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from September 5 to October 12, 2019
Open during the Brussels Gallery Weekend
September 6, 7 & 8, 2-7pmENG/Sofia Caesar & Mohammed Alani articulate their practice from a questioning that engages language and body.
Sofia Caesar tests the control systems that structure our society. She analyzes and deconstructs the mechanisms at work within the forms of power. She is particularly interested by the relationships between work and leisure and is working to deconstruct and divert their structures. Playing with language, she shows us how our body can reclaim it in order to escape its control.
Mohammed Alani places the body as implicit in the work, as a measure of all things. The body is conspicuous by its absence, highlighted by these objects created by him, which carry in them and forever the mark of their creator.
The language appears as an enigma in the work of Mohammed Alani. His mathematical drawings include the non-verbal and evoke in an allusive way the difficulty to communicate, the impossible to formulate.
The language and the body are closely embedded in the perspectives outlined by Sofia Caesar & Mohammed Alani. Thus deconstructed, the language is no longer a limit but the window through which we can see a greater whole. Vehicle of this renewed language, the body can then unfold to new horizons, original and unique.Curator Yuna Mathieu-ChovetFR/Sofia Caesar & Mohammed Alani articulent leur pratique à partir d’un questionnement qui engage le langage et le corps.
Sofia Caesar met à l’épreuve les systèmes de contrôle qui structurent notre société. Elle analyse et déconstruit les mécanismes à l’oeuvre au sein des formes de pouvoir. Elle s’intéresse notamment aux rapports entre travail et loisir et s’emploie à en déconstruire et détourner les structures. Jouant avec le langage, elle nous montre comment notre corps peut se le réapproprier pour mieux échapper à son contrôle.
Mohammed Alani désigne le corps comme implicite à l’oeuvre. Il en fait le portrait en creux, comme mesure de toute chose. Le corps brille par son absence, il est mis en évidence par ces objets créés par lui, qui portent en eux et pour toujours la marque de leur créateur.
Le langage se présente sous la forme d’une énigme dans le travail de Mohammed Alani. Ses dessins mathématiques incluent le non-verbal et évoquent de manière allusive la difficulté à communiquer, l’impossible à formuler.
Le langage et le corps sont étroitement imbriqués dans les perspectives dessinées par Sofia Caesar & Mohammed Alani. Ainsi déconstruit, le langage n’est plus une limite mais la fenêtre à travers laquelle on peut apercevoir un tout plus vaste. Véhicule de cette langue renouvelée, le corps peut alors se déployer vers de nouveaux horizons, inédits et singuliers.Commissariat Yuna Mathieu-Chovet -
Exhibition with João Freitas & Nasrin Tork
Opening on Sunday May 12, 3-7pm
from May 12 to June 29, 2019ENG/
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
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Pieter De Clercq & Gérard Meurant
Opening on Sunday March 17, 3-7pm
Exhibition from March 17 to April 28, 2019
Curator Yuna Mathieu-ChovetPieter 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. -
Liesbeth Henderickx & Élodie Huet
Opening on Sunday January 13, 3-7pm
Exhibition from January 13 to February 17, 2019
Curator Yuna Mathieu-ChovetPattern 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.
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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.
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We are pleased to annonce Plagiarama’s participation to Independent Brussels from november 08th to 11th 2018 with Margré Steensma and Lucie Lanzini
VIP Opening (on invitation only)
Thursday November 8, 3 – 10PMPublic Days
Friday, November 9, 12 – 9PM
Saturday, November 10, 12 – 7PM
Sunday, November 11, 12 – 7PMCheck out the official website for more informations :
https://www.independenthq.com/galleries/plagiarama -
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.
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Light is the limit
Exhibition with Aljocha Hamerlynck & Ezra Veldhuis
from May 26 to June 30, 2018 at Plagiarama
Aljocha Hamerlynck uses the light as a mean to recreate the photographic image, or a narration around the image, using artifcial colored light sources. Highlighting the sculptural and plastic aspect of his subjects by isolating them from their context.
Ezra Veldhuis paints from images with specifc lights (in space, under water, through the ice) in order to focus on the light properties themselves. She creates very big paintings that are not embedded. She deploys them into the exhibition space and plunges viewers into an immersive work of art.
Both artists emphasize some specifc light qualities, outlining some contours of innovative visual territories.
Curator Yuna Mathieu-Chovet
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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
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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.
