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

Thomas Dupal shares his work-in-progress Song of Selfie, before it premieres at Island.

SOS (Song Of Selfie) is a new solo performance by Thomas Dupal, an epic one-man presentation in which he, the entrepreneur, grapples with his many avatars as he undertakes to tell the story of his journey in search of his true nature. The story of a shipwreck.

Performance in English

TASTY BREAKFAST

Tasty Breakfast, a breakfast with :
Angélique Aubrit - Anastasia Bay - Ludovic Beillard - Bastien Cosson - Amaury Daurel - Cyril Debon - Tatiana Defraine - Hugo Dinër - Jean-Gwenole Fleuriot -
Régis Jocteur Monrozier - Tom Król - Martin Lukáč - Sarah Margnetti - Stephanie Quirola - Charlotte Vanderborght - Tom Volkaert
 

 M : So I’m going to take a pizza man. The breakfast wasn’t enough!
 L : Lets try with more eggs I'm hungry they look shiny man
 M : Super hungry today
 L : Didn't you eat a huge amount of fruits like usually do after the scrambled eggs ? How can you say that this breakfast is not enough, it's THE Biggest no ?
 M : Well I don’t know! I got use to it I need more like a Godzilla. ´Cause I am one, Lol
 L : You will puke it out come on. Respect the chef, please! He was preparing all in the early morning cookin' specially for you Mr. Godzilla. Try waffle, try sausages, try eggs sausages, and pomme de terre. POTATOES. You hangover right ?
 M : Honestly yes. I never had the waffle here . Gonna try it tomorrow. You?
 L : Those waffle remind me huge brunch in Montreal, cholesterol brunch! But here we have it for free! Free cholesterol for everybody! I like waffle, i think i need more juice with it. It’s like you can have never enough of juice.
 M : I agree man
 L : so you are between eggs fruits and pizza ... doesn't make sense … Man can you draw me big pizza for the show ? please huge ones it would be AMAZING!!And we will show your pizza to the chef. INSPIRATION.
 M : Lol
 L : for the future of breakfast. TASTY BREAKFAST!
 M : Dunno
 L : Dummy
 M : I’m over this topic in art
 L : HUGE PIZZA!
 M : Only if you do a big sculpture!
 L : I'm doing a big one, a huge basket of fruits.
 M : cool !
 L : Bonjour Chef, huge pizza, Ninja Turtles, lot of fruits and many guests.
 M: Fuck me pal
 
Tasty Breakfast is a project by Ludovic Beillard and Martin Lukáč, currently in residence at the Penthouse Art Residency (NH Brussels Bloom x Harlan Levey Projects).

---
 OPENING on Sunday May 27, 10am/10pm.
 EXHIBITION visible between 27-30/05, 2pm/6pm and by appointment.
 
 ADDRESS: NH Brussels Bloom, 9 th floor, 250 rue Royale, 1210 Brussels
 
This event is sponsored by VEDETT

Performance Night

(…)
Papy lève son panneau STOP.

C’est toujours le problème de la séduction, ça me flatte les dessous de bras. Il faut l’accepter, en être conscient, ramener la peinture à ce qu’elle est. Lorsque je suis trop séduit, faut que je gratte, racle, ponce. Tout ce qui me drague, je m’empêche de l’aimer.

Papy donne le feu vert. Le peintre continue sa marche en direction du travail. S’arrête dans un café juste à coté de son bureau. Les tables sont vides. Il neige. Personne ne s’arrête. Le barman essuie des verres à eau. Il s’assoit au comptoir et commande une formule café-croissant.

Je ne veux plus choisir, ne plus avoir à choisir. Mettre en dehors le choix de la composition — il n’y en a plus c’est plein cadre. Mettre en dehors le choix du format — j’ai trouvé le bon. Réduire les couleurs — pourquoi pas. Se sacrifier à un geste comme si tout était vain. On a le sentiment d’une trace prise dans un support, des traces de raclage comme si le papier avait été plié comme un accordéon, et sous la trace il y aurait presque un paysage…une digue…une succession d’actions qu’on pourrait presque se figurer. Je me suis censuré de la figure et voilà qu’elle revient en courant, comme s’il en sortait nécessairement quelque chose…oui…ça figurerait presque quelque chose.

with
Charlotte Beaudry
Jules Bouteleux
Colonel et Spit
Céline Cuvelier
Hell’o Collective
Franck Sarfati
Manon Laurent
Mahé Ripoll

A proposition from Laurent De Meyer and Mahé Ripoll

The Penthouse Art Residency
(NH Brussels Bloom x Harlan Levey Projects).

Opening 31/05/18 de 18 à 21h00
Exhibition visible on 2, 3, 09/06/18 from 3 to 5pm
the 10/06 from 4 to 6 pm
and on appointment

ADDRESS: 9 th floor ,250 rue Royale, 1210 Brussels

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

with works by

LÉO FOURDRINIER – JANA PAPENBROOCK

Galerie Horta . 116 rue Marché aux Herbes 1000 Brussels

From June 4th to 26th, Adrian Schindler will be in residence at Superdeals with the collection of photographs taken by his great-grandfather during World War II, which includes more than three hundred snapshots. He has studied these images for many years and has often written about them, but he has written little about his relationship with them and even less about how others look at them. During these three weeks, he will receive at the gallery on an individual basis those who would like to consult these photographs and, if they wish, discuss them with him. These meetings will voluntarily not be documented, but will feed in a diffuse way a writing work of which a first draft will be presented at the end of the residency. This project consists both in exposing a family archive to the interpretations, desires and questions of others, in setting up a space of trust where contradictory feelings in response to this kind of historical documents can coexist, and in thinking about the possibility of writing in first person while carrying a multitude of voices. It is the first time that this collection will be presented in its entirety.

www.adrianschindler.com

Solo show

Grande Surface invite Sophie Kitching, pour l’exposition “TAKE AWAY”.

http://www.sophiekitching.com/

TAKE AWAY

Sophie Kitching

passing scaffold

reverse signage

portable skylight

traveller’s palm

water in a bag

wrapped sculpture

defunct objects

carving sand

removing dust

collecting signs

erase and enclose

sunset drawing

foreign thoughts

The garden awaits,

A travelling study,

No food will be served.

From the 9th of June until the 1st of September 2018, In-box presents #404D66 | Onze mètres carrés, welcoming Nathanaëlle Herbelin.

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  | http://www.nathanaelleherbelin.com

⎐ Performances ⎐
12 June | 15:00 – 18:00
13 June | 10:00 – 13:00
14 June | 15:00 – 18:00

⎐ Finissage ⎐
Thursday 14 June | 19:30 – 21:00

Are movements speechless and silences static? Is improvisation inevitably ephemeral or could a choreography be transcripted on the future tense? This performative exhibition states that each encounter, either happening in a public open space or in the transitional space of the art room — two areas in constant conversation, could be encoded and recorded simultaneously on a score using its own linguistic system. Translatability experiments the subtle free-space between protocol and coincidence and allows interpretation to become the creative act itself.

Grande Surface invite Antoine Carbonne, pour l’exposition “Redouté”.

http://antoine-carbonne.com/

PJ. Redouté a été capable de traverser, sans grand problème, les crises politiques successives, et de survivre aux différents régimes politiques. Il a collaboré avec les plus grands botanistes de son temps et a participé à près d’une cinquantaine d’ouvrages comme illustrateur et éditeur.

Dans cette exposition, Antoine Carbonne a utilisé des éléments Végétaux (fleurs, branches etc.) pour transformer des portraits  en paysages.

Dans ce but il s’est appuyé sur des livres illustrés de plantes, et parmi eux, un livre d’illustrations de Pierre Joseph Redouté.

Pj Redouté était un dessinateur et illustrateur Wallon proche du pouvoir et de la cour de France, notamment grâce à sa relation avec les femmes.

Bien que ses dessins puissent sembler criards, il utilisait une technique si précise que ses images se rapprochent des visuels 3D très contemporains.

C’est ce qui en a fait une base très précieuse pour ce dernier ensemble de peintures.

‘# 2953c1 When it is not Spontaneous’, hosted by @Sagacity Brussels, is the third collaborative installation by Turkish artist Mustafa Boğa and Icelandic artist Kolbrún Inga Söring. This time, digging further into their experience of mental and physical borders and questioning their existence within these concepts. They emphasise a disapproval of discriminatory attitudes, stating that their expression is a carefully constructed ideology that raises questions fuelled by disagreement with the current socio-political climate.

The installation exists within an ongoing project ‘The Fourth Culture – a Micro Nation’ which is a container for a critical view on society, where the duo practices intense critical self-reflection, using their opposite experiences, challenging viewers perceptions and asking them to perform a mental and physical reading of the information presented to them. This initiates a dialogue which plants a seed that then can continue growing further in the mind of another.

Both Boğa and Söring present themselves in the space, but their roles are paradoxical. While Boğa is hidden, Söring is exposed. Deconstructing their own learnt behaviour, they express borderless attitudes through a special experience which becomes both intrusive to and influenced by the public’s presence. Their combined cultural experiences give them the possibility of examining cultural identities from a broad understanding of different perceptions.

www.sagacityart.be

Finissage of the exhibition TRANSLATABILITY.

Performance : Danse de silence (Mehdi Mojahid)

“Are movements speechless and silences static? Is improvisation inevitably ephemeral or could a choreography be transcripted on the future tense? This performative exhibition states that each encounter, either happening in a public open space or in the transitional space of the art room — two areas in constant conversation, could be encoded and recorded simultaneously on a score using its own linguistic system. Translatability experiments the subtle free-space between protocol and coincidence and allows interpretation to become the creative act itself.”

Sell of indian ink calligraphies

Opening 12:00-17:00

Sunday, June 17th

June resident Adrian Schindler invites you all Saturday from 6pm to the lecture-performance “The vulnerability of the snake at the time of sloughing its skin and the figure of the German soldier”. A new text for an upcoming publication written in response to the various meetings that took place at the SUPERDEALS space around the photographs taken by his great-grandfather during World War II.

SUPERDEALS, Saturday June 23rd, 6pm

Lecture-performance at 7 and 8pm (in French)

www.adrianschindler.com

Grande Surface invite Arthur Tiar, pour l’exposition “Des petits papiers”.

http://arthurtiar.com/

Vernissage : 28/06 de 18h à 22h
Ouverture les 29 & 30/06 de 17 à 20h

Hugo Mega (Portugal) is a dancer and performer based in Brussels.
He will transform Cunst-link in an animated space for reflexion and experimentation, combining a site-specific installation, video and performance.
During these days the space will also be turned into a temporary greenhouse which will host different plants all from the family of epiphytes.
The idea of this residency and performative installation comes from a recent trip of Hugo Mega in Thailand where he witnessed the harmony and perfect sustainability of certain types of plants, the epiphytes. These organisms grow on the surface of other plants and derive their moisture and nutrients from the air, rain, or from debris accumulated around it.
Epiphytes, contrary to parasitical organism don’t affect the status of their host, but they might even take part in its nutrient cycles, adding nutrients components.
These types of organism became the starting point of a reflexion on the duality of parasitic and symbiotic lifestyle, consequently broaden to human behaviour toward nature and our critical and controversial role in ecology.
All these reflexions will be summarized into a two hours performance where Hugo Mega will embody the quality of this specific plants in harmony and symbiosis with the space.The performance will take place every evening during the three final open days of the residency.

Residency : 18 – 28th June
Performances : 28th – 1st July / 8 to 10 pm.

Hugo Mega is a Portuguese artist and yoga instructor living in Brussels. From an early age, Hugo has been working and exploring his body´s physical capacities through dance and circus. After his circus studies at Chapitô in Lisbon, he moved to Belgium to graduate in 2012 from ESAC (High School of Circus Arts) where he specialized in Aerial Silks.

He has worked for other choreographers, created his own work and researched how a somatic movement approach relates to circus and dance. In 2014, he started studying dream therapy through imagery and visualisation work, which is highly nourishing and inspires his artistic work. Hugo correlates his work with esoteric and spiritual practices to find new ways to experience and create new material, expanding his consciousness both in his artistic and personal life.

Inscape at sunrise

Carlotta Bailly-Borg, Vanessa Disler, Rémi Lambert, Fiona Mackay, Gijs Milius, Nancy Moreno

curated by Aukje Koks and Perri MacKenzie

Opening Saturday 30 June 19h-22h

www.kantine.space

More on Chris Lipomi 

Benedikte Bjerre and Johannes Büttner “Harvester”

Opening 18-22h

On view July 21st – August 5th

Kantine

Rue de Manchester 19

1080 Brussels

www.kantine.space

www.thebreedersystem.com/artists/zoe-paul/

Preview of Brussels Gallery Weekend as part of the OFF-Program

http://brusselsgalleryweekend.com

https://www.charlessarah.com

C5

Galerie Horta . 116 rue Marché aux Herbes

1000 Brussels

http://c5space.com

Island is pleased to invite you to Ficticious Legacies
presenting Antonia Brown, Justine Court, Johanna Grivel, Naomi Quashie & Maurine Rolland
September 6th – 30th, 2018
Opening: Wednesday, September 5th, 6pm
Performance: Naomi Quashie, How to transform ourselves, 7.30pm

Ficticious Legacies is a project born of a meeting of diverse feminine subjectivities. How to approach the characteristic difference of these subjectivities, while avoiding the pitfalls of a recurrent paternalism and cultural ethnocentrism ? Is it even possible ? To do this, the exhibition becomes a fictional body fed by narratives that intersect and allow to build a fictional landscape while affirming the content of these five personalities, enriched by their respective Kin.

Ficticious Legacies was initiated in the frame of the seminar ‘Après l’école’ of La Cambre coordinated by Céline Gillain.

in collaboration with La Cambre arts visuels
with the support of Fédération Wallonie-Bruxelles/Officiel, COCOF and Duvel

⎐ Performance from 20:00 to 21:00 ⎐

Alix Nicolas’ practice delves into one pivotal material: paper. Questioning paper as a material in itself, more than a mere support, she manages to transform it into sculptural forms and environmental elements. For the occasion she will adapt her work enveloping not only the space but also human body, collaborating with performers from the Artist Commons and together exploring the possible relationship between this material, body and movements.

Alix Nicolas studied drawing at ENSAV La Cambre and graduated in 2016. Alix Nicolas at first used paper as a medium, as a surface on which, by the application of other lines and colors, and the using of various media (painting, drawing…) an artwork will emerge. She investigated paper as a material and a possible way of expression in itself.
She took part in several collective exhibitions in Brussels with the collectif La Friche, for the Mediatine Price, in Gallery Nadine Feront, Maison du Peuple, and Micro

Prospective objects
Exhibition with Lucie Lanzini & Margré Steensma
from September 6 to October 13, 2018
Opening on Thursday September 6, 2018, 3-9pm
open from Thursday to Saturday, 2-5pm and by appointement
Special opening for Brussels Gallery Week-end on September 7, 8, 9, 1-7pm.

ENG/

Lucie Lanzini creates sculptures made of molded parts of glass and resin. She molds fragments of architectural and decorative elements. According to an inversion principle, the new created object is a print of the missing original.

Margré Steensma works from everyday objects. She changes their material, diverting them from their original function. She uses these autonomous shapes to create new abstract spaces, that everybody is invited to invest.

Lucie Lanzini and Margré Steensma are both working on the object from its material, transforming the linked semantic corpus, allowing distance. Those artists, while reshaping the objects and their meaning, participate to a reappropriation of the reality.

FR/

Lucie Lanzini crée des sculptures composées d’éléments moulés, de verre et de résine. Elle moule des fragments d’éléments architecturaux et décoratifs. Selon un principe d’inversion, Le nouvel objet créé est donc une empreinte de l’original absent.

Margré Steensma travaille à partir d’objets issus du quotidien. Elle en change les matériaux et les détourne de leur fonction originale. Elle utilise ces formes autonomes pour créer de nouveaux espaces abstraits, que chacun est invité à investir.

Lucie Lanzini et Margré Steensma sont des artistes qui travaillent toutes deux l’objet à partir de la matière, transformant le corpus sémantique qui lui est lié, permettant une mise à distance. Ces deux artistes, en remodelant les objets et leur sens, participent à une réappropriation de la réalité.

As part of the Brussels Gallery Weekend OFF-Program

http://brusselsgalleryweekend.com

https://www.charlessarah.com

C5

Galerie Horta . 116 rue Marché aux Herbes

1000 Brussels

http://c5space.com

Opening – THINGS I DO, OTHER PEOPLE DO TOO
SOLO SHOW – NIELS POIZ

———————————
* Performance at 20h *
———————————

” Things I Do, Other People Do To ”

Person A is smoking a cigarette while waiting for the bus to go to work.
Person B is getting ready for a night out with friends after a heavy breakup.
Person C is just going to stay in bed all day.
Person D just finished a yoga class and is now biking to the supermarket.

So much stuff to do… So little time…

Niels Poiz

COHERENT
59 rue Keyenveld 1050 Bruxelles
Exhibition – 06/09/2018 – > 13/10/2018

www.instagram.com/coherentbrussels

EN

I am not sorry.
Solo exhibition by Adèle Gratacos, curated by Gatien Du Bois

What do we absorb and what do we keep at distance? I am not sorry. is an attempt to create a personal fortress but without walls, without defense. Through an installation encompassing photographs, texts and videos the French artist (born in 1993) is reaching for the stunning angle.

During the exhibition time, new elements will continuously be added by the artist while others will be removed, creating an ever evolving installation. I am not sorry. is a stretching not only time but also space since the exhibition will overflow to the adjacent street.

Address:
Penthouse Art Residency (NH Brussels Bloom x Harlan Levey Projects)
250 Rue Royale, 1210 Brussels – ground floor of the NH hotel

FR

I am not sorry.
Exposition personnelle d’Adèle Gratacos, commissariat d’exposition: Gatien Du Bois

Qu’absorbons-nous et que gardons-nous à distance? I am not sorry. est une tentative de créer une forteresse personnelle mais sans murs, sans défense. À travers une installation englobant des photographies, des textes et des vidéos, l’artiste française (née en 1993) cherche l’angle imprenable.

Durant la période d’exposition, de nouveaux éléments seront continuellement ajoutés par l’artiste, tandis que d’autres seront enlevés, créant ainsi une installation en constante évolution. I am not sorry. est un étirement non seulement du temps mais aussi de l’espace puisque l’exposition débordera dans la rue adjacente.

Adresse:
Penthouse Art Residency (NH Brussels Bloom x Harlan Levey Projects)
250 rue Royale, 1210 Bruxelles – Rez-de-chaussée de l’hôtel NH

As part of the Brussels Gallery Weekend OFF-Program

www.brusselsgalleryweekend.com

www.thebreedersystem.com/artists/zoe-paul/

⎐ Performance 40” & drink ⎐

Alix Nicolas’ practice delves into one pivotal material: paper. Questioning paper as a material in itself, more than a mere support, she manages to transform it into sculptural forms and environmental elements. For the occasion she will adapt her work enveloping not only the space but also human body, collaborating with performers from the Artist Commons and together exploring the possible relationship between this material, body and movements.

Alix Nicolas studied drawing at ENSAV La Cambre and graduated in 2016. Alix Nicolas at first used paper as a medium, as a surface on which, by the application of other lines and colors, and the using of various media (painting, drawing…) an artwork will emerge. She investigated paper as a material and a possible way of expression in itself.
She took part in several collective exhibitions in Brussels with the collectif La Friche, for the Mediatine Price, in Gallery Nadine Feront, Maison du Peuple, and Micro.

www.emanueleckl.de

Vernissage – jeudi 11 octobre de 18heures a 22heures au 188 rue tgeodore verhaegen, 1060 St-Gilles.

Grande surface vous acceuil pour “LE VERTIGE”

Commissaire d’exposirion : pauline bordnail
Avec: angelique aubrit, alexandre barré et thibault barré, juliette davis et stephanie viviers, nicholas goutket, mathias pmfude

“Ils tentent de se regarder dans la glace. Celle qui se recouvre de bue et que l’on t’ete d’eclaircir avec nos doigts. Ici, il n’est pas question de s’admirer mais selon lui, de menacer. Il se concentre et comence abord a ecrire une phrase. Ul la lit a haute voix mais se rend conte qie le resultat final est plus reconfortnt que terrifiant. Il la relie avec un thin moin avenent mais la conclusion ne change pas. La chance du debutant n’est pas de son cote,il doit persévère. Il sait qu’il doit continuer de snentrainer. Il de felicite neanmoins de se discretio’ tout en revenant sur son phras. Il faut qu’il devienne plus inquietant, que la personne ne prenne pas le tempad de s’habillet avant de snenfuit’r. Le probleme, cnest qu’il ne sait pas comment opperer. Il pense alors a ce qui lui fait peur et se demande si sa cranite peux etre universelle. Apres quelques minutes de reflexions, il se demande surrout si ol a envie de menaxer les gend. Ul aurait pu le faire pe’dant la guerre mais son visage tombanr lui confirzm que l’instabt est passe. Peureusement qu’il est seul dans la peice xar il commence a reellement perdee confiance. Il se demande ce qu’il fait, pourquoi ik est la ? Ay fur et mesur qu’il se decontenance, la phrase déposé sur le miroir s’efface. Elle etais lucise et ttendre elle lui ressemnlais. Il depose alors ses mains sur l’evier et se concentee, pour cette fois ci ne pas craquer. Ol se dit qunil doit retrouver ses esprits. Que ce nnest plus le moment de flancher. Il releve la tete mais le trouve plue son viqage. Il se frote les yeux pensant qu’il est en train d’haluciner mais toujours pas de reflets. Il compeebd alors quil n’a plus le choix, il va devoir s’allonger dans la boue une derniere fois. Revivre l’attente, la fin et lnattaque afin de construire une phrade digne du genre. Une de celle qie vous n’acze pas besoin de lure entireerrement pour comprendre que ce sont vos derniers instant, ine de celle qui vous fais revivrz vitre enfance, une de celles qui vous fait penser a votre mere une de celles don le bon dieux se moque .”

Sposition 12 octovre au 28 octobre sur rendez vous

Kantine is pleased to present ‘T 2018 je t’aime’ a solo exhibition by Temra Pavlović.

Opening Saturday, October 13th 18:00-22:00

On view October 13th – November 11th, 2018 (by appointment)

www.kantine.space

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

with works by

Habitée par cette omniprésente question du langage comme espace codifié, caché (visible-invisible, derrière-devant…), elle décode les sons et les formes en une multitude de calculs qui lui permettent de chiffrer ces codes que le langage recouvre.

Elle redessine un espace fait de signes, de formes composées qui se répondent comme des miroirs. Comme une ballade circulaire, une forme primitive parfaite, faite d’une infinité de points qui se positionnent autour d’un centre dont ils sont équidistants.

« La vibration de l’onde qui, par son mouvement, crée une infinité de cercles à partir du même point me fascine en tant qu’image de représentation de mon être dans l’univers. Cette vibration dans un espace vide génère pour moi ces multiples signes liés au langage, aux sons abstraits qu’ils provoquent. Elle évoque pour moi la question de la fréquence temporelle en amenant au processus vibratoire la question du rythme, comme une musique qui reliera la Ville à l’Ensemble. »

https://v2vingt.net

www.emanueleckl.de

www.elliehunter.com

https://www.kevinsenant.com/

On the occasion of the finissage of the exhibition I Cheated on You, by Floida Skraqi, the independent curator Alice Ciresola come for a visit and a discussion with the artist.

17:00 Welcome!
17:30 Talk (45”)
18:15 Finissage

Tea, coffee and cakes will be served for a donation price.

⎐ Exhibition ⎐
Floida Skraqi, born in Albania, studied visual arts at the Academy of Fine Arts in Milan. She works through different practices such as performance, video and photography and her research is mainly anchored within social and cultural issues.
The works presented at Cunst-link investigate the boundaries and possibilities of different cultural backgrounds, and how our identity is structured in a globalized society.
“I Cheated On You” ultimately becomes a moment of reflection on the role of our cultural background within our identity; a narration of a breaking-up or a reconciliation with our origins and childhood.

⎐ Speakers ⎐
Floida Skraqi (1989, Albania) is a Milan and Brussels based artist.
She attended her Master Degree in Visual Arts in the Academy of Fine Arts of Brera, Milan. Starting from 2007 she investigates the movement across several levels, around notions of practicality,
representations and interventions. She performed in different art spaces in Brussels, Milan, Turin, Stockholm, Sofia, Tirana, among others. She is interested in the unconscious language of mutation given by time. This status attracted her to work with children, people with Alzheimer’s disease and mental disorders. Together with Rossana Bossini she is co-founder and co-director of the artistic collective Lie-Fi Palimpsest.

www.liefipalimpsest.com

Alice Ciresola (1990) is an independent curator of performance and community art projects. In particular, her research focuses on strategies of heritage re-interpretation through artistic interventions. Since 2016 she works in collaboration with artist Simone Basani, developing participatory projects, collective performances, and educational devices for communities and cultural institutions. She currently lives and works in Brussels.

https://www.basaniciresola.com/

Cunst-link is one of the artistic shared spaces of the Artist Commons.
Supported by Vedett and Sparkling Solutions.

Curated by Will Kerr

Preview 7 November 2018, 5-8pm

Open during Independent Brussels, 8 November – 11 November 2018, 1-7pm

Rue de Barchon 11, 1000 Brussels

Contact : +32 488 686 746

VIP Opening (on invitation only)
Thursday November 8, 3 – 10PM

Public Days
Friday, November 9, 12 – 9PM
Saturday, November 10, 12 – 7PM
Sunday, November 11, 12 – 7PM

OPENING – SOLO SHOW

NAOKI KARATHANASSIS
@jaynedwohnson

” IT WON’T LICK ITSELF ”

59 rue Keyenveld, 1050 Ixelles
contact@coherent-brussels.com

Vernissage à Grande Surface

“Il fait toujours plus sombre en bas” vendredi 9 novembre, de 18h à 22h.

Exposition du 10 au 19 novembre (sur rdv).

———-

Avec la participation de :

David Ancelin

Théophile Brient

Antoine Donzeaud

Pauline Lavogez

Commissaire d’exposition, Thomas Havet – Double séjour

———-

Rue Théodore Verhaegen, 188, 1060 St-Gilles.

grandesurface.collectif@gmail.com

Noah Barker
Ivan Cheng
Perri MacKenzie
Becket Mingwen
Rin Suemitsu (Golin)
Marnie Slater
Natasha Soobramanien

A program of reading and performance

On the occasion of the finissage for Temra Pavlovic ‘T 2018 je t’aime’

Please visit the exhibition from 13:00-15:00
The event will begin at 15:30

Warm refreshments will be served.

This will be the last Kantine in our current location on Rue Manchester.
Please come celebrate the conclusion of our first year of exhibitions and events.
We are on the hunt for a new space for 2019!

www.kantine.space

ENG/

Emma Pollet and Anita De Laforêt give the observation process an essential role within their respective practices. They work on the notions of nature and landscape related to time and space. They explore these notions through a certain simplicity of means.

Emma Pollet observe the void around the objects, allowing them to exist. For a text, it is the white spaces between the letters. For an object, the emptiness of the container that is waiting to be filled. She is interested in nature and landscape as elusive elements, as they are in perpetual motion and depending on the point of view you look at them.

Anita De Laforêt questions the place of human being among the nature, she observes the interaction of the individual and its environment. She works from natural materials, setting up a framework and letting time and material act. The artist places herself as spectator before reintroducing her into the work as a performance artist.

Through their works, these two artists share a sensitive experience with the public. An experience both common and singular, fleeting and always in transition, highlighting the impossibility to reproduce the observation of a world in ongoing motion and the spontaneous richness of the intimate experience.

FR/

Emma Pollet et Anita De Laforêt donnent au processus d’observation une place importante au sein de leurs pratiques respectives. Elles travaillent à partir de notions telles que la nature et le paysage, qu’elles relient à celles du temps et de l’espace et qu’elles explorent à travers une certaine simplicité de moyens.

Emma Pollet observe le vide qui entoure les objets, qui leur permet d’exister. Dans le cas d’un texte, ce seraient les espaces blancs qui séparent les lettres, dans le cas d’un objet, le vide du récipient qui attend d’être rempli. Elle s’intéresse à la nature et au paysage en tant qu’éléments insaisissables car en perpétuel mouvement et dépendant du point de vue depuis lequel on les observe.

Anita De Laforêt questionne la place de l’être humain au sein de la nature, elle observe l’interaction de l’individu avec son environnement. Elle travaille à partir de matériaux naturels, met en place des dispositifs et laisse le temps et la matière agir. L’artiste se place ainsi elle-même comme spectatrice avant de se réintroduire dans l’oeuvre en tant que performeuse.

À travers leurs pièces, ces deux artistes partagent une expérience sensible avec le public. Une expérience commune et pourtant singulière, fugace et toujours en transition, qui souligne l’impossibilité de reproduire l’observation d’un monde en mouvement continu et la richesse spontanée de l’expérience intime.

Emile Rubino (French b. 1992) lives and works in Brussels. His domestic approach to picture-making is informed by a flirtatious relationship to other means of depiction and an embrace of eclecticism. Over the past few years he has been producing modestly scaled photographic tableaux in handcrafted artist’s frames. While his photographs tend to remain rooted within a documentary mode they are also the outcome of labored processes involving photoshop. By locating and following the internal logic of a picture as a subservient strategy his work often results in a contrived kind of photographicness.

He received his BFA from Emily Carr University of Art and Design (Vancouver, Canada) in 2015, and his MFA from Bard College program in advanced photographic studies at ICP (New York, NY) in 2017. Selected solo exhibitions include other things, ICP-Bard studios, New York, NY, Real Allegory, Spare Room, Vancouver, Canada (2015), Still Disappearing, Concourse Gallery, Vancouver, Canada (2012). Recent group exhibitions include Ami Omo (curated by Lucas Blalock), Barbara Walters Gallery, Bronxville, NY (2018), Vancouver Carry On (curated by Felix Rapp), Royal Academy of Fine Arts, Antwerp, Belgium (2018).

Un matin, j’ai regardé par la fenêtre, et le lac avait disparu.

La terre était devenue rouge,

le ciel, bleu, le soleil, haut.

Je suis partie faire du vélo.

J’ai emprunté le même chemin en pente,

et j’ai roulé.

Je n’ai pas vu le trou,

les pierres,

le chien.

One morning, I looked out the window, and the lake was gone.

The earth had turned red,

the sky, blue, the sun, high.

I went cycling.

I took the same path on the slope,

and I drove.

I didn’t see the hole,

the stones,

the dog.

www.elliehunter.com

www.cleototti.com

Sous couvert de deux avatars créés pour l’occasion, 2 flics ami-ami : Panique à Borth est un récit qui constitue à la fois la trace et le décor de cette exposition, il relate l’évolution d’un travail et raconte un paysage en même temps qu’il se construit.

« À la recherche de l’Atlantide depuis de longues années, A., cryptogéographe acharné et

paranoïaque léger voit ses recherches arriver à une impasse : il doit chercher l’invisible. Le ressurgissement soudain d’une lettre adréssée à son collègue disparu bouscule ses habitudes. Il y

apprend que son collègue, B., aurait travaillé sur une légende analogue. Suivant les indications

de la lettre, A. Part à la poursuite de son confrère au Pays-de-Galles. En empruntant ses pas,

il se pourrait bien qu’il accède à son objectif initial : retrouver le légendaire royaume englouti… »

Antoine Carcano : https://antoinecarcano.hotglue.me/
Balthazar Blumberg : balthazarblumberg.com

Destruction / reconstruction
screening of films by Sandra Hauser
artist talk led by Gatien Du Bois

In 1944, a V2 missile aimed at the Schaerbeek train station hit and partially demolished the site that now houses the V2Vingt exhibition space. However, this fact isn’t proven with certainty so that it may have been allied bombs that fell on it. In Germany, allied bombs fell in an eminently larger number. But, according to W.G. Sebald’s observations: this “experience lived by millions of people in the last years of the war, this unprecedented national humiliation, has never really been put into words and (…) those who were directly concerned did not share it or transmit it to the next generations”. The post-war economic miracle and the construction of a new German society took place at the price of a destruction / reconstruction going hand in hand with a ready repression mechanism: a psychic repression and a physical removal of the rubble transformed into artificial mountains.

To examine these destruction / reconstruction processes, Brussels curator Gatien Du Bois has selected four short films by German artist Sandra Hauser (born in 1983 in Bad Aibling, lives and works in Berlin): Trümmerfrauen – Even Wild Dogs Dance, 2016; Kapitulation, 2016; Weißt du wie viel Sternlein stehen (Do you know how many stars there are above?), 2010; The Patient. Investigation for a new identity, 2014-present. This screening will be followed by a discussion with the artist.

BIO

Sandra Hauser is an interdisciplinary artist, combining in her work various media as for example performance, sculpture, drawing, painting and video. She started her carrier as director, costume and stage designer at the theater. She studied Philosophy, Art History and Anthropology at the Ludwigs-Maximilian-University in Munich. In 2006 she studied visual arts with Stephan Huber and in 2011/12 with Hans Op de Beeck at the Academy of Fine Arts of Munich. In 2011 she was a guest student with Gregor Schneider at the Berlin University of Art. Since 2014, she has participated in numerous exhibitions, some of them in international museums and institutions. Her works are currently shown at Galerie Sandra Bürgel in Berlin.

http://sandrahauser.org

⎐ Research residency : December 2nd – December 21st ⎐
⎐ Opening: December 19th from 20:00 to 22:00 ⎐

A #
Transdisciplinairy artist Stef Meul presents a research on desire.

A # focuses on dialectical relations between intimacy, fragility, realness and fantasies of sex and success.

Stef Meul (°1983, Brussels, Belgium) makes transdisciplinary artworks. By applying a particular and metaphorical language his works engender intuitive associations – these rarely being conclusive. Play and cause of desire are important: during the artistic process, personal perception is affected and common objects transubstantiate.Through his artwork he cares about how life extends beyond its own subjective limits.

Stef often interstices a narration on the limitation of social identities and propagates the expansion of common knowledge resources: in order to challenge the binaries we continually generate between Self and Other – between our sense of human hybridation and radical alterity.

By instigating spaces for performativity and a real intent for social choreographic fields, Stef Meul wants to enable the viewer’s knowledge of the coordinates of the narration of our common world. Art is to be able to be in touch with the work, as well to become interacting, loosing one’s distant safe stance.

Stef’s artworks are based on inspiring situations: reflecting a sensation of dogma’s and reversals, combined with subtle details of odd or eccentric, humour.

http://stefmeul.com/

www.cleototti.com

On a réussi.

une année passée

et on déambulait formes bouffonnes et blanches et joyeusement tristes dans le jour déjà gris qui ici est le jour de la nuit.

On a réussi.

Quelques heures un exotisme de 3d, d’ennuyé et tout de même, on se croirait dans la descente descendant des fleuves serpents bleu nuit.

Pas de neige plus de nuit, pas de jour, de l’ennui et des bouts épars : des bouteilles brisées faisaient le ciel à nos pieds.

On glissait ou frottait nos pieds gris aux pavés gris, un déhanchement passif, avec en coin comme une pièce qui tourne à jamais, entre chien et loup, des odeurs délavées ou étouffées de tabac, de rêves, avec en coin dans le coin retourné du coude ramené à la bouche des envies d’ailleurs ?

L’ailleurs ah ça, ce serait chouette ! Un monde sans mot puisque qu’on n’articule plus trop t’façon et le romantisme (quand même) il est là au fond de nos poches, la main molle ou le poing serré.

Trouvons le mystère au fond du verre, ou à la surface lisse des coques d’iPhone.

On a réussi pfffou encore.

Pierre-Alain Poirier, 2019

Solo show
Floriane Michel – “Parfois les images se détachent”

Opening 18h – 22h

Liesbeth Henderickx & Élodie Huet
Opening on Sunday January 13, 3-7pm
Exhibition from January 13 to February 17, 2019
Curator Yuna Mathieu-Chovet

Pattern is a word whose definitions include notions of motif, structure, model and organization of forms, notions around which the works of Liesbeth Henderickx and Elodie Huet are articulated.

The work of Elodie Huet develops from an initial motif from industrial production: manufactured objects or everyday articles. By using repetition and accumulation processes (specific to mass production), she creates new patterns that overcome the basic motif while integrating it. It triggers a mechanism of reappropriation, where the original pattern is both identifiable and transfigured.

Liesbeth Henderickx’s sculptures are assemblages of stones associated with other natural and organic materials, such as wood, within installations. The stone is directly cut by hand, dispersed or agglomerated with mortar before being transformed by the erosion of water. The pattern is conceived as constructed by the hand and the human will as well as revealed by a natural process out of control, thus bringing out new patterns.

These two artists are considering how to transform patterns at several levels. They envision the transformation of the matter itself, natural or industrialized, resulting from the human will or developing outside its control. Through these explorations of form, they also question the pattern in the definition given by the social sciences: human behaviors, their links and implications at economic, social, cultural and political levels.

UU (The Artist as Director) est un projet de recherche créé par Montecristo Project qui prend la forme d’expositions, d’essais ou encore de conférences. Inspiré par les travaux d’Ugo Ugo (1924), artiste, directeur et créateur de la collection d’art contemporain de la Collezione Ugo à Cagliari, ce projet examine le travail de nombreux artistes qui ont été fondateurs ou directeurs de lieux culturels et artistiques. Cette recherche tend à étudier la manière dont les artistes créent, programment et dirigent ces lieux en assumant le rôle de curateurs, mettant en place de nouvelles approches afin de mieux appréhender la relation entre les oeuvres, l’espace et leur contexte. La première présentation d’UU a eu lieu lors d’une exposition réunissant les fondateurs de Montecristo (Enrico Piras et Alessandro Sau) ainsi que Lorenza Boisi, artiste et fondatrice-directrice de MARS, Milan, et Ugo Ugo. Le second chapitre de la série a présenté les travaux de Sébastien Bonin, fondateur d’Island, Bruxelles, dans un nouveau lieu, spécifiquement imaginé et conçu dans un endroit reculé des montagnes Sardes. Au sein d’Island, l’exposition rassemble ces expériences en présentant les travaux de ces artistes-directeurs et un aperçu de la figure qu’est Ugo-Ugo.

Exposition sur RDV du 8 au 16 février

“TITANIX seeking thinking sinking

seeking
how to organize aesthetic spaces as an inhabited journey
how to look for collaborations as singular exploration gestures and common living ways we seek to collective environments as contemplation confort
we are looking for kind forms with raw moments, so we dig into histories waters, we sail to research links between belongings surfaces of perceptions

thinking
how to draw a map of critical sensibilities and symptomatic unknowns
as an experimentation of reality conditions of making
as thinking about common aesthetic situations to reveal singular problematics

sinking
poetry in the falling and success of a dynamic journey. Story of missing art piece, broken ceramics, expensive budget, being afloat part wet part dry, spreading healness for a becoming broken body and still have the head out of the cold waves”
TITANIX is a nomadic project led by artists Thiên Ngoc Ngô-Rioufol & Alice Hauret-Labarthe during 2018. It appeared in Athens, Lisbon, Paris, Bordeaux, Marseille, New-York, and now in Brussels for a first performative restitution.
details on instagram @titanix2018

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

with works by

Questionning on the link between formal and informal practices, “Don’t Worry About the Government” spreads along three spaces of the street Théodore Verhaegen in Saint-Gilles: at Cunst-link where the site-specific installation Intérieur d’Accompagnement will be presented, an intervention (Snack Typique) will take place at the Golden Night Shop on the other side of the street and the drawings Fluid Life will be available in the shop Brico Barrière. All these spaces embody Marine Kaiser’s reflexion on intimate and public circulation of commodities, power and representations in our capitalistic multicultural and globalized society.

Marine Kaiser (Geneva, 1992) graduated from HEAD-Geneva before moving to Brussels where she obtained the Master “art practice, critical tools, simultaneous art and context” at ERG in 2016. From then on, her practice develops through exhibitions in Germany (AGB, Berlin), France (pavillon de l’Arsenal, Paris), Italy (Manifesta 12, Palermo) and recently Morrocco (Le 18, Marrakech).

www.marinekaiser.ch

“Meaningless Whispers”

Lila Le Clanche Haouati & Martin Grimaldi

contribution_recto

For this exhibition, artists Soohyun Choi, Olivia Hernaïz and Ruth Waters question the testing of boundaries between consumption, cognition and communication. The cautionary phrase  « Don’t push your luck » is a warning to not go any further, beyond what is deemed to be currently possible. From this standpoint, the artists begin to challenge the status quo, proposing the questions: Has the time come to push one’s luck? Are we to accept only what is offered? If our generation is the first be statistically worse off, isn’t pushing one’s luck exactly what needs to be done?

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

with works by

Damien Caccia
Jonathan Calvie
Adrien Degioanni
Antonin Gerson
Ines Haym-Domange
Pierre-Alain Poirier
Guilhem Roubichou
Lucie Vanesse
Sarah Wjuniski
Xarli Zurell

Finalement ?

Pieter De Clercq & Gérard Meurant
Opening on Sunday March 17, 3-7pm
Exhibition from March 17 to April 28, 2019
Curator Yuna Mathieu-Chovet

Pieter De Clercq and Gérard Meurant each deploy a corpus of work that takes into account the space available. More than works of art, these artists create from a collection of pieces that are activated, taking shape within a larger whole. These temporary positions are emerging for the exhibition, the pieces will be brought to deploy later in different ways. The process of elaboration of the work is part of it, highlighted, it becomes the subject of the work itself.
Pieter De Clercq takes as starting point the usual and domestic object, while Gérard Meurant’s work finds its source in an everyday image. These artists approach their immediate environment and explore it. The modus operandi of the artists, made visible, allows us to grasp the essence of objects related to the world, but also to read and understand what human activity is. The strategies of diversion, inversion, deformation and destruction allow them to turn everything upside down, revealing the different layers of reality and inviting us to explore them.

4th – 5th April 2019

Open: 1-6pm or by appointment : maria.krisztina.nagy@gmail.com; robynlwre@gmail.com

Preview: 03rd April 6-10pm

Robyn Lawrence is infatuated by the power of print in captivating material tangibility of word and language. Reflecting on the illusive rhetoric of modern communication, she is engaged with the transformation of online discourse into a fine art print practice. Her work celebrates the physicality of print processes by investigating texture, layering, and composition. Robyn is often informed by autobiographical experience, including themes of discomfort and obsessiveness. As a first year student of the MA Print course at the Royal College of Art, she is enjoying the space to experiment with different processes including lithography and screen printing.

Embracing a fascination with colour and materiality, Dieter Ashton’s work is focused on exploring the diverse qualities of print. With an investigatory approach to colour theory and process, Dieter is captivated by experimenting with and subverting traditional printmaking processes. Recent works include large scale lithographic monotypes on fabric. Currently, as a final year MA Print student at the Royal College of Art he is working towards his degree show.

During their time at Sagacity Robyn and Dieter are considering how collaborative processes can further interrogate their mutual intrigue for colour, material, and multiplicity.

www.sagacityart.be

Pieter Geenen : I am not a ghost(FR)

Pour son exposition au V2Vingt, Pieter Geenen poursuit son exploration du médium photographique en proposant une sélection d’images prises lors de séjours autour de la frontière fermée séparant la Turquie et l’Arménie¹. Sondant toujours plus l’espace physique du paysage dans sa relation avec la notion d’espace public et dans son rapport au temps et à la durée, l’artiste propose des fragments dont l’abstraction questionne notre lien aux images et à la mémoire.

Une première image nous convie. Reprenant le format et le pliage de la carte géographique, elle est l’invitation à l’exposition dont un exemplaire se trouve présenté déplié dans l’espace. Son motif est le détail d’un mur décrépi, couvert des graffiti de la population locale et des touristes, dans une église d’Ani de la province turque du Kars, capitale de l’Arménie vers l’an 1000, et “ville aux mille et une églises” abandonnée au fil des siècles. Ses inscriptions nous poussent à la prospection, aux déplacements, à tenter de trouver des échos aux signes qu’elles contiennent.

Une série de neuf photographies nous mène des ruines d’Ani au paysage des bords du fleuve Araxe, ponctué, entre autres, d’architectures de contrôle militaire, de maisons kurdes abandonnées et d’éléments de tombes yezidi en ruine. La technique photographique du sténopé rend les images spectrales, le sujet se détachant difficilement du fond. L’erreur photographique que produit parfois la pellicule vient créer également des halos qui mettent en question les espaces représentés. La volonté de rendre compte du passage du temps à l’aide d’effets photographiques conjuguée à la nécessité de rendre visible le sujet photographié opère ici comme une tentative de préserver les vestiges fragiles de l’histoire dont les échos se ressentent encore aujourd’hui.

Un son se fait entendre, des voix, des bruits d’outils, de machines. Captée en prise directe lors de la construction du plus grand temple dédié au culte Yezidi à Aknalich, l’on entend des ouvriers arméniens au travail entre leurs pauses café et déjeuner. Une présence humaine anonyme, un moment de vie structurée mais abstrait dans un environnement en mutation.

Le mont Ararat s’élève au loin, immobile tout autant qu’immuable, son sommet recouvert de neiges éternelles est un repère. Témoin des mutations géopolitiques de ses plaines environnantes, il est également objet de convoitise. Coeur de l’Arménie historique, il est au fil des siècles passé sous contrôle romain, perse, byzantin, arabe, ottoman, russe, puis turc. Sa représentation, agrandissement photographique d’une petite image digitale, surgit délicatement dans l’espace, telle une ouverture sur l’extérieur, un point de fuite qui se dérobe.

Pieter Geenen nous propose une plongée dans la matière photographique et sonore. Une matière mouvante qui doit être amadouée pour en percevoir des bribes, se frayer un chemin dans ce qu’elles veulent nous donner à voir, à entendre. Tenter d’en comprendre le sens, ou pas. Le monde est en mouvement perpétuel, l’artiste nous offre un arrêt sur image, une pause, entre apparitions et disparitions, d’où surgit le doute. Nous devons nous questionner sur notre propre rapport à la réalité, sur ce que l’on choisi de voir et ce que l’on refuse volontairement. Sur ce que l’on nous donne à voir et ce que l’on nous occulte. D’ailleurs, le rôle de l’artiste ne serait-il pas de prendre le risque de nous dévoiler avec son propre langage des images cachées? Ne serait-il pas le médiateur d’une histoire qui scande: “I am not a ghost”!

Nicolas de Ribou

1. La frontière Turco-Arménienne est fermée depuis 1993, lorsque le gouvernement d’Ankara dirigé par Suleyman Demirel a décrété un embargo, en réaction aux offensives arméniennes dans le Haut-Karabagh.

_______________________________________

Pieter Geenen : I am not a ghost(NL)

In deze tentoonstelling in V2vingt zet Pieter Geenen zijn verkenning van het medium fotografie verder met een selectie beelden gemaakt rondom de gesloten Turks-Armeense grensⁱ.Hij toont ons fragmenten die door hun abstractie onze connectie met beelden en met het geheugen uitdagen. Vanuit zijn eigen band met tijd en duur tast de kunstenaar daarbij de fysieke ruimte van het landschap verder af, in relatie met de notie van publieke ruimte.

Een eerste beeld leidt ons binnen. Het formaat en de plooiwijze refereren aan een landkaart. Een opengevouwen exemplaar van dit beeld nodigt uit tot de expo. Erop afgebeeld zien we een detail van een muur met afbrokkelend pleisterwerk, bekrast door passanten, afkomstig uit een kerk in Ani in de Turkse provincie Kars. Rond het jaar 1000 was Ani de hoofdstad van Armenië, een “stad van duizend en één kerken”, die in de loop der geschiedenis werd verlaten. Deze inscripties dwingen ons tot verdere prospectie, verplaatsing, het proberen vinden van echo’s van de symbolen die ze bevatten.

Een reeks van negen foto’s brengt ons van de ruïnes van Ani naar een landschap langs de oevers van de rivier Araks, bezaaid met onder andere gebouwen van militaire controle, verlaten Koerdische huizen en elementen van vervallen Yezidi-grafstenen. De fotografische techniek van de gaatjescamera maakt de beelden haast spookachtig. Het onderwerp komt daarbij slechts moeizaam los van de achtergrond. Fotografische fouten, soms zichtbaar op de film, creëren eveneens halo’s die de afgebeelde ruimtes in vraag stellen. Het streven naar een bewustwording van het verglijden van de tijd aan de hand van fotografische effecten, gekoppeld aan de noodzaak om het gefotografeerde onderwerp zichtbaar te maken, handelen hier als een poging om de fragiele resten van de geschiedenis -waarvan de echo’s zich tot op vandaag nog laten voelen- te bewaren.

Er klinkt een geluid, stemmen, geluiden van werktuigen en machines. Rechtstreeks opgenomen tijdens de bouw van de grootste Yezidi-tempel in Aknalich, horen we Armeense arbeiders aan het werk tussen hun koffie- en lunchpauze in. Een anonieme menselijke aanwezigheid, een moment van gestructureerd maar toch abstract leven in een veranderende omgeving.

De berg Ararat rijst op in de verte, even onbeweeglijk als onveranderlijk. De met eeuwige sneeuw bedekte top is een oriëntatiepunt. Getuige van geopolitieke veranderingen in de omliggende vlakten, is de Ararat zelf ook onderwerp van verlangen. Gelegen in het hart van het historische Armenië, passeerde hij in de loop der eeuwen onder Romeins, Perzisch, Byzantijns, Arabisch, Ottomaans, Russisch en uiteindelijk Turks bewind. Zijn afbeelding, een fotografische uitvergroting van een detail uit een digitaal beeld, verschijnt delicaat in de ruimte, als een opening naar buiten, een vluchtpunt dat zich terugtrekt.

Pieter Geenen stelt ons een duik in de fotografische en sonore materie voor. Een bewegende materie die overhaald moet worden om er flarden van te kunnen waarnemen, om zich een weg te banen in wat ze ons wil laten zien en horen. Proberen om er de betekenis van te begrijpen, of niet. De wereld is immer in beweging, terwijl de kunstenaar hem net stilzet voor ons. Een pauze, tussen verschijningen en verdwijningen, waar de twijfel ontstaat. We moeten onze eigen verhouding met de realiteit in vraag stellen, wat we kiezen om te zien en wat we bewust weigeren. Wat men ons laat zien en wat men ons verhult. Is het trouwens niet de rol van de kunstenaar om het risico te nemen ons verborgen beelden te onthullen met zijn eigen taal? Is hij niet de bemiddelaar van een verhaal en een geschiedenis, die scanderen: “I am not a ghost!”? 

Nicolas de Ribou

_______________________________________

Pieter Geenen : I am not a ghost(EN)

For this exhibition in V2Vingt, Pieter Geenen continues his exploration of the photographic medium with a selection of images made around the closed Armenia-Turkey border. He presents fragments which, through their abstraction, challenge our relation with images and memory. Through his own association with time and duration, the artist further explores the physical space of the landscape, in connection with the notion of public space.

A first image invites us in. With a format and folding method referring to a map, the unfolded image introduces us to the exhibition. Depicted is a detail of a crumbling plaster wall, covered with writings from passers-by, from a church in Ani in the Turkish province of Kars. In the year 1000, Ani was the capital of Armenia, a “city of a thousand and one churches”, abandoned throughout the following centuries. These inscriptions force us to further prospection, to displacement, trying to find echoes of the symbols they contain.

A series of nine photographs guides us from the ruins of Ani to a landscape along the banks of the Arax river, scattered with, amongst others, buildings of military control, abandoned Kurdish houses and elements of  dilapidated Yezidi tombs. The photographic technique of the pinhole camera causes the images to look spectral. The subject barely detaches itself from its background. Photographic errors, sometimes visible on the film, create halos that question the portrayed spaces. The aspiration to gain an awareness of the passing of time through photographical effects, in combination with the necessity to expose the photographed subject, act as an attempt to preserve the fragile remains of history, whose echoes can be felt up to today. 

A sound is heard, voices, sounds of tools and machines. Recorded directly during the construction of the biggest Yezidi temple in the village of Aknalich, we hear Armenian labourers at work in between their coffee and lunch break. An anonymous human presence, a moment of structured yet abstract life in changing surroundings.

Mount Ararat rises up in the distance, equally immobile as unalterable. Its summit, covered in eternal snow, is a landmark. Witness of geopolitical shifts in its surrounding plains, the mountain itself is a subject of desire. In the heart of historic Armenia, over the course of centuries, it saw itself under Roman, Persian, Byzantine Arabic, Ottoman, Russian and then Turkish rule. Its representation, a photographical enlargement of  a detail from a digital picture, appears delicately in the room, an opening towards the exterior, a vanishing point that withdraws itself.

Pieter Geenen presents a plunge in the photographic and sonorous matter. A moving matter that has to be persuaded to be able to perceive mere snippets from it, to work one’s way through what they want us to see and hear. To try to understand its meaning, or not. The world is ever evolving, while the artist offers to bring it to a standstill. A pause, between appareances and disappearances, where doubt arises. We have to question our own relationship with reality, what we choose to see and what we willingly reject. What one shows us and what one hides from us. Besides, isn’t it the role of the artist to take the risk to reveal hidden images through his own language? Isn’t he the mediator of a (hi)story that declaims: “I am not a ghost!”? 

Nicolas de Ribou

1. The Armenia-Turkey border is closed since 1993, when the Turkish government imposed an embargo, as a reaction to the Armenian offensives in Nagorno-Karabach.

a – C crew is running the gallery the coming two weeks during You Could Have Called Me Page residency with Nasrine Kheltent, Sophie Melis, Giulia Piana, Alina Arshi, Stef Meul, Freddy Kakkerlak and others.

Very welcome to visit us during the public events on:
3 April at 17:00 Fauxpening
6 April at 20:00 Opening
7 April at 14:00 Brunch
8 April at 20:00 Dinner
9 April at 19:00 Random hangout and performances
13 April at 20:00 Finissage performances and party

https://www.facebook.com/events/285370242382628/

a – C crew is running the gallery the coming two weeks during You Could Have Called Me Page residency with Nasrine Kheltent, Sophie Melis, Giulia Piana, Alina Arshi, Stef Meul, Freddy Kakkerlak and others.

Very welcome to visit us during the public events on:
3 April at 17:00 Fauxpening
6 April at 20:00 Opening
7 April at 14:00 Brunch
8 April at 20:00 Dinner
9 April at 19:00 Random hangout and performances
13 April at 20:00 Finissage performances and party

https://www.facebook.com/events/285370242382628/

Opening : 19:00 – 22:00
Performance : 20:00

During her “light matters” research at Cunst-link, Pepa Ivanova plays with the intangible physicality of our realm. The interventions in and out of the exhibition space narrate personal experience through the flux of light reflections, refractions, and language. Time as a fluid substance measured by growth and presence is enhanced by objects and light in continued transition.

about the artist :
“Very diverse and highly developed multi-sensorial multi-disciplinary artistic practice based on excellent knowledge of science, sound recording, digital design and processing, data visualization. Intangible light, sun and sound are collected through field recording or various methods of data sharing are turned into different physical, visual, or oral art forms. Each output has a poetic resonance and adapted technology and manifestation. Urban or rural interventions are at the core of this observational practice filled with stories and soundscapes, wonderment and precision. Abstractions, knowledge and facts are transformed into experience. ” Caroline Hancock, 2017

http://www.pepaivanova.com/home.html

The exhibition “light matters” is part of the OFF Program of Art Brussels.

Open every Sunday from 14:00 to 18:00

Special opening hours during Art Brussels :
Wednesday 24th to Sunday 28th 14:00 – 18:00

Monday 22nd April | 19:00 – 22:00 | Opening & performance

Saturday 27th April | 16:00 | Performative talk

Sunday 28th April | 16:00 | Performance

Wednesday 22nd May | 19:00 – 22:00 | Finissage & performance

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

with works by

13 Square Albert 1er, 1070 Brussels

Hey honey,

Preview le Lundi 22 de 18h à 21 h
Vernissage le Mercredi 24 de 18h à 21h
Ouvert de 14h à 18h pendant Art Brussels, puis de 11h à 18h pendant le week end du 4 au 5 mai 2019

——–

In the occasion of Art Brussels, COHERENT will make a special opening on Wednesday 24th April until 10pm.

GHOST TOWN

Corey Bartle-Sanderson, Steven Gee, Oliver Durcan.

18.04 –> 25.05.19

Ghost Town is a collaborative exhibition by London based, Corey Bartle-Sanderson, Oliver Durcan and Steven Gee. The title references a song titled Ghost Town originally produced by ‘The Special’s’ in 1981 then covered by Kode 9 & The Space Ape in 2009. The song narrates an apocalyptic urban culture where the youth have been ‘left on the shelf ’ and ‘all the clubs have been closed down’.

This exhibition presents a parallel reality of today in Brussels set in 2032 during ArtBrussels’ 50th year, where Coherent has closed and the building it occupies has been abandoned. Interventions and objects inside and outside the space take the form of artworks that camouflage into the environment, scenario and conditions set by the three artists. The project explores the functionality and the boundaries of permanent, physical spaces as a medium to present art.

www.coherent-brussels.com

https://www.facebook.com/events/370634720208383/

www.instagram.com/coherentbrussels

25th April – 1st May 2019

Open: daily 1-6pm or by appointment: juliet.merie@gmail.com

Opening Reception: 24th April 6-9pm

www.sagacityart.be

www.facebook.com

feeelings is encantada to invite Clara Pacotte to show her marvellous film Cuirasse bientôt cloutée d’or during the POPPOSITIONS Off-Fair Public Programme 2019.

♡ Location: Poppositions, Centre Tour à Plomb

Rue de l’abattoir, 20-26 – 1000 Brussels

Bar Area & Public Programme Space (-1 Level) ♡

Cuirasse bientôt cloutée d’or (2019, 46′)
In 2074, the narrator discovers the traces of a predominantly lesbian subculture of the 2050s and collects the archives of the various movements that preceded her.

Clara Pacotte experiments with video between fiction and documentary. She’s a speculative fiction writer, a field where she explores social alternatives questioning gender and community issues. Her writing often mixes up with her video work like in the insurrectional anticipation docu-fiction from 2076 she’s developing. Her non-binary planet exploration Mnrvwx was published in 2017 (ed. Oparo) and she co-founded with Charlotte Houette, inside The Cheapest University, a working group called EAAPES about gender issues and feminisms in science fiction/speculative fiction. The second publication containing EAAPES’s research was just released on December 1st.

clarapacotte.hotglue.me
ig : @claravite @eaapes

The POPPOSITIONS Public Programme is free of charge (entry ticket required, free for people living in Brussels) and will take place in a dedicated space located on the -1 level.

feeelings is excitée comme des puces to receive Richard John Jones and his performance National Idiom on the occasion of the POPPOSITIONS Off-Fair Public Programme 2019.

♡ Location: Poppositions, Centre Tour à Plomb

Rue de l’abattoir, 20-26 – 1000 Brussels ♡

National Idiom draws on the folk tradition of East-Lancashire clogging from the UK to explore the impact of technology on the body, working through and against systems of constraint and control. Emerging from the cotton mills, where women would tap along to the relentless rhythms of the mechanised looms, clogging is a symbol of the deeply interwoven histories around textile production, voicelessness, class struggle and gendered oppression. This work, which is in development, intends to contextualise the various historical ‘rediscoveries’ of folk traditions within the current context of a resurgence of nationalisms in post-industrial regions in Europe and elsewhere. Clogging and other folk expressions are both extremely specific whilst also being deeply interconnected and shared amongst many regions and cultures across the world.

At the heart of this work is an understanding of the connection between the development of technology, particularly the mechanical loom and early computers, and the effect these developments have had upon marginalised bodies and subjectivities.

Image: National Idiom, 2018. Courtesy of the Artist

National Idiom is by Richard John Jones, was first performed by Eva Susova and developed with Doortje Peters for Forum for Live Art Amsterdam (FLAM), 2018.

The production of this work and the installation in which it is performed has been supported through residencies at Hospitalfield (UK), The Irish Museum of Modern Art (IMMA) (IE), Neverneverland (NL) and through commissions and financial support from AkzoNobel Art Foundation (NL), Get Lost Art Foundation (NL), The 17th Tallinn Print Triennial (EE), Kunsthal Aarhus (DK), Forum For Live Art, Amsterdam (NL) and Mondriaan Fonds (NL).

The POPPOSITIONS Public Programme is free of charge (entry ticket required, free for people living in Brussels).

Hiatus
Deux vidéos d’artistes = 00:36:35
Quatre projections : 16h – 17h – 18h – 19h

Eitan Efrat & Sirah Foighel Brutmann : « Nude descending a staircase » 00:18:25
Xarli Zurell : « Thirteen grand » 00:18:10
samedi 11.05.2019 / 16h-20h

Au commencement il y avait « Thirteen grand » la vidéo proposée par Xarli que j’ai tout de suite trouvée à la fois habile et intéressante. Habile par le traitement de l’image et du son et intéressante par le pouvoir de suggestion savamment entretenu par l’artiste. Sans en connaître l’auteur il est assez facile de deviner que c’est une vidéo de plasticien, tellement la forme est soignée avec ses tableaux abstraits intégrés entre les plans fixes du monologue protagoniste.

Alors, je suis allé chez Argos afin d’y trouver en résonance, une oeuvre qui pourrait dialoguer avec ce premier film… et après des heures de visionnage je suis resté en arrêt devant une création signée Eifrat et Brutmann. « Nude descending a staircase » est un film qui parle d’un monument construit à la mémoire de Walter Benjamin. Rien à voir avec l’oeuvre de Xarli Zurell, et pourtant je pense que l’enchaînement des deux devrait constituer une expérience assez forte.

J’ai vécu la violence et la gravité du nu descendant l’escalier comme un passage initiatique, un peu comme si la vidéo fragmentée par un montage fait d’images d’amateurs suggérait l’angoisse interminable de l’exil de Walter Benjamin, avant de nous offrir un temps de flottement en nous présentant le monument à sa mémoire.

Pas mal de temps à coulé sous les ponts depuis le suicide du philosophe.

Dans l’Europe actuelle, l’exil est plus souvent vécu comme un problème identitaire et le travail de Xarli nous maintient dans un état de doute teinté de mélancolie.

Voilà pourquoi « Thirteen grand » sera projeté après le « Nude descending a staircase ».

Il y a une cohérence formelle qui provoque une rupture temporelle. Un hiatus qui s’affirme sur une logique émotionnelle pendant +-36 minutes.

Laurent Jourquin

Le V2Vingt est soutenu par la fédération Wallonie Bruxelles et image de Bruxelles

Exhibition with João Freitas & Nasrin Tork

Opening on Sunday May 12, 3-7pm
from May 12 to June 29, 2019

ENG/

João Freitas and Nasrin Tork are both expressing a relationship of exhaustion of their subject and their materials.
Starting from his personal relationship with drawing, João Freitas explores the means, the materiality, and pushes them to their breaking point. He discovers what was hidden or erases what was to be seen, alters the material and makes visible the heart of the image. As archaeologist of common objects, he presents superposed front pages transferred from newspapers. The images fade and blend while the graphite mine sometimes hits the paper. João Freitas thus denotes the occurrence of the unexpected within the daily routine.
Nasrin Tork is an Iranian sculptor who develops a work whose issues and means are similar to those of relational aesthetics. Food, process and ordinary day-to-day devices spontaneously take the center stage, because the link and the nature of the relationship are at the heart of her work, through the intermediation of self-portrait. Nasrin Tork addresses, analyzes, and questions the cultural and political conditions of the appearance of her work within the work itself. She presents the equivalent in clay of the weight of her own body, which she peeled to the bone.
More than simply destroying, both artists are curious to scratch appearances in order to discover what is behind. To repeat a technique until it is exhausted is to reach the bone, to grasp the marrow, that is the essence, a form of truth.

Curator Yuna Mathieu-Chovet

FR/

João Freitas et Nasrin Tork s’inscrivent tous deux dans une relation d’épuisement de leur sujet et de leurs matériaux.
En partant de son propre rapport au dessin, João Freitas en explore les moyens, la matérialité, et les pousse à leur point de rupture. Il découvre ce qui était caché ou efface ce qui était à voir, altère le matériau et rend visible les entrailles de l’image. En archéologue des objets communs, il nous présente ici des superpositions de transferts de unes de journaux. Les images s’estompent et se fondent tandis que la mine de graphite vient parfois heurter le papier. João Freitas nous désigne ainsi la survenue de l’inattendu à l’intérieur de la routine quotidienne.
Nasrin Tork est une sculptrice iranienne qui développe une oeuvre dont les enjeux et les moyens s’apparentent à ceux de l’esthétique relationnelle. Nourriture, processus et dispositifs ordinaires prennent spontanément place au coeur de son œuvre, car le lien et la nature de la relation sont, par le truchement de l’autoportrait, au centre de son travail. Nasrin Tork aborde, analyse et questionne les conditions culturelles et politiques d’apparition de son travail au sein même de celui-ci. Elle nous présente céans l’équivalent en argile du poids de son propre corps, qu’elle a pelé jusqu’à l’os.
Plus que simplement détruire, il y a présent chez les deux artistes cette curiosité de gratter les apparences pour découvrir ce qui se cache derrière. Répéter une technique jusqu’à l’épuiser c’est parvenir à l’os, en saisir la moelle, c’est à dire l’essence, une forme de vérité.

Commissariat Yuna Mathieu-Chovet

⎐ Finissage in presence of the artist : 19:00 – 22:00 ⎐
⎐ Performance by Giulia Bonfiglio from 19:00 ⎐

⎐⎐⎐
Light interacting algae cocktail
⎐⎐⎐
pink drinks and blue dishes

⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐⎐

During her “light matters” research at Cunst-link, Pepa Ivanova plays with the intangible physicality of our realm. The interventions in and out of the exhibition space narrate personal experience through the flux of light reflections, refractions, and language. Time as a fluid substance measured by growth and presence is enhanced by objects and light in continued transition.

About the artist :
“Very diverse and highly developed multi-sensorial multi-disciplinary artistic practice based on excellent knowledge of science, sound recording, digital design and processing, data visualization. Intangible light, sun and sound are collected through field recording or various methods of data sharing are turned into different physical, visual, or oral art forms. Each output has a poetic resonance and adapted technology and manifestation. Urban or rural interventions are at the core of this observational practice filled with stories and soundscapes, wonderment and precision. Abstractions, knowledge and facts are transformed into experience. ” Caroline Hancock, 2017