Zeno X Gallery
2140 Antwerpen Borgerhout
Wednesday up until Saturday 13h – 17h
only open during scheduled exhibitions
Website : Zeno X Gallery
Take a walk on the wild lines … de tentoonstelling waar de lijn in het schilderij de ziel van het werk bepaalt.
Albert Pepermans toont figuratieve werken uit de reeksen “Catchers”, vechttechnieken met een zweem van erotiek, en uit “Least Wanted”, boeventronies met aparte trekken.
Sylvain Polony gaat in zijn abstract werk op zoek naar de organische dimensie en naar ruimte en diepte zodat zijn schilderij niet gevangen zit in de afmeting van zijn werk.
Pepermans, Belgisch temperamentvol kunstenaar, viert zijn 70 jaar, met de Parijse jonge kunstenaar Polony. Samen scherpen ze hun werk aan met wilde lijnen …
Thursday 13h – 17h
Friday and Saturday 14h – 18h
and by appointment
Website : Artelli Gallery
Galerie Zwart Huis presents a duo exhibition with Hilde Overbergh and Hans Everaert.
Hilde Overbergh’s work is powered by a fascination for our surroundings and how we perceive them. In ensembles of small and medium-sized canvases she strips spaces and objects down to their basic elements: lines, volumes, proportions, shades of colour… Personal imagination and physical reality are not strictly distinct worlds, but merge directly into one another. Space is here not depicted as something fixed, but, on the contrary…[is]influenced by the act of perception itself. This spatial effect is increased even more by the variety of materials that Overbergh uses…[and by] the arrangement of the works in relation to each other. Images never exist in their own right in this colourful and ambiguous world, but arise only as an interaction between what is going on inside and outside the picture frame… When Overbergh searches for a new concept of our surroundings she finds it in the realisation that space is only created by the capacity to remain open to new connections. This ability to expand is just as important as the framing itself. And that makes Overbergh’s work physically palpable: this ability lies in our own gaze. (Marnix Rummens)
In his recent work Hans Everaert is more occupied with the underlying, with the structure of the image itself. The spatial composition appears, still expressive at first, with clear references to (again) architecture, but also to landscapes and to organic forms and networks with rhizome- and neurone-like connections and structures. Later, as in his most recent paintings, he worked more towards the plane, instead of the space: the perspective, which was so important in his earlier works, slowly disappears. A certain ‘blur’ occurs, a mixing of background and foreground, amplified by the use of pale, ‘contaminated’ colours.
Everaert constructs his works with oil, acrylic and spray paint in a completely intuitive manner; he creates an image for the image itself, without any figurative reference or anecdote. This makes the viewer inclined to ‘fill in’ the image for himself, to look for starting points. Abstracting as it may be, one is taken back to ‘images from memory’ (the artist as well as the viewer), such as a boardwalk, a floor, a room, a wall, a landscape, even a swamp. Consequently, I dare to speak of an intuitive abstraction: Everaert has a reservoir of images in his head that he totally deconstructs, dismantles and fragments, in an attempt to abandon the tiniest trace of the anecdotal, in search of perfect abstraction. Not the white or the black square – that would be totally superfluous or obsolete – but a living abstraction, that sizzles and vibrates. These paintings show a changing rhythm of straight and slanting lines, of planes, hints and colours: a rhythm that seems to be derived from music. One can smell (the paint) and hear (the images): there is a noise to all of it – and it is exactly that noise that Everaert is aiming for. (Marc Ruyters)
Valérie Bach gallery presents the second solo show by Lucy+Jorge Orta in Brussels.
The artists present two series of works, brought together for the first time, uniting three-dimensional works with paintings in order to shed light their creative process.
The first section of the exhibition is based the cell: the cell of life, the residential cell, the prison cell, etc. Forms and volumes made of hand-blown glass represent various aspects of our biological universe. In the series entitled « Totipotent », Lucy + Jorge Orta refer to the monumental architectonical structure, the evident formula, the key element in the development of cells. This force, this « full potential » (« Totipentency ») of a cell is an ever-growing powerful virtual energy, that can only come to its end under certain conditions.
This series on cells, source of hope and dynamism, portend the second part the exhibition, based on Jorge’s pictorial work in 1970s, when painting was his way of escaping the overwhelming Argentine dictatorship, and in which the exhibited works explore the idea of the accident as both a violent moment but also as a random, uncontrolled phenomenon. In the series « Derrame » – Spanish for overflow, leak, spill, or attack (of the brain) – Lucy + Jorge Orta infused these meanings into intense, colourful, flat hemorrhages. These accidents become both the essential composition and the subject matter of the painting.
These artworks are based on the uncontrolled, similar to the action of cellular duplication. Driven by their own necessity – frustrating for the artists who lose control – they are followed by the artists’ latest creations grouped under the name « Assemblages ». The series comprises three-dimensional works, whose chaotic arrays and juxtapositions of colour and collages of “formal reality” on the pictorial surface: stretcher bars, life-buoys, window frames resemble an accident.
This exhibition is therefore a synthesis of the couple’s creative energy and their relation to the world through their scholarly search, exploring doubt and balance against a background of vital and infinite breath.
Lucy and Jorge Orta co-founded Studio Orta in 1992. They now work under the co-authorship Lucy + Jorge Orta.
The artists’ collaborative practice focuses on social and ecological issues, employing a diversity of media – sculpture, installation, couture, painting, silkscreen, photography, video, drawing, light and performance – to realize major bodies of work. Orta’s artwork has been the focus of important survey exhibitions, including: The Curve, Barbican Art Gallery, London (2005); Fondazione Bevilacqua La Masa, Venice Biennale (2005); Museum Boijmans Van Beuningen, Rotterdam (2006); Biennial of the End of the World, Ushuaia, Antarctic Peninsula (2007); Hangar Bicocca spazio d’arte, Milan (2008); Natural History Museum, London (2010); MAXXI National Museum of XXI Century Arts, Rome and Shanghai Biennale (2012); Yorkshire Sculpture Park (2013); Herbert F. Johnson Museum of Art, Ithaca and Parc de la Villette, Paris (2014); London Museum Ontario (2015); Peterborough City Museum (2016).
In recognition of their contribution to sustainability, the artists received the Green Leaf Award (2007) for artistic excellence with an environmental message, presented by the United Nations Environment Programme.
Lucy Orta was born in 1966 in the UK. After studying fashion-knitwear design she debuted her artistic career with Jorge in Paris in 1991. In 2002, she co-founded the pioneer Master programme Man & Humanity, promoting social and sustainable design at the Design Academy of Eindhoven. She is currently professor and Chair of Art and the Environment at the London University of the Arts.
Jorge Orta was born in 1953 in Argentina and studied simultaneously at the Fine-Arts (1972-1979) and Architecture (1973- 1980) Faculties of the Universidad Nacional of Rosario. He moved to France in 1984 receiving a scholarship from the Ministry of Foreign and European affairs to pursue a D.E.A. (Diplôme d’études approfondies) at the Sorbonne in Paris.
In 1999, Lucy + Jorge Orta established their studios in Seine-et-Marne and founded their research complex, Les Moulins in 2011.
Xavier Hufkens is delighted to announce the opening of an exhibition of recent work by Michel François.
In a presentation that is as formally beautiful as it is intriguing, Michel François punctuates the gallery space with a series of sculptural works that depart from the rigid geometry of the line. Vertical and horizontal, suspended or freestanding, appearing in a masonry grid, defining a corner or marked across the wall: the linear trace is all pervasive.
Yet each sharply defined edge, line, angle or plane also reveals its procedural antithesis: the organic, capricious and uncontrolled forms that arise during the making of the works. François’s practice is centred on what might be described as ‘controlled loss of control’ or, in other words, allowing the medium to do its will. These contradictions are particularly visible in Ruins of a Sky-Blue Wall, the major new work that confronts viewers upon entering the gallery. Constructed out of 1,200 hand-cast plaster bricks, this sculptural wall is as much an object of wonder as it is a barrier or impediment. On the one hand, it appears weightless, cartoon-like, tactile, surreal; yet it also represents painstaking labour, is heavy, solid and obstructing. To make the bricks, François poured plaster into moulds filled with tiny Styrofoam spheres; as the material hardened, it acquired a granular texture. Thanks to the friability of the plaster, each brick could be subsequently abraded, thereby creating imperfect forms with uniquely sponge-like textures. Plaster also ‘cements’ the bricks together, only this time coloured light-blue: an allusion to the sky, or the open space; the ‘cracks through which the light gets in’, but which, likewise, also holds the entire structure together. While the wall looks strong and forceful, closer inspection reveals an inherent tension and fragility.
Shiny Corner materialises an equivalent transformation: to make this work, the artist hurled molten tin at the seam between his studio floor and wall. The hot metal hitting the cold surface caused it to solidify into globular rivulets, its motion and fluidity abruptly arrested. At the same time, this haphazard gesture also produced a perfect right angle that, now upended, completes the corner of the room. The same technique is used to opposite effect in the dark, matte, otherworldly sculptures made of asphalt, only here the works are dark, shadowy, light-absorbing, alien. Technical precision and chance are also evident in the artist’s Souffles perdus sculptures. In the work on display, a cluster of individually mouth-blown, silvered glass balloons are tethered to a taught, vertical line. And as if to counteract the luminosity of the limpid, natural forms — filled with the breath of life, but also strangely deflated — a solid geometric cube of carbonised wood leaves its dark and dusty trail across the pristine, white-washed walls.
Francois’s works are, in a manner of speaking, ‘pieces of evidence’: the physical proofs of activities and events that have occurred elsewhere. They are action-based sculptures in the sense of being both the product and record of a controlled, but unpredictable, gesture: throwing (tin), blowing (glass), dragging (charcoal), stacking (belt buckles, peanuts), constructing (masonry) and pouring (plaster, aluminium, asphalt).
The line, as a leitmotiv, also possesses a conceptual significance. Lines divide, create borders, or establish thresholds. While this is immediately obvious when pure geometry gives way to organic form (or is it vice versa?), these junctures also call to mind other, more actual points of contact: the invisible barriers between seemingly different, contradictory and irreconcilable forces, peoples and cultures. But boundaries can also be permeable, as suggested by the sponge-like, porous textures of the bricks; soft as hinted at by the powdery charcoal; or fixed and impenetrable, like the unyielding metal.
In his subtle visual translations of these dualities – between control and ungovernability, conscious decision-making and random chance, and between materials and forms – Michel François alludes to the undertow of opposite and relative truths that, whether we are aware of them or not, define our very existence.
Michel François (b.1956, Saint-Trond) lives and works in Brussels. Recent solo exhibitions include: Nineteen thousand posters. 1994-2016, Frac île-de-France, le château, Rentilly, France (2016); Pieces of Evidence, Ikon Gallery, Birmingham, UK (2014); Pièces à conviction, CRAC Languedoc-Roussillon, Sète, France (2012); Michel François. Le Trait commun, Ecole nationale supérieure des Beaux-Arts, Paris, France (2012); 45.000 affiches. 1994-2011, MAC’s, Site du Grand Hornu, Belgium (2011); Plans d’évasion, IAC, Villeurbanne, France (2010); Plans d’évasion, SMAK, Ghent, Belgium (2009) and Hespérides I, Musée des Beaux-Arts, Lausanne, Switzerland (2009). His work has also been included in numerous group exhibitions such as Documenta IX (1992), the São Paolo Biennial XXII (1994), the 48th Venice Biennial (1999) and Sonsbeek 2008. Together with Ann Veronica Janssens he contributed to The Song (2009) by Anne Teresa De Keersmaeker. Other collaborations with De Keersmaeker include En Atendant (2010) and Partita 2 (2013).
The blockwork figures are complemented by recent linear sculptures in square-section stainless-steel bar. Collectively known as ‘framers’ and ‘liners’, the artist describes these works as the ‘objective mappings of subjective space’. Either free-standing or suspended, they structure and energise the intimate and domestic spaces of the gallery. Upstairs, a new work SET is shown alongside CONSOLE III, an open framework evocation of the ‘tanker’ entitled FALL V. A series of related drawings completes the display.
Permeating the exhibition is the language of modernity, most notably De Stijl and American minimalism, which is here harnessed to evoke pathos. Gormley’s work can thus be viewed as a continuation of this abstract tradition in the sense that his geometric constructions and sculptural voids eschew illustration and mimesis while allowing an open ground for projection and reflection.
Antony Gormley (b.1950, London) was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. His work has been exhibited all over the world, most recently in Object, National Portrait Gallery, London (2016-2017); Event Horizon, Hong Kong (2015-2016); Land, various Landmark Trust properties in the UK (2015-2016); Human, Forte Di Belvedere, Florence, Italy (2015); Another Time, Mardalsfossen, Norway (2015); Sculpture 21st: Antony Gormley, Lehmbruck Museum, Duisburg, Germany (2014-2015); Expansion Field, Zentrum Paul Klee, Bern, Switzerland (2014); Firmament And Other Forms, Middelheim Museum, Antwerp, Belgium (2013). Antony Gormley lives and works in London.
Haar werken zijn een verbeelding van de culturele tendensen waarin zij is opgegroeid en vormen tegelijkertijd een zoektocht naar haar eigen oriëntatie daarbinnen. Haar ouders vluchtten in de jaren ‘70 van het communistische China naar Nederland waar zij meer vrijheid ondervonden na hun verleden van onderdrukking en armoede. Haar materialistische opvoeding en opleiding in de mode brachten haar op een terugslag in een spirituele tocht waarin zij zoekt naar betekenis in het onderbewustzijn en emotionele intelligentie in plaats van het rationele en het tastbare.
Het werk van Jürgen Brodwolf ( °1932, Dübendorf, Zurich) is onlosmakelijk verbonden met de ‘Tubenfigur’, uitgeknepen verftubes met resten van verf en etikettering die hij in ontelbare variaties, in de vorm van de menselijke figuur kneedt. Sinds 1959 maken die symbolische menselijke figuren, die niet zelden zijn afgebeeld als schaduwen van zichzelf, deel uit van zijn oeuvre. Begin jaren ’70 duikt de tube-figuur op in zijn sculpturen en vanaf 1975 worden ze een onderdeel van zijn objectfoto’s.
De plaats van het ‘ik’ is van cruciaal belang in elke kunststroming. Al eeuwen wordt het ego van de kunstenaar in zijn werk met golven anders benaderd. Hoewel de handtekening van de kunstenaar pas in de recentere kunstgeschiedenis een vast onderdeel werd van het werk, vonden kunstenaars altijd een weg om hun ‘ik’ in het werk te ontsluiten.
Met werk van Guy Vandenbranden, Geneviève Claisse, Bram Bogart, Jan Henderikse, Jan schoonhoven, Markus Lüpertz, Johan Tahon, Eja Siepman van den Berg, Robert Schad.