one shot / performance
music performance by Marcelor Mittal at 7pm
Komplot invites Mélange (Cologne, DE), guest curators: Patrick C. Haas and Jonas Schenk
opening hours
Thursday-Saturday
12:00 to 18:00
free entrance
more information soon
extended opening hours on 9 – 10 September 2016
(during Brussels Gallery weekend)
Thursday-Saturday 10:00 to 19:00
Island is pleased to announce Piton diab
an exhibition of new works by Brice Guilbert
September 9 // October 8, 2016
Opening : Thursday, September 8, 5 pm
Island
54 Rue Van Eyck
1000 Brussels
Belgium
www.islandisland.be
Solo show by Horrible Bise
Soft Self presents a series of paintings by Noah Ryu (°1984, South Korea) that take an interest in the assimilation of anthropological and technological interfaces. In trying to grapple with inter- and trans-human connections, and the concurring im/possibilities of desired access to an observed situation, Ryu suffuses his paintings with imaginary adjustments. Staying close to a regime of (future) probability, the depicted scenes become scenes of modest science and social fiction. As such, the paintings convey a feeling of gentle outlandishness.
Opening on thursday september 8 from 6 to 9pm
Open during the Brussels Gallery Week-end : september 9th, 10th & 11th from 2pm to 5pm
Identity is a fiction : Exhibition with Céline Butaye & Indriķis Ģelzis from September 9th to October 22nd, 2016
ENG/
Céline Butaye constructs epoxy and polyester prisms that are, more than fixed shapes, objects including, absorbing or reflecting light. They are very reactive and inclusive objects, whose shape and perception depends on light, weather, environment, and also on some coincidences during their production processes. As a collection of prisms, they are very flexible and constitute a kind of endless puzzle that can always be rearranged together according to space and time. They change the space they are included in, as well as they are changed by it.
Indriķis Ģelzis builds up sculptures, borrowing from the classical abstract vocabulary as well as from the language of labour, its dress codes and statistic designs. The metal structures, surprisingly dressed, indicates a sham of human being, dehumanized, with a delicate dark humor. The theme of perception is very present in Indriķis Ģelzis’s work, focusing on knowing how a work of art is perceived, its conditions and paradoxes, and specially the individuality of any perceptive experience.
Both artist are placing the work of art in the heart of a series of relationships and interactions with the viewer. The work of art could be considered as a platform of discussions and exchanges between viewers, to debate about the meaning of the work and their implications. Considering the same object in different ways, viewers discover that the subject of identity is always questionable.
Because Céline Butaye & Indriķis Ģelzis‘s works are dealing more with observation and perceptive experiences, as an empiric process, they are resonating with Ali Benmakhlouf’s conception of identity. They show that a work of art, as an identity in the broad sense, does not have any fixed form or exhaustive closed description. As a french contemporary philosopher, Ali Benmakhlouf goes away from any cultural postulate, such as the idea of a permanent identity, that prevent us to understand the links between an individual and its culture, also cultures between each other and general civilization, and all their interactions.
In a way, Céline Butaye & Indriķis Ģelzis‘s works contribute to achieve Benmakhlouf’s wish : to never lock ourselves within civilizational and uncommunicative boxes.
Curator Yuna Mathieu-Chovet
FR/
Céline Butaye construit des prismes en époxy et polyester qui sont, plus que des formes fixes, des objets qui incluent, absorbent ou reflètent la lumière. Ces objets dont la forme et la perception dépendent de la lumière, du temps, de leur environnement, ainsi que de coïncidences durant leur processus de production, sont très réactifs et inclusifs. En tant que collection de prismes, ils sont flexibles et constituent une sorte de puzzle sans fin qui peut indéfiniment être réarrangé en fonction de l’espace et du temps. Ils changent l’espace dans lequel ils sont inclus aussi bien qu’ils sont changés par lui.
Indriķis Ģelzis élabore des sculptures empruntant au vocabulaire abstrait classique aussi bien qu’au langage du travail, ses codes vestimentaires et motifs statistiques. Ces structures métalliques, étonnamment habillées, suggèrent un simulacre, teinté d’un délicat humour noir, d’être humain déshumanisé. Le thème de la perception est très présent dans le travail d’Indriķis Ģelzis, questionnant particulièrement la façon dont une œuvre d’art est perçue, les conditions de son appréhension, ses paradoxes, en un mot, la singularité de toute expérience perceptive.
Les deux artistes placent l’œuvre au cœur d’une série de relations et d’interactions avec le spectateur. Le travail peut être considéré comme une plateforme de discussions et d’échanges avec ceux-ci, afin de débattre du sens de l’oeuvre et de ses implications. En considérant une même oeuvre de différentes façons, les spectateurs découvrent que le sujet même de l’identité est toujours discutable.
Le travail de Céline Butaye & d’Indriķis Ģelzis, en tant que processus empirique, traite d’observation et d’expériences perceptives et résonne ainsi avec la conception de l’identité d’Ali Benmakhlouf. Ces deux artistes montrent qu’une œuvre d’art, en tant qu’identité au sens large, n’a ni forme fixe ni description fermée exhaustive. Le philosophe français contemporain Ali Benmakhlouf s’écarte de tout postulat culturel, tel que l’idée de la permanence d’une identité qui nous empêche de comprendre les liens entre un individu et sa culture, ceux qu’entretiennent différentes cultures, ainsi que l’ensemble de ses interactions avec la civilisation en général.
D’une certaine manière, le travail de Céline Butaye & d’Indriķis Ģelzis contribue à réaliser le vœu de Benmakhlouf : ne jamais nous laisser enfermer dans des boîtes civilisationnelles et incommunicationelles.
Commissariat Yuna Mathieu-Chovet
Komplot
63 rue du Houblon / Hopstraat 1000 Brussels
8 September – 8 October 2016
Blunt x Skensved
GEOLOGOS
GEOLOGOS is not an exhibition that takes place at Komplot, nor will it be a group show at http://geologos.space/ . It already happened — on the silica-caked shores of geothermal pools, in the bubbling mud pots and craggy volcanic terrain of the Reykjanes Peninsula. Imagine pressing your hands into the gooey muck and muculent secretions behind the screen. Join us for a hypnotic journey through the valleys and crevices, the extruded pixels of a crystalline ice land. Experience the power of Terra firma in full 4D.
Blunt x Skensved is an artist duo (Greg Blunt and Emmy Skensved) who have been collaborating since 2013. Together, they produce exhibitions, events, and web-based curatorial projects. Their practice spans a variety of media, including digital animation, photography, audio and web design, exploring themes of economic and bodily consumption, subculture, social ritual, and technological extensions of the body. Some of their recent projects include TeraTear (Moscow Biennale for Young Art), Swimminal Poolitics (DIS Magazine), Deep Skin (SNOlab) and eStamina (Import Projects and 8eleven).
Antoine Renard, Clémence de La Tour du Pin
Peripheral Healing
Antoine Renard and Clémence de La Tour du Pin produce sculptures and installations from lasting and non-lasting materials such as steel, aluminium, concrete, organic and synthetic fluids, waste, fat and commodified goods. Usually creating dense sculptural environment, their work investigate the relationships between technological emancipation, entertainment and decay within the context of late capitalism, It often appears like raw and fabricated paganic death cults.
Antoine Renard (*1984, FR) lives and work in Berlin. His work has been exhibited at Galerie Chez Valentin in Paris, Diesel project space in Liege, Kunsthalle Wien, König Galerie (Konsulat) in Berlin, S.A.L.T.S in Basel, Parc Saint Léger Centre d’art contemporain in Nevers, Museum Bärengasse in Zurich, Import Project, L’Atelier-ksr and Gillmeier Rech Gallery in Berlin.
Clémence de La Tour du Pin (*1986, FR) lives and works in Berlin. Recent works has been exhibited at Musée d’Art Moderne de La Ville de Paris, Galerie Tobias Naehring in Leipzig; Editorial and Contemporary Art Centre (CAC) in Vilnius; S.A.L.T.S in Basel; 8eleven in Toronto, Frankfurt Am Main, Oracle and L’Atelier-Ksr in Berlin.
Together, they run the project space Center in Berlin since 2013.
La violence du spectacle, la beauté de l’achèvement de la bête, la fascination de l’affrontement.
Bien sûr nous savons tous que le risque est limité, le toréador finit toujours par s’en sortir, une ou deux blessures en guise de témoignage.
Véracité de l’évènement oblige.
Alors faisons cela, faisons une exposition, et voyons si l’on en ressort avec quelques blessures aussi -histoire de justifier le geste -, la croyance en ce que nous faisons et celle, bien plus importante, des spectateurs, à l’affut de la sublimation comme de l’échec.
On n’écrit pas un texte pour qu’il soit lu en opinant du chef, et si la présentation d’un tel projet peut exciter, il doit le faire pour lui-même. L’exposition c’est autre chose, ce sont les oeuvres, en vrai. Pas de la spéculation sur une littérature qui n’en est pas.
Une bête attaque et se défend, le public statue – satisfaction, frustration, en dernier lieu, ça ne regarde que lui.
Commencer par la violence, l’élément fédérateur et immuable, ça paraît bien, les histoires qui durent en sont toutes passées par là.
Encore faut-il la distiller, comme une rumeur qui se répand. En donner des indices ; pas tout à fait en face, ce serait trop simple et l’art n’a rien à voir avec la didactique.
Vernissage samedi 10/09 de 16h à 20h,
Ouverture exceptionnelle le dimanche 11/09 de 14h à 18h,
L’exposition sera visible sur rdv à partir du 12/09, pour cela n’hésitez pas à nous contacter via contact@apesandcastles.com
Céline Condorelli (°1974, lives and works in London) is an artist, writer and architect, as well as a founding member of Eastside Projects, an artist-run space and public gallery in Birmingham (UK).
practical information
free access
no reservation necessary, but seats are limited
language: EN
venue: La Loge
flyer-wont-you-come-and-spoon-with-me
Music performance by Coco Haram at 8pm
Opening hours : Thursday – Sunday from 2pm until 6:30pm and by appointment
Rue de Tamines 19 – 1060 Bruxelles
info@damienandtheloveguru.com
www.damienandtheloveguru.com
Curated by Louise Bernatowiez
Island is pleased to announce
OCULUS NON VIDIT, NEC AURIS AUDIVIT
an exhibition of new works by Tim Onderbeke
October 28 // November 20, 2016
Opening : Thursday, October 27, 6 pm
Island
54 Rue Van Eyck
1000 Brussels
Belgium
www.islandisland.be
The work of the artist Tim Onderbeke (Belgium, 1983) is based on negative space, the space between different objects. His photos, videos, sculptures and paintings are produced in a mechanical way. He lets materials speak for themselves. After this physical creation and through associative connotations, a mystical perception imposes itself on the viewer. The unification of these two processes represents the core of his oeuvre.
A Deborah Bowmann collaboration with Alix Brandenbourger, Tatiana Defraine, Théo Demans, Will Pollard and Thomas Schneider & Arthur Tramier.
Open Thursday to Saturday 3pm to 7pm
Solo exhibition: Magnus Andersen – Hog’crates
Music performance by Floris Vanhoof at 8pm
Opening: 6pm until 10pm
exhibition running from 18 November 2016 – 18 december 2016
Opening hours : Thursday – Sunday from 2pm until 6:30pm and by appointment
Rue de Tamines 19 – 1060 Bruxelles
info@damienandtheloveguru.com
www.damienandtheloveguru.com
practical information
free access
no reservation necessary, but seats are limited
language: EN
venue: La Loge
“Ambassade”
Opening of the new vitrine + screening/performance
Curated by Melissa Destino
Island is pleased to announce “…”
an exhibition of new works by Hadrien du Roy
December 2 // December 22, 2016
Opening : Thursday, December 1st, 6 pm
Island
54 Rue Van Eyck
1000 Brussels
Belgium
www.islandisland.be
at Wiels
At a time when climate change and technology are remaking our planet and habitat at exponential growth rates, biosphere and technosphere merge in a man made world beyond man’s control. In a presentation of recent and up-coming curatorial projects, curator and critic Toke Lykkeberg will explore art in the new biotechnosphere where work is more about directing than mastering creative processes. Art is not seen solely as the product of an individual but the work of a network of human and non-human agents. One example will be the exhibition Co-Workers – The network as artist presented in 2015/2016 in collaboration with artist collective DIS at Musée d’Art moderne de la Ville de Paris. Another example will be the up-coming project with the curatorial collective Komplot, Plant B, where the art will not just be on display but also in interplay with the forces already at play in the urban environment of Brussels.
Opening Day
12:00-14:00: Lunch (private for artists and participants)
14:00-18:00: Exhibition spaces open to public and artists present in the space
18:00: Listening Room (Public)
19:30: Performance by Dwarfs of East Agouza
12:00-14:00: Lunch (private for artists and participants)
14:00-18:00: Exhibition spaces open to public and artists present in the space, working
18:00: Listening Room (also public)
19:30: Performance by Lawrence Abu Hamdan
12:00-14:00: Lunch (private for artists and participants)
14:00-18:00: Exhibition spaces open to public and artists present in the space, working
18:00: Listening Room (also public)
19:30: Artist Talks (Speakers Joe Namy, Lawrence Abu Hamdan, and others)
12:00-14:00: (private for artists and participants)
14:00-18:00: Exhibition spaces open to public and artists present in the space, working
18:00: Listening Room (also public)
19:30: Final performance
“According to my figures I’ve only had 2500 pieces of ass but I’ve watched 12500 horse races, and if I have any advice to anybody, it’s this: take up watercolor painting.” (Charles Bukowski, Notes of a Dirty Old Man, 1969)
Curated by Komplot
Exhibition from January 14 to february 25
DeYi Studio Shanghai
Défaire l’autonomie / 2
une conversation à distance
avec la participation de Stephen Wright
29 rue de l’autonomie, Bruxelles, le 14 janvier à 17h
Ive Van Bostraeten – “La Polyclinique de la Culture” (January 2017)
“La Polyclinique de la Culture” was founded in 2004. The semantic wordplay of the name permits multidisciplinary activities in the organization of small-scale events in Brussels around visual culture (“vaiku sessions”), traditional celebrations (the Japanese “Sakura Matsuri”, “Udon-Gore”), ecology/architecture (“the turning house”, “La maison des trouvailles”), poetry (“the library of preciousness”), the human body (“body sessions”), food (“la polyculture de la cuisine”) and sound healing (“The Sonospheric alliance”). Since 2010, in the framework of “Natura docet”, workshops are offered in a picturesque natural reserve with the connection between man and nature, Gaiagraphy and herbalism as key components.
For the residency at SUPERDEALS in january the emphasis lies on energetic healing and artistic research on formats and methods that foster greater human connectedness.
presentation dates : 18/1, 25/1, 27/1, 28/1
An exhibition with Greylight Projects resident artists.
Initiated by Septembre Timberghien.
Open: Thursday till Saturday / 14:00-18:00
More information: www.greylightprojects.org
“Promise. A declaration that one will do a particular thing or that guarantees that a particular thing will happen, or not anymore. The quality of potential excellence. Display. Make a prominent exhibition of something in a place where it can easily be seen. Being put on show. Reputation. Beliefs or opinions generally held about someone or something. A widespread belief that someone or something has a particular habit or characteristic. Stranded. Left without resources. Rehabilitation. Restore to former privileges or reputation after a period of critical or official disfavor. Re-made able.
Promise, display, reputation, stranded, rehabilitation. The worlds these words can carry. Leaving aside the varnish of symbolic and projected meaning, why not take things as they have become? In their fuller range. Promise, display, reputation, stranded, rehabilitation. An ever more versatile set of recurring conditions. Applicable to these, they, us and that. One can wonder where it is at now and how these, they, us and that are doing. […] ”
‘White sun grey thoughts’ by Deborah Bowmann
Peut-être s’agissait-il des derniers rayons de soleil de l’année. Les bougies ne se trouvent plus aussi facilement qu’à l’époque alors Sacha et son frère ont dû inventer un système: le vieux potier d’en face danse et chaque tour qu’il fait sur lui même permet de générer une lumière éblouissante.
extrait du roman Les Sentiers noirs
Anonyme, 1882
Ive Van Bostraeten – “La Polyclinique de la Culture” (January 2017)
“La Polyclinique de la Culture” was founded in 2004. The semantic wordplay of the name permits multidisciplinary activities in the organization of small-scale events in Brussels around visual culture (“vaiku sessions”), traditional celebrations (the Japanese “Sakura Matsuri”, “Udon-Gore”), ecology/architecture (“the turning house”, “La maison des trouvailles”), poetry (“the library of preciousness”), the human body (“body sessions”), food (“la polyculture de la cuisine”) and sound healing (“The Sonospheric alliance”). Since 2010, in the framework of “Natura docet”, workshops are offered in a picturesque natural reserve with the connection between man and nature, Gaiagraphy and herbalism as key components.
For the residency at SUPERDEALS in january the emphasis lies on energetic healing and artistic research on formats and methods that foster greater human connectedness.
presentation dates : 18/1, 25/1, 27/1, 28/1
Ive Van Bostraeten – “La Polyclinique de la Culture” (January 2017)
“La Polyclinique de la Culture” was founded in 2004. The semantic wordplay of the name permits multidisciplinary activities in the organization of small-scale events in Brussels around visual culture (“vaiku sessions”), traditional celebrations (the Japanese “Sakura Matsuri”, “Udon-Gore”), ecology/architecture (“the turning house”, “La maison des trouvailles”), poetry (“the library of preciousness”), the human body (“body sessions”), food (“la polyculture de la cuisine”) and sound healing (“The Sonospheric alliance”). Since 2010, in the framework of “Natura docet”, workshops are offered in a picturesque natural reserve with the connection between man and nature, Gaiagraphy and herbalism as key components.
For the residency at SUPERDEALS in january the emphasis lies on energetic healing and artistic research on formats and methods that foster greater human connectedness.
presentation dates : 18/1, 25/1, 27/1, 28/1
Ive Van Bostraeten – “La Polyclinique de la Culture” (January 2017)
“La Polyclinique de la Culture” was founded in 2004. The semantic wordplay of the name permits multidisciplinary activities in the organization of small-scale events in Brussels around visual culture (“vaiku sessions”), traditional celebrations (the Japanese “Sakura Matsuri”, “Udon-Gore”), ecology/architecture (“the turning house”, “La maison des trouvailles”), poetry (“the library of preciousness”), the human body (“body sessions”), food (“la polyculture de la cuisine”) and sound healing (“The Sonospheric alliance”). Since 2010, in the framework of “Natura docet”, workshops are offered in a picturesque natural reserve with the connection between man and nature, Gaiagraphy and herbalism as key components.
For the residency at SUPERDEALS in january the emphasis lies on energetic healing and artistic research on formats and methods that foster greater human connectedness.
presentation dates : 18/1, 25/1, 27/1, 28/1
Please note that this is a public event with a limited capacity of 10 people for which you have to book beforehand by sending us an email to feeelingsfeeelings@gmail.com . This is open to everyone and we will work on a first-come, first served basis. Also note that there is a contribution towards expenses of 6€
Welcome to the E.A.I.C
Welcome to the Edible Amulet Ingestion Ceremony
Welcome to the Dinner
Different edible amulets provided
Hot and Cold delicacies
Veg & Meat
Soft & Hard
Sticky & Hairy
Smelly & Sweety
Salty & Soggy
Well-seasoned of course
Delicacies!
Come into my life!
All your wants, needs, desires catered for.
With selected readings, viewings and listening.
feeelings is pleased to invite you to an evening of binge-watching season 3 of Liv Schulman’s tv show Control. Liv made a special edition of DVD’s that will be released this night too. We’re really excited and hope you’ll come along as seeing Liv Schulman’s brilliant and witty videos was a clear highlight in dark 2016.
Shot in different places and cities Control is a television series on art and writing in which a recurrent character, a sort of detective wanders between episodes attempting to establish new relations of meaning.The sole protagonist, played by different actors and actresses, is a detective taken straight from a detective novel. The commonplace of this cynical figure of the detective acts as a discourse-producing tool; considerably astray in a maze of stories whose meaning has been forever lost, he/she incarnates a person who has access to hidden facts, invisible systems, and the occult parts of the world, and imparts his/her paranoid conclusions in a disillusioned way. The antihero of Control who has lost his bearings in peripheral zones left to their own devices. In Control, the figure of the detective offers long-winded speeches, interchangeable ventriloquist-like ectoplasms of those dislocated monologues which borrow from the vocabularies of art, liberal economics, critical theory, and psychotherapy. Merging with one another, these distinct forms of discourse become absurd and crazy tools of a paranoid interpretation of the social world, based on the alienation of bodies, the devaluation of identities, and the complexities of desire for meaning.
9 – 12 FEB 2017
EXPO REFORMA
MEXICO CITY
Vitrine
Shana Moulton
Outhouse Portal
(18.02.17 – 02.04.17)
Opening with a lectures/performances by Shana Moulton and Adriana Bustos on friday 17.02.17 8 pm
Carla Donauer is a curator based in Cologne. She has worked in several institutions and freelance in the curatorial field. In 2016 she has founded „hospitality“, a project based on the principles of artistic and curatorial production and presentation, formulating a model of exhibitions and projects themed on site specifics and the matters of hospitality.
At SUPERDEALS she proposes an exhibition project and a film screening:
18/02 – 24/02 (by appointment)
Opening 18/02, 7-10pm
Publication release and exhibition: ‘Rootless Rocks and Drifting Stones’
With contributions by
Inga Danysz
Carla Donauer
Melissa Canbaz
Sebastian Mühl
Olga Pedan
Ani Schulze
25/02, 7pm
Screening “Single”, a film by Alex Wissel and Jan Bonny
Carla Donauer is a curator based in Cologne. She has worked in several institutions and freelance in the curatorial field. In 2016 she has founded „hospitality“, a project based on the principles of artistic and curatorial production and presentation, formulating a model of exhibitions and projects themed on site specifics and the matters of hospitality.
At SUPERDEALS she proposes an exhibition project and a film screening:
18/02 – 24/02 (by appointment)
Opening 18/02, 7-10pm
Publication release and exhibition: ‘Rootless Rocks and Drifting Stones’
With contributions by
Inga Danysz
Carla Donauer
Melissa Canbaz
Sebastian Mühl
Olga Pedan
Ani Schulze
25/02, 7pm
Screening “Single”, a film by Alex Wissel and Jan Bonny
Open:
Sat. and Sun.
from 10:00 to 20:00
Open:
Sat. and Sun.
from 10:00 to 20:00
finissage de l’exposition de Ludovic Beillard et soirée de concerts.
LUPA
THE OFFICE OF GRAVITATIONAL DOCUMENTS #NEPTUNE by Dieudonné Cartier & Jean-Baptiste Carobolante at Deborah Bowmann
“Johnny Suede” by Vanessa Disler, Tiziana La Melia, Lucy Stein & Charlott Weise
Opening – Saturday 25 March 2017
4 – 10 pm
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An Evening of Performances & Readings:
Julian Hou
Tiziana La Melia
DJ Depressed
Saturday 22 April 2017
7 – 10 pm
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Exhibition running from 26 March – 29 April 2017
Thursday – Saturday
2 – 7 pm
or by appointment
——————————————————————————————————————————————————–
Damien & The Love Guru
Rue de Tamines 19 – 1060 Brussels
info@damienandtheloveguru.com
Open:
Sat. and Sun.
from 10:00 to 20:00
The performance will start at 20h20 sharp, when the sun sets.
Open:
Sat. and Sun.
from 10:00 to 20:00
Opening on the 15th from 18h to 22h
Exhibition 17th-23rd of April open from 11h to 18h
Opening:
Sat 15/04 from 19:00 to 23:00
Opening hours:
Thursday to Sunday from 15:00 to 19:00
with:
Walter De Maria (USA)
LAb[au] (BE)
Manfred Mohr (USA)
Claude Rutault (FR)
a.o.
OPEN STUDIO / EXHIBITION / SCREENING
—
vernissage: Wednesday, 19 April 17:00 – 21:00
open: Thursday 20.04 till Sunday 23.04 / 10:00 – 18:00 (and by appointment)
location: Rue Brialmont 11, 1210 Brussels
public transport: stop Botanique, tram 92 & 93, metro 2 & 6
—
See our website for detailed information: www.greylightprojects.org
Roulez moins vite vous pourriez écraser Roland Barthes
En ce printemps 2017, Patrick Carpentier présente à Island une sélection de travaux neufs et plus anciens. Ces oeuvres s’inscrivant très typiquement dans les sources de sa production artistique.
Une esthétique révélée dans des matériaux techniques, une poésie extraite de la matière brute, un goût pour l’exploration des archives, un échantillonnage des formes littéraires. L’exposition se construit sur la découverte d’une photographie prise en France au début des années 80. L’image illustre un graffiti qui fait référence au décès du philosophe Roland Barthes. Opérant un mouvement de translation de l’image vers la sculpture, comme déjà rencontré précédemment dans son travail, Patrick Carpentier propose une installation urbaine et lumineuse, spécialement pensée pour Island. Le résultat ne manque pas d’ironie mais se teinte aussi d’une certaine candeur qui induit le témoin attentif à une pensée réflexive sur son propre rythme de déplacement.
Dans la galerie c’est d’abord un marbre gravé qui attire le regard. Un texte révélé par une fine couche d’or blanc qui semble illuminer la pierre. La sculpture évoque une stèle, hommage à quelque chose de maintenant disparu. Et l’on ne sait si les mots, écrits par Ian Curtis, font ici référence à une part intime de la vie de l’artiste ou à une expérience, un vécu plus global qui dans le fonds nous concerne également.
Ailleurs dans le lieu, des sangles colorées s’élancent du sol au plafond. Telles une structure qui traverse la pièce mais opérant un mouvement inverse, l’objet évoque une forme de résistance, faible tentative pour amarrer deux plans et garder pied dans un espace physique et mental dont on aurait déjà perdu le contrôle.
À l’étage on retrouve plusieurs caissons lumineux, extraits d’une série débutée à l’occasion d’une installation visuelle et sonore présentée pour la première fois en 2010. Le texte choisi ici est issu du monologue concluant la pièce d’Oncle Vania écrite par Tchekhov. Les dernières phrases prononcées par Sonia, nièce de Vania sont un appel résigné face aux déceptions de la vie : les illusions brisées de l’amour ou du succès comme voie d’accès au bonheur.
On décèle dans cette exposition un mouvement d’allers et venues de la pensée qui fait sens et organise l’univers en formes claires, vers une forme d’abstraction plus alarmante et obscure. Un battement qui souligne aussi notre incapacité à retenir l’écoulement du temps sans empêcher notre désir de le marquer. Roland Barthes n’est plus mais son imagination déroutante excite encore ceux qui saisissent le fil tendu de sa pensée.
Roulez moins vite vous pourriez écraser Roland Barthes
This spring, Island has the pleasure of presenting a selection of works by artist Patrick Carpentier. Typical of his sources of inspiration and artistic production, these new and older pieces are intrinsically inscribed within his body of work.
Aesthetic is revealed within technical materials, poetry extracted from raw matter, there is a taste for the exploration of archives, and a sampling of literary form. This exhibition is built around a found photograph dating back to early 1980’s taken in France. An image of graffiti referencing the death of philosopher Roland Barthes. Operating a movement going from image to sculpture, Patrick Carpentier invites us into an urban and light filled installation. The installation, made specifically for Island, triggers a certain form of irony but also ingenuousness, rendering the spectator attentive to his own rhythm of movement.
On the ground floor, an engraved piece of marble first meets the eye. Text made apparent by a thin layer of white gold, seemingly lights up the stone. The sculpture evokes a headstone, an homage to that something which no longer is. We do not know whether the words written by Ian Curtis refer to an intimate moment of the artist’s life or to a more global experience, that in the end is concerning us as well.
Further inside the space, coloured straps reach from the floor to the ceiling. Such as a structure crossing a room but flowing in a reverse direction, the object conjures resistance, a feeble attempt at anchoring two surfaces and keep foot within a physical and mental space which we’ve already lost control over.
On the first floor we discover several light boxes drawn from a series of works first presented during a visual and sound installation in 2010. The text found within this piece is excerpted from a monologue concluding Uncle Vanya, an 1898 play by Russian author Anton Tchekhov. The last sentences uttered by Sonia, niece of Vanya, are a resigned cry to the deceptions of life: the broken illusions that love or success lead to happiness.
We discern within this exhibition thoughts moving to and fro, organising the universe into clear forms, and then into more obscure abstractions. A swinging movement underlines our inability to catch hold of the flow of time and our inevitable desire to mark it. Roland Barthes no longer is however his disconcerting imagination excites time and time again those who grasp the out-stretched line of his thoughts.
Clovis XV invite le collectif de curateurs OR NOTHING.
‘Romantic love is saturated with commoditization. The socialistic premise behind “free love” crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love.’ Alexa Karolinski and Ingo Niermann of the Army of Love engage these issues with an utopian proposal framed by conversations questioning the basic premises of love and justice.
Throughout the Brussels Art Week the video Army of Love (2016) will be screened at SUPERDEALS during prime time hours. The Army of Love is invited by Art Center CIAP in the frame of ‘Onder Ons’, the ongoing exhibition at CIAP curated by Isabel van Bos and Evelyn Simons.
Open every day
from 12:00 to 22:00
Alimentation Générale – 20.04.2017 to 26.04.2017
HEAT COMPANY II – 20.04.2017 to 30.04.2017
‘Romantic love is saturated with commoditization. The socialistic premise behind “free love” crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love.’ Alexa Karolinski and Ingo Niermann of the Army of Love engage these issues with an utopian proposal framed by conversations questioning the basic premises of love and justice.
Throughout the Brussels Art Week the video Army of Love (2016) will be screened at SUPERDEALS during prime time hours. The Army of Love is invited by Art Center CIAP in the frame of ‘Onder Ons’, the ongoing exhibition at CIAP curated by Isabel van Bos and Evelyn Simons.
‘Romantic love is saturated with commoditization. The socialistic premise behind “free love” crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love.’ Alexa Karolinski and Ingo Niermann of the Army of Love engage these issues with an utopian proposal framed by conversations questioning the basic premises of love and justice.
Throughout the Brussels Art Week the video Army of Love (2016) will be screened at SUPERDEALS during prime time hours. The Army of Love is invited by Art Center CIAP in the frame of ‘Onder Ons’, the ongoing exhibition at CIAP curated by Isabel van Bos and Evelyn Simons.
Visites sur rdv (contact@apesandcastles.com) pendant la durée de l’exposition,
Finissage/café le 7 mai, 14h-18h
‘Romantic love is saturated with commoditization. The socialistic premise behind “free love” crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love.’ Alexa Karolinski and Ingo Niermann of the Army of Love engage these issues with an utopian proposal framed by conversations questioning the basic premises of love and justice.
Throughout the Brussels Art Week the video Army of Love (2016) will be screened at SUPERDEALS during prime time hours. The Army of Love is invited by Art Center CIAP in the frame of ‘Onder Ons’, the ongoing exhibition at CIAP curated by Isabel van Bos and Evelyn Simons.
Sun 23/04
11 am > 2 pm
The April program happens in collaboration with Art Center CIAP, in the context of their ongoing exhibition ‘Onder ons’.
“Recruitment of the Army of Love”
Join the Army of Love at SUPERDEALS.
Recruitment Session with discussion and exercises
with Michelangelo Miccolis, Simon Asencio, and Staci Bu Shea
Sunday 23rd of April, 3pm-6pm
Army Of Love: www.armyofloveworld.tumblr.com
Onder ons: www.ciap.be/en/exhibition/onder-ons
CIAP: www.ciap.be/en
Clovis XV présente à l’Iselp le projet Hannah Hoffman, dans le cadre de SYNC! à l’ISELP.
Drawings by Aukje Koks
Spoken text by Filarowska
Please keep in mind that the performance will start at 20.30 sharp.
Finissage on Sunday may 7: Join us for coffees/drinks
- From 1 to 4 pm at apes&castles (rue de l’Autonomie 29) to visit the current show
- From 4 to 7 pm front of Meunier’s “Monument au travail” (Avenue de la Reine, Brussels, stop tram 3 Jules de Trooz)
Hope to see you there!
Il y a quelques temps, on s’est mises à collectionner des stylos, des crayons et des gommes avec des formes fantaisies. Des gadgets. Parce qu’on trouvait ça sympa, et la raison en était suffisante.
On a trouvé ça sympa jusqu’à ce qu’un jour, un Chinois nous tende un journal chinois. On l’a pris machinalement comme on aurait pris 20 minutes ou Métro, puis on a pris le métro et on l’a ouvert. On n’a pas compris une ligne à ce qui était écrit dans ce journal, pas une… Pourtant les images dont il était truffé ont suffi à nous alerter : des images montrant nos stylos, nos crayons et nos gommes dans des situations scandaleuses. Des images révélant le caractère véritablement pernicieux de nos objets. Sans parler de celui des Chinois.
Si l’on vous distribue ce journal à vous aussi, voici le comportement à adopter :
1/ Prenez-le.
2/ Éloignez-vous rapidement de l’individu qui vous l’a tendu.
3/ Trouvez-nous au plus vite pour que nous vous soulagions de son contenu.
aalliicceelleessccaannee&ssoonniiaaddeerrzzyyppoollsskkii
Stéphane Barbier Bouvet is an artist whose work fuses ideas of design, sculpture, and display. It develops, simultaneously, as a practice, a form of knowledge, and a comment.
His oeuvre often comprises commissions that entail the mediation and alteration of existing conditions. And yet, his work is rarely shown and fully deployed as a language in its own right. After Service is an exhibition that challenges and defies the context-dependency of Stéphane Barbier Bouvet’s body of work, while offering an insight into the repertoire of gestures and forms articulated by the artist over the years. Display systems, objects, and commissioned works coinhabit a spatial situation that dwells somewhere between an exhibition and a gathering of things.
La première fois que je lis l’expression « art dégénéré » écrite en allemand, c’est dans Europeana. Une brève histoire du XXe siècle, de l’écrivain tchèque Patrik Ouředník. En allemand, ça s’écrit entartete kunst. Dans entartete, je lis entarter et tête, ce qui est logique : entarter quelqu’un, c’est lui envoyer une tarte à la crème en pleine tête, la lui étaler sur la face. Je pense à Noël Godin. Je pense à son double fictionnel André Petrescu, l’entarteur du Cosmopolisde Don DeLillo, et à l’adaptation qu’en a faite David Cronenberg pour le cinéma. Je pense à La bataille du siècle, un film de Clyde Bruckman avec Laurel et Hardy. À l’enfritage du premier ministre belge Charles Michel par les Liliths. À l’attaque aux confettis du directeur de la banque centrale européenne Mario Draghi par Josephine Witt. Laurel et Hardy me renvoient quant à eux au duo d’artistes Eva et Adele, je trouve qu’ils ont comme un air de famille avec les jumelles allemandes. J’achète quelques choux de Bruxelles, je les dispose méthodiquement sur une table, ça forme une histoire. Un enfant débarque, il porte une toge, avec son bâton il dévaste mon château de sable.
Benoît Toqué.
Opening Friday 19 May, 19:00
including a conversation with Jana Haeckel, 20:00
Continues 19-30 May, open by appointment
contact magdalena.kita@gmx.de
An exhibition of the artist’s new and recent work collected from projects in Los Angeles, Brussels, and Athens. Using her elaborate illustrative style, Kita seeks to put her symbolic parables of gender dynamics into being, reconfiguring history, religion, and politics to propose radical new ways for society to function.
Her new book ‘Californication’ will debut in a launch event at WIELS on Sunday 21 May at 16:00.
www.magdalenakita.com
www.superdealsbrussels.org
With kind support of Vedett, and the Sint Gilles city council.
Vernissage: May 25 18h00 – 24h00 (with readings by BF, EW & AS)
expo: 26 – 28.05, 2 – 7 PM
Henry Andersen (au)
Eleanor Weber (au)
Simon Asencio (fr)
Bryana Fritz (us)
Ailsa Cavers (uk)
Axelle Stiefel (ch)
Christiane Blattman (de)
Jannis Marwitz (de)
Sébastien Capouet (be)
Mekhitar Garabedian (am / be)
Marion Mena (fr)
Maud Gourdon (fr)
Henry Andersen is a Brussels-based visual artist and composer. Trained as a minimal and reductionist composer under the wings of Peter Ablinger, he moved from music into visual art, writing and sound performances.
His debut vinyl is a recording of the longrunning piece ‘Stanzas’ or ‘the Law of the Good Neighbour’. On each side, a pair of his friends reads simultaneously from a list of words. The list is an unfinished result of a word game Andersen has been playing for several years. Stanzas… seems to be a precise text-sound composition, a liquid and elegant piece of concrete poetry that reveals the individual qualities of the voices and their interpersonal relation.
https://kraak.bandcamp.com/album/stanzas-or-the-law-of-the-good-neighbour
The exhibition ‘New Day New Money To Be Made’ gathers seven solo shows, each starting on Thursday ending on Saturday.
25-27 May : Gauthier Oushoorn & Thomas Nolf
1-3 June : Julien Goniche
8-10 June : Emeline Depas
15-17 June : Jonathan Boutefeu
22-24 June : Romain Juan
29 June – 1 July : Liga Spunde
6-8 July : Noémi Merca & Bora Akinciturk
The performance of Feiko Beckers will start at 8PM, be there !
Open:
Sat. and Sun.
from 10:00 to 18:00
Open:
Sat. and Sun.
from 10:00 to 18:00
Open:
Sat. and Sun.
from 10:00 to 18:00
Clovis Xv invites the two german artists from Berlin Anja Langer and Marie Jeschke for a new show in collaboration with Jakub Hosek from Prague.
Damien & The Love Guru
Rue de Tamines 19
1060 Brussels
Exhibition open the 24th of June from 12:00 to 20:00
Open:
Sat. and Sun.
from 10:00 to 18:00
Public event
The performance will start at 10PM.
CLASSIC REVISITED
Exhibition
15.04 – 15.07
Thursday – Saturday
3 – 7 pm
Artists: Pep Agut, Elena Bajo, Robert Barry, Julien Bismuth, Mel Bochner, Angela Bulloch, Alejandro Cesarco, Luis Paulo Costa, Claude Closky, Hanne Darboven, Alec De Busschère, Alessandro De Francesco, Francois Dallegret, Walter De Maria, Jan Dibbets, Detanico Lain, Pascal Dombis, Peter Downsbrough, Mark Geffriaud, Aurélie Godard, Isidore Isou, Nicholas Knight, LAb[au], David Lamelas, Sol LeWitt, Eva & Franco Mattes, Manfred Mohr, Gianni Motti, Paulo Nazareth, Dennis Oppenheim, Casey Reas, Claude Rutault, Roland Sabatier, Peter Scott, Daniel Spœrri & Robert Filliou, Joëlle Tuerlinckx, UBERMORGEN, Oriol Vilanova, Lawrence Weiner, Ian Wilson and Erwin Wurm.
All info:
https://www.societe-d-electricite.com/modusoperandi