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

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

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

“Ambassade”

Opening of the new vitrine + screening/performance

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

“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)

Exhibition from January 14 to february 25

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

‘White sun grey thoughts’ by Deborah Bowmann

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.

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

LUPA

THE OFFICE OF GRAVITATIONAL DOCUMENTS #NEPTUNE by Dieudonné Cartier & Jean-Baptiste Carobolante at Deborah Bowmann

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:
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

‘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.

‘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

www.magdalenakita.com

Drawings by Aukje Koks
Spoken text by Filarowska

Please keep in mind that the performance will start at 20.30 sharp.

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.

The performance of Feiko Beckers will start at 8PM, be there !

http://polanskygallery.com/en.php?page=baumler

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

Open:
Sat. and Sun.
from 10:00 to 18:00

Public event

The performance will start at 10PM.

www.vibekemascini.com & www.oscarsantillan.com

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

SUPERMASSIVE LANDSCAPE

www.dobliar.de

Group-exhibition with Gert Aertsen, Art & Language, Jeffrey Michael Austin, Jeremie Bennequin, Julien Berthier, Patrick Bernatchez, Mel Bochner, Joshua Citarella & Brad Troemel, Claude Closky, Hanne Darboven, Edith Dekyndt, Felicie d’Estienne d’Orves, David de Tscharner, Mark Geffriaud, David Guez, On Kawara, Joseph Kosuth, LAb[au], La Monte Young & Marian Zazeela, Peter Lemmens, Albertine Meunier, Nathalie Brevet_Hughes Rochette, Roman Opalka, Bertrand Planes, Sebastien Reuzé, Seth Siegelaub, Hirushi Sugimoto, Christophe Terlinden, Kris Van Dessel, … and others.

Greylight Projects Brussels presents two sound installations:

– in the Chapel: Enuma, a multimedia installation by Ligovskoï

– in the basement: Bl•a•ck Com•pos•ition, an installation / performance by Sylvain Chauveau & Pierre Labat

—
Opening: Thursday 7/09/2017 18:00-21:00
From: Friday 8 Sept till Sunday 11 Sept
Open days Friday- Sunday (9-10-11 /09/2017)
Open from 11:00-19:00

more information: www.greylightprojects.org

—

Greylight Projects Brussels
Brialmontstraat 11 Rue de Brialmont
1210 Saint-Josse-Ten-Noode
Metro 2/6 – Tram 92/93 : stop Botanique

WELCOME BACK, a collective exhibition with Barbara Braccini, Kim David Bots and Elise Van Mourik

Group-exhibition with Gert Aertsen, Art & Language, Jeffrey Michael Austin, Jeremie Bennequin, Julien Berthier, Patrick Bernatchez, Mel Bochner, Joshua Citarella & Brad Troemel, Claude Closky, Hanne Darboven, Edith Dekyndt, Felicie d’Estienne d’Orves, David de Tscharner, Mark Geffriaud, David Guez, On Kawara, Joseph Kosuth, LAb[au], La Monte Young & Marian Zazeela, Peter Lemmens, Albertine Meunier, Nathalie Brevet_Hughes Rochette, Roman Opalka, Bertrand Planes, Sebastien Reuzé, Seth Siegelaub, Hirushi Sugimoto, Christophe Terlinden, Kris Van Dessel, … and others.

Event initiated by Hausbesuch, Goethe Institut Brussels

www.anahitarazmi.de

” I thought of you “

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

With:

Anastasia Bay
Sean Crossley
Marianne Csaky
Hadassah Emmerich
Benjamin Husson
G, Kung
Jannis Marwitz
Benoit Police
Mahé Ripoll
Julien Saudubray
Stefaan Schuebe
Merlin Spie
Monika Stricker
Stefaan Verschueren

Curated by Dominic Wood

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

Group-exhibition about time – with Gert Aertsen, Art & Language, Jeffrey Michael Austin, Jeremie Bennequin, Julien Berthier, Patrick Bernatchez, Mel Bochner, Joshua Citarella & Brad Troemel, Claude Closky, Hanne Darboven, Edith Dekyndt, Felicie d’Estienne d’Orves, David de Tscharner, Mark Geffriaud, David Guez, On Kawara, Joseph Kosuth, LAb[au], La Monte Young & Marian Zazeela, Peter Lemmens, Albertine Meunier, Nathalie Brevet_Hughes Rochette, Roman Opalka, Bertrand Planes, Sebastien Reuzé, Seth Siegelaub, Hirushi Sugimoto, Christophe Terlinden, Kris Van Dessel, … and others.

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

My dreams are too intimate to be revealed in public 2001 – 2017

A Movie of 27h revealed in 12 chapters

Each night the doors of Island open at 6pm

The projection will then start at 7pm sharp and ends at 9.15pm

Wednesday 25/10: pour Salvador Alvarenga

Thursday 26/10: pour Jean-Marie Massou

Friday 27/10: pour Vanessa Winship

Saturday 28/10: pour Sasha Grey

Sunday 29/10: pour Robert Gardner

Monday 30/10: pour William Styron

Tuesday 31/10: pour Gregor Schneider

Wednesday 01/11: pour Fernand Deligny

Thursday 02/11: pour Colette Peignot

Friday 03/11: pour Teresa Margolles

Saturday 04/11: pour Albrecht Bouts

Sunday 05/11: pour Marina Tsvetaeva

Form ignores function

Exposition avec Elleke Frijters & Lisa Egio

Vernissage le 11 novembre 2017 de 15h à 19h

Exposition du 11 novembre 2017 au 16 décembre 2017

Exposition ouverte du jeudi au samedi de 14h à 17h et sur rendez-vous

Informations : www.plagiarama.com

Elleke Frijters et Lisa Egio explorent des processus de travail similaires et des questions liées à la fonction des objets. Elleke Frijters développe des travaux de sculpture à partir d’objets essentiellement issus du mobilier urbain qu’elle décontextualise, donnant à leur fonction initiale un caractère abstrait. Elle entre ainsi en résonance avec le travail d’installation, de décontextualisation et de remise en jeu de la fonction des objets propre au travail de Lisa Egio.

Group-exhibition about time – with Gert Aertsen, Art & Language, Jeffrey Michael Austin, Jeremie Bennequin, Julien Berthier, Patrick Bernatchez, Mel Bochner, Joshua Citarella & Brad Troemel, Claude Closky, Hanne Darboven, Edith Dekyndt, Felicie d’Estienne d’Orves, David de Tscharner, Mark Geffriaud, David Guez, On Kawara, Joseph Kosuth, LAb[au], La Monte Young & Marian Zazeela, Peter Lemmens, Albertine Meunier, Nathalie Brevet_Hughes Rochette, Roman Opalka, Bertrand Planes, Sebastien Reuzé, Seth Siegelaub, Hirushi Sugimoto, Christophe Terlinden, Kris Van Dessel, … and others.

‘Skydeck scare’

Readings and performances in two sites of Marseille

14h : Plage des Catalans, 13007 Marseille // bus 81 / 82 / 82S, arrêt: Plage des Catalans

18h : Triangle France, Anouchka Oler Studio 2Y1  at La Friche Belle de Mai  : 41 Rue Jobin, 13003 Marseille.

Laureate Open Call 2017

www.felixwalser.com

www.sanjapahoki.com

NICC cordially invites you to a new vitrine exhibition by internationally recognized Senegalese sculptor Seni Camara (b. 1945, lives and works in Bignona, Senegal). The opening will be accompanied by a Skype conversation between the artist and artist and interpreter Erwann Le Diberder, along with a documentary screening about Camara’s practice by multidisciplinary artist Fatou Kande Senghor. Camara is known for the terracotta sculptures she has made since the 1960s, which address the intersections of maternity, fertility, and myth. Her fantastical sculptures are rooted in divine revelation and local tradition, and often feature multi-headed animal figures carrying, caring for, or giving birth to their offspring. While these works allude to totems and other folkloric visual customs, they are wholly unique in content, form, and reference to both collective and personal histories. The exhibition at NICC will include a grouping of sculptural figures made in 2011. Camara’s works have been exhibited widely and have been included in the seminal Pompidou Centre global art exhibition Magiciens de la Terre, 100% Africa at the Guggenheim Bilbao, and more recently at the 2015 Venice Biennale All the World’s Futures, and Art/Afrique Le Nouvel Atelier at Fondation Louis Vuitton, among countless other exhibitions. The vitrine is 24/24 on view.

www.luciledesamory.net

Less or more

Vernissage le 13 janvier 2018 de 15h à 19h

Exposition ouverte du jeudi au samedi de 14h à 17h et sur rendez-vous

Informations : www.plagiarama.com

Elina Salminen & Maranne Walravens développent des travaux de peinture et de sculpture qui mettent en jeu des interventions infimes et minimales. Le travail de Maranne Walravens émerge d’un matériau brut trouvé tel que des affiches, des packagings, desquels elle efface tout message, rendant ainsi visible leur forme plastique. Elina Salminen travaille en tant que peintre, proposant des interventions à peine perceptibles. Elle amenuise les frontières entre le vide et le plein, donne à l’infime la possibilité d’être puissant, et concentre notre attention sur le plus faible signe.

Perruche situation #1: Bianca Baldi – Versipellis

January 26 – February 4, 2018

Opening Friday January 26 from 6pm

Saturday January 27 at 7pm : Lotte Arndt and Sammy Baloji in conversation with Bianca Baldi

supported by Goethe Institut Brussels

www.biancabaldi.net

www.anna-steinert.de

Open: Thursday till Saturday / 14:00-18:00

www.greylightprojects.org

Rue de Brialmont 11
1210 Saint-Josse-Ten-Noode / Brussels
Metro 2/6 – Tram 92/93 : stop Botanique

www.gernotwieland.com

Screening and talk introducing video works by romanian artists. Curated by Nicolas de Ribou.

Solo show

Contrepoint

Exhibition with Phillip Frankland & Garance Alves

from March 17 to April 28, 2018

Opening on Saturday March 17 from 3 to 7pm

Curator Yuna Mathieu-Chovet

Phillip Frankland creates large format abstract canvas made of paint and collage. Beyond their raw dimension, these works of art reveal a multitude of details, made of a wide range of classic and non noble materials, staged with sensitivity, and opening doors to the intimate relationship between the work of art and the artist.

Through an almost scientific protocol, Garance Alves creates transparent panels representing clothing deposited by the clients at the dry cleaner. Her work, at the borderline of figuration, is going far beyond the personal anecdote, leading to a wider work of art dealing with sociology. She achieves portraits between the lines, with intimacy and distance.

Both artist whose creation processes are making the counterpoint of each other – distinct, parallel, but complementary- questioning the intimate relationship between the artist and his own work and its own subject.

Film screening at 7.30 pm and 8.30 pm

www.gernotwieland.com

Solo show

Hors les-murs (155, chaussée de Wavre, 1050 Ixelles)

From the 7th April until the 9th of June 2018, In-box presents #FF45B1 | The Grid, welcoming Tamara Van San.

After Larissa Cluzet’s jewels and Antoine Carbonne’s paintings, the Belgian artist will take over the space with her world of abstract sculptures, playing with shapes and neon colours.

The three-faced cube will assume a new identity and create a new unique relationship with the apartment and the persons who will experience the space every day as inhabitants or occasionally as visitors.

Practical information:

24 Rue des Petits Carmes, 1000 Brussels

Opening hours: 

Tue & Wed & Fri from 6 pm
Sat & Sun 10 am – 6 pm
(by appointment +32 498 70 49 18)

Getting here: 

Metro: 2, 6, Porte de Namur stop
Tram: 92, 94, 97, Louise stop
Bus: 54,71, Porte de Namur stop

More: www.inboxbrussels.com  | www.tamaravansan.org

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

Solo show

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de 

www.superdealsbrussels.org

Hors-les-murs: Chaussée de Wavre, 155, Ixelles

Saturday April 14 at 7.30pm, at Jester, Avenue de la Porte de Hal 2—4, 1060 Brussels:

As part of the solo exhibition by Julien Creuzet at SUPERDEALS, the artist Pedro Oliveira presents his sound performance “QUELQUE CHOSE DE SUSPECT?”. The Brasilian sound artist developed the piece especially for a trio of Brussels based immigrant voices, conducted by Floris Lammens (Brussels Experimental).

The performance is followed by an artist talk with Pedro Oliveira, the artist Julien Creuzet and curator Jana J. Haeckel.

After the performance DJane Sylvia Iweanya will present a DJ Set.

www.superdealsbrussels.org/perruche

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

This spring 105 Besme is back with a show opening on 17/4 and during Art Brussels.

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de

www.superdealsbrussels.org

an exhibition by Laurent Malherbe and Gerard Koek

In an exhibition titled “Parallel Placings” , the artists Laurent Malherbe and Gerard Koek will show their work as a double presentation. Specially for Greylight Projects, Brussels they have made two new installations in which they address concepts like production, location and dialogue. It can be experienced as a sculptural exploration of the art object, as place of gathering and confrontation. Parallelity is crucial in the work of both, as it is being mirrored and commented in various ways.

Opening: 18th of April 2018 from 18:00.
Exhibition : 19 april till 27 may
Open: Thursday / Friday / Saturday 14:00 – 18:00.
(Open during Current Residents and Associates / Art Brussels: 10:00 – 18:00
Finissage and publication: 27th of May at 15:00.

This Exhibition its part of Current Residents and Associates

made possible by: Ambassade van het Koninkrijk der Nederlanden

18.04.18 – 20.05.18
Show exclusively dedicated to sculpture.
Artists include: Daan Gielis, Benjamin Sabatier, Timothy Segers, Simon Laureyns, Wim De Pauw, Dries Van Laethem, Simon Masschelein, Ann Veronica Janssens, Michel François, Leon Vranken, Jonathan Baldock, Mathias MU, Felix Rapp, Dennis Tyfus, Mathias Prenen, Naama Arad, Karel Burssens, Will Kerr, Aurélie Belair, Jérémie Boyard, Nicolás Lamas, Dirk Zoete, Stefan Peters, Stefan Rinck, Chris Hammerlein, Olivia Hernaïz, Richard J Butler, Carla Arocha & Stéphane Schraenen, Lysandre Begijn, Tamara Van San and others.

PANTHERA.TODAY
22 Rue des Ailes
1030 Brussels (Schaerbeek)
During the fair
Thu 19 April 11 am – 4 pm
Fri 20 April 6 – 9 pm
Sat 21 April & Sun 22 April only on appointment
Regular opening hours
Sat & Sun 2 – 6 pm
Tram: 92, Eenens stop, 32, 55, Pavillon stop
Bus: 270, 271, 272, 620 Schaarbeek Metsys stop

Karel Burssens
Untitled (Cone)
2018
Bronze, paint
20.5 x 20.5 x 30 cm
Photo by Jeroen Verrecht

Special opening on Wednesday April 18 for Art Brussels Gallery Night from 5 to 9pm

also open during Art Brussels :

thursday 19 : 2-5pm

friday 20 : 2-5pm

saturday 21 : 2-5pm

Contrepoint

Exhibition till April 28, 2018

ENG/

Phillip Frankland creates large format abstract canvas made of paint and collage. Beyond their raw dimension, these works of art reveal a multitude of details, made of a wide range of classic and non noble materials, staged with sensitivity, and opening doors to the intimate relationship between the work of art and the artist.

Through an almost scientific protocol, Garance Alves creates transparent panels representing clothing deposited by the clients at the dry cleaner. Her work, at the borderline of figuration, is going far beyond the personal anecdote, leading to a wider work of art dealing with sociology. She achieves portraits between the lines, with intimacy and distance.

Both artist whose creation processes are making the counterpoint of each other – distinct, parallel, but complementary- questioning the intimate relationship between the artist and his own work and its own subject.

Curator Yuna Mathieu-Chovet

FR/

Phillip Frankland crée des toiles abstraites de grand format faites de peintures et de collages. Malgré leur apparence très brute, ces œuvres révèlent une multitude de détails, issus d’une grande variété de matériaux, classiques et non nobles, mis en scène avec délicatesse et ouvrant la voie vers la relation intime entre l’œuvre et l’artiste.

À travers un protocole quasiment scientifique, Garance Alves réalise et présente des panneaux transparents représentant les vêtements déposés par les clients d’un pressing. À la limite du figuratif, son travail dépasse l’anecdote intime vers une œuvre plus vaste en lien avec la sociologie. Elle réalise ainsi des portraits en creux, entre intimité et distance.

Deux artistes dont les processus de création font le contrepoint l’un de l’autre – distincts, parallèles, mais complémentaires – questionnant le rapport intime de l’artiste à son œuvre et à son sujet.

Commissariat Yuna Mathieu-Chovet

Open Studios : Mélanie Berger, Amélie Bouvier, Edith Bories, John Ryan Brubaker, Marc Buchy, Marcin Dudek, Wouter Huis, Joséphine Kaeppelin, Rune Peitersen, Emmanuel van der Auwera, Nicolas Lamas, Kathi Seebeck.

www.greylightprojects.org

For a new edition of the outside billboard on the building of Greylight Projects in Brussels we invited Thomas Bernardet to present a photograph.

Dates and opening times:
• Opening: Wednesday 18 April / 17:00 – 22:00
• Open hours and days: Thursday 19 – Sunday 22 April from 10:00 – 18:00
• Brunch: Saturday 21 April from 11:00.

Greylight Projects Brussels
Rue de Brialmont 11
1210 Saint-Josse-Ten-Noode / Brussels
Metro 2/6 – Tram 92/93 : stop Botanique

more info: www.greylightprojects.org

Curator Exquis is an exhibition put together by fifteen curators. The show has been conceived following the rule of the infamous surrealist game “Cadavre Exquis”, also known as Exquisite Corpse in English. In this version, drawing or writing has been replaced by the selection of artworks. The exhibition has been build one step at a time, without communication between the different curators except the artwork proposal they received from their successor, replacing thoughtful concepts by strikes of luck.

Artists: Lia Cecchin, Camila Farina, Florian Kiniques, Birgit Knoechl, Marieke Coppens, Ben Kaufmann, Gilles Ribero, Anne Lise Le Gac, Ricardo van Eyk, Marianne Mispelaëre, among others.

Curated by: Lucrezia Calabrò Visconti, Margaux Bonopera, Gatien Du Bois, Franz Thalmair, Lene ter Haar, Sophie Lapalu, Ben Kaufman, Charlotte Van Buylaere, Septembre Tiberghien, Pauline Hatzigeorgiou, Nienke Vijlbrief, Marie DuPasquier , Padraic E. Moore, Karin Schlageter, Charlotte Crevits.

Dates and opening times:
• Opening: Wednesday 18 April / 17:00 – 22:00
• Open hours and days: Thursday 19 – Sunday 22 April from 10:00 – 18:00
• Brunch: Saturday 21 April from 11:00.

Greylight Projects Brussels
Rue de Brialmont 11
1210 Saint-Josse-Ten-Noode / Brussels
Metro 2/6 – Tram 92/93 : stop Botanique

www.greylightprojects.org

From the 7th April until the 9th of June 2018, In-box presents #FF45B1 | The Grid, welcoming Tamara Van San.

After Larissa Cluzet’s jewels and Antoine Carbonne’s paintings, the Belgian artist will take over the space with her world of abstract sculptures, playing with shapes and neon colours.

The three-faced cube will assume a new identity and create a new unique relationship with the apartment and the persons who will experience the space every day as inhabitants or occasionally as visitors.

Special opening hours:  

Fri 20: from 6 pm + Sat 21 & Sun  22 : 2 pm – 8 pm  (by appointment +32 498 70 49 18)

Practical information:

24 Rue des Petits Carmes, 1000 Brussels

Opening hours:

Tue & Wed & Fri from 6 pm
Sat & Sun 10 am – 6 pm
(by appointment +32 498 70 49 18)

Getting here: 

Metro: 2, 6, Porte de Namur stop
Tram: 92, 94, 97, Louise stop
Bus: 54,71, Porte de Namur stop

More: www.inboxbrussels.com  | www.tamaravansan.org

I STILL BELIEVE IN MIRACLES

FR (EN below)

Une sélection de films d’artistes résidant à Bruxelles, réalisée par Laurent De Meyer et Gatien Du Bois

Les travaux qui ont été sélectionnés sont présentés selon un dispositif de projection cinématographique. La black box dans laquelle sont présentés ces films invite à une expérience qui entraine le spectateur dans un espace ou la densité sensorielle et intellectuelle est modifiée et où se révèlent des fragments de vérité.

Si certaines des œuvres sont conformes à un “format cinéma” avec un scénario construit qui convoque une narrativité forte, d’autres relèvent d’un désir de plasticité qui s’intéressent au sort des images. Toutefois, les films sélectionnés ont tous pour but d’ouvrir des brèches et faire trembler les apparences.

La fascination des images filmiques met le spectateur au défi d’une non-mise à distance de ce qu’il ou elle voit. Or, ce qui est donné à voir nous trouble; notre expérience de la vie, les situations que nous expérimentons, nos pensées et notre mémoire se confrontent à celles des artistes. Une tension palpable est contenue dans chacune des œuvres qui composent cette sélection. “I still believe in miracles” questionne notre rapport à la nature et à l’activité humaine. Une activité qui est interrogée au prisme de la technologie et des procédures que nous mettons en œuvre pour contrôler notre environnement.

Avec: Léa Belooussovitch, Natalia de Mello, Ariane Loze, Armand Morin et Stéphanie Roland

>> informations pratiques:

Vernissage:  mercredi 18 avril, de 18h à 21h.

Exposition visible du 18 au 29 avril de 16h à 21h.

PENTHOUSE ART RESIDENCY, NH Brussels Bloom (rez-de-chaussée, au fond de l’espace bar/restaurant), 250 Rue Royale, 1210 Bruxelles

—

EN

A selection of films by artists living in Brussels, curated by Laurent De Meyer and Gatien Du Bois

The selected art works are presented according to a cinematographic projection device. The black box in which these films are screened invites to an experience that takes the viewer into a space where the sensory and intellectual density is modified and where fragments of truth are revealed.

While some of those works conform to a “cinema format” with a constructed scenario that calls for a strong narrative, others are based on a desire for plasticity lying in an interest for the fate of images. However, all the selected films aim to open gaps and to shiver appearances.

The fascination for filmic images challenges the viewer with a closeness to what he or she sees. Now, what is given to see disturbs us; our experience of life, the situations we experience, our thoughts and our memory are confronted with those of the artists. A palpable tension is contained in each of the works that are part of this selection. “I still believe in miracles” questions our relationship to nature and human activity. An activity that is investigated through the lens of technology and the procedures we implement to control our environment.

With: Léa Belooussovitch, Natalia de Mello, Ariane Loze, Armand Morin and Stéphanie Roland

>> pratical information:

Opening:  Wednesday April 18th, from 6pm until 9pm.

Exhibition visible from April 18th until 29th from 4pm to 10pm.

PENTHOUSE ART RESIDENCY, NH Brussels Bloom (ground floor, at the end of the bar/restaurant area), 250 Rue Royale, 1210 Brussels

—

Sponsoring: VEDETT

ALL PLACES ARE TEMPORARY PALACES

FR (EN below)

“Tous les lieux sont des palais temporaires”. Derrière ce titre, il y a l’idée que, même dans les espaces que nous habitons de manière passagère (comme une chambre d’hôtel), nous avons tendance à insérer dans notre cadre de vie des souvenirs de moments personnels, à adapter notre comportement aux contraintes architecturales et sociales, à adopter un certain regard vers celui-ci. Cette attitude transforme un espace informel en un lieu habité, un palais personnel.

Le point de départ de cette exposition est le penthouse de l’hôtel qui porte actuellement le nom de “NH Brussels Bloom”. Dominant le Botanique et son jardin, répondant de manière espiègle aux immeubles de bureau avoisinant, le penthouse est un lieu étrange. A la fois dans l’hôtel et en dehors, avec de multiples ouvertures sur la ville qui se déploie devant ses fenêtres et pourtant ailleurs, comme un nid ou un palais posé sur le somment d’une colline. Ce lieu particulier est chargé d’histoires – qu’elles soient intimes ou frayent avec celle avec un grand “H”. Dans sa fonction initiale le penthouse aura connu le prestige, servant de pied-à-terre à des personnalités hors du commun. Le terme “palais” du titre de cette exposition englobe ici des idées de confort, de luxe, de grandeur et de pouvoir. Mais le temps a passé et tout est temporaire. Le lieu a vécu, il vit encore.

Si certaines traces de sa grandeur passée demeurent, le penthouse sert maintenant d’espace dédié à la création contemporaine. Ainsi, “All places are temporary palaces” est un chapitre dans la nouvelle vie de ce lieu. Rassemblant des artistes plasticiens vivant en Belgique, l’exposition imagine et propose différents fragments de vies. Elle invite ses visiteurs à se saisir du lieu, à l’habiter avec de nouveaux souvenirs que les œuvres exposées leur soufflent. Plus qu’une simple proposition d’accrochage, il s’agit d’une déambulation au fil des pièces où les perceptions in situ font émergence, de vécu font apparition. L’espace du penthouse devient par là – pour un temps – le territoire de nouveaux échanges et le réceptacle de nouveaux souvenirs personnels.

Avec: Delphine Deguislage, Leo Gabin, Aurélie Gravas, Lucas Jardin, Sarah & Charles et Filip Vervaet

Commissariat d’exposition: Laurent De Meyer et Gatien Du Bois

>> informations pratiques:

Vernissage:  mercredi 18 avril, de 18h à 21h.

Exposition visible les 21, 22, 28 et 29 avril de 15h à 18h et sur rendez-vous.

PENTHOUSE ART RESIDENCY, NH Brussels Bloom (9e étage), 250 Rue Royale, 1210 Bruxelles

—

EN

“All places are temporary palaces”. Behind this title, there is the idea that, even in spaces we inhabit in a transient way (like a hotel room), we tend to insert into our living environment memories of personal moments, to adapt our behaviour to the architectural and social constraints, to take a specific look towards it. This attitude transforms an informal space into an inhabited one, a personal palace.

The starting point for this exhibition is the penthouse of the hotel currently known as the “NH Brussels Bloom”. Overlooking the Botanique and its garden, responding in a mischievous way to the neighbouring office buildings, the penthouse is a strange place. Both inside the hotel and outside, with multiple openings on the city which unfolds in front of its windows and yet elsewhere, like a nest or a palace on the top of a hill. This particular place is full of stories – whether intimate or spawns with history. In its original function the penthouse has had a prestigious status, serving as a pied-à-terre to famous people. The term “palace” from the title of this exhibition encompasses ideas of comfort, luxury, grandeur and power. But time has passed and everything is temporary. The place has lived, it still lives.

While some traces of its past glory remain, the penthouse now serves as a space dedicated to contemporary creation. Therefore, “All places are temporary palaces” is a chapter in the new life of this space. Bringing together visual artists living in Belgium, the exhibition imagines and proposes different fragments of life. It invites its visitors to seize the place, to inhabit in it with new memories that the exhibited works are whispering to them. More than just a hanging of art works, it is a stroll through the rooms where in situ perceptions emergence, where experiences appear. The space of the penthouse becomes then – for a while – the territory of new exchanges and the receptacle of new personal memories.

With: Delphine Deguislage, Leo Gabin, Aurélie Gravas, Lucas Jardin, Sarah & Charles and Filip Vervaet

Curated by Laurent De Meyer and Gatien Du Bois

>> practical information:

Opening:  Wednesday April 18th, from 6pm until 9pm.

Exhibition visible on April 21, 22, 28 and 29 from 3pm to 6pm and by appointment.

PENTHOUSE ART RESIDENCY, NH Brussels Bloom (9th floor), 250 Rue Royale, 1210 Brussels

—

Sponsoring: VEDETT

The Loft, 1030 Brussels
For exact address, please RSVP
at info@rectangle.be

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de

www.superdealsbrussels.org

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de

www.superdealsbrussels.org

Coherent invites The Community:
I Spy with my Little Eye

Opening Friday 20.4 from 18.00 – 22.00

20.04 – 19.05.

Coherent is pleased to invite Parisian multidisciplinary gallery and collective The Community to create an exhibition in Brussels.

Now that I’m older, I think back on the times my parents told me, “When you’re older, you’ll realize I was right” and realize they are still wrong mostly. But on the other hand, as a kid, you never think you look like your parents. As an adult, the resemblance is terrifying.

The Community will present a group show with the artists Brendan Fowler, David Luraschi, Niklas Hallman, Aapo Nikkanen, Benjamin Pöntinen, Sini Rinne-Kanto, Tuomas Autio, Tuukka Laurila

C5 is pleased to announce for its first edition a one-on-one installation

with works by JUSTIN MORIN • BERNARD GIGOUNON

And a selection of videos (1968-79) “Surveying the first decade” by JAP

With Stephen Beck, Woody Vasulka, Ilene Segalove, Bruce Nauman, Terry Fox, Gary Hill, Bill Viola, John Baldessari, Nam June Paik, Paul McCarthy

Opening Friday April 20th

Open Sunday April 22nd 3 to 6pm

Galerie Horta . 116 rue Marché aux Herbes 1000 Brussels

Thursday to Saturday 3 to 6 pm or by appointment

http://rebeccakonforti.tumblr.com/

http://romainruizpacouret.tumblr.com/

http://www.emmanuelsimon.fr/

The Weight of the Ground is the first solo show of the French artist Naïmé Perrette in Brussels and the inaugural exhibition of Cust-link’s new program. Naïmé Perrette is a multimedia artist mixing video art, photography and sculptural installations. Inspired by artificial ecosystems, natural phenomena, territorial representations and the interferences between them, she draws relationships between environmental politics and their cultural contexts. For her exhibition at Cunst-link, Naïmé Perrette will show new pieces, some of them made from recycled elements of previous works, aiming to create from the existing, to sculpt and construct from what is already made.This evolving creative research shows her interest in movement and shifting between times and spaces, and representation becoming a new reality.

The Weight of the Ground refers to themes that appear in many of the artist’s works. The ground acts as an existential origin of nature and landscapes; observing its weight is an attempt to measure and to critically investigate its limits.

Through a process of deconstruction, the weight disappears and loses its consistency, the transparency of over-lit surfaces and digital screens become the founding elements of the artist’s selective cartography and landscapes.

Interested in cultural and social urbanist anomalies which often engage moral discrepancy, Naïmé Perrette’s ongoing research focuses on artificial islands as a metaphor of the human desire to project new rules and control growth. One of her ongoing projects focuses on the Marker Wadden: an island in the Markermeer Sea near Amsterdam, entirely designed by man’s hand to respond to ecological issues. Planned as a “new wilderness”, its creators are deciding its type of nature, to host the endangered birds that are the most representative of the Netherlands.

Perrette questions our relationship to the environment, and pictures the to-be-inhabited spaces to see what they reveal about us. Mixing different perspectives, she highlights almost infinite layers ofrepresentation. Her observation of the relationship between humans and our environment offers a way to question people’s vision of nature, its figurative weight.

Naïmé Perrette (1989, France) has completed a Master in Film Animation at ENSAD (Paris) and was resident at Rijksakademie in Amsterdam in 2014-2015. She has been awarded grants by Werkbijdrage Jong Talent, Mondriaan Fonds, and Kara 2017 (Kooshk, Tehran). Her films and installations has been shown in various galleries, museums and fairs, including the Museum of Modern Art (Rio), Eye (Amserdam), Art Rotterdam, STUK (Leuven), Mohsen Gallery (Tehran), Slate Projects (London), La Gaîté Lyrique (Paris), HKW (Berlin), Merdar Art Centre (Cairo).
naimeperrette.com

⎐ 154 Théodore Verhaegenstraat 1060 Brussel

⎐ Cunst-link is open during events, on Sundays 14-18h, and by appointment.

⎐For press inquiries and visits:
cunst.link@artistscommons.net
Giulia Blasig : +32 483 438 358 / Dounia Mojahid +32 484 964 171

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de

www.superdealsbrussels.org

L’Escaut Architectures & Bn PROJECTS are very pleased to invite you to the opening of Just for a drop, an exhibition by Alberto Scodro, specially conceived for the space of L’Escaut.

Vitalist, often organic, aiming at an ecological aesthetic and an economy of the means and materials of production, circular and involutionary, confining to self-sufficiency, the work of Alberto Scodro aspires to transcend and even generate its own creative matter.
It is also a work that tells about flow and circulation, transformation and mutation. Oscillating between hubris and modesty, it unfolds by engaging a dialectic between the different tensions it generates or allows us to see: between the organic and the mineral, the industrial and the artifact, the vertical and the horizontal, control and surrender…
All these elements are found in the installation specifically designed for the site of L’Escaut Architectures, cooperative of architects founded by Olivier Bastin in 1989.

Scodro’s aesthetic universe finds its root in his family origins and the environment where he grew up and keeps developing his work today: Nove, a village of this prosperous Veneto, a few kilometers away from Bassano del Grappa, a village with a rich agrarian past, with a historical tradition of ceramics industries and workshops. Alberto Scodro draws his inspiration from it, revitalizing himself while working in a workshop he has entirely designed, organized around the crucible of a ceramic kiln.
It is this oven that cooks, transforms and transmutes in a quasi-demiurgical way the objects that Scodro melts according to his own formula, and where the mineral mixes with the organic and the industrial.

Alberto Scodro responded to L’Escaut’s invitation to conceive a work for their site with a radical proposal: to completely divert the circuit from the circulation of central heating, transforming the building – the time of an exhibition – similarly to a gigantic architectural coffee machine acting both, metaphorically and efficiently, on a series of pre-baked plates made out of melted sand and mineral. This proposal was made, intuition or premonitory coincidence, before learning about that at the time L’Escaut had been transformed into a warehouse to store coffee…
His intervention brings the entire building into a vertical tension, apprehending it as a living organism from which it would divert the vital fluid and redirect it towards a new production, generating a new experience.
Contrasting with the horizontality of the ground floor display, this vertical hijacking transforming the former hoist of the warehouse into a “sculptural shower” finds an acoustic counterpoint in the air vent located at the back of the building which Scodro uses as a vector for broadcasting recordings made on site, referring to the circulation of the users of the site.
On the first floor, the forest of radiators translated in order to prepare for the drop in percolation responds to the upward momentum suggested by the ginkgos bilobas, the trees that Scodro cultivates in his country, and which have been carefully potted in patched terracotta vases previously used to melt the sculptures displayed on the ground floor.
One of these ginkgos, prehistoric tree also known for its qualities of vasodilator/fluidifier of blood circulation, is planted in the middle of the courtyard and will remain at L’Escaut where it will quietly pursue its growth.
A final note about these sculptural fusions which resort to a variety of raw materials, from more or less recognizable mundane objects or waste from our industrial societies to semi-precious ores, to which Scodro gives a new life and new radiance.
Composites, both organic and industrial in their constituents, these fusions crystallize this dialectic aspiration which runs through the work of Scodro and structures his commitment both on an artistic and socio-political level: this belief in the possibility to assimilate, metabolize, literally and figuratively, the rejection and the precious, the rare and the innocuous, the mineral and the organic, in order to make it, beyond the intriguing aesthetic forms revealed by his sculptures, the promise of a possible future, an a
llegory of a planet hopefully able to reinvent itself.

Vernissage on Thursday 19 April 2018, 3-10 p.m.
+
Special Previews on Sat. 21and Sun. 22 April 2018, on the occasion of Art Brussels, 2-8 pm

Exhibition open on Saturdays and Sundays, 2-8 p.m. and by appointment
From 19 April until 2 June 2018

L’Escaut Architectures
60 rue de l’Escaut
B 1080 Brussels

www.lescaut.org
www.bnprojects.be

Opening April 22nd, 12:00-17:00

On view, by appointment: 22/04/18 – 06/05/18

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

Perruche #2 presents the first solo exhibition by artist Julien Creuzet in Brussels. His multimedia installations use found objects, video, engraving and poetry toquestion the role of language for the individual and collective memory. Inspired by the philosophical reflections of Édouard Glissant, Julien Creuzet’s work focuses on the complex intersection of the history of Martinique and the events of European modernity. By blurring the border between technology and nature, the native and the foreign, high and low culture, he creates a spatial experience that is poetic and political at the same time.

Julien Creuzet (*1986) lives in Paris and holds a diploma from L’École des Beaux-Arts de Caen and a post-diploma from L’École des Beaux-Arts de Lyon. His workhas been recently shown in solo presentations at Bétonsalon and Fondation Ricard in Paris (2018), SKETCH Gallery in Bogota and Documentation Gallery in Chicago (2017); besides, in large international exhibitions such as the Bienniale of Lyon, the 11th Rencontres de Bamako (2017) and the Dakar Bienniale (2016).

April 14 – April 22, 2018

Opening Friday April 13 from 6pm, at SUPERDEALS

During the Brussels Art Week:

Wed-Sun, 3-6pm and by appointment, please mail to: jana.haeckel@goethe.de

Project director and concept: Jana J. Haeckel

More info on the Perruche-series:
www.goethe.de

www.superdealsbrussels.org

Bn PROJECTS & Maison Grégoire are very pleased to invite you to the opening of
On a bien accroché, an exhibition specially conceived for the space of Maison Grégoire and revolving around the confrontation of the works of Marc Buchy and Shuzo Azuchi Gulliver.

The title of the project plays in French with the ambiguity with the expression : In an antinomic fashion to begin with, for « accrocher » means in French to hang (a picture) and there will hardly be anything hung on the walls for this project, which will mostly present immaterial protocol-based body of work.
But the expression also means in French on a metaphoric level, « we got along well », thus implying the idea of potential and spontaneous affinities existing between these two artists, at first sight very different.
One of the stakes of the project was indeed to confront these two artists from two different generations and continents, but whose bodies of work articulate around conceptual and often immaterial protocols, incarnated./activated in their respective bodies and minds.

The work of Shuzo Azuchi a.k.a. Gulliver, one of the major exponents of Japanese Fluxus, is mainly articulated around a mediated strategy of expansion and spreading of his vital energy, DNA and body material in the space he shares with the beholder.
Specifically and radically « generous », but also situating itself between semi-liturgical rites of transmission, an attitude of creative hubris, or an attempt at infiltrating or conquering spaces of mediated immortality, the physical and mental beings of Gulliver often stand in the limelight of his installations, performances, drawings, and form literally the first material – analyzed, translated, or even dismembered – of his body of work.

For this project, we will activate, in a specific and performative way, one of the most emblematic and seminal works in his production, the « body Project », a protocol whereby Gulliver organizes in a carefully-planned contractual fashion the gift and transmission of his body, dismembered into 80 parts.
Besides recent works specially created for the show, we will also activate in a novel way, his « Weight project » (consisting of the installation of a sculptural element of a weight corresponding to that of the artist), just as we will try and spread the transcription of his DNA in an integrated way throughout the domestic space of Maison Grégoire.

On his side, the work of the Brussels-based young French artist Marc Buchy, which often operates in stealth-like mode, acts as a sort of spanner in the works, disrupting the perfectly oiled mechanics of the contexts where he intervenes.
Discrete, infra-visible and anti-spectacular, his works may at first sight seem far from those of Shuzo Azuchi.
Nevertheless, on closer inspection, there are several points of convergence between the two: Questioning the very concepts of transmission and circulation (whether it be of knowledge, values, or of what specifically makes an artwork), their effectiveness and relevancy or, a contrario, their uselessness, Buchy’s works only find their implementation in relation with the body or the mind which imagined them, that is Marc’s.

A work such as « Naevius », whereby Marc Buchy had a very naturalistic naevius tattooed on his back, which he offers for sale, thus making its potential buyer the owner of a drawn part of his body, offers a good significant counterpoint to to Azuchi’s Body project. In this case though, the collector will only be able to contemplate and or exhibit his artwork by inviting Marc Buchy, and as long as the artist is alive of course.
To illustrate a similar counterpoint, we could compare Shuzo Azuchi « Gift projects » whereby he commits himself – as he will do for « On a bien accroché » – , to gift to the willing visitors a given Japanese phoneme (in the present case, « yo »), whenever he will pronounce it from now on, with Buchy’s « Instructions » protocol.
In this project, Buchy sells to a collector the promise never to take astronomy courses or dance lessons for the rest of his life.
The question of the acquisition or, conversely, of the hindrance of knowledge, that of the relevancy or utility of cognitive commitments, are central in Buchy’s practice: Over the past years he has been pursuing an attempt at drawing freehand or, rather, in a free-arm fashion, a perfect circle.
For « On a bien accroché », he is initiating a protocol where he will invite the curator of the show, or even the visitors, to try and use their « wrong » hand for different compositional or writing exercises.
A performance that will not be announced and will probably remain unnoticed during the opening will be further activated in stealth mode by two young artists who have spent a significant amount of time during the preparation of the show with Buchy: the idea was to invite them to observe him, so as to reproduce, in an integrated way, his body language and expressions.

Besides these individual projects, which operate towards each other as echoes in affinity or dissonance, « On a bien accroché » will also promote and activate a strategy of interpenetration and cross-pollination of Shuzo azuchi’s and Marc Buchy’s respective practices and singular projects, whether it be in the physical space or the communication of the exhibition.

Emmanuel Lambion

Special Previews on Sat. 21/4 and Sun 22/4/2018, on the occasion of Art Brussels
Vernissage on Sat. 28 April 2018, 3-7 p.m.

Exhibition open on Saturdays, 2-6 p.m. and by appointment
From 21 April until 16 June 2018

Maison Grégoire
292 Dieweg
B 1180 Bruxelles
www.bnprojects.be

With the support of

Art Brussels, Brussels
&
Tatjana Pieters, Gent
SAGYO, Tokyo
Maria Rosa Pividori, Milano

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

For this exhibition Dóra Benyó and Mária-Krisztina Nagy are investigating the perpetual notion of chance and the wide range of consequential possibilities. The title When Bread Falls on the Buttered Side evokes the external and forceful factors that lead to uncontrollable situations. Therefore, the two artists are exploring human powerlessness and their various capacity of adaptation to the unforeseeable.

www.sagacityart.be

In the context of the solo show of Naïmé Perrette, The Weight of Ground, you are invited to join us at Cunst-link to take part in the screening of Autarcie Tiger’s II by Naïmé Perrette. For the occasion Cunst-link has invited Samuel O’Connor, who is currently undertaking a PhD at KU Leuven looking at the intersection between theology and architecture, to moderate a discussion based on the film.

⎐⎐⎐⎐

⎐ Program of the evening ⎐

19:30: Introduction
19:45: Film screenig (38′)
20:30: Small break
20:45: Talk

⎐⎐⎐⎐

⎐ About the Film ⎐

AUTARCIE TIGER’S II, Video HD, 38 min, 2014

Six days per week, the eight fishermen of the Tiger’s II work day and night at sea in the north of France. We discover the patterns of their group dynamics as we watch how they respond to the intense rhythm of the work, the distance from women and the integration of new recruits. This film goes into a male trio’s intimacy, portraying the youth embarked on the boat. Autarcie Tiger’s II depicts how they establish their sense of empowerment in their isolated context.

⎐⎐⎐⎐

⎐ About the Talk ⎐

From planners of artificial islands to fishermen at sea, from local and endemic contexts to multi-connected and global realities.
The discussion will embrace these contrasts in order to offer a reflection on the notion of distance in relations to our environment and milieu.

⎐⎐⎐⎐

About the Speakers:

⎐ Naïmé Perrette ⎐

Born in 1989 in France, Naïmé has completed a Master in Film Animation at ENSAD (Paris) and was resident at Rijksakademie in Amsterdam in 2014-2015. She has been awarded grants by Werkbijdrage Jong Talent, Mondriaan Fonds, and Kara 2017 (Kooshk, Tehran). Her films and installations has been shown in various galleries, museums and fairs, including the Museum of Modern Art (Rio), Eye (Amserdam), Art Rotterdam, STUK (Leuven), Mohsen Gallery (Tehran), Slate Projects (London), La Gaîté Lyrique (Paris), HKW (Berlin), Merdar Art Centre (Cairo).

⎐ Samuel O’Connor ⎐

Born in Brighton in the UK in 1989, Samuel studied Philosophy at University of Sussex from 2009 until 2012. He then went on to study for a master’s degree in Philosophy at the University of Amsterdam. He currently holds a PhD post which explores the intersection between theology and architecture at the KU Leuven. The title of the project is Apocryphal and Apostolic Modernism: Forgotten relations between religion and architectural modernism 1945-1970. The research is made up of several concrete constellations which form the overarching theme of religiosity and architectural modernism. The aim is to offer an alternative narrative of the 20th century as a slow and steady movement towards secularization.

⎐⎐⎐
Language :
Film: French / Subtitles : English
Talk in English
Free entrance
⎐ Exhibition “The Weight of the Ground” : April 20th – May 19th
Open on Sunday afternoon and on appointment ⎐

Finissage: samedi 12 Mai 2018.  16h-19h00

Une proposition curatoriale de Roman Moriceau

Avec le soutien de la galerie Archiraar.com

www.Anne-Charlotte Finel.com

www.Ella Littwitz.com

www.Jean-Baptiste Bouvet.org

www.Roman Moriceau.com

Lors de l’édition 2017 de Poppositions, mon attention avait été retenue par une fascinante pièce sonore de Roman Moriceau : des chants d’oiseaux…de simples chants d’oiseaux qui plongeaient la foire dans une atmosphère de détente, de bien être et de zenitude absolue, comme proposée par un guru de la psychologie positive vous vendant une reconnexion numérique avec la nature…

J’ai donc demandé à Alexis et Octave, fondateurs de la galerie Archiraar, ce que signifiait cette pièce. La réponse fut aussi violente que les chants étaient séduisants : « Ce sont des chants d’espèces d’oiseaux disparues de la planète ».

Quand j’ai fondé le V2Vingt, j’avais déjà cette oeuvre en tête et le désir de l’isoler dans cet espace personnel s’est rapidement fait sentir.

J’ai dès lors contacté Archiraar qui m’a présenté l’artiste, qui a accepté ma proposition.

L’exposition commence donc avec une carte blanche jouée par Roman en invitant trois autres créateurs à se joindre à lui : Anne-Charlotte Finel, Jean-Baptiste Bouvet et Ella Littwitz.

Et voilà comment je perçois les affinités qui naissent de la rencontre de ces quatre personnalités distinctes :

Anne-Charlotte Finel capte des moments troubles ou l’environnement semble incertain, voire surréel. L’interrogation s’arrête sur l’outil même de la perception dont dispose notre corps, en fonction du moment et de l’environnement perçu. Plus concrètement, les images et vidéos d’Anne-Charlotte sont prises au lever d’un jour, à la périphérie d’une ville. Elle sont diluées par le grain de la prise de vue à une heure ou la lumière ne permet pas à l’objectif (ni à l’oeil) d’être optimal.

Jean-Baptiste Bouvet Travaille sur l’environnement de l’espace d’exposition. Comme Finel, il se situe à la frontière de quelque-chose : à la frontière du monochrome qui n’en est pas tout à fait un, à la frontière d’une porte qui hésite entre l’imitation, l’artefact ou la peinture qui s’affirme pour elle-même. Comme Finel et Moriceau, il semble davantage attaché à la perception qu’à la symbolique. Il travaille l’information à son degré minimal.

Ella Littwitz est, quant à elle, bien plus attachée à la symbolique et son travail traite l’information comme le symptôme d’une réalité identitaire à comprendre. Artiste israélienne, Littwiz questionne la présence politique, économique, géographique et géologique d’une frontière autant que sa réalité psychologique. Les matériaux minutieusement choisis renvoient à des réalités historiques qui parlent des fondements d’un monde éternellement en construction.

Roman Moriceau développe un travail a priori séduisant que je qualifierais aussi de perceptuel. Mais la quasi totalité de ses oeuvres repose sur une contradiction entre la matière et l’image. La surface est souvent lisse, attrayante et parfois proche du glamour. Rien ne peut salir l’idée qu’on s’en fait tant qu’on se tient à l’abri de l’information : seule l’ignorance nous sauve. Toute personne demandant à connaître le processus de création s’expose à voir ses illusions s’effondrer. Et c’est peut-être tout le fond de la démarche…

L’ensemble est un équilibre entre la mélancolie et le mystère, ou entre le doute et la révolte. On est forcément à la frontière entre des choses qui refusent de se laisser définir. On est ‘entre’…et on va y rester.

Laurent Jourquin

Samedi 28 avril  15h – 19h / Vendredi  4 mai  18h – 21h / Samedi 12 mai 16h – 19h

Et sur rendez-vous.

‘The Hannah Arendt Working Group is dedicated to reading the texts of Arendt out loud around a table at public locations across Europe and the United States. Arendt, one of the titans of 20th century thinking, created a body of work that is simultaneously poetic, philosophical, and prophetic. The text for the April Brussels group will focus on culture and politics from the newly released Thinking Without a Bannister. The Working Group is led by Fred Dewey, April artist in residence at SUPERDEALS and author of The School of Public Life (Doormats 2015, 2nd printing 2017). In summer ’17, Dewey led a version of the Working Group, “The Portable Polis,” across Berlin, sponsored by ZK/U. The Brussels gathering meets Sundays in April at 1 pm, at SUPERDEALS. Free text copies will be provided and all are welcome. No advance reading or prior experience with Arendt are necessary.’

www.hyperallergic.com/319934/readers-diary-fred-deweys-from-an-apparent-contradiction-in-arendt

Conference