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Brussels
Gallery
Weekend
6-9
September
2018
Brussels Gallery Weekend
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Alice Gallery
+32 2 513 33 07 info@alicebxl.com alicebxl.com
25 Rue du Pays de Liège
1000 Brussels

Todd James
solo show
07.09 – 27.10.2018

Alice Gallery is happy to present Todd James for a 3rd Solo exhibition in Brussels. The new body of work includes 6 large paintings on canvas as well as smaller works on paper. Todd James (b. New York 1969, USA) is a New York based artist and multi-disciplinary creator. James has painted graffiti in New York under the moniker REAS since the early eighties and collaborated with Beastie Boys, Iggy Pop and Eminem amongst others. He has exhibited extensively around the world, including two participations in The Venice Biennale. James has been an integral part of the genre expanding exhibitions: Street Market, Beautiful Losers and Art In The Streets. His work is informed by the images we know from the constant stream of media we are swimming in, or sometimes it feels more like drowning in. He distils these images, giving the viewer a chance for brief contemplation, in a time that rarely offers such. He has developed a distinctive artistic style informed by the world of cartoons and graffiti as well as painters such as Willem de Kooning, Peter Saul, Matisse and Franz Kline. His paintings are colorful, often humorous, bold and subtle at the same time. Recent solo exhibitions include Love To Love You, Galeria Javier Lopez & Fer Frances, Madrid, 2018 Interiors, Eighteen, Copenhagen 2018 and Stay Golden, AishoNanzuka, Hong Kong, 2016.

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La Patinoire Royale – Galerie Valérie Bach
+32 2 533 03 90 www.prvbgallery.com
Rue Veydt 15
1060 Brussels

Obnoxiously Happy
by :mentalKLINIK’s
first solo exhibition in Belgium, curated by Jérôme Sans.

« The exhibition, which brings together a whole fifteen years of their activity – more an introspective rather retrospective – presents a symptomatic set of the multifaceted approach to their universe which constantly blurs borders. :mentalKLINIK is an allusion to the laboratory where practice and theory coexist, as the :mental refers to the spirit and the KLINIK to practice » (Jérôme Sans). :mentalKLINIK is a Brussels-based artist duo composed of Yasemin Baydar and Birol Demir who began their collaborative practice in 1998 in Istanbul. They mainly realise immersive installations and sculptures in an experimental approach. Their work is a mix of oxymorons and paradoxes, darkly humorous, self-contained and as much concerned with the total effect of accelerated capitalism as with the invisible politics and dynamics that define our everyday lives.

 

 

:mentalKLINIK’s oeuvre is droll yet can look very playful and fun while at the same time it is violent, abrasive and very questioning of the world we live in. Their works range from immersive time based installations to sculptures and objects that thwart categorisation. :mentalKLINIK has participated in internationally renowned exhibitions, including Tomorrow Now at MUDAM, Luxembourg in 2007; PuFF at ArtBasel 40; Art Unlimited in Switzerland in 2009; and solo museum shows such as FreshCut at MAK Vienna in 2013 and Co-operation Would be Highly Appreciated at SCAD Museum Georgia, USA, in 2015. Some of their solo gallery shows are That’s Fucking Awesome curated by Jerome Sans at Galerist Istanbul in 2011; Thank You For your Cooperation at Gallery Isabelle van den Eynde, Dubai in 2014; and 83% Satisfaction Guaranteed at Louise Alexander Gallery in Porto Cevro, Italy, in 2015.

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Albert Baronian
+32 2 512 92 95 info@albertbaronian.com www.albertbaronian.com
2 Rue Isidore Verheyden
1050 Brussels

«ONCE AGAIN AT ALBERT BARONIAN!»
Gilberto Zorio
Exhibition from 07 September until 03 November 2018

On the occasion of the Brussels Gallery Weekend, Albert Baronian is delighted to present Gilberto Zorio’s 8th exhibition at the gallery.

This exhibition coincides almost to the day with the opening of the gallery 45 years ago. Albert Baronian wishes to pay tribute to Gilberto Zorio with whom he has worked with for so long and whom he has always admired and shared a very profound friendship with.

« The energy is the possibility to fill a void, the possibility to empty fullness, the possibility to plan the past, the present and the future, it’s the possibility to make the conscious and unconscious functions of language operational. » – Gilberto Zorio, 1973

Gilberto Zorio (born in 1944), lives and works in Torino.

Gilberto Zorio is one of the founders and main representatives of Arte Povera, a prominent artistic movement that came to existence in Torino at the end of the 1960s. His work explores the notion of energy through the use of modest or fragile materials, such as metal (lead, copper and steel), clay or light. Gilberto Zorio takes on the role of an alchemist, transforming materials thanks to chemical and mechanical operations. In order to do so, he uses elemental forces like the invisible action of oxidation and its effects on copper, or the heat intensity of metal in fusion. His sculptures and installations unveil the inherent tensions of the materials used and the tensions generated through their interaction. The star and the javelin – two archetypal shapes suggesting energy – appear among the recurrent themes of his work. Since the 1960s, Gilberto Zorio has displayed his works in the most renowned museums of the world such as Guggenheim, Centre Pompidou, Stedelijk Museum, Kunstmuseum de Luzern, Kunstverein Stuttgart, Musée d’art moderne de Paris, Centre d’art Contemporain de Genève. In 2017-2018 the Castello di Rivoli in Torino dedicated an important retrospective to him.

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Albert Baronian
+32 2 512 92 95 info@albertbaronian.com www.albertbaronian.com
Rue de la Concorde 33
1050 Ixelles

“ Hakoiri Musume – Girl in the trunk”
Sato Kimitake
7th Sept – 3rd Nov

The Japanese idiom “Hakoiri Musume” translates into English as “Daughter in a Box”. The term originated in the Edo period (1603-1867) and describes “a young single woman who leads a sheltered life with her protective family” as if she were kept in a box. Widespread in popular culture, the expression has been used as a title for several movies, mangas and a television series, but as Naoko Takemaru, an Associate Professor of Japanese Studies at the University of Nevada, argues: in a rapidly evolving society, Hakoiri Musume represents “mostly a [past reality given the] steady increase in the number of young women who live away from their family for [their] education and career.”1

Hakoiri Musume – Girl in the Trunk,  Turin-based Japanese artist Sato Kimitake’s exhibition presented at Albert Baronian gallery on the occasion of the Brussels Gallery Weekend, evokes this phenomenon.

The installation depicts the silhouette of a young girl trapped inside a large 1,30 meter high trunk. The work etaphorically conjures Hakoiri Musume, a daughter who has been “put inside a box” and carefully brought up by her family. The trunk is displayed open and reveals a negative cast of a young girl’s body. The figure as such is both present and absent from the trunk.

As Sato Kimitake explains: “just by watching the young girl’s outline, the viewer gazes at the trunk’s true contents. (…) The quality of the box in which something precious is stored reveals the real value of the object, material or item it carries. (…) Although it is only an idiom and should be understood in a figurative sense, taken literally, the act of storing and carrying one’s daughter in a box is an egotistical absurdity.”

1-Naoko Takemaru, Women in the Language and Society of Japan, McFarland, 2010

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Galerie de la Béraudière
+32 2 646 92 15 galerie@delaberaudiere.com www.delaberaudiere.com
6 Rue Jacques Jordaens
1000 Brussels

Calder, Miró and their Parisian Meetings 
September 7 – December 14,2018

Galerie de la Béraudière is pleased to present “Calder, Miró and their Parisian Meetings”, an exceptional exhibition that brings together works by the American sculptor and painter Alexander Calder (1898–1976) and the Spanish visual artist Joan Miró (1893–1983).

The close friendship that connected these two giants of the twentieth century lasted many years: from 1928, the year they first met in Paris, to Calder’s death in 1976. Although they did not create an artistic movement together, they abundantly fed on one another and one often notices a striking parallelism between their work, which Galerie de la Béraudière invites you to discover from 6 September 2018 onwards.

Both artists ‘revolutionized’ the history of art thanks to their audacious use of techniques and materials that were unconventional for the time. With great enthusiasm and inventiveness, they explored new creative possibilities, freed from cultural shackles.

These innovative spirits each developed a highly personal and immediately recognizable world. Their respective signature was a palette of very specific colours but also, and especially, poetry and humour. Their works are imbued with sensitivity and joviality.

Although one is known as a sculptor and the other as a painter, both worked with different media and used varied means of expression. Both were also very prolific, and the scale of their works varies from the minuscule models to monumental works.

Calder and Miró are undoubtedly two of the most groundbreaking artists of their generation. Their works inspired and continue to influence contemporary artists.

Located in a unique setting, on rue Jacques Jordaens in Brussels, Galerie de la Béraudière presents a selection of works that reflect the pleasure these two friends took in creating them. This autumn, the fantastic forms and creatures of Calder and Miró will breathe life into the spaces of the gallery. Prepare to be filled with wonder!

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Bernier/Eliades
+32 2 640 55 04 brussels@bernier-eliades.com www.bernier-eliades.com
Rue du Châtelain 46
1050 Ixelles

GIANCARLO SCAGLIA: Golden Aérea

Giancarlo Scaglia’s “Golden Aérea”—a reference to the golden ratio—suggests a quest for some sort of balance in the relationship between history and memory, specifically that of the infamous Peruvian prison massacres of 1986.

Working at El Frontón Island, in Lima, a former maximum-security prison, the artist uses its remnants to attest to the violent confrontation between the Peruvian Navy and terrorist inmates who rioted and took guards hostage on June 18, 1986 (a simultaneous uprising in three prisons), and which ended the next day, leaving three servicemen, one hostage and 133 prisoners dead (the total death toll in the three prisons nears 300).

Scaglia creates what could be deemed “negative memorials” to commemorate the absence of a collective memory (being in dispute, for there is an ongoing trial about the massacres), of the people dead, and of the rule of law—breached by summarily executing many of the prisoners killed.

To this end, the artist turns the prison walls into a sort of engraving plate that he inks to create prints of the bullet holes, which resemble sky maps, hence the name Stellar. These indexical images of conflict points to the stars—symbols of hope and longing—, i.e. precisely that which was taken away through captivity and death: a future to look forward to (after all, the terrorists’ wager was on the future: revolution, seizing power, etc.). But also, as frottages, the Stellar series entails a bodily relationship with those walls that had been covered in graffiti with calls to armed struggle, and which were splattered with blood from the many inmates shot dead against its backdrop. As one contemplates these “stars” one wonders which ones were right on target.

Scaglia also uses the torn walls as sculptural mold to cast in lead the forms of its perforations—the result of the use of explosives and artillery on the compound. The lead volumes of the Eclipse series materialize the pieces of wall blasted away, embodying the void by filling it. It could be argued that these works are traumatically attached to the moment of the blast: “fixing” the hole, while fixating the violence that burst through it, like a mass of compacted ammunition—as so many explosions still echoing in our minds, still piercing through our social fabric.

Additionally, the artist produces figurative and abstract paintings that portray the island. The Silver series presents realist scenes of the desolate isle, its grey skies and seas, and its birds, while the abstract canvas Golden Area has been left out in the open to gather bird droppings, dust, etc. These paintings constitute, respectively, a representational and a conceptual record of the current state of abandonment of the island.

Through these works, Giancarlo Scaglia points to that which is not there: the lives lost in that confrontation of June 1986, and, by extension, the almost 70,000 deaths that resulted from the armed conflict that ravaged the nation between 1980 – 2000. By making out a tangible form of this emptiness, and by creating an effigy of this absence, Scaglia memorializes and materializes a void which we cannot or do not want to see, but with which we stumble upon, inevitably.

Max Hernández Calvo

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didier Claes Gallery
+32 2 414 19 29 contact@didierclaes.com www.didierclaes.art
14 Rue de l'abbaye
1050 Ixelles

“African Faces”
06.09 – 06.10

On the occasion of Brussels Gallery Weekend, the Claes didier gallery will offer a selection of important masks. The selected ensemble includes a Chokwe mask from the Democratic Republic of Congo, an Ibibio from Nigeria, and a Baoulé work from the Republic of Côte d’Ivoire. Power, exaltation and discovery will be the key words of this exhibition that will honor the «African Faces».

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C L E A R I N G
+32 2 644 49 11 gate@c-l-e-a-r-i-n-g.com www.c-l-e-a-r-i-n-g.com
311 Avenue Van Volxem
1190 Forest

‘‘Griffe, langue, rose et écailles’’,
Jean-Marie Appriou
07.09 – 20.10

C L E A R I N G is a contemporary art gallery based in New York and Brussels. The gallery was founded in Brooklyn in 2011, with the focus of showing emerging art. It now represents 14 living artists, providing many of them – such as Harold Ancart, Korakrit Arunanondchai, Calvin Marcus and Marina Pinsky – with their first gallery exhibition.

The gallery also represents the estates of Eduardo Paolozzi and Bruno Gironcoli. In 2012, it opened its second exhibition space in Brussels, and opened its third location on the Upper East Side of Manhattan in December 2017.

C L E A R I N G supports its artists by producing works, exhibitions and books, as well as working closely with public and private institutions.

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Damien & The Love Guru
info@damianandtheloveguru.com www.damienandtheloveguru.com
19 Rue de Tamines
1060 Brussels

‘‘Interiors’’
Gauthier Oushoorn
06.09 – 13.10.2018

Damien & The Love Guru was founded in 2014 as a nomadic project space focussing on upcoming artists. Since June 2016 the gallery has been operating from its current location in Brussels and had collaborations with international artists such as Magnus Andersen (DK), Lucy Stein (UK), George Rippon (US), Vanessa Disler (CA), Christiane Blattmann (DE), Charlie Billingham (UK), Malte Zenses (DE), Tiziana La Melia (CA), Lauren Halsey (US), Cristian Manzutto (CO) amongst others. All of our exhibitions have been very synergetic and we hope to continue functioning in the same direction. The conceptual thread that runs through the artists we represent or work with is the interdisciplinary method of composing their own spheres. From the very beginning our aim was to blend music, performance and sound into the exhibitions, a vital necessity creating dynamics. Our work ethos is very intuitive, but there is a big chance that an intuitive decision is subconsciously strategical. So we let the cosmic dice rule for us.

Damien & The Love Guru is a Brussels-based curatorial field of experimentation in contemporary art with an anthropological twist. It is currently functioning as an art gallery staging compelling and non-conventional exhibitions by emerging artists.
Our mission is to activate immersions in and critical approaches to the cross-disciplinary fields of visual art, performance and sound via independent projects and collaborations.
At Damien & The Love Guru we channel the emphasis of an art project as a way to create an inclusive and tangible environment.

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dépendance
+32 2 217 74 00 info@dependance.be dependance.be
4 Rue du marché aux porcs 4
1000 Brussels

Ed Atkins
5.09 – 18.10.18

dépendance was founded in 2003. As part of the avant-garde tradition, the gallery sees itself as a link between the artist, the art institutions and the commercial art world.

Since its founding, the gallery has presented the work of  artists who take a social and political stance and operate both inside and outside the established art circuit. The gallery represents twenty seven artists of different generations.

dépendance held the first international exhibitions for artists such as Sergej Jensen (2003), Haegue Yang (2004), Michaela Eichwald (2005), Jana Euler (2010) and Peter Wächtler (2013) among others.

dépendance was one of the first galleries to open downtown, what later became a significant area for young art in Brussels for both commercial and non-profit spaces.

As of the 12th of September, 2014 dépendance is operating out of rue du marché aux porcs 4 and 8. The renewed gallery space marks a new phase in the development of dépendance.

Gallery artists have been included in international exhibitions such as MoMA, New York (Richard Aldrich and Michaela Eichwald, 2014) , Kunsthalle Zurich, Zurich (Jana Euler, 2014), Whitney Museum, New York ( Jana Euler, 2013), Documenta 13, Kassel (Thomas Bayrle, Haegue Yang, 2012) the 55th and 54th Venice Biennales (Henrik Olesen, 2013, Oscar Tuazon, Karl Holmqvist, 2011), MoMA PS1 , New York (Sergej Jensen, 2011), W I E L S, Brussels (Thomas Bayrle, 2013) Kunst Museum Basel (Michaele Eichwald, NoraSchultz, 2013, Henrik Olesen, 2011), Contemporary Art Museum St. Louis, St. Louis (Richard Aldrich, 2011), Museum Ludwig, Cologne (Henrik Olesen, 2012), and KW Institute for Contemporary Art, Berlin (Thilo Heinzmann, 2013, Sergej Jensen, 2009) among others.

With his work, Ed Atkins (1982, UK) explores the virtuality of our contemporary visual world and its profound effect on the reality of our embodied lives. His high-definition videos and powerful sound-tracks address existential questions about how love, sex, death, and relationships are experienced in the face of digital abstraction. Atkins’ video works are digital performances, as it is the artist’s voice and movement an imating the digital world. In these videos, as well as in his collages and drawings, Atkins is asking for the paradoxical capacity of media to let our material lives be present in a progressively dematerialized world.

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MLF | MARIE-LAURE FLEISCH
+32 2 648 21 01 brussels@galleriamlf.com www.galleriamlf.com
13 Rue Saint-Georges
1050 Ixelles

NIKA NEELOVA
drifts (there is always ground, even at night)
September 7 – October 18,2018

MLF | Marie-Laure Fleisch is pleased to announce Nika Neelova’s first solo exhibition in a Belgian gallery, drifts (there is always ground, even at night).

The word ‘drifts’ is essential to the comprehension of Neelova’s oeuvre, as her works are located in a space in which time is ambiguous and formal aspects of the work are displaced from our current points of reference. Drift references a continuous slow movement, or the motion of being carried along by a natural force such as wind or water. It alludes to both the passage of time and the power of the elements to sweep up and transform that which is in their path. The second part of the exhibition’s title, there is always ground, even at night, is a phrase from Max Frisch’s 1979 novel ‘Man in the Holocene’, in which the protagonist attempts to regain lost memories and interpret the world around him with the help of encyclopedia entries. The novel does not adhere to traditional plot progressions, preferring to represent a continuous flow of thought and the description of various strategies the protagonist uses to place himself in a larger, planetary context.

Interested in the function of architecture and manmade objects in an imagined post-human future, Neelova works at the interstice of objects and their ruins, of the concrete and the imagined. Her works place the viewer in a position where they are grasping for meaning. Recognizable aspects of the everyday objects which surround us are combined with abstract structures which are both reminiscent of real forms and yet impossible to place. Real life objects are replicated in materials which render them useless, creating both a synthetic and handmade feel to the artworks. Starting from a human scale, Neelova expands her works to reflect architectural and even geological extensions of the bodily form.

For her first exhibition with MLF | Marie-Laure Fleisch, the artist has created a narrative in which the gallery is host to ruins which have been exposed to the natural elements. Architectural structures are imagined in a possible future form, however their decay, as well as the imagined technological advances incorporated in the works, removes them from the temporal sphere.

Upon arriving in the gallery, the viewer is confronted with a monumental sculpture composed of layers of compressed landscape forms, stacked one on top of another and held together by metal brackets. In another sculpture, the spectator is confronted with shapes which are reminiscent of a warped radiator, yet its delicate jesmonite forms and its lack of relationship to any known human population remove it from the human sphere. The process of casting elements in jesmonite also plays on the fragility of the object, depriving it of its structural integrity and rendering strong, industrial objects made for human use into purely decorative beings, devoid of any utility.

This exhibition explores an expansion of the artist’s research into questions of sustainability and geological references and offers a possible view of the future. One has the impression of nature taking over a built environment, with the help of new sculptures made with unfired clay and silicone which evoke both slimy organic elements and alien or animal skins. These works emphasize the lack of human presence in Neelova’s world. This is a universe in which the natural forces take over with no regard to the original purpose of the structures it is invading, and where objects created for human use and proportions become obsolete.

Nika Neelova (1987, Moscow, Russia) lives and works in London. Her solo exhibitions include: Vigo Gallery, London, UK (Upcoming); Lemniscates, Independent Art Fair, Brussels, Belgium (2017); FAULTS FOLDS FALLS, Vigo Gallery, London, England (2015); I lean to you numb as a fossil. Tell me I’m here, Ron Mandos, Amsterdam, The Netherlands (2014) and Northern Taurids, Royal British Society of Sculptors, London, England (2013). Her group exhibitions include: She sees the shadows, Mostyn, Llandudno, Wales (2018); XVII. The Age of Nymphs, Mimosa House, London, England (2017); Tell me net, Osnova, VinZavod Centre for Contemporary Art, Moscow, Russia (2017); Antislip, Royal British Society of Sculptors, London, England (2016); Archeologia e Architecture, by Institute for Emerging Art , New York, USA; Fondazione 107, Turin, Italy (2015); Lichtspiele, Museum Biedermann, Donaueschingen, Germany (2014); Gaiety is most outstanding feature of the Soviet Union, Saatchi Gallery, London, England (2013); White Nights, PERMM Museum of Contemporary Art, Perm, Russia (2013) and The Crisis Commission, Somerset House & Christie’s London, England (2012).

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Galerie La Forest Divonne
+ 32 25 44 16 73 brussels@galerielaforestdivonne.com www.galerielaforestdivonne.com
66 Rue de l'Hôtel des Monnaies
1060 Saint-Gilles

Abstraction du concret
Lucien Hervé // Illés Sarkantyu
6th Sept – 20th Oct

Galerie La Forest Divonne – Brussels presents «Abstraction du concret», a singular dialogue between, Lucien Hervé (1910-2007) and Illés Sarkantyu (born 1977).

No human figure or sihouette, only the lines of a flat, and images of used files. Nevertheless, it is portrait that is at stake in the two separate series we’re showing, by Lucien Hervé and Illès Sarkantyu. Both born in Hungary some 60 years appart.

Hervé draws an intimate self-portrait through the shooting of his own flat (he who spent his life shooting monumental public architectures around the world), while Illés Sarkantyu gives an indirect portrait of his late fellow artist, through the systematic shooting of the archives he left. Or to say it in other words, through the trace of his work. In doing so, Sarkantyu, develops his own radical œuvre, often nurrished with appropriation and reinterpretation.

The main wall of the Gallery will be covered with all 16 images of the series « L’Appartement », shot by Lucien Hervé as a self-portrait. They will be hanged up in the original disposition conceived by Lucien Hervé himself at Galerie du Jour, Agnès b. in 2000. These rare photographies, seldom shown are a concentrate of the master’s art, in an intimate territory, where one finds all the specificities of his eye, especially his rigorous compositions. These images are shown right now by the Musée du Jeu de Paume, in the monographic show « Lucien Hervé : géométrie de la Lumière ».

As Quentin Bajac, Head of Photography at the MOMA puts it: « La singularité d’Hervé, elle tiendrait à sa grande rigueur, à son économie de moyen et à la façon, tout à fait originale, dont il se tient sur la limite entre abstraction et figuration ; celle avec laquelle il cherche, par-delà une apparence extérieure des choses, à rendre compte d’une idée, d’un dessein et à faire que chaque expérience de la vision soit saisie dans une réflexion plus générale. »

(Quentin Bajac curated the exhibition Lucien Hervé at Centre Pompidou in 2010)

Facing these historical pieces, Illés Sakantyu will display the « Archives » series (2010), a kind of post-mortem portait of Lucien Hervé, as well as an hommage, through the petty, day-to-day trace of his work : objective, Becher-like, photographies of the files in which Hervé would keep negatives, planche contact, and images. Through these radical images, Sarkantyu draws his own artistic practice, often made of appropriation and reinterpretation.

It is the first time this series of images are confronted to these of the appartement : the very place where the archives were kept, and where the pictures were shot. Colors will echo each other in these works both flirting with abstraction and portrait while photographying most concrete and daily subjects.

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Galerie Felix Frachon
+32 4 86 14 13 30 felix@felixfrachon.com felixfrachon.com
5 Rue Saint-Georges
1050 Brussels

”Sculpter le temps”
Nyaba Léon Ouedraogo

 

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26 by Felix Frachon
+32 4 86 14 13 30 felix@felixfrachon.com felixfrachon.com
26 Rue Saint-Georges
1050 Brussels

”From tomorrow to yesterday” 
Group Show
06.09 – 05.11.18

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Pierre Marie Giraud
+32 2 503 03 51 info@pierremariegiraud.com pierremariegiraud.com
7 Rue de Praetere
1050 Brussels

“HEARTS + CLUBS”
Sterling Ruby
06.09 – 06.10

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Gladstone Gallery
+32 2 513 35 31 info@gladstonegallery.com gladstonegallery.com
12 Rue du Grand Cerf
1000 Brussels

”Movements and Variations in Two Parts”
Sharon Lockhart
7th Sept. – 20th Oct 2018

Gladstone Gallery Brussels is pleased to present Movements and Variations in Two Parts, an exhibition of new works by Sharon Lockhart spanning two neighboring locations: Gladstone Gallery and Jan Mot. The exhibition features a series of photographic and sculptural works that stem from Lockhart’s ongoing interest in portraiture, choreography, and the empowerment of women.

Lockhart’s longstanding investment in place is evident both in the work presented and in the installation. The artist has spent years visiting the Sierra Nevada Mountains, often returning with manzanita, buckeye, and black walnut sticks which she presented as gifts to friends. These physical traces of the landscape gained symbolic form in her relationship with the girls of Rudzienko, with whom Lockhart collaborated for her presentation Little Review in the Polish Pavilion at the 57th Biennale di Venezia. Through the sticks, Lockhart could share a part of her home with the girls and they became a unifying force for the group. For Movements and Variations Lockhart has cast a selection of the sticks in bronze. The exhibition presents them in two forms: a series of bronze sculptures and nine photographic portraits. This doubling is further complicated by the installation’s fracture into two exhibition spaces.

Arranged in collaboration with Ravi GuneWardena from the Sogetsu School of Ikebana, the bronze sticks balance form and weight in six different arrangements. The series A Bundle and Five Variations (2018) features an inherent property of casting, the ability to multiply and play. Lockhart and GuneWardena took their initial bundle of nine sticks and derived five variations with successively fewer elements. Together, the sculptural iterations reflect both the natural and constructed relationships of the sticks.

Lockhart’s corresponding photographic works, Nine Sticks in Nine Movements (2018), feature a female protagonist, Sichong Xie, performing a set number of precisely choreographed poses with each of the nine bronze sticks, whose weight and form appear to dictate the subject’s actions. The photographs capture the exchange between choreography and the physicality of the bronzes, as the branches are employed as balancing tools for Xie, who physically connects to the objects with strength, focus, and poise. Each position, or movement, is methodically planned with reference to a myriad of stances borrowed from social and art historical sources.

Like much of Lockhart’s work, the simply and cleanly composed elements that constitute this exhibition belie a rich humanism and complex web of narratives and associations. Themes of collaboration, nature, labor, play, feminism, and agency echo amongst the elegant forms and architecture of the two galleries, prompting viewers to meditate on role of aesthetic experience in their lives. Bringing beauty into the world is both healing and inspirational, a lesson Lockhart has brought to our attention in the last several years of work with the young women of Rudzienko.

The works in this exhibition were commissioned and produced by Fondazione Modena Arti Visive in 2018.

Sharon Lockhart (born 1964) lives and works in Los Angeles. Lockhart’s work has been the subject of numerous solo exhibitions at international institutions including Fonzadione Fotografia Modena, Italy; the Museu Colecção Berardo, Lisbon; Arts Club of Chicago; Rose Art Museum at Brandeis University, Waltham; Wiener Secession, Austria; Walker Art Center, Minneapolis; Fogg Art Museum at Harvard University, Cambridge; Museum Boijmans Van Beuningen, Rotterdam; Kunsthalle Zürich, Switzerland; Museum of Contemporary Art, Chicago; Wolfsburg Museum, Germany; San Francisco Museum of Modern Art; and Los Angeles County Museum of Art. Her films have been included in the New York Film Festival, Vienna International Film Festival, Berlin Film Festival, and the Sundance Film Festival. In 2017, Lockhart represented Poland at the 57th Venice Biennale with her multidisciplinary project, Little Review, organized with National Gallery of Art in Warsaw, Poland, and more recently, presented a selection of works from the Venice Biennale at FRONT International: Cleveland Triennial for Contemporary Art, Cleveland, Ohio.

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Hopstreet Gallery
+32 4 96 54 44 54 hop@hopstreet.be hopstreet.be
109 Rue Saint-Georges
1050 Brussels

“UNCERTAINTIES/IMPROBABILITIES”
Group Show
07.09 – 27.10.18

At the invitation of Hopstreet Gallery, curator Lorand Hegyi invited Guglielmo Castelli, Ugo Giletta, Juul Kraijer, Barthelemy Toguo, Sandra Vasquez de la Horra & Tinus Vermeersch for the group exhibition “Uncertainties/Improbabilities”.

The exhibition concentrates on making “dark content more accessible, more intriguing”, because our present life, contemporary society, forces us to confront this realm of human complexity. “The images raised by poetry are always of this obscure kind,” wrote Edmund Burke in his famous essay about the sublime. He described the irresistible poetic power of uncertainty, improbability and obscurity because of their capacity to liberate our fantasy, to free our imagination and to create surprising, provocative and shocking connections between spheres and experiences not connected in daily life, in our pragmatic, everyday activities.

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Xavier Hufkens
+32 2 639 67 30 info@xavierhufkens.com www.xavierhufkens.com
6 Rue Saint-Georges
1050 Brussels

“WIDW”
Sterling Ruby
07.09 – 20.10.18

Sterling Ruby is known for the multifaceted nature of his practice, which encompasses painting, ceramics, collage, video and photography, textiles, sculpture and installations. Working in a wide range of media, from the traditional to the unconventional, Ruby has created an oeuvre that, while remarkably diverse, is firmly rooted within a complex and coherent artistic strategy. Often drawing upon autobiographical, art historical or sociological sources, Ruby’s work is frequently referred to as ‘post-humanist’– a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time/place), or predetermining classifications (e.g. animal/human). The seemingly ‘incomprehensible’ visual range of Ruby’s practice thus embodies a schizophrenic, ‘post-everything’ state of perpetual fragmentation and synthesis. A world in which, according to Ruby, ‘there is just too much information for anything to be coherent or whole.’

His practice involves a combination of philosophical enquiry and material investigation, the latter involving the seemingly endless repurposing, combining and recombining of different techniques and media. This too mirrors a shifting condition of constant deconstruction and reconfiguration, and the idea of a non-hierarchical, boundary-less universe.

Sterling Ruby (b. 1972) lives and works in Los Angeles. In 2014 his work was included in the Whitney Biennial, the 10th Gwangju Biennale and the 9th Taipei Biennial. Public collections include the Guggenheim Museum, NY; Whitney Museum of American Art, NY; MoCA, Chicago; MoCA, North Miami; MoCA, Los Angeles; LACMA, Los Angeles; MoMA, NY; SFMOMA, San Francisco; MMFA, Montreal; Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Modern, London.

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Xavier Hufkens
+32 2 639 67 30 info@xavierhufkens.com www.xavierhufkens.com
107 Rue Saint-Georges
1050 Brussels

”DRFTRS”
Sterling Ruby
07.09 – 20.10.18

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Victor Hunt Designart Dealer
+32 2 787 99 57 knock@victor-hunt.com www.victor-hunt.com
51 Rue Emile Claus
1000 Brussels

“dawn XL”, Sabine Marcelis
“framed”, commonplace studio
06.09 – 20.10.18

Victor Hunt Designart Dealer’s services focus on the search for, issue and sale of limited editions by the most remarkable emerging designers, operating as a platform for development supported by an international exhibition program. Since the gallery’s inception in 2008, the collection has grown throughout all object typologies, representing a carefully curated collection of cutting-edge contemporary design. We understand “designart” as the gray zone between industrial design, crafts, architecture, sculpture, conceptual art, installation, and many other arts, but applied to or at least suggesting objects of use— developed and manufactured with the utmost care.

Sabine Marcelis is a designer based in Rotterdam, The Netherlands. Raised in New Zealand, she studied industrial design for two years at Victoria University of Wellington, School of Architecture and Design. She continued her studies at the Design Academy Eindhoven, where she graduated in 2011.

Since graduating, she has been operating Studio Sabine Marcelis, producing both self-initiated and commissioned work. Marcelis applies a strong aesthetic point of view to her collaborations with industry specialists. This method of working allows her to intervene in the manufacturing process, using material research and experimentation to achieve new and surprising visual effects.

The ‘Dawn’ light series is an exploration of the relationship between light and colour inspired by a time in the day where the sun, clouds and sky join to create a momentary riot of hues. This moment is suspended in a unique series of light sculptures; an installation of larger works that act as a continuation of the project ‘Voie Light Series’. Playing with the relationship between light, colour, transparency and saturation, ‘the Dawn’ series utilizes a single white neon tube embedded in cast resin to highlight the subtle manipulation of colour and its intersection with light.

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rodolphe janssen
+32 2 538 38 18 info@rodolphejanssen.com www.rodolphejanssen.com
32 Rue de Livourne
1050 Brussels

Davide Balula, Kendell Geers, Thomas Lerooy, Sam Moyer
Group Show
07.09 – 20.10

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rodolphe janssen
+32 2 538 38 18 info@rodolphejanssen.com www.rodolphejanssen.com
35 Rue de Livourne
1050 Brussels

INVENTAIRE
Léon Wuidar
06.09 – 20.10.18

rodolphe janssen is pleased to present a retrospective exhibition “INVENTAIRE” by Léon Wuidar (born in Liège, August 1938) on the occasion of his 80th birthday. This will be our 3rd project with Wuidar after an exhibition at the end of 2016 around paintings from the 80s, and Art Brussels in spring 2017. This new exhibition also comes after the retrospective organized by White Cube in London, in April and June of this year.

Regularly exhibited for 60 years in Belgium and Europe, and present in many public collections in Belgium, Léon Wuidar is one of the few Belgian artists who has, throughout his life, persevered in the path of constructive or concrete abstraction. At the dawn of his 80 years, he finally began to receive the recognition he deserved and was rediscovered by a new generation of international collectors and artists.

Léon Wuidar often quotes as sources of inspiration both his childhood in Liége during and just after the war, as well as architecture and his friendship with the architect Charles Vandenhove. The title of the exhibition: INVENTAIRE comes from the text-poem written by Wuidar for the catalog that we will publish in September and which will be offered to the visitors of the exhibition.

With Charles Vandehove, he collaborated on numerous in situ projects, including the Sart Tilman Hospital in Liège in the early 1970s (with amongst others Daniel Buren, Niele Toroni, and Sol LeWitt). Vandenhove will also help him design his house and studio, on the heights of Esneux. A perfect example of the brutalist and functionalist architecture of Vandenhove, Wuidar lives and works there always surrounded by nature, his collection and his books.

Wuidar’s work is based on precision, discipline and humor; mixing shapes and colors to create harmonious, precise and meticulously balanced compositions. His paintings juxtapose squares, rectangles, polygons, and curves often surrounded by a double border of color and always finished by a simple wooden frame. The selection of paintings for our September exhibition goes through 40 years of his life, and will show the diversity of his work with many important paintings from 1968 to 2008, sketchbooks, books he designed the bindings for, and issues of the magazine Mesure that he created with his friends Jo Delahaut, Jean-Pierre Maury, Marcel-Louis Baugniet, Victor Noel, Jean-Pierre Husquinet ans Jean-Jacques Bauweraerts.

In addition, the Galerie Albert Dumont, where Rodolphe Janssen discovered Leon’s work in the spring of 2016, will present recent paintings from 2017, in contrast to works by Hilde De Bodt at Franck Sarfati.

The exhibition will start at the same time as the Brussels Gallery Weekend and will be open for the occasion on Thursday 6th from 5 to 9 pm, and friday 7th untill Sunday 9th September from 10 am to 7 pm.

Léon Wuidar (born in 1938 in Liège) lives and works in Esneux, Belgium.

Recent solo exhibitions include White Cube, London (2018); Bibliotheca Wittockiana, Brussels (2010); L’Espace du Dedans, Lille (2009) and Gesellschaft für Kunst und Gestaltung, Bonn, Germany (2007). His work was also included in numerous group exhibitions including ‘L’abstraction géométrique belge’, Mouans-Sartoux, France (2015); ‘Abstractions géométriques belges’, BAM, Mons, Belgium (2014); ‘Un siècle d’art abstrait’, Musée René Magritte, Brussels (2010).

His work is featured in numerous international public collections including Musée des Beaux-Arts, Brussels; Bibliothèque Albertine, Brussels; Fernmeldetechnisches Zentralamt, Darmstadt, Germany; Dorstener Maschinenfabrik, Dorsten, Germany; and Fondation IDAC, Mondriaanhuis, Amersfoort, The Netherlands; Musée d’Art Wallon, Liège; Cabinet des Estampes, Liège; Musée en plein air du Sart Tilman, Liège; Centre de la Gravure et de l’image imprimée, La Louvière, Belgium; Fondation Meeus, Louvain-la-Neuve, Belgium; Musée de Mariemont, Morlanwelz, Belgium; Musée des Beaux-Arts, Verviers, Belgium.

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Irène Laub Gallery
+32 4 94 89 76 95 amelie@irenelaubgallery.com www.irenelaubgallery.com
29 Rue Van Eyck
1050 Brussels
“Slice and Dice”
Nazgol Ansarinia, José Pedro Croft, Dan Graham, Jonathan Sullam and Roeland Tweelinckx
Curated by Gregory Lang
07.09.18 – 20.10.18
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Harlan Levey Projects
+32 4 85 69 91 46 info@hl-projects.com www.hl-projects.com
46 Rue Jean d'Ardenne
1050 Brussels

“Industrial Poems”
TR Ericsson
06.09 – 03.11.18

Harlan Levey Projects was established in 2011 as a project space, which collaborated with artists, curators, galleries and governmental associations. Today, the gallery works closely with innovative emerging and mid-career artists, facilitating exhibitions, educational programming and artist driven services. In 2017, the gallery was awarded the Discovery Prize at Art Brussels. Outside of the gallery, Mr. Levey works as a lecturer at The Higher Institute for Fine Arts (Ghent), the Jan Van Eyck Academy (Maastricht) and an external expert for the European Commission.

TR Ericsson (b. 1972, US) lives and works in Brooklyn, New York for over 20 years. He uses the story of his mother to present a searing, soft, and complex portrait of post-industrial life in America. Ericsson constructs his work using traditional art materials such as canvas, bronze, photography, and clay as well as video, found objects, and artifacts taken from his family archives. “Crackle & Drag”, Ericsson’s ongoing project, started during the years following his mother’s suicide in 2003.

It begins as an intimate encounter with an artist’s family archive and becomes a potent opportunity to reflect and scrutinize the trials and tribulations of our own lives, taking on historical significance as it documents and transforms three generations of life in the American Midwest. In 2015, this project lead to a solo exhibition at the Transformer Station/Cleveland Museum of Art and an award winning monograph of his work, published by Yale University Press to accompany the exhibition. In 2017, he was the winner of the 91st International Print Center Award and he had a solo exhibition at the Everson Museum of Art titled “I Was Born to Bring You into This World ”, curated by DJ Hellerman. His work can be found in numerous public and private collections, including the Whitney Museum of American Art, the Dallas Museum of Art, the MoMA, the Cleveland Museum of Art, the Indianapolis Museum of Art and the Progressive Art Collection, and many others.

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LMNO
+32 4 98 57 35 47 info@lmno.be www.lmno.be
31 Rue de la Concorde
1050 Brussels

“Not Every Flag Has the Same Shadow”
VOID
06.09 – 03.11.18

In September 2018 LMNO will present two solo exhibitions by VOID, an artist collective set up in Brussels in 2013 by Arnaud Eeckhout (Belgium 1987- ) and Mauro Vitturini (Italy, 1985- ).

Fascinated as they are by the invisibility and immateriality of sound, VOID give shape to this absence through a resolutely multidisciplinary practice in which a dialogue takes place between sculptural installations, sculptures, videos, drawings, texts, performances, books, interventions in public space. What is at stake in their work is addressing the sound medium as a vector for the representation of reality, using sonic matter just like colours on a painter’s brush.

Not Every Flag Has the Same Shadow is the title of the exhibition that will inhabit the space of the LMNO gallery. This proposal, taking the form of an immersive installation, addresses the question of collective identities. Those multiple relationships are articulated round shared symbolic referents, generating vast typologies of artefacts: monuments, flags, coats of arms, songs, hymns, heroes, legends, objects, ceremonies… In addition to their functional interest, these fictional dispositifs generate a genuine visual, sonic and performance language of their own. VOID’s investigation tries to deconstruct them and thereby to question both their function and their syntax. By extension they question the deep nature of that collective and intimate feeling: identity.

Meanwhile, the second project of the collective: The Audible Past, will unfurl at Bozar’s Art on Paper fair. Here they will present a brand new series of drawings, linked to sound recording — a notion which punctuates their production (Au clair de la lune [Under Moonlight], 2017, Glasswork, 2017, Bruit Blanc [White Noise], 2015).

Historically the writing of acoustic waves on a support marks a major turning point, making sound an object per se, transportable, archivable, autonomous vis-à-vis its source. This liberates the past from silence, making it an audible thing. Memory now has ears.

Oddly enough, the first recording was done on a sheet of paper. Scottt de Martinville it was who in 1860 inscribed the acoustic waves of his voice with a phonautograph on a piece of paper covered in lampblack. The series Phonotogram # by the VOID collective exhumes this technical device in order to generate drawings, visual traces left by a sound that has been picked up in chosen spaces/places. The constitutive features of those images are a section of the acoustic history of that place.

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MANIERA
+32 4 94 78 72 90 info@maniera.be www.maniera.be
27 Place de la Justice
1000 Brussels
“A table, a lamp and a door handle”
Anne Holtrop
07.09 – 17.11.18
MANIERA gallery commissions architects and artists to develop furniture and objects for use, offering them an excursion beyond their usual practice. As architects often have a close relationship with the visual arts and artists are often inspired by the spatial environment, MANIERA intends to crystalise these proximities into new design proposals. More than just furniture, the objects issued by MANIERA are a deliberate search for collisions between the realms of architecture, design and art.

Above all, MANIERA wants to bring a young, up-and-coming generation to the fore, but also show established and renowned figures in a new way. The most important elements in this involve a personal language and writing, a conceptual mode of thought, and an authentic and idiosyncratic way of working.

Although founded in 2014, MANIERA gallery already has a strong presence on the global design market, quietly and successfully changing prevailing notions of furniture design and production.

Architect Anne Holtrop (°1977 in the Netherlands, lives and works in Bahrein) is interested in a possible architecture. In his work, he starts with form or material that often originates outside architecture. In the conviction that things can always be re-examined and reinterpreted, they can also be seen as architecture. In the same way as someone can see a butterfly or a lake in the ink blots of a Rorschach test. Anne Holtrop wants to look freely – more or less without a plan – at material gestures and found forms and let them perform as architecture. In this way, architecture emerges by imagining the next step that follows the steps already taken. Holtrop wants the work to remain interpretable exactly the way it originated.

Until a few years ago, Anne Holtrop had only built a few extremely poetic pavilions and various installations that lay somewhere between art and architecture. However, his work leapt up in scale when he took on two large projects that were completed in 2015: the Museum Fort Vechten in The Netherlands and the National Pavilion of the Kingdom of Bahrain for the 2015 Milan Expo. Today, the National Pavilion of Bahrain has been rebuilt in Muharraq and Holtrop’s studio is working on and executing the design of the Sheikh Isa Bin Ali Al-Khalifa Museum, the Siyadi Pearl Museum and the Murad Boutique Hotel, all in Bahrain, as well as other projects elsewhere abroad.

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MARUANI MERCIER
+32 2 512 50 10 desk@maruanimercier.com www.maruanimercier.com
430 Avenue Louise
1050 Brussels

“New Works”
Peter Halley
06.09 – 13.10

MARUANI MERCIER presents a collection of new works by the Neo-Conceptualist artist Peter Halley.

Peter Halley was born in New York City in 1953. He received his BA from Yale University and his MFA from the University of New Orleans in 1978.

Moving to New York City had big influence on Halley’s painting style. Its three-dimensional urban grid led to geometric paintings that engage in a play of relationships between so-called “prisons” and “cells” – icons that reflect the increasing geometricization of social space in the world. Halley began to use colors and materials with specific connotations, such as fluorescent Day-Glo paint, mimcking the eerie glow artificial lighting and reflective clothing and signs, as well as Roll-a-Tex, a texture additive used as surfacing in suburban buildings.

 

 

Halley is part of the generation of Neo-Conceptualist artists that first exhibited in New York’s East Village, including Jeff Koons, Haim Steinbach, Mayier Vaisman and Ashley Bickerton. These artists became identified on a wider scale with the labels Neo-Geo and Neo-Conceptualism, an art practice deriving from the conceptual art movement of the 1960s and 1970s. Focussing on the commodification of art and its relation to gender, race, and class, neo-conceptualists question art and art institutions with irony and pastiche.

Halley’s works were included in the Sao Paolo Biennale, the Whitney Biennale and the 54th Venice Biennale and represented in such museums and art institutions as the CAPC Musee d’Art Contemporain, Bordeaux; the Museo Nacional Centro de Arte Reina Sofia, Madrid; the Stedelijk Museum, Amsterdam; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Modern Art, New York; the Kitakyushu Municipal Museum of Art; the Museum Folkwang, Essen and the Butler Institute of American Art.

Halley lives and works in New York City.

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Galerie Greta Meert
+32 2 219 14 22 info@galeriegretameert.com www.galeriegretameert.com
13 Rue du Canal
1000 Brussels
Terry Adkins, Carl Andre, Katinka Bock, Johannes Döring, Johannes Esper, Donald Judd, Valerie Krause, Jean-Luc Moulène, Diane Simpson, Ricky Swallow, Didier Vermeiren, Erika Verzutti, Johannes Wald, Joe Zorrilla… 
Group show
07.09 – 20.10.18 
Galerie Greta Meert is pleased to present a group exhibition of sculptural works unfolding on all three floors of the gallery. Bringing together a wide range of artists whose work engages with materiality in very distinct ways, this exhibition aims to foster a generative dialogue between these seemingly disparate works and practices.

 

Focusing on the compound relationship that sculpture has the potential to initiate with the viewer, this selection of works brings forth the idea that sculptural forms can be approached as “mediums” literally placed in-between the position of the artist and the unfixed stance of the onlooker.

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Meessen De Clercq
+32 2 644 34 54 info@meessendeclercq.be www.meessendeclercq.be
2 Rue de l'Abbaye
1000 Brussels

THE UNENDING GIFT
september 7, 2018 – october 6, 2018

In September Meessen De Clercq will celeberate its first decade of activity!

At the occasion of the Brussels Gallery Weekend the gallery invites you for the opening of the anniversary exhibition, ‘The Unending Gift’, This exhibition is inspired by the eponymous poem of Jorge Luis Borges and brings together works of gallery artists as well as others such as Francis Alÿs, Martin Boyce, Joan Miró, Bruce Nauman, Thomas Schütte, Remy Zaugg and more.

Furthermore a new project named ‘Chinese Whispers’ will be inaugurated. For this project ten international artists have been invited, each in turn, to occupy the space of the gallery’s Wunderkammer.

Each artist will base his or her specifc proposal on the one of the preceding artist. Ryan GANDER will inaugurate the series in September with a work tailor made for the space.

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Meessen De Clercq
+32 2 644 34 54 info@meessendeclercq.be www.meessendeclercq.be
2 Rue de l'Abbaye
1000 Brussels

Chinese Whispers #1
september 7, 2018 – october 6, 2018

Meessen De Clercq’s 10th anniversary one year exhibition project

Featured artist(s):
Ryan Gander

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Mendes Wood DM
+32 2 502 09 64 brussels@mendeswooddm.com www.mendeswooddm.com
13 Rue des Sablons
1000 Brussels

Paloma Bosquê
Inventory
06/09 – 20/10 2018

Paloma Bosquê is first and foremost a sculptor. Her practice draws largely on her daily routine of selecting and handling materials at her studio in São Paulo. In a constant search for a balance between found and made elements, the artist often develops specific methods to combine, juxtapose and merge these materials without forcing them to a definitive interaction. This deliberate refusal of “aggressive” juxtapositions (such as screwing or welding things together) gives a specific timing to the process, thus creating a special intimacy between the artist and her components of choice. Bosquê’s sculptures reveal the poetic potential of their materials, while reminding us of art’s inherent condition as a place completely devoid of immediacy.

For her first solo show in Belgium, the artist has proposed new  arrangements – or agreements – between materials she has been investigating for the past few years. Inventory features around twenty tridimensional works made with the materials and methods that constituted the artist’s vocabulary in the past few years: brass, lead sheets, handmade felt, casted bronze, coal, gum rosin, melted bees wax, sewn beef casing, artisanal paper, coffee sieves and wool. In typical art world jargon, one would say that an artist is presenting a “new body of work ” – as if they are continuously pulling rabbits out of a hat. Indeed, the pieces on view in the show are new – as in recently made – but they develop on previously used materials and tested processes. Therefore, Bosquê proposes a change in vocabulary, or attitude; she is not seeking up to date results or innovation through form, but new ways of engagement with it, without indulging in modernist ideals of unprecedented achievement. Her delicate visual universe critically deals with the socio-political, metaphysical and aesthetic dimensions of the materials available in the world and our actions towards them.

Taking over three rooms of Mendes Wood DM’s gallery in Brussels, the works on view elaborate on the artist’s previous experiments with spatial installations and sculptural display [1]. In the largest room – facing the Sablon church – the artist installed a large plinth (of approximately five meters long and two meters wide) to support a meticulous combination of works from her latest series ‘Blind Arrangements’. The presented objects are structures that come in pairs, and Bosquê uses the plinth as a staging device for a well-rehearsed choreography between the “self-enclosed” units – or couples. As with everything Bosquê does, these works eloquently lack literal discourse, leaving room for a deeper – less rational – understanding of the transient and consensual material relationships she creates. Due to the low height of the plinth (around 10 centimeters), the viewers a reinvited to squat or bend down to see the works. At close range, the organic shapes look as though they might breathe, sway or slither away.

While they hang with weight or weightlessness, we can sense their subtle reactions to the effects of gravity, movement and light in the room, as if they were beginning to alter before our eyes, somehow mocking their “sculptural condition”.

Bosquê is faithful to her materials and met hods, and this exhibition highlights the creative and political potential of ongoing and ever-changing relationships. It is partly this human time-scale of the processes of their making – all her sculptures require this intensity; binding, melting, sewing, knotting –, that gives the work a fragile sense of duration. Bosquê’s processes can be precisely planned or deeply out of her hands. Regardless of how they came to be, it seems all her works are part of something larger and indeterminate – that encompasses both chance and pragmatic planning –, constantly defying our contrived expectation that artworks and culture values are definitive or immutable.

-Fernanda Brenner

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Jan Mot
+32 2 514 10 10 office@janmot.com www.janmot.com
10 Place du Petit Sablon
1000 Brussels

‘‘Movements and Variations in Two Parts’’
Sharon Lockhart
7th Sept. – 20th Oct.

Jan Mot and Gladstone Gallery Brussels are pleased to present Movements and Variations in Two Parts with new works by Sharon Lockhart spanning the spaces of both galleries. The exhibition features a series of photographic and sculptural works that stem from Lockhart’s ongoing interest in portraiture, choreography, and the empowerment of women.

Lockhart’s longstanding investment in place is evident both in the work presented and in the installation. The artist has spent years visiting the Sierra Nevada Mountains, often returning with manzanita, buckeye, and black walnut sticks which she presented as gifts to friends. These physical traces of the landscape gained symbolic form in her relationship with the girls of Rudzienko, with whom Lockhart collaborated for her presentation Little Review in the Polish Pavilion at the 57th Biennale di Venezia. Through the sticks, Lockhart could share a part of her home with the girls and they became a unifying force for the group. For Movements and Variations Lockhart has cast a selection of the sticks in bronze. The exhibition presents them in two forms: a series of bronze sculptures and nine photographic portraits. This doubling is further complicated by the installation’s fracture into two exhibition spaces.

Arranged in collaboration with Ravi GuneWardena from the Sogetsu School of Ikebana, the bronze sticks balance form and weight in six different arrangements. The series A Bundle and Five Variations (2018) features an inherent property of casting, the ability to multiply and play. Lockhart and GuneWardena took their initial bundle of nine sticks and derived five variations with successively fewer elements. Together, the sculptural iterations reflect both the natural and constructed relationships of the sticks.

Lockhart’s corresponding photographic works, Nine Sticks in Nine Movements (2018), feature a female protagonist, Sichong Xie, performing a set number of precisely choreographed poses with each of the nine bronze sticks, whose weight and form appear to dictate the subject’s actions. The photographs capture the exchange between choreography and the physicality of the bronzes, as the branches are employed as balancing tools for Xie, who physically connects to the objects with strength, focus, and poise. Each position, or movement, is methodically planned with reference to a myriad of stances borrowed from social and art historical sources.

Like much of Lockhart’s work, the simply and cleanly composed elements that constitute this exhibition belie a rich humanism and complex web of narratives and associations. Themes of collaboration, nature, labor, play, feminism, and agency echo amongst the elegant forms and architecture of the two galleries, prompting viewers to meditate on role of aesthetic experience in their lives. Bringing beauty into the world is both healing and inspirational, a lesson Lockhart has brought to our attention in the last several years of work with the young women of Rudzienko.

The works in this exhibition were commissioned and produced by Fondazione Modena Arti Visive in 2018.

Sharon Lockhart (born 1964) lives and works in Los Angeles. Lockhart’s work has been the subject of numerous solo exhibitions at international institutions including Fonzadione Fotografia Modena, Italy; the Museu Colecção Berardo, Lisbon; Arts Club of Chicago; Rose Art Museum at Brandeis University, Waltham; Wiener Secession, Austria; Walker Art Center, Minneapolis; Fogg Art Museum at Harvard University, Cambridge; Museum Boijmans Van Beuningen, Rotterdam; Kunsthalle Zürich, Switzerland; Museum of Contemporary Art, Chicago; Wolfsburg Museum, Germany; San Francisco Museum of Modern Art; and Los Angeles County Museum of Art. Her films have been included in the New York Film Festival, Vienna International Film Festival, Berlin Film Festival, and the Sundance Film Festival. In 2017, Lockhart represented Poland at the 57th Venice Biennale with her multidisciplinary project, Little Review, organized with National Gallery of Art in Warsaw, Poland, and more recently, presented a selection of works from the Venice Biennale at FRONT International: Cleveland Triennial for Contemporary Art, Cleveland, Ohio.

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Galerie Nathalie Obadia
+32 2 648 14 05 www.nathalieobadia.com
8 Rue Charles Decoster
1050 Brussels

EDI HILA
Open Museum
Thursday 6 September – Saturday 27 October

Galerie Nathalie Obadia is honored to present Albanian painter Edi Hila’s first exhibition in Belgium. Long silenced by the secrecy imposed by his country’s dictatorship, the artist, born in Shkodër in 1944, is now unanimously considered to be the most important Albanian painter of his generation, and, beyond that, as “one of the most interesting painters of the early 21st century,” according to art critic and curator Ami Barak.

For his first solo exhibition in Brussels, Edi Hila presents Open Museum, his new series of paintings, which he began in 2018. It follows the series ‘La tente sur le toit d’une voiture’, which was presented in 2017, at documenta 14 (Athens, Greece – Kassel, Germany), under the artistic direction of Adam Szymczyk. In the spring of 2018, this series was also featured in Edi Hila’s first retrospective, held at the Museum of Modern Art, in Warsaw (Poland), before traveling to the National Gallery of Art, in Tirana (Albania). The exhibition highlighted Edi Hila’s current preoccupations and his latest pictorial experimentations, thus cementing his international recognition.

Alongside his new series, Open Museum, Galerie Nathalie Obadia also presents several paintings from previous emblematic series, including ‘Maison’, ‘Périphérie’, and ‘Penthouse’. The latter had been exhibited at the 14th Venice Biennale of Architecture (2014) and at the retrospective in Warsaw and Tirana (2018). Together, the works, selected by the artist, paint a unique pictorial trajectory, which composed, and still composes via the cultural, social and political reality in Albania, a country in “permanent germination,” as Edi Hila underlines. A common thread amongst his paintings, whose origins are otherwise diverse, is the way they powerfully inscribe themselves in the everyday life and environment of the painter who lives and works in Tirana. Unlike many of his fellow artists and compatriots, Edi Hila never left his homeland to paint under less hostile skies.

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Office Baroque
+32 4 84 59 92 28 info@officebaroque.com www.officebaroque.com
5 Place du Jardin aux Fleurs
1000 Brussels
Above the Threeline
Virginia Overton, Jon Pestoni, Rezi Van Lankveld, Ambera Wellmann
6th Sept. – 13th Oct.
Above The Treeline is a group exhibition featuring the work of Virginia Overton, Rezi van Lankveld, Jon Pestoni and Ambera Wellmann. The exhibition will be held at our downtown gallery at Bloemenhofplein 5 and will open on Thursday September 6 as part of Brussels Gallery Weekend parcours. The exhibition will run thru 13 October 2018. Above The Treeline is a geographical marker, the place, at a certain altitude, where tree growth stops and a new type of landscape sets in. The climate is characterised by low air pressure. The exhibition uses this metaphor to look at four artist and how their work crosses a line, creating other relations with history, meaning, self and today. The artists in Above the Treeline approach “making” not as aesthetically manipulating an object, rather as altering our perception of time, space and self, forcing us to step out of the moment, into a space and time that looks familiar, but is fundamentally different. It will juxtapose different approaches to material, figuration and abstraction, from Jon Pestoni’s use of cat litter, to the free flow of paint in Rezi Van Lankveld’s work. From Ambera Wellmann’s allegorical representations to Virginia Overton’s sculptural interventions with found materials.
ARTISTS
Virginia Overton (USA, 1971) builds her sculptures out of what have been deemed “masculine” materials such as Sheetrock, mud, and wood beams, defying standards of female art-making practices. Overton’s works have an elegant ingenuity and strange intuitive logic in their rough-hewn, unfinished appearances. By using discarded materials, and revisiting existing compositions or genres within her own work, Overton’s practice is characterized by transformation as method. Giving new meaning or function to existing form unbalances our fixed understandings of tension, gravity and their meaning.
Jon Pestoni’s (1969, USA) optically charged paintings each layer several compositional orders — geometric forms, figuration, graphic art, and Abstract Expressionism — such that they become an inextricable contradiction. The surfaces of his work are rich with drips, splashes, dry on dry brush strokes and paint mixed with cat litter, all in varying degrees of transparency. At the edges accrue fragments of cartoon figures and illustrations like bits of paper escaping from a file folder. They obstruct the free deployment of paint and add a deeply psychological dimension to his painting.

Rezi van Lankveld (NL, 1973) is known for her small and medium sized paintings. They have a presence and immediacy that can be described for lack of better words as an affectionate infinity, a borderless elsewhere. The complex and contradictory interplay of immaterial paint, formal play, figurative hints and fauvist palette are created through Van Lankveld process of pouring paint loosely from a can onto the canvas, then pushing and pulling the paint until compositions emerge. Her brightened liquid palette recalls the work of Georgia O’keefe or Helen Frankenthaler, while her biomorphic shapes come closer to El Greco and Philip Guston. Soft, fluid and porous her works are tangible mirages.

Ambera Wellmann’s (CA, 1982) uncanny clair-obscur paintings are symbolical compressions addressing the historical as much as the present. She looks at magazines and art history through an allegorical lens and finds iconographic material that allows her to speak from memory and imagination from a third person perspective. Wellmann’s pictures of human bodies or still life compositions are both familiar and strangely alienating. Mannerist, slight deformations in otherwise familiar scenes lead us away from the center. In all of them, fragmentation gnaws as a slowly eroding force that inevitably makes flesh become cold, glow become pale and sweat become tears. On the other side of life and alienation, death reveals itself as a driving force. In the work of Wellmann, these dynamics appear as seen from a feminist perspective. By exploring the historical genres of still life, erotic rêverie and allegory, she finds ways to make her own, deeply lived, the eroticism that has imagined, challenged and described woman throughout the ages.

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OV project
+32 2 201 37 83 info@ovproject.com www.ovproject.com
57 Rue Van Eyck
1050 Brussels

Project 12
Paul Mogensen & Steven Parrino
06.09 – 27.10.18

o v project, conceived by Olivier Vrankenne, is located in uptown Brussels. Its ambition is to create ‘projects in a room’ that the Brussels-based architecture firm Lhoas and Lhoas has been invited to design a unique space.

Our main objective is to confront various disciplines and artistic languages in a shared environment to generate a sense of curiosity and critical thinking. OV aims to create interactions and previously unseen connections between different artistic fields, based on mutual dialogues beyond traditional art histories. With flexibility at the heart of its programming, OV will be simultaneously launching its off-site hors les murs projects.

A long-time Senior Partner at Phillips, Olivier Vrankenne launches his Project Room in Brussels. Known as a prominent art expert who oversaw the Phillips Contemporary Art Department in Europe for the last decade, Vrankenne has been involved in many single owner sales and major private transactions. He was in charge of the program of the De Pury-Luxembourg gallery, Zurich where he curated several shows.

Over the years, Olivier Vrankenne has been interested in a wide range of contemporary creative fields, especially in Design, Architecture, Classic Photography, and Tribal Arts. Aligning these various disciplines with contemporary art, he has curated many exhibitions, special projects, and auctions.

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Park View/Paul Soto
+32 4 99 82 88 30 info@paulsoto.net www.paulsoto.net
23 Avenue Jef Lambeaux
1060 Saint-Gilles
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QG Gallery
+32 2 513 53 22 www.qg-gallery.com
62 Rue de la Concorde
1050 Ixelles

Power of Repetition
group show
Carl Andre, Daniel Buren, Alan Charlton, Peter Joseph, Yves Klein, Allan McCollum, Olivier Mosset, Niele Toroni, Stanley Whitney

From the beginning of the 20th century until now, repetition in art is possibly the most interesting method that many artists used to re-define the notion of tradition.

Power of Repetition is not only a showcase of renowned artists who deliberately chose artistic or technical recurrence as the main subject of their work, but also really impacted Art History by arising issues of originality, authenticity and appropriation. Amongst them Olivier Mosset, Daniel Buren and Niele Toroni, founder of the BMPT group; Allan McCollum, Carl Andre, George Rickey, Stanley Whitney, Ron Gorchov, Peter Joseph, Alan Charlton and Yves Klein.

BMPT In 1967, Niele Toroni founded BMPT, coming from the first letter of its founders: Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni. The collective questioned notions of authorship highlighting an art piece as more important than its origin. In other words, they suppressed subjectivity and expressiveness in favour of practical systems, such as the utilization of neutral, repetitive patterns. Whether it is Buren’s stripes, Mosset’s circle or Toroni’s imprints of paintbrush, the exhibition explores the most important artworks of these three major artists in the field of repetition in art.

CONCEPTUAL SCULPTURE & REPETITION Around the same time, Carl Andre revolutionized sculpture by pioneering works that lie flat on the ground rather than rising up and occupying space. In fact, since 1966, Andre invites viewers to walk upon his sculptures so that they can sense not only the feeling of different materials (such as steel and aluminium) but also the distinction between standing in the middle of a sculpture and remaining outside of its boundaries. Using metal as the core of his work as well, George Rickey combined his love of engineering and mechanics by designing sculptures whose metal parts moved in response to the slightest air currents. He became a real master in abstract kinetic sculptures by ordering predictable movements as well as controlling both the speed and tempo of similar objects to respond more randomly.

The exhibition will present Allan McCollum’s most iconic piece: Perfect Vehicles, first made in 1985. Sitting atop plinths, the standard mode for the display of sculpture, the groupings ranged from five to fifty generic cast-plaster vases. The shape of the vase was that of an antique Chinese ginger jar, a shape made ubiquitous by centuries of its reproduction. The Perfect Vehicles came in a range of colours and sizes, such that even though each vase was identical in shape, no two groupings were alike based on quantity and colour.

GORCHOV & WHITNEY – FINALLY RECOGNISED
Recently, after years out of the spotlight, Ron Gorchov and Stanley Whitney’s work have, once again, began to attract public attention. The American artist Ron Gorchov known for his richly coloured paintings on stretched linen over curved stretcher bars, achieves unique, concave surfaces reminding of Bronze Age shields or sarcophagus masks. Focusing on colours as well, Stanley Whitney has been exploring the formal possibilities of colour within evershifting grids of multi-hued blocks and gestural marks and passages. By repeating the process for many years, Stanley Whitney achieved his goal by making colour patterns dictate the structure.

MONOCHROME & COLOUR POTENTIAL
Peter Joseph has, over the course of decades, dedicated his practice to seeking the potential in constraint. He rose to critical acclaim in the 1970s for his meditative, two-colour paintings, which set one rectangle within a frame of a darker shade. These early works are characterized by perfect symmetry, where every decision about colour and proportion can be seen to be redolent of time, mood or place. Rather than focusing on two-colour paintings, Alan Charlton paints grey monochrome paintings – which he has been doing since the early 1970s. Charlton’s works concentrate on physicality, uniformity and method inducing a profound sense of the painting as a spatial entity. In a similar, but also very different, monochromatic approach, the gallery will show one of the iconic Yves Klein IKB blue. For most of his life and career, Yves Klein focused on the luminosity and spirituality of his ultramarine pigment. Klein applied the International Klein Blue into a variety of mediums (canvases, sculptures, performances such as Anthropometry) and believed, more than anything, in the power of the colour as the main subject of its art.

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Almine Rech Gallery
+32 26 48 56 84 contact.brussels@alminerech.com www.alminerech.com
20 Rue de l'Abbaye
1050 Brussels

“Heaven on the highway”
Justin Adian
6th Sept – 20th Oct

The fine line between painting and sculpture is especially blurred in the work of Justin Adian, who produces abstract wall reliefs in vibrant palettes that oscillate between and borrow from the two artistic languages. Adian stretches painted canvas over ester foam, which is often mounted to a wooden support. The result is a puffy, geometric composition, often composed of multiple such forms. The works’ formal opacity is tempered by his use of industrial materials and unpretentious titles, which often reference his Texan upbringing.

Justin Adian (b. 1976, Forth Worth, Texas) lives and works in New York. Since his first group exhibition in 1999, his work has been exhibited in the United States, London and Paris. He was recently included in ‘The Surface of the East Coast’, from Nice to New York, Le 109, Nice, France.

“Rainbow Road part 2”
Joe Andoe
6th Sept – 20th Oct

Tulsa-born painter Joe Andoe is known for his austere depictions of everyday subjects, such as roadsides with cloud-filled skies, horses, dogs, and flowers. For his painting, he uses a reductive technique where he covers an entire canvas with thick black oil paint, then wipes off the paint while still wet to reveal an image beneath, creating an enigmatic and textural minimalism. “Since the late ‘70s I have fancied myself a landscape painter, and a painter of the things that hang around on the landscape” wrote Joe Andoe in his memoir Jubilee City (2008). In his recent work, Andoe underscores the possibilities of imagery by developing a cinematic vision of American mythologies. Often compared to the photographic documentation ofteenage life in Tulsa by Larry Clark, Andoe’s universe has emerged as one great depiction of the American spirit and its iconography.

Joe Andoe (b. 1955, Tulsa, Oklahoma) has been featured in solo and group exhibitions at the Bemis Center for Contemporary Arts, Omaha ; Schirn Kunsthalle Frankfurt, Frankfurt ; Longview Museum of Fine Arts, Longview ; Newport Harbor Art Museum, Newport Beach ; and the Albright Knox Museum, Buffalo, among others. His work has been recently included in the group shows ‘Stampede Animals in Art’, at the Denver Art Museum, Denver (2017-2019) and ‘Animalia’ at the Daum Museum of Contempo-rary Art, Sedalia, Missouri (2016). His work is in public collections of The Metropolitan Museum of Art, New York ; Museum of Modern Art, New York ; Museum of Fine Arts ; Boston ; Whitney Museum of American Art, New York ; San Diego Museum of Contemporary Art, San Diego ; The Detroit Museum of Art, Detroit ; The National Gallery of Art, Washington DC and at The Hall Art Foundation. Born in 1955 (Tulsa, Oklahoma), Andoe received his MFA from University of Oklahoma in 1981. He currently lives and works in New York City.

Almine Rech Gallery opened its doors on April 1st, 1997 in the 13th arrondissement in Paris. The gallery was founded on a minimal and conceptual axis, representing artists such as James Turrell, John McCracken and Joseph Kosuth. In addition to its stable of internationally recognized, mid-career and emerging artists, it has always been the gallery’s mission to continually seek out and include new artists in its program. The gallery has held longstanding relationships with artists like John McCracken and James Turrell and has since started working with and representing artists such as Günther Förg, Alex Israel, Jeff Koons, Richard Prince, Julian Schnabel, Taryn Simon and DeWain Valentine, among others.

Almine Rech Gallery opened its doors on April 1st, 1997 in the 13th arrondissement in Paris. The gallery was founded on a minimal and conceptual axis, representing artists such as James Turrell, John McCracken and Joseph Kosuth. In addition to its stable of internationally recognized, mid-career and emerging artists, it has always been the gallery’s mission to continually seek out and include new artists in its program. The gallery has held longstanding relationships with artists like John McCracken and James Turrell and has since started working with and representing artists such as Günther Förg, Alex Israel, Jeff Koons, Richard Prince, Julian Schnabel, Taryn Simon and DeWain Valentine, among others.

In 2006 the gallery moved to a larger two-floor space in the Marais district and in 2008 inaugurated a second 1,000 square meter exhibition space in Brussels. In March 2013, Almine Rech Gallery launched its new Paris space at 64 rue de Turenne. In June 2014, Almine Rech Gallery opened a gallery in Mayfair, London. In October 2016, the gallery opened its second London space on Grosvenor Hill, Mayfair. The 400 square meter gallery opened with a solo exhibition by Jeff Koons. Almine Rech Gallery also opened in Manhattan’s Upper East Side—the gallery’s first exhibition space in the US — at the end of October, 2016.

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Sorry We’re Closed
+32 4 78 35 42 13 info@sorrywereclosed.com www.sorrywereclosed.com
67 Rue de la Régence
1000 Brussels
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Stems Gallery
+32 4 70 40 27 75 info@stemsgallery.com www.stemsgallery.com
68 Rue de la Concorde
1050 Brussels

“Air Song” 
Tyrell Winston
06.09 – 03.11.18

 

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TEMPLON
+32 2 537 13 17 brussels@templon.com www.templon.com
13 Rue Veydt
1060 Brussels

“Prostupia”
Ivan Navarro
06.09 – 20.10.18

The gallery was founded in 1966 by Daniel Templon, who was then only 21. It first opened rue Bonaparte, in Saint-Germain-des-Prés in Paris, before moving in 1972 to its current location, rue Beaubourg, in the Marais, close to the Pompidou Center, which opened in 1977. Daniel Templon first gained recognition by exhibiting conceptual and minimal artists such as Martin Barré, Christian Boltanski, Donald Judd, Joseph Kosuth, Richard Serra. In the seventies and eighties, Daniel Templon was one of the pioneers of the contemporary art and introduced many important American artists to the French public: Dan Flavin, Ellsworth Kelly, Willem de Kooning, Frank Stella, Andy Warhol. The gallery quickly became one of the references in contemporary art in France. In 1972, Daniel Templon and Catherine Millet co-founded the monthly art magazine ART PRESS.

Over the years, many artists now part of art history have exhibited with the gallery. In chronological order : Martin Barré, Christian Boltanski, Joseph Kosuth, Ben, Arman, César, Carl Andre, Dan Flavin, Sol LeWitt, Donald Judd, Ellsworth Kelly, Kenneth Noland, Robert Morris, Jules Olitski, Frank Stella, Olivier Mosset, Art & Language, Richard Serra, Roy Lichtenstein, Andy Warhol, Karel Appel, Willem de Kooning, Helmut Newton, Francesco Clemente, Jörg Immendorff, Julian Schnabel, Lawrence Weiner, Daniel Buren, Jean-Michel Basquiat, David Salle, Robert Mapplethorpe, Robert Rauschenberg, Joel Shapiro, Keith Haring, Peter Halley, James Rosenquist, Robert Longo, Paul Rebeyrolle, Georg Baselitz, Raymond Hains, Eric Fischl, Juan Uslé, Jaume Plensa, George Condo, Ross Bleckner, Chapman brothers, Jim Dine, Richard Long, William Eggleston, Hiroshi Sugimoto, Yayoi Kusama, Richard Deacon, Larry Bell, Guillermo Kuitca, Anthony Caro, Pierre et Gilles.

Today Galerie Templon represents a group of international artists. The program promotes a dialogue between generations: established artists, international mid-career artists, and the experiences of younger artists. The gallery also provides curatorial expertise and assistance in the mounting of exhibitions by its artists in museums or international exhibitions. Many of its artists have participated in international exhibitions such as the Venice Biennale, Documenta, the Whitney Biennale etc.

Galerie Templon is involved in the production of its artists and is committed to a strong editorial policy with the publication of exhibition catalogues. It has three spaces: two exhibition spaces in Paris (rue Beaubourg and Impasse Beaubourg) and one in Brussels, Belgium. The gallery participates in art fairs worldwide, including FIAC since 1974 and ART BASEL since 1978.

Galerie Templon’s history is now the subject of a book by historian Julie Verlaine “Daniel Templon: a History of Contemporary Art” published by Flammarion in 2016.

Ivan Navarro
Born in 1972 in Santiago, Iván Navarro grew up under the Pinochet dictatorship. He has lived and worked in New York since 1997. Iván Navarro uses light as his raw material, turning objects into electric sculptures and ransforming the exhibition space by means of visual interplay. His work is certainly playful, but is also haunted by questions of power, control and imprisonment. The act of usurping the minimalist aesthetic is an ever-present undercurrent, becoming the pretext for understated political and social criticism.

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Vedovi Gallery
+32 2 513 38 38 contact@vedovigallery.com www.vedovigallery.com
11 Boulevard de Waterloo
1000 Brussels

Christopher Wool 
06.09 – 27.10.18

Christopher Wool’s paintings deconstruct the materiality of paint itself. The eight works on exhibit at Vedovi Gallery articulate the artist’s process defined by milestones in technique, punctuating his prominent artistic career that has lasted over 30-years. The networks created between gesture and technique illustrate Wool’s evolution through complex tactics of abstraction, an evolution to become one of the most influential abstract painters of his generation.

In his early works the artist employed the use of decorative paint rollers, a tool originally designed to transform a fresh coat of paint into faux finish floral designs, and later rubber stamps, as a means of exploring the definition of the painterly mark. Through research into systems of how painting is defined, Wool recycles benign techniques of decoration that have been emptied of their sentimentality to explore the definition of “’how to paint it’ than ‘what to paint.1” The result, as described in the three Untitled works from 1988 included here, operate as pensive reflection of, rather than strict appropriation found in, the kitsch pop imagery of his contemporaries.

After abandoning readymade rollers and stamps, Wool expanded into screen-printing, eventually including his own gesture in the reproductions pushed through his screens onto the surface. Wool’s process of layering prints en masse produces a reflective after-image of his source material, including the artist’s own mark making. The incorporation of these motifs extracted from the surplus detritus of the studio enables Wool’s praxis to reverberate between abstraction and ornamentation, establishing his own gesture as a form of brand for which to be reproduced like a ready-made.

Having gained inspiration from the street art in the early 1980’s, the urbanity Wool’s city is reflected in his raw synthetic materials where “tags are reiterated over and over again, contaminating urban space with a viral multiplication of the same mark, which is also a vandalistic mode of branding”2. Wool’s paintings take inspiration from the intersection of industry and urban life, where the language of gesture operates as a material fluidity rather than staunch grammatical purism. Wool incorporates the tactics of layering and removing marks as a form of demarcation and authorship of territory within the city. By rearticulating these actions in the studio, the artist finds content in process rather than depiction.

The most recent work on display, Untitled (2005), is quintessential to the artist’s oeuvre in that it combines Wool’s processes in questioning how paint exists. Enamel paint is applied to canvas through the use of a paint gun, a tool repurposed within street art to create large throw-ups (paintings) on the sides of buildings, producing tendril like gestures that are then removed, mixed and negated through the indication of being wiped away with solvent drenched rags.

The resulting composition sits within an American art historical canon of erasure, quite famously that of Rauschenberg’s iconic Erased de Kooning (1953), as a way of undermining the authoritative principles of an additive authorship of the painterly surface. The final composition likens itself to the stages of removing graffiti from the exterior façade of a building: as the compositions are scrubbed away the solvents create blurred abstraction within the enamel composition.

Through his unique collapsing of technique and process, Christopher Wool has become one of the most  innovative artists of his time. Wool’s works reject the puritanicalism of classical painting by taming industrial products and techniques into the self-reflexive refinement of the painterly surface, paralleling the perpetual tensions of the claiming aesthetic space within a public sphere of an urban metropolis.

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Waldburger Wouters
+32 (0) 485 41 57 08 info@waldburgerwouters.com www.waldburgerwouters.com
49 Boulevard d'Anvers
1000 Brussels

DARKITIS! by ENCORE + SEXES
6th Sept. – 27th Oct.

DARKITIS! revolves around legendary speedcore techno DJ and producer Liza ‘N’ Eliaz (1958-2001). Born in Oostende into a family of musicians, Liza ‘N’ Eliaz early on started to study classical piano but then diverted into rock and new wave before discovering hardcore techno. Liza ‘N’ Eliaz subsequently became active as a DJ and producer and achieved an iconic status in the techno scene as the figure to speed up hardcore techno and being a pioneer in the newly established category speedcore. Being older than most of her peers, having an extraordinary appearance and being transgender further mystified Liza ‘N’ Eliaz. She has been called “Queen of Terror”, whereas she fully rejected the term. And although she titled one of her famous pieces “Is it Dark?” she also rejected the notion that her music is dark, the title hence has to be read in a very ambiguous way.

For the upcoming show DARKITIS!, the collectives ENCORE and SEXES have been conducting research along Liza ‘N’ Eliaz. They take her as reference and starting point to investigate one possible facet of speedcore: perceiving speedcore also as a strategy to deal with personal experiences of fear. With a focus on finding tools to overcome fear within sonic extremism and identity politics in rave culture, they will revisit and analyse parts of the past of this niche and create new sculptural and sonic works.

About the collectives ENCORE and SEXES

ENCORE produces works with interdisciplinary efforts around topics of hardcore electronic music. Initiated by the artist Henrike Naumann, ENCORE already produced works researching Gabberculture in rural areas, Rotterdam and early roots of NDW (neue Deutsche Welle). The ENCORE members Henrike Naumann, Tea Palmelund and Merle Vorwald initiated the project based on Liza ‘N’ Eliaz.

SEXES seeks to map the relations between identity and power. They judge culture to be the medium in which humankind communicates with itself and want to provide a platform for radical contributions to this discourse. It is run by a collective residing in the interweb.

Both collectives currently spend a research residency at AIR Antwerp and will present their works also at Het Bos in Antwerp from September 27-30.

ENCORE

Ekaterina Burlyga
Johannes Buettner
Bastian Hagedorn
Bianca Ludewig
Henrike Naumann
Tea Palmelund
Merle Vorwald

SEXES

Marco Buetikofer
Lotte Meret Effinger
Florian Meyer

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Galerie Zink Waldkirchen
(+)491 702 940 588 info@galeriezink.de www.zink-waldkirchen.de
67 Rue de la Régence
1000 Brussels

Belgium and especially Brussels with one of the most lively art scenes in Europe, with amazing private collections and outstanding young artists, is also extremely attractive for foreign galleries.

One gallery that already has long term connections to Belgium, is the German based Galerie Zink. Being present at Art Brussels almost every year since 1997 and currently representing six artists from Belgium, Michael Zink has a strong network in the Belgium art world. First being in Munich and later in Berlin, he brought Belgian artists to Germany from early on and thus was the first gallery to give representations and shows to Rinus Van de Velde, Hannelore Van Dijck, Tom Callemin, Dirk Zoete, and others.

As the building site of the new gallery space in the south of Germany is still ongoing until spring next year, Michael Zink decided to run a temporary gallery project in Brussels. Starting in September until the end of the year, the gallery will show artists from their programme, both Belgian and international, at 67 Rue de la Régence.

The first show will feature the textile paintings by Antwerp based artist Klaas Rommelaere, together with works by Dirk Zoete, Marcel van Eeden, the German shooting star Michael Sailstorfer, Austrian artist couple Muntean/Rosenblum, conceptual photographer Paul Kooiker, and works by Atelier Lachert Dhanis, whose work is moving at the border of art and design.