donderdag 9 maart 2017


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woensdag 8 maart 2017

6663 - 20170415 - Albert Baronian - Brussel - Sbake Driver & Patrick Carpentier - 17.03.2017-15.04.2017


Albert Baronian
Rue Isidore Verheyden 2
1050 Brussel
Opening hours
Tuesday up until Saturday  12h - 18h

6662 - 20170429 - Galerie Valerie Bach - Brussel - Lucy+Jorge Orta - 17.03.2017-29.04.2017

© Lucy+Jorge Orta - « Untitled », 2016, Assemblage painting on wood, ladder, life ring, aluminium bars, window frames, resin - 520 x 230 cm

Valérie Bach gallery presents the second solo show by Lucy+Jorge Orta in Brussels.

The artists present two series of works, brought together for the first time, uniting three-dimensional works with paintings in order to shed light their creative process.

The first section of the exhibition is based the cell: the cell of life, the residential cell, the prison cell, etc. Forms and volumes made of hand-blown glass represent various aspects of our biological universe. In the series entitled « Totipotent », Lucy + Jorge Orta refer to the monumental architectonical structure, the evident formula, the key element in the development of cells. This force, this « full potential » (« Totipentency ») of a cell is an ever-growing powerful virtual energy, that can only come to its end under certain conditions.

This series on cells, source of hope and dynamism, portend the second part the exhibition, based on Jorge's pictorial work in 1970s, when painting was his way of escaping the overwhelming Argentine dictatorship, and in which the exhibited works explore the idea of the accident as both a violent moment but also as a random, uncontrolled phenomenon. In the series « Derrame » - Spanish for overflow, leak, spill, or attack (of the brain) - Lucy + Jorge Orta infused these meanings into intense, colourful, flat hemorrhages. These accidents become both the essential composition and the subject matter of the painting.

These artworks are based on the uncontrolled, similar to the action of cellular duplication. Driven by their own necessity - frustrating for the artists who lose control – they are followed by the artists' latest creations grouped under the name « Assemblages ». The series comprises three-dimensional works, whose chaotic arrays and juxtapositions of colour and collages of "formal reality" on the pictorial surface: stretcher bars, life-buoys, window frames resemble an accident.

This exhibition is therefore a synthesis of the couple's creative energy and their relation to the world through their scholarly search, exploring doubt and balance against a background of vital and infinite breath.
Constantin Chariot

Lucy and Jorge Orta co-founded Studio Orta in 1992. They now work under the co-authorship Lucy + Jorge Orta.
The artists' collaborative practice focuses on social and ecological issues, employing a diversity of media – sculpture, installation, couture, painting, silkscreen, photography, video, drawing, light and performance – to realize major bodies of work. Orta's artwork has been the focus of important survey exhibitions, including: The Curve, Barbican Art Gallery, London (2005); Fondazione Bevilacqua La Masa, Venice Biennale (2005); Museum Boijmans Van Beuningen, Rotterdam (2006); Biennial of the End of the World, Ushuaia, Antarctic Peninsula (2007); Hangar Bicocca spazio d'arte, Milan (2008); Natural History Museum, London (2010); MAXXI National Museum of XXI Century Arts, Rome and Shanghai Biennale (2012); Yorkshire Sculpture Park (2013); Herbert F. Johnson Museum of Art, Ithaca and Parc de la Villette, Paris (2014); London Museum Ontario (2015); Peterborough City Museum (2016).
In recognition of their contribution to sustainability, the artists received the Green Leaf Award (2007) for artistic excellence with an environmental message, presented by the United Nations Environment Programme.

Lucy Orta was born in 1966 in the UK. After studying fashion-knitwear design she debuted her artistic career with Jorge in Paris in 1991. In 2002, she co-founded the pioneer Master programme Man & Humanity, promoting social and sustainable design at the Design Academy of Eindhoven. She is currently professor and Chair of Art and the Environment at the London University of the Arts.

Jorge Orta was born in 1953 in Argentina and studied simultaneously at the Fine-Arts (1972-1979) and Architecture (1973- 1980) Faculties of the Universidad Nacional of Rosario. He moved to France in 1984 receiving a scholarship from the Ministry of Foreign and European affairs to pursue a D.E.A. (Diplôme d'études approfondies) at the Sorbonne in Paris.

In 1999, Lucy + Jorge Orta established their studios in Seine-et-Marne and founded their research complex, Les Moulins in 2011.

Galerie Valerie Bach
Rue Veydt 15
1060 Brussel
Opening hours
Tuesday up until Saturday  11h-13h & 14h-19h

6661 - 20170408 - Dauwens & Beernaert Gallery - Brussel - “Whereof one cannot speak, thereof one must be silent”. - 09.03.2017-08.04.2017

 “Whereof one cannot speak, thereof one must be silent”

The exhibition is an encounter of paintings of Loïc Van Zeebroek (°1994) and sculptures of Maxim Frank (°1985). The exhibition title is derived from the probably most quoted phrase of Wittgenstein’s Tractatus Logico-Philosophicus. “Whereof one cannot speak, thereof one must be silent”. Speaking about (essential) things beyond the limits of our language (poetry, arts, ...) is nonsense. When we get to that insight we may find that the best communication about the essence of life, art or poetry is wordless. Throughout their practice, Maxim Frank and Loïc Van Zeebroek direct their distinct poetic and imaginative sensibility toward observations of, and engagements with, the essence of painting and sculpture.
Loïc Van Zeebroek’s paintings question the construction of the pictorial image, from figuration to abstraction and vice-versa. A gradient sky becomes a place for reflection and contemplation. A coloured painting of a field becomes a Color Field painting. A meticulously painted circle becomes a sun and vice-versa. Painting nature becomes the nature of the painting.
Maxim Frank’s sculptures and installations question the teleology of objects, their initial and intrinsic purpose. Maxim’s sculptures challenge and investigate the customs and conventions that are inherently related to everyday objects. The Ladder is a recurring motif: its linear purity becomes a critical field on which Maxim explores the relations between utility, art, design and taboo.
Dauwens & Beernaert Gallery
Address : Av. de Stalingrad  26    1000 Brussel
Opening hours : Wednesday up until Saturday  11h - 18h   and by appointment

6660 - 20170507 - Galerie De Zwarte Panter - Antwerpen - Pjeroo Roobjee - 19.03.2017-07.05.2017


Galerie De Zwarte Panter
Hoogstraat 70 - 74
2000 Antwerpen
Opening hours
Thursday up until Sunday  13h30 - 18h

6659 - 20170415 - Office Baroque - Brussel - Tyson Reeder - 11.03.2017-15.04.2017


Office Baroque is pleased to announce the second solo exhibition of Tyson Reeder at the downtown gallery.
Reeder will be presenting a suite of new paintings and collages, a mix of colorful landscapes and cityscapes, addressing both the natural world as a space for relaxation and escape, as well as the city as a theater of human action. Reeder debuted with an exhibition of figurative work at Daniel Reich Gallery in New York in 2002. His interest for landscape and popular culture have remained constant and so has his love for sensuous colors, “transforming the ordinary” in the manner of Pierre Bonnard, “where the color becomes the subject”. Reeder is a painter of everyday life, setting up his easel outdoors using painting as one would command an iPhone to take pictures of buildings, deploying a vast array of academic as well as self taught painterly modes. Found and printed materials like skylines from handmade Chicago house music fliers show up in the paintings together with denim, fish nets, broken pencils and fake plastic popcorn. Compositionally his subject matter appears in distorted perspective, that he shares with expressionism’s ego-oriented visual regime. Formally the work of Reeder embraces archaic modernist registers, such as a vivid palette that he has in common with the fauvists. Technically Reeder is known for mixing painted areas with pencil hatching and dotted fields, making his work instantly recognisable as playful, poetic, seductive and mildly hallucinatory.
Tyson Reeder was born in Fairfax in 1974 and lives and works in Chicago. His work has been the subject of solo exhibitions at CANADA, New York; The Green Gallery, Milwaukee and Daniel Reich Gallery, New York. His work has appeared in group exhibitions at Jack Hanley Gallery, New York; Art Institute of Chicago, Chicago; Venus Over Los Angeles, Los Angeles; Karma, New York and Gavin Brown’s Enterprise, New York. His work is included in the collections of MoMA, New York; Rubell Family Collection, Miami and MMoCA, Madison. He will be included in the exhibition Animal Farm curated by Sadie Laska at the Brant Foundation Art Study Center, Greenwich in May.
Office Baroque
Bloemenhofplein  5   1000 Brussel
Opening hours
Wednesday up until Saturday  11h - 18h  and by appointment

6658 - 20170416 - Galerie Transit - Mechelen - Dusty Glasses - 10.03.2017-16.04.2017

Three artists from three different regions and cultures, pose questions about civil liberties.  They each use a different medium.  Johan Creten brings new works in bronze, among which a one and a half meters high and two meters wide version of 'The Price of Freedom, presented for the first time in Europe. Khalili presents a conceptual photographic work that imposes conditions upon the relationship with the owner of the work. Zvyagintseva invests existing objects with a political message. She shows, among other works, a small prison cell made of fabric, a work that was also presented in 2015 at the Venice Biennial.
In accordance with the artist’s desire to generate contradictory interpretations, this sculpture can be seen as the symbol of power and strength, the heraldic animal of many empires; at the same time it can also be understood as a bird covered with oil, fragile and vulnerable. In this piece, different ideologies - ecological and political, individual and multiple, evil and holy - come together.  [Nicola Trezzi in the Wall Street Journal, 26-8-2015]
In the course of history, the eagle has often stood as a symbol of power, with the Nazi era as an absolute low point. Although eagles stand for freedom in American legends, they also symbolize power and authority. With his work ‘The Price of Freedom’ Creten points to the danger of this shift in symbolic meaning.  [Elien Haentjens, 2013]
Unlike the eagle which functions as a symbol of freedom in American legends, in Indo-European cultures, the eagle represents very different, often contradictory symbolic values. Sometimes it is an expression of power that no longer guarantees individual freedoms (expression, property, etc.). Creten warns us against reappropriating these kinds of symbols. [Ludovic Recchia, 2007]
The Artwork is a photograph that contains a contract that speaks in the name of the artwork.
The main premise of this work is the question of boycotting, more precisely: can an artwork boycott? And can we take seriously what the artwork is trying to say? Creating a situation in which the artwork demands the boycott of the institution it refuses to be exhibited in, owned or collected by.
The Artwork is a photograph (79 x 120 cm) which contains the contract that has been drawn up by Dr. Martin Heller, a Berlin-based lawyer who specializes in art-related issues.
The contract, even though it is written in legal terms and wording, does not stand up when presented in a legal context. Its failure is due to the fact that the artwork itself cannot speak in a legal sense, it cannot be part of the contract, it cannot speak for itself, only the artist can speak for it, which is why this contract fails to represent the artwork in itself. The contract creates a kind of legal and ethical paradox.
The project aims to investigate the boundaries between law and justice, how justice cannot be expressed through law, and how law becomes a language that includes and excludes subjects according to its own regulations and structures.
The photograph contains the contract the artwork speaks through, stating its clear demands on the way in which it can be exhibited, collected, and owned. However, whoever exhibits, collects, or owns this artwork can decide whether to obey these demands and conditions or not, depending on whether they take the artwork seriously, or not.
The work has been produced with the great help and assistance of Dr. Martin Heller.
Anna Zvyagintseva is presenting a cage made of fabric—a knitted cage. In Ukrainian courtrooms there is always a cage in which a person is forced to sit if he or she is considered dangerous. The process of knitting, here, is a metaphor for the time that is taken away from activists by the court system, even if they are not imprisoned. So the work is about time, and about soft repression, too.  [Alexander Scrimgeour in Artforum, Oct. 2010]
'The cage' object has the form and size of a standard cage for a defendant in a court hall. This cage, however, is made of knitted fabric, as if it were made with a crochet hook. This work acts as a reminder of the criminal prosecution of social activists in the Ukraine today. Artists were forced to be present at lots of court meetings together with other public representatives so as to make the court processes transparent and attract public attention. Knitting is a metaphor for the time spent in court, which can be seen as form of punishment in its own right because of the undetermined duration of the proceedings. The soft material with which the cage is knitted provides a certain kind of comfort against the everyday repression for those who don’t have any alternative.
Galerie Transit
Zandpoortvest 10
2800 Mechelen
Opening hours
Friday up until Sunday  14h - 18h
from April 17th to May 21th by appontment