Borgloon – Luc Tuymans – The Swamp – 09.04.2017- 24.05.2017 – 4779

The Swamp’, consists of 3 art works, each made in very different media.. Photo: Sjors Swierstra.

Resethome is a sculpture, an artist residency and an exhibition venue combined. Conceived and built by the Belgian artist Gert Robijns in the footprint of his grandmother’s former home, as a free space for art, RESETHOME is dedicated to bringing artists and audiences together in the village of Borgloon, Limburg.

On 9 April 2017, Resethome welcomed its first illustrious guest, the artist Luc Tuymans, with his solo exhibition ‘The Swamp’. Luc Tuymans is one of the few artists who, from the 90ies onwards, continually questioned and redefined painting, thereby recalibrating the medium’s potential on a global scale.

‘The Swamp’, consists of 3 art works, each made in very different media.

Setting the conceptual tone, ‘Shadows’ has been made by tracing the shadows cast on the floor by the sun shining through the windows with chalk. The inner shell of Resethome thus becomes a three-dimensional drawing: a graphic installation. With the passage of time an overlap occurs, as newly cast shadows cross over drawn shadows, accentuating the earth’s orbit around the sun. As an introverted sundial, it draws attention to the precision involved in capturing a specific time and place. Every day, at one moment – Belgian weather permitting – the shadows, both drawn and real, will appear to coincide. However, no exact synchronisation is possible until the earth has completed its year-long revolution around the sun. With simple means, the room becomes a timer that is counting down, poignantly bringing into view the inexorable slippage of time and the futility of chalked-in memories.*

A second work, ‘Plates’, reprises a series of lithographs of industrial china crockery that was mass-produced during the soviet era in Croatia. The plates’ innocuous, domestic appearance belies the ideological structures and industrial complexity that enabled their production and dissemination. Depicted frontally, as if displayed on a wall, the paintings of the plates are here reproduced as stickers and attached to the windows. They therefore cast their own shadow. The painted highlights reflecting off the golden rim of each plate in turn visually invoke a luminous orbit.

The space upstairs accommodates a floor painting entitled ‘The Swamp’ after a work the artist painted in 2017. The painting’s wooden base, raising it slightly off the floor, involves some perspectival trickery: the irregular rhomboid shape draws the viewer in: amongst the patches of light the advancing, crawling figure of a person in camouflage can be discerned, leaving no shadow of a doubt upon which impending world events the artist is speculating.

This is the only one-person show Luc Tuymans is presenting in 2017.

Resethome offers a place for artistic production and reflection: it hosts residencies for artists and periodic exhibitions. Designed to draw contemporary visual art, artists and audiences to the Limburg region, local and from further afield, it aims to open up the village of Borgloon to an effervescent dialogue with contemporary art.

*This work echoes the pieces ENDE that Luc Tuymans realized in 2007 at Kabinett für Aktuelle Kunst, Bremerhaven, when he painted the small exhibition space grey and the shadows of the window frames were highlighted in white. It also recalls a work the artist made for the exhibition Before it disappears and afterwards in Watou, Belgium (1998), for which he painted in the shadows of cars parked in a street.

Resethome – Luc Tuymans – The Swamp – 09.04.2017- 24.05.2017

Website : Resethome
Website : Borgloon
Source : Artdaily

Oostende – Frans Masereel and Contemporary Art: images of resistance – 01.04.2017-03.09.2017 – 4778

Image : Frans Masereel, Ein Gehirn (from the series ‘Bilder der Grossstadt’), 1926.
© SABAM Belgium 2017 & Masereelstiftung Saarbrücken

Frans Masereel and Contemporary Art: images of resistance reveals Masereel’s vision of the world, his social criticism and pacifism. Frans Masereel (1889-1972) can be considered the most important graphic artist and woodcutter of the twentieth century. Mu.ZEE looks back on his work, and brings Masereel’s ideas into dialogue with today’s society through the work of contemporary artists from Europe, the Middle East, Africa and America: Mary Evans, Anton Kannemeyer, Glenn Ligon, Dan Perjovschi, Billie Zangewa, William Kentridge, Philip Aguirre y Otegui, Slavs and Tatars, Kerry James Marshall, Papa Mfumu’eto 1er.

The exhibition highlights the artists’ social commitment and brings different kinds of pacifism and internationalism to the fore, which are often associated with varied motifs and open to multiple interpretations. At the beginning of the twentieth century, but also before, people were already thinking about the developments that we would now call contemporary, such as migration and globalisation.

From a constructive standpoint, the artists question injustice and inequality. With a critical eye, and sometimes with satire, they tackle the subjects that personally interest them and offer them up for discussion via images. As an illustrator for newspapers and magazines, and working with woodcuts, Masereel had the opportunity to pose critical questions to a wide audience in an accessible manner. Visual immediacy and storytelling are just two of the strategies that are explored in the wide range of exhibited works. The common denominator is a positive outlook on the future and, in this, Masereel’s portrayal of mankind was unfailingly optimistic.

Mu.ZEE – Frans Masereel and Contemporary Art: images of resistance – 01.04.2017-03.09.2017

Website : Mu.ZEE
website : Oostende

Brussels – Yves Klein – 29.03.2017-20.08.2017 – 4777

Yves Klein and the Blue Globe 14 rue Campagne-Première, Paris, 1961 Artwork © Yves Klein, ADAGP, Paris / SABAM, Bruxelles, 2017 Photo © Harry Shunk and Janos Kender © J.Paul Getty Trust. The Getty Research Institute, Los Angeles.

This spring, in cooperation with Tate Liverpool, BOZAR Centre for Fine Arts presents a monographic exhibition devoted to the French artist Yves Klein (1928–1962). Klein created paintings and sculptures, influenced the development of performance art, wrote works for the theatre and music and also experimented with radical architecture. He became renowned, above all, for his use of a vivid ultramarine pigment (International Klein Blue – IKB). His monochrome paintings in this characteristic deep blue shade gave expression to his ideas about Zen and spiritual infinity. Klein sought to express absolute immateriality and infinite space through pure colour.

Klein’s short but spectacular career shook the European art world to its foundations. Even though he died at just 34 years of age from a heart attack, he left behind a groundbreaking body of work. The exhibition pays tribute to his pioneering work, which paved the way for movements such as conceptual and minimalist art, installations, and performance art.

Yves Klein: Theatre of the Void presents 30 works offering visitors a broad spectrum of this influential artist’s extraordinary creativity. The exhibition includes work from Klein’s major series, including the monochrome paintings in IKB, the exceptionally pure ultramarine with which he gave his works a depthless sense of space. For his Anthropometry paintings, during a live performance, Klein used naked models as living brushes to apply blue paint to the canvas. His Fire Paintings, canvases on which he went to work with a flame-thrower, are also represented in the Brussels exhibition. As fire is an intangible phenomenon that is too diffuse to be captured, Klein’s use of fire reflects his aspiration to express the immaterial through art. Visitors will also be able to discover his sponge works and planetary reliefs.

The works on show are complemented by rarely seen films and photographs, which show how Klein shaped his own image via personal photographs and advertising material that show him as an artist, a visionary, a judoka, and in many more guises. A work that he created at the age of nineteen epitomises Klein’s grandiose imagination, the artist claiming the infinite blue sky as his own work of art by symbolically signing it with his finger.

BOZAR – Yves Klein – Theatre of the World – 29.03.2017 – 20.08.2017

Website : BOZAR
Website : Brussel
Source : Artdaily

Leuven – Entre nous quelque chose se passe… – 17.03.2017-09.07.2017 – 4776

Abstract or figurative, ambiguous meanings, references to interpersonal relationships: an artwork can evoke tension in a variety of ways. This exhibition explores these tensions in works by David Claerbout, Patrick Corillon, Guy Mees, Philippe Van Snick, Walter Swennen, and others. All the works are on long-term loan from Cera to the M Collection.

Entre nous quelque chose se passe… is a metaphor for exhibiting or collecting art. What happens when you bring together various artworks from a collection in the same space? At the same time, the title refers to a video work by Ria Pacquée, which is also part of the exhibition. The video documents the behaviour of people in a park in Paris. The result is a portrait of anonymous passers-by who attentively perform repetitive movements. Unconsciously, our behaviour as viewers mirrors their own.

Featuring work by Jacques Charlier, David Claerbout, Patrick Corillon, Lili Dujourie, Christoph Fink, Guy Mees, Ria Pacquée, Walter Swennen, Philippe Van Snick, and Jan Vercruysse.

This exhibition is a collaboration between M and the Faculty of Law, KU Leuven, with the support of Cera.

Museum M – Entre nous quelque chose se passe… – 17.03.2017-09.07.2017

Website & source : Museum M
Website : Leuven

Elsene/Brussels – Pierre – Gilles – Clair-obscur – 16.02.2017-14.05.2017 – 4775

Pierre et Gilles embody a highly sophisticated art of the portrait, somewhere between photography and painting. They infuse a touch of humanity to the artificial beauty of celebrity, glorify ordinary people and enchant the world with superheroes plucked from mythology, the Bible and fairy tales. Nourished by art, film and all forms of popular culture, these painted images fit perfectly into the contemporary world.

Few artists are resistant to the test of time. The longevity of Pierre et Gilles on the stage of contemporary creation is exemplary, with a forty-year career nourished by artistic and sentimental complicity. Undoubtedly this is founded on, above all, the sincerity and generosity of the artistic process that has driven them since their beginnings – to honour, glorify and even deify the Human, to extirpate it from villainy, to save it from turpitude and provide a flamboyant world for it to inhabit.

This re-enchantment does not, however, take place by a simplistic dissolution of our world and the naive construction of another dreamed-up world. It arrives by a rather more subtle and clear-sighted balance of these two polarities, as Pierre et Gilles propose a new order, a kind of haunting and comforting alternative to insignificance and even mediocrity. Pierre et Gilles work is constructed by the accomplishment of a skilful equation via the objective of Pierre and the brushwork of Gilles. Portraits can be as seductive as they are repulsive, as licentious as they are modest, as well as current. They can be funny yet serious, candid and defiant, as authentic as they are unreal. Thus the artists succeed in creating the most just and universal homage to the Human, who is as brilliant as s/he is mediocre.

Through iconographic profusion, a wealth of possible approaches and powerful aesthetic harmony, the work of Pierre et Gilles has legitimately fascinated a wide audience for several decades already. However, the exhibition presented at the Museum of Ixelles (Brussels), then at the MuMa (Le Havre), as well as the exhibition catalogue, aims to offer new ways of understanding this duo’s work as unclassifiable as it is unavoidable.

Curator of the exhibition: Sophie Duplaix, Centre Pompidou

Museum van Elsene / Musée d’Ixelles – Pierre – Gilles – Clair-obscur – 16.02.2017-14.05.2017

Website & source : Museum van Elsene / Musée d’Ixelles
Website : Elsene/Ixelles

Gent – ROOTED. Painting Flanders – 15.03.2017-06.08.2017 – 4774

The nineteenth century sees Belgium become one of the leading industrial nations in the world. Farmers become factory workers, deserting the countryside for the city to live in cramped and stinking slums beneath towering mill chimneys that belch smoke day and night. Small wonder that growing nostalgia for a lost pastoral age causes artists like Emile Claus, Gustave Van de Woestyne, George Minne and Valerius De Saedeleer to abandon the stench of Ghent and breathe the purer air of the Leie area.

Here they find echoes of the lost idyll. Whether consciously or not, each seeks his roots in his own way. One finds them in ripening cornfields, another in the Bruegelian poetry of a winter landscape or a peasant’s ruddy face. Glimmering through their paintings, sculptures and drawings is a kind of collective essence of what Flanders is. A monumental, uncomplicated, and often almost spiritual ode to the region and those whose lives are bound to it.

But the Leie is not the only place where people are painting. In fashionable Ostend, James Ensor alternates between authentic fisherfolk and fantastical burlesque, for absurd humour is typically Flemish too. And as the nineteenth century turns into the twentieth, Léon Spilliaert finds himself lost in a world of accelerating change. While the war has yet to begin.

The First World War marks a dramatic watershed. Exile abroad gives artists like Gust De Smet, Frits Van den Berghe, Constant Permeke and Edgard Tytgat a sense of what is happening on the international art scene. They too take inspiration from the lives and pastimes of ordinary people and reflect what they see in  images of café interiors, fairs, circuses and the music hall. They commit their own emotions to their works of art, creating an intensely personal view of the world at that time.

Caermersklooster – ROOTED. Painting Flanders – 15.03.2017 – 06.08.2017

Website & source : Caermersklooster

Website : Gent

Brussels – Pol Bury – Time in motion – 23.02.2017-04.06.2017 – 4773

Pol Bury – Time in motion

The Belgian artist Pol Bury (1922-2005) is one of the founders of kinetic art. After his beginnings in painting, marked by the influence of Magritte, and time spent with other members of Jeune Peinture belge and CoBrA, he decided to follow a new path. His fascination for the art of Alexander Calder resulted in him turning towards sculpture and incorporating motion in his work. Thanks to his deeply personal work, which is both a successor of surrealism and bursting with innovation, he made a name for himself in the Paris and New York art scenes, thus obtaining international recognition.

This retrospective is an opportunity to discover Bury’s vast and diverse oeuvre. Paintings, sculptures, mobile works, fountains, jewellery, graphic and written creations are all on display in the biggest exhibition Belgium has dedicated to this major artist in twenty years.

Artistic advisor: Gilles Marquenie

BOZAR – Pol Bury – Time in motion – 23.02.2017-04.06.2017

Tongeren – Timeless Beauty – 17.12.2016-30.06.2017 – 4772

This exhibition signals a departure from what you usually expect from the Gallo-Roman Museum. An evocative interplay of authentic objects, intriguing texts by Roman authors and sensual images by the art photographer Marc Lagrange, leading you deeper into the mysteries of feminine beauty.

How did women use make-up two thousand years ago? What kind of jewellery did they wear? What kind of items would a Roman beauty case contain? Practical implements and educational films provide an insight into how women in ancient Rome made themselves beautiful and pampered themselves.
Contemporary women also talk about their perceptions of their bodies.

Timeless Beauty: prepare yourself for a timelessly beautiful exhibition.

Gallo-Romeins Museum – Timeless Beauty – 17.12.2016-30.06.2017

Antwerpen – Alec Soth – Gathered Leaves -17.02.2017-04.06.2017 – 4770


Alec Soth – Gathered Leaves

FOMU is bringing the work of renowned Magnum photographer Alec Soth (US, °1969) to Belgium for the first time with the exhibition Gathered Leaves. This retrospective draws from four critical series from his oeuvre: Sleeping by the Mississippi (2004), Niagara (2006), Broken Manual (2010) and Songbook (2014).

Alec Soth is known for his lyrical approach to documentary photography. His work is based on a fascination with the vastness of America, recalling Robert Frank, Stephen Shore and Jack Kerouac.
“Our vision of America is so shaped by television and movies. All we see are Hollywood starlets and New York cops. We sometimes forget that there are whole other lives being lived in the middle of America. And some of these lives are really inspiring.”
(Alec Soth, email interview with Aaron Schuman, 2 August 2004)

Alec Soth lives in Minnesota and is an artist, photo journalist, blogger, publisher, Instagrammer and teacher. His boundless energy and distinguished position in the international art world makes him a major influence on the younger generation of visual artists. FOMU’s presentation of his work depicts the evolution of his career and shows how important the role of the photobook was to his success.
Gathered Leaves is an exhibition by Media Space / Science Museum, London.
Curator: Kate Bush

FOMU – Alec Soth – Gathered Leaves -17.02.2017 – 04.06.2017

Liège – Noirs dessins du communisme – 03.02.2017-30.04.2017 – 4768

La caricature vise à faire rire ou du moins à ironiser.
Le Parti communiste de Belgique (PCB) attaque le trône, l’Église, les États-Unis, le militarisme, la droite, le patronat et les socialistes, mais jamais les dirigeants syndicaux. Le dessin politique, de son côté, revêt parfois un aspect lyrique, voire tragique, quand il exprime par son esthétique, la solidarité avec les opprimés. La presse communiste, au sens large, n’a pas recouru systématiquement à l’illustration graphique. Dans certains cas (ou à certaines périodes), la présence de dessins, n’est liée qu’à la rencontre très éphémère, d’artistes ou d’amateurs, avec le communisme. Parmi bien d’autres, Lumor illustre “Le Drapeau rouge” dans années ’20. Didier Geluck (alias Diluck, grand-père du Chat) produit une caricature quotidienne au début des années ’50.
L’équipe de Walter Burniat, Jo Dustin, Marcelle Lavachery, Philippe Moins, Willy Wolsztajn, anime “Le Drapeau rouge”, quotidien des années ’70 et ’80. Gaucho quant à lui dessine dans “La Gauche” et Sam dans la presse de TPO-AMADA, ancêtre du PTB.

Au travers de ces dessins politiques et caricatures, c’est tout un regard sur l’histoire politique et sociale du XXe siècle en Belgique – sur les enjeux internationaux, l’élan de solidarité avec les peuples opprimés et les victimes du fascisme – qui s’offre au visiteur. L’exposition affiche plus de cent reproductions commentées et présente des originaux dont des tracts clandestins de la Résistance.
Une exposition du Centre d’Histoire et de Sociologie des Gauches (CHSG) de l’ULB, du Centre des Archives du Communisme en Belgique (CArCoB), de l’Institut d’histoire ouvrière, économique et sociale (IHOES) et du Mundaneum.

Musée du Grand Curtius  – Noirs dessins du communisme – 03.02.2017 – 30.04.2017

Drogenbos – Luc Peire – 05.02.2017-14.05.2017 – 4766

Luc Peire (Brugge, 1916 – Parijs, 1994) is internationaal bekend als meester van het abstract verticalisme. In zijn toenemend streven naar onbegrensde ruimtelijkheid evolueert hij al snel naar de abstractie. Hij brengt de menselijke figuur als spiritueel wezen terug tot een verticale lijn in een uitgebalanceerde ruimte. In de zwart-wit-‘graphie’ herleidt de kunstenaar de lineariteit tot de essentie. Deze persoonlijke kunstvorm zal de hoeksteen vormen van de driedimensionale spiegel-environments: hoogtepunten van Peires zoektocht naar de ultieme oneindige ruimte. Later integreert Peire het doorgedreven verticalisme van de schilderijen, ‘graphies’ en tekeningen in (inter)nationale projecten met architecten en urbanisten.
De tentoonstelling illustreert dit buitentreden van het schilderdoek met zelden getoonde werken. Naast een uitzonderlijke bundeling van Lumino-Tours (1970/1980), maquettes en foto’s van integratiewerken is ook het iconische Environnement I (1967) te bezichtigen

Stilering naar de absolute abstractie
Nadat Luc Peire in 1947 uit La Jeune Peinture Belge stapt, onderneemt hij reizen naar Italië, Marokko, de Balearen, de Canarische Eilanden en Congo. De bijhorende indrukken en kennismakingen beïnvloeden de ontwikkeling van een steeds abstracter wordende beeldtaal  en een toenemend streven naar onbegrensde ruimtelijkheid. Ze inspireren hem tot de creatie van krachtige, verticale composities. De sculpturale volumes en het spel met vollen en leegtes worden geleidelijk aan gestileerd tot lineaire, geometrische vormen. Wanneer de kunstenaar aan het eind van de jaren 50 naar Parijs vertrekt, groeit zijn ruimteconcept van aan het begin van de jaren 50 uit tot een volgroeide en persoonlijke abstractie.
Aan het eind van de jaren 50 brengt hij de menselijke figuur uiteindelijk terug tot een verticale lijn in de ruimte. Het lineaire, symbool voor activiteit en voor het leven, wordt tegenover een rustig uitgewogen ruimtelijke constructie geplaatst. De toenemende  reductie van geometrische vormen brengt hem tot een karakteristiek lineair verticalisme. Een bezoek aan New York (1965–1966) spoort hem aan om de referentie naar de mens in een gecomponeerde ruimtelijke constructie verder te abstraheren. Het ritmisch spel van verticalen en kleurstroken- en banen en de serene positionering tegenover monochrome kleurvelden suggereren de puur abstracte ruimte. Peires schilderkunst evolueert uiteindelijk in de richting van een mildere lineariteit en een rustgevende symmetrie..

Integraties en Lumino-Tours
De zuiver abstracte schilderijen getuigen van Peires streven naar een oneindige ruimtelijkheid. Het is pas bij de creatie van een in de menselijke omgeving geïntegreerde totaalkunst dat hij dit ultiem verwezenlijkt ziet. Hij doet zijn schilderkunst daarom versmelten met andere kunstvormen, die hij op  hun beurt integreert in driedimensionale interieur- en architectuurconcepten en verstedelijkte landschappen. De veelzijdige, internationale samenwerkingen met architecten en  stedenbouwkundigen buigen van bij aanvang terug op Peires betrokkenheid. De abstracte  ruimtelijkheid van de integraties wordt opgeroepen door het geritmeerde spel met reliëf, kleur, leegtes en vollen, spiegeling en licht in diverse bouwkundige materialen. Tot zijn belangrijkste integratiewerken behoren de Place Carrée (Marne-la-Vallée, 1975–1982), het Brusselse metrostation Roodebeek (Brussel, 1976–1982) en Het Teken U.Z. Gasthuisberg (Leuven, 1992) aan de  oegangsweg van campus Gasthuisberg. Tijdens een bezoek aan New York (1965– 1966) rijpt het idee voor de Lumino-Tours (1970–1980). Dit vierledig sculpturaal kunstwerk refereert met zijn verticale constructie, lineariteit en lichtspel naar de New Yorkse woontorens. De plaatsing van de zwarte ritmische lijnen tegenover het doorschijnend plexiglas, de spiegels en het witte licht zijn gericht op de ruimtewerking. De zwarte, verticale lijn staat symbool voor de spirituele menselijke figuur. De Lumino-Tours illustreren de groeiende belangstelling van de kunstenaar om zijn werk als volwaardig autonoom ruimtelijk object uit te bouwen en te integreren in een environment.

Een multidisciplinair kunstenaar
Vooraleer Peire het lineair verticalisme in zijn schilderkunst tot de pure abstractie herleidt, voert hij deze stilering reeds vanaf 1955 in de ‘graphie’ door. In deze persoonlijke kunstvorm worden kleuren
en visuele aanknopingspunten uitgepuurd tot een abstract, ritmisch spel van witte en zwarte verticalen en contrasterende, horizontale accenten. De graphie zal later een belangrijke rol spelen bij de ruimtelijke environments. Op het moment dat Peire in zijn graphies en schilderijen intens experimenteert met het verder abstraheren van zijn beeldtaal, tekent hij weinig. In de loop van de jaren 70 zet hij zijn ruimtelijk onderzoek uiteindelijk ook intensief voort in tekeningen. De karakteristieke matte en grijze eigenschap van het Contépotlood verleent de geometrische tekeningen vanaf de jaren 80 hun specifieke uitstraling. Ook in de graphies en tekeningen leidt de zoektocht naar de oneindige ruimte uiteindelijk naar een mildere lineariteit en een rustgevende  symmetrie; in het geval van de graphie naar de introductie van ultramarijnblauw.

Tijdens een bezoek aan New York in1965–1966 ontwikkelt hij het idee van het environment. In de lijn van dit concept realiseert hij na terugkomst Environnement I (1967). Het kunstwerk symboliseert de wens van de kunstenaar om zijn schilderijen en graphies te integreren in andere kunstvormen, in de tijd en in de ruimte. De driedimensionale opstelling, de gespiegelde graphiewanden, de elektronische klanken van het Opus 297 Environment van componist Louis De Meester en de lichtwerking scheppen binnenin Environnement I een gevoel van eindeloze ruimte en gewichtloosheid. Bij het betreden van het kunstwerk wordt de opgeroepen ruimtewerkelijkheid niet ‘slechts’ aanschouwd, maar ook lichamelijk gewaargeworden. Dit streven naar oneindigheid is volgens Peire de zoektocht van elke mens. Met zijn werk poogt hij deze boodschap in een universele taal te brengen.
Later creëert Peire ter gelegenheid van de tentoonstelling De Verovering van de Ruimte (1968, Mexico) en de tentoonstelling Paintings Graphics Environment III (1973, Auckland) een tweede en derde environment: Ambiente Mexico 68 (1968) en Environment III (1973).


FeliXart Museum – Luc Peire – 05.02.2017-14.05.2017


Charleroi – Jeanloup Sieff – 10.12.2016-07.05.2017 – 4754


Jeanloup Sieff.
Serge Gainsbourg et Jane Birkin.
Paris, 1970
© Estate Jeanloup Sieff
«Les gens qui ne me connaissent pas se font de fausses idées à mon sujet. Ils s’imaginent que je suis un peu orgueilleux, un peu dilettante, un peu distant… mais ils se trompent, je le suis totalement.»
Elégance et légèreté, classicisme et sensualité sont quelques qualificatifs pour évoquer les photographies de Jeanloup Sieff (1933-2000).
Reporter indépendant, un temps membre de l’agence Magnum – il reçoit en 1959 le Prix Niépce pour son reportage sur le Borinage – c’est cependant dans la photographie de mode qu’il va s’illustrer.
Réalisées principalement pour de prestigieuses revues de mode telles Harper’s Bazaar, Elle, Vogue ou British Mode, ses photographies s’émancipent pourtant de la commande par l’originalité des cadrages, la densité des impressions et le choix du grand angle qui les rend immédiatement reconnaissables. Car il y a bien un style Sieff avec ses femmes-icônes portant les créations de prestigieux couturiers, ses nus féminins saisis dans leur troublante intimité, ses paysages déserts qui sont le visage solitaire de ce photographe pratiquant l’amitié avec les vedettes de l’écran ou de la politique qu’il rend si proches, s’effaçant derrière le modèle. Sieff épure sa photographie, en conservant les lignes maîtresses, les coulant dans des noirs profonds, rejoignant l’esthétique d’une époque, les «Trente Glorieuses» qu’il incarne à la perfection.
Depuis les années cinquante, en une étroite connivence avec le cinéma, au travers des thèmes abordés, c’est tout le parfum d’une époque qu’a su traduire Jeanloup Sieff en ses images.
L’œuvre de Sieff n’a jamais connu une exposition d’importance en Belgique. Le Musée de la Photographie à Charleroi proposera une sélection des photographies les plus emblématiques de Jeanloup Sieff, mélange des collections du Musée et des archives du photographe pour rendre hommage à celui qui, à l’égal d’ Irving Penn ou de Richard Avedon, a marqué plus d’une génération. Un choix de photographies de la série Borinage 1959 sera présenté dans la Galerie du Cloître.
Musée de la Photographie – Jeanloup Sieff – LES ANNEES LUMIERE – 10.12.2016-07.05.2017