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

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.

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.

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.

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

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.

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

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.

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.