birger Sandzén’s Creek at Twilight (est. $300,000-500,000) from 1927 is a large-scale example of the artist’s painterly virtuoso. Exemplifying his hallmark Fauvist palette and bold, energized brushwork, this monumental example showcases the artist’s ability to truly dazzle his viewer. Purchased in 1927 directly from the artist’s trunk by the graduating class of Washington High School, Milwaukee, Wisconsin, Creek at Twilight has remained in the school’s possession to this day. Appearing at auction directly from the Washington High School Alumni Scholarship Foundation, proceeds from the sale will benefit the foundation’s Continuing Education Scholarship Fund. Continue reading “Masterworks by Moran, Sandzén, Couse, Rockwell highlight May 3 American Art Signature Auction – Dallas, TX – 03.05.2017 – 7534”

Museum of Fine Arts, Boston, debuts Matisse in the Studio, revealing unprecedented insight into artist’s mind – Boston, MASS – 09.04.2017-09.07.2017- 12534

Henri Matisse (French, 1869–1954), Interior with an Etruscan Vase, 1940. Oil on canvas. The Cleveland Museum of Art, Cleveland. Gift of the Hanna Fund. Courtesy of The Cleveland Museum of Art © 2017 Succession H. Matisse / Artists Rights Society (ARS), New York. Courtesy, Museum of Fine Arts, Boston.

Matisse in the Studio is the first major international exhibition to examine the roles that objects from the artist’s personal collection played in his art, demonstrating their profound influence on his creative choices. Henri Matisse (1869–1954) believed that these objects were instrumental, serving both as inspiration and as a material extension of his working process. In 1951, he described them as actors: “A good actor can have a part in ten different plays; an object can play a role in ten different pictures.” The exhibition presents a selection of major works by Matisse from different periods of his career—including approximately 34 paintings, 26 drawings, 11 bronzes, seven cut-outs and three prints, and an illustrated book. The artworks are showcased alongside about 39 objects that the artist kept in his studios—many on loan from the Musée Matisse, Nice, as well as private collections—and publicly exhibited outside of France for the first time. They include a pewter jug, a chocolate maker given as a wedding present and an Andalusian vase found in Spain, as well as textiles, sculptures and masks from the various Islamic, Asian and African traditions that Matisse admired. On view at the MFA from April 9 to July 9, 2017 in the Ann and Graham Gund Gallery, Matisse in the Studio travels to the Royal Academy of Arts in London from August 5 to November 12, 2017. An illustrated catalogue, produced by MFA Publications, accompanies the exhibition with contributions by renowned Matisse scholars. The exhibition is organized by the Museum of Fine Arts, Boston, and the Royal Academy of Arts, in partnership with the Musée Matisse, Nice.

The exhibition was co-curated by Helen Burnham, Pamela and Peter Voss Curator of Prints and Drawings at the MFA; Ann Dumas, Curator of the Royal Academy of Arts; and Ellen McBreen, Associate Professor of Art History at Wheaton College and a prominent Matisse scholar.

“Matisse in the Studio offers the rare opportunity to observe the workings of a great artist’s mind. We are thrilled to be able to display so many objects from Matisse’s own collection and demonstrate their central importance to his creative process,” said Burnham.

Henri Matisse was one of the great artists of the 20th century, known for his extraordinary approach to color and composition. Born in Northern France, he studied in Paris and moved frequently during his long career, bringing his personal collection of objects with him from studio to studio, and eventually settling in Nice, in the South of France. While Matisse’s enormous impact on Modern art has been widely acknowledged, his sustained interest in the art of cultures outside of the French tradition in which he was raised has been little explored. Continue reading “Museum of Fine Arts, Boston, debuts Matisse in the Studio, revealing unprecedented insight into artist’s mind – Boston, MASS – 09.04.2017-09.07.2017- 12534”

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.


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

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.


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 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
Tichelrei 82
9000 Gent
Opening hours
Friday up until Sunday 14h – 18h
and by appointment

V&A announces plans for new Photography Centre and expansion of its photography collection – 8533

Arrival of the RPS Collection at the V&A © Victoria and Albert Museum, London.

Victoria and Albert Museum announced the expansion of its vast collection of historic and contemporary photography with the transfer of the Royal Photographic Society (RPS) collection from the Science Museum Group. The addition of over 270,000 photographs, 26,000 publications and 6,000 pieces of camera-related equipment reinforces the V&A’s position as one of the most important photography collections in the world.

Through its FuturePlan development project, the V&A will establish a new Photography Centre, creating a new public space to celebrate, appreciate and study photography. Due to open in Autumn 2018, it will be accompanied by a Museum-wide photography festival and a new digital resource for photography enthusiasts around the world.

The creation of the Photography Centre will see the V&A more than double its current photography display area in original nineteenth-century picture galleries by 2018. Designed by David Kohn Architects, it will allow the V&A to display a larger number and range of photographs, negatives, camera technology, books and archival materials than ever before. The Photography Centre will also facilitate exciting events and activities. Phase two of the project will expand the gallery space further and provide a teaching and research space, a browsing library, and a studio and darkroom to enable photographers’ residencies.

New purpose-built storage facilities have been created to house the expanded photography collection, and an extensive project to catalogue and digitise the RPS collection is now underway. This digitisation will provide web access and research resources for all audiences and photography lovers around the world. The Museum will also continue its programme of major photographic exhibitions at the V&A and other venues in the UK and overseas. Continue reading “V&A announces plans for new Photography Centre and expansion of its photography collection – 8533”

Camden Arts Centre opens first major retrospective of 91-year-old Romanian artist Geta Brătescu in London – 07.04.2017-18.06.2017 – 10533

Le Theatre des Formes, 2011. Collage on paper, 6 parts. Courtesy of the artist, Ivan Gallery, Bucharest and Galerie Barbara Weiss, Berlin. Photo: Stefan Sava.

Camden Arts Centre presents the first solo exhibition of Romanian artist Geta Brătescu in London. Her vivid practice has comprised performance, textile work, paper collage, printmaking, film and installation. The Studio: A Tireless, Ongoing Space provides a rare opportunity to discover the breadth of the artist’s oeuvre through her long-standing yet not widely known practice.

Living and working for most of her life in Bucharest under Ceaușescu’s repressive communist regime, Brătescu embraced the studio as an autonomous space, free from economic or political influences. Her exhibition at Camden Arts Centre will focus on this lifelong approach to the studio as a performative, contemplative and critical space to reflect on one’s own position in the world.

Throughout her career she has looked at this space as a place to redefine the self, raising questions of identity, dematerialisation, ethics and femininity. Fascinated by literature, stories from Aesop and Kafka and prominent figures such as Medea, Dido or Faust reappear in her work, forming a repertoire of philosophical enquiry.

Much of Brătescu’s practice dissipates boundaries between art and life. Incorporating everyday items such as cigarette papers, teabags and the wooden stirrers from her daily coffee, works accrue time throughout their production, taking on a diaristic nature. This reflection on the everyday takes on a particular autobiographical intimacy in seminal pieces such as Vestiges (Vestigii), 1978, where fabric scraps inherited from her mother over the years are carefully configured on the page. Other works employ methods associated with revealing hidden emotions and internal conflicts, such as automatic drawing, ink-blot pictures and regularly drawing with her eyes closed, where Brătescu taps into an inner consciousness to bring gesture and association to the fore. Continue reading “Camden Arts Centre opens first major retrospective of 91-year-old Romanian artist Geta Brătescu in London – 07.04.2017-18.06.2017 – 10533”

The experimental vision and spirit of the Fotoform group is on view at Howard Greenberg Gallery – New York – 06.04.2017-13.05.2017 – 11533

Vera Lutter, Clock Tower, Brooklyn, June 29, 2009. Unique gelatin silver print, 19 x 19 1/4 inches.

In 1949, a group of avant-garde photographers got together in Germany to resusitate creativity in photography, which had been deemed degenerate by the Nazis. Founded by Otto Steinert, the group became known as Fotoform. By picking up where the Surrealists and the Bauhaus left off, Fotoform became a movement and spread internationally.

The experimental vision and spirit of the Fotoform group is on view in The Mechanics of Expression: Vera Lutter, Sameer Makarius & Otto Steinert at Howard Greenberg Gallery from April 6 – May 13,, 2017. The exhibition explores work by Steinert and his Fotoform group, as well as Sameer Makarius (1924-2009) who formed a photography group in Argentina, and contemporary artist Vera Lutter. Although living in different countries at different times, the artists exhibit a similar visual vocabulary.

From its origins, the medium of photography has held out the promise of enhanced vision, of eyes outside our bodies, in the words of Laszlo Moholy-Nagy. It has enticed its practitioners into realms of experiment and speculation, and inspired them to produce works that are equal parts science and self-expression. Even as the medium evolved artistically toward a documentary precision and a fidelity to appearances, it developed an alternative history, a tradition of testing the boundaries of the visual. The artists in the exhibition have carried that tradition forward in dramatic ways. They have given free rein to photographic processes, embraced abstraction, explored extreme ideas of form, and adapted the oldest photographic tools to new uses and formats. Continue reading “The experimental vision and spirit of the Fotoform group is on view at Howard Greenberg Gallery – New York – 06.04.2017-13.05.2017 – 11533”

Exhibition at The Fine Arts Museums of San Francisco celebrates ‘The Summer of Love’ – San Francisco, CA – 08.04.2017-20.08.2017 – 12533

Herb Greene, “Dead on Haight Street,” [Left to right: Jerry Garcia, Ron “Pigpen” McKernan, Phil Lesh, Bob Weir and Bob Kreutzmann], 1967 (printed 2006). Platinum print. Private collection. © Herb Greene Image Courtesy of the Fine Arts Museums of San Francisco

The Fine Arts Museums of San Francisco present The Summer of Love Experience: Art, Fashion, and Rock & Roll, an exhilarating exhibition of iconic rock posters, photographs, interactive music and light shows, costumes and textiles, ephemera, and avant-garde films at the de Young. A 50th anniversary celebration of the adventurous and colorful counterculture that blossomed in the years surrounding the legendary San Francisco summer of 1967, the exhibition presents more than 400 significant cultural artifacts of the time, including almost 150 objects from the Fine Arts Museums’ extensive permanent holdings, supplemented by key, iconic loans.

“The 1967 Summer of Love was a defining moment in San Francisco’s history,” states Max Hollein, Director and CEO of the Fine Arts Museums of San Francisco. “With the de Young’s proximity to the Haight-Ashbury district, our exhibition is the cornerstone of a city-wide celebration. The work created during this period remains a significant legacy and we are uniquely positioned to present this story in all of its controversial glory.”

In the mid-1960s, artists, activists, writers, and musicians converged on Haight-Ashbury with hopes of creating a new social paradigm. By 1967, the neighborhood would attract as many as 100,000 young people from all over the nation. The neighborhood became ground zero for their activities, and nearby Golden Gate Park their playground. Continue reading “Exhibition at The Fine Arts Museums of San Francisco celebrates ‘The Summer of Love’ – San Francisco, CA – 08.04.2017-20.08.2017 – 12533”

Christie’s Geneva announces first ever dedicated Rolex auction session – 15.05.2017 – 7533

Rolex. A Stainless Steel Chronograph Wristwatch with Green « Khanjar » Symbol, presented by the Sultan of Oman to the current owner in 1974, Oyster Chromograph, Daytona Model, REF. 6263, Circa 1972. Estimate: CHF/US$320,000 – 420,000. © Christie’s Images Limited 2017.

Christie’s Geneva will dedicate the afternoon session of its Important Watches auction on 15 May entirely to Rolex by offering 116 watches of 55 different references, retracing the history of this watchmaker from the 1930s to the latest models introduced to the market. This is the largest gathering of Rolex timepieces any auction house has ever offered in one single afternoon, with estimates ranging from CHF/US$2,000 to CHF/US$ 500,000 and we are delighted to take young as well as established collectors and watch enthusiasts on a discovery tour:

A new discovery and entirely fresh to the market with only two previous owners, the Rolex gold 6264 Paul Newman tropical lemon dial is a watch that almost nobody knew existed until recently. What really sets the pulse racing when one is first confronted with this watch is the realization that both the outer minute/fifths of a second ring and all three subsidiary dials have tropicalized from black to an even rich chocolate brown. This incredible tropicalization comes on top of the fact that the dial is an extremely rare variant in its own right. The so-called “lemon” Paul Newman refers to the pale hue of the background colour, very few examples are known and the shade can vary from pale straw to almost yellow. Only four examples of the 18K gold reference 6264 are known publically with a lemon dial with white printed subsidiary numerals, of these four, one other example is known to be tropicalized. Estimate: CHF/US$500,000 – 800,000.

The present watch is from the exceedingly small series of so-called “Green Khanjar” Daytonas made for the Sultan of Oman, to be presented as token of appreciation. To date, less than 10 examples of this model in stainless steel are known to exist, references 6263 and 6265, featuring silvered or black dials. The present specimen bearing serial number 3’048’923 is believed to be the earliest known “Green Khanjar” Daytona known to date. Very recently discovered and one of the exceedingly few true “hidden treasures” to appear in public in recent years. Estimate: CHF/US$320,000 – 420,000. Continue reading “Christie’s Geneva announces first ever dedicated Rolex auction session – 15.05.2017 – 7533”

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

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

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


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
Bloemenhofplein 5
1000 Brussels
Opening hours
Wednesday up until Saturday 11h – 18h
and by appointment

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


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

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

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