Alice GalleryTodd James
La Patinoire Royale – Galerie Valérie Bach:mentalKLINIK
Albert BaronianGilberto Zorio
Albert BaronianSato Kimitake
Galerie de la BéraudièreAlexander Calder & Joan Miro
didier Claes GalleryAfrican Faces
C L E A R I N GJean-Marie Appriou
Damien & The Love GuruGauthier Oushoorn
MLF | MARIE-LAURE FLEISCHNika Neelova
Galerie La Forest DivonneLucien Hervé & Illés Sarkantyu
Galerie Felix FrachonNyaba Léon Ouedraogo
26 by Felix FrachonGroup Show
Pierre Marie GiraudSterling Ruby
Gladstone GallerySharon Lockhart
Hopstreet GalleryGuglielmo Castelli, Ugo Gilette, Juul Kraijer, Barthelemy Toguo, Sandra Vasquez de la Horra, Tinus Vermeersch
Xavier HufkensSterling Ruby
Xavier HufkensSterling Ruby
Victor Hunt Designart DealerSabine Marcelis, Commonplace studio
rodolphe janssenDavide Balula, Kendell Geers, Thomas Lerooy, Sam Moyer
rodolphe janssenLéon Wuidar
Irène Laub GalleryJosé Pedro Croft, Dan Graham, Jonathan Sullam, Roeland Tweelinckx
Harlan Levey ProjectsTR Ericsson
MARUANI MERCIERPeter Halley
Galerie Greta MeertTerry 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,...
Meessen De ClercqGroup Show
Mendes Wood DMPaloma Bosquê, Otobong Nkanga
Jan MotSharon Lockhart
Galerie Nathalie ObadiaEdi Hila
Office BaroqueVirginia Overton, Jon Pestoni, Rezi van Lankveld, Ambera Wellmann
OV projectProject 12
Park View/Paul SotoVictoria Colmegna, Andy Giannakakis, Aidan Koch, Dylan Mira, David Muenzer, Mark A. Rodriguez, J. Parker Valentine
QG GalleryCarl Andre, Daniel Buren, Alan Charlton, Peter Joseph, Yves Klein, Allan McCollum, Olivier Mosset, Niele Toroni, Stanley Whitney
Almine Rech GalleryJoe Andoe, Justin Adian
Sorry We’re ClosedJulien Meert
Stems GalleryTyrell Winston
Vedovi GalleryChristopher Wool
Waldburger WoutersGroup presentation
Galerie Zink WaldkirchenKlaas Rommelaere, Atelier Lachaert Dhanis, Paul Kooiker, Muntean/Rosenblum, MichaelSailstorfer, Dirk Zoete, Marcel van Eeden
“ HAKOIRI MUSUME – GIRL IN THE TRUNK”, Sato Kimitake
Exhibition from 07 September until 03 November 2018
Opening 06 September, 5 – 9pm
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
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!
Founded in Athens in 1977, the BERNIER/ELIADES Gallery has always been at the forefront of contemporary art in Greece. Jean Bernier and Marina Eliades have introduced a number of artistic movements such as Arte Povera, Minimalism, Land Art and Conceptual Art to the Greek public, also focusing on young American and European artists.
In addition to their gallery in Athens, Marina Eliades and Jean Bernier decided to open a new space in Brussels, in April 2016. The gallery is located in a historical building, in the neighborhood of the Chatelain.
Giancarlo Scaglia will exhibit a series of new works in his first European solo show entitled “Golden Aérea”. For this show — created exclusively for Bernier/Eliades — the artist maps the story of El Fronton island and its abandoned prison. The facility – active during Alberto Fujimori’s dictatorship—became the artist’s studio four years ago and, ever since, the artist production focused on its history.
In that sense, Scaglia recuperated the ancient ways for storytelling by working with the coordinates of what’s left on the island: ruined walls, lead from the bullets, the thousand birds that overfly the island, the grey light or the dark sky above it. The show overpowers the spectator into a flow of Peruvian culture where their mind can journey along unknown stories.
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.
Damien & The Love Guru was founded in 2014 as a nomadic project space focusing on emerging artists. Since June 2016 the gallery has been operating from its current location in Brussels and has had the chance to collaborate with international artists such as Magnus Andersen (DK), Lucie Stein (UK), George Rippon (US), Christiane Blattmann (DE), Charlie Billingham (UK) and many more. From 2018 onward we will start representing artists with who we have collaborated in the past to further there careers.
Damien and 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 space 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 in dependent 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.
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.
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).
Galerie La Forest Divonne – Brussels presents «PORTRAITS», 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.
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.
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.
06.09 > 20.10.2018
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.
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.
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.
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.
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.
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.
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 . 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.
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.
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.
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.
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.
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.
DARKITIS! (ENCORE + SEXES)
September 6 – October 27
Waldburger Wouters is based in Brussels and started its activities in November 2009 as Galerie Waldburger. In September 2014, Tim Wouters became partner and the name consequently changed to Waldburger Wouters. The origins of the gallery go back a few years, when first exhibitions with young artists were organised in temporary spaces in Switzerland and Berlin.
The gallery is located at Boulevard d’Anvers 49, just next to the metro station Yser and few minutes from Place Sainte Catherine.
This spring, Waldburger Wouters inaugurated an art space in Basel, located directly at the Rhine.
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.