Emile Rubino (French b. 1992) lives and works in Brussels. His domestic approach to picture-making is informed by a flirtatious relationship to other means of depiction and an embrace of eclecticism. Over the past few years he has been producing modestly scaled photographic tableaux in handcrafted artist’s frames. While his photographs tend to remain rooted within a documentary mode they are also the outcome of labored processes involving photoshop. By locating and following the internal logic of a picture as a subservient strategy his work often results in a contrived kind of photographicness.
He received his BFA from Emily Carr University of Art and Design (Vancouver, Canada) in 2015, and his MFA from Bard College program in advanced photographic studies at ICP (New York, NY) in 2017. Selected solo exhibitions include other things, ICP-Bard studios, New York, NY, Real Allegory, Spare Room, Vancouver, Canada (2015), Still Disappearing, Concourse Gallery, Vancouver, Canada (2012). Recent group exhibitions include Ami Omo (curated by Lucas Blalock), Barbara Walters Gallery, Bronxville, NY (2018), Vancouver Carry On (curated by Felix Rapp), Royal Academy of Fine Arts, Antwerp, Belgium (2018).
Un matin, j’ai regardé par la fenêtre, et le lac avait disparu.
La terre était devenue rouge,
le ciel, bleu, le soleil, haut.
Je suis partie faire du vélo.
J’ai emprunté le même chemin en pente,
et j’ai roulé.
Je n’ai pas vu le trou,
One morning, I looked out the window, and the lake was gone.
The earth had turned red,
the sky, blue, the sun, high.
I went cycling.
I took the same path on the slope,
and I drove.
I didn’t see the hole,
Sous couvert de deux avatars créés pour l’occasion, 2 flics ami-ami : Panique à Borth est un récit qui constitue à la fois la trace et le décor de cette exposition, il relate l’évolution d’un travail et raconte un paysage en même temps qu’il se construit.
« À la recherche de l’Atlantide depuis de longues années, A., cryptogéographe acharné et
paranoïaque léger voit ses recherches arriver à une impasse : il doit chercher l’invisible. Le ressurgissement soudain d’une lettre adréssée à son collègue disparu bouscule ses habitudes. Il y
apprend que son collègue, B., aurait travaillé sur une légende analogue. Suivant les indications
de la lettre, A. Part à la poursuite de son confrère au Pays-de-Galles. En empruntant ses pas,
il se pourrait bien qu’il accède à son objectif initial : retrouver le légendaire royaume englouti… »
Antoine Carcano : https://antoinecarcano.hotglue.me/
Balthazar Blumberg : balthazarblumberg.com
Destruction / reconstruction
screening of films by Sandra Hauser
artist talk led by Gatien Du Bois
In 1944, a V2 missile aimed at the Schaerbeek train station hit and partially demolished the site that now houses the V2Vingt exhibition space. However, this fact isn’t proven with certainty so that it may have been allied bombs that fell on it. In Germany, allied bombs fell in an eminently larger number. But, according to W.G. Sebald’s observations: this “experience lived by millions of people in the last years of the war, this unprecedented national humiliation, has never really been put into words and (…) those who were directly concerned did not share it or transmit it to the next generations”. The post-war economic miracle and the construction of a new German society took place at the price of a destruction / reconstruction going hand in hand with a ready repression mechanism: a psychic repression and a physical removal of the rubble transformed into artificial mountains.
To examine these destruction / reconstruction processes, Brussels curator Gatien Du Bois has selected four short films by German artist Sandra Hauser (born in 1983 in Bad Aibling, lives and works in Berlin): Trümmerfrauen – Even Wild Dogs Dance, 2016; Kapitulation, 2016; Weißt du wie viel Sternlein stehen (Do you know how many stars there are above?), 2010; The Patient. Investigation for a new identity, 2014-present. This screening will be followed by a discussion with the artist.
Sandra Hauser is an interdisciplinary artist, combining in her work various media as for example performance, sculpture, drawing, painting and video. She started her carrier as director, costume and stage designer at the theater. She studied Philosophy, Art History and Anthropology at the Ludwigs-Maximilian-University in Munich. In 2006 she studied visual arts with Stephan Huber and in 2011/12 with Hans Op de Beeck at the Academy of Fine Arts of Munich. In 2011 she was a guest student with Gregor Schneider at the Berlin University of Art. Since 2014, she has participated in numerous exhibitions, some of them in international museums and institutions. Her works are currently shown at Galerie Sandra Bürgel in Berlin.
⎐ Research residency : December 2nd – December 21st ⎐
⎐ Opening: December 19th from 20:00 to 22:00 ⎐
Transdisciplinairy artist Stef Meul presents a research on desire.
A # focuses on dialectical relations between intimacy, fragility, realness and fantasies of sex and success.
Stef Meul (°1983, Brussels, Belgium) makes transdisciplinary artworks. By applying a particular and metaphorical language his works engender intuitive associations – these rarely being conclusive. Play and cause of desire are important: during the artistic process, personal perception is affected and common objects transubstantiate.Through his artwork he cares about how life extends beyond its own subjective limits.
Stef often interstices a narration on the limitation of social identities and propagates the expansion of common knowledge resources: in order to challenge the binaries we continually generate between Self and Other – between our sense of human hybridation and radical alterity.
By instigating spaces for performativity and a real intent for social choreographic fields, Stef Meul wants to enable the viewer’s knowledge of the coordinates of the narration of our common world. Art is to be able to be in touch with the work, as well to become interacting, loosing one’s distant safe stance.
Stef’s artworks are based on inspiring situations: reflecting a sensation of dogma’s and reversals, combined with subtle details of odd or eccentric, humour.