Werner Cuvelier, les images (4)

Werner Cuvelier
Chromatische Fantasie II, alle olieverven van Rowney/Artists, 2009-2011

Werner Cuvelier
Tekening
aquarelle et tempera, 200 x 125 cm

Werner Cuvelier
Europa, 2010-2013

Werner Cuvelier, les images (3)

The Statistic Proiects is a series of conceptual works and visual representations which Werner Cuvelier began as early as 1970 and kept on developing until the 1990’s. In the series, Cuvelier uses different tools from the social and sociological sciences to collect and systematize data from specific cultural contexts, especially from the art world. For example, Statistic Project V (1973) is based on data that Cuvelier gathered directly from artists participating in well-known art exhibitions and collections: Documenta 4 and 5 (Kassel, 1968 and 1972); When Attitude Becomes Form (Bern, 1969); Sonsbeek beyond the limits (Arnhem, 1971}; and the collections of Karl Stroher and Peter Ludwig. In the final work each exhibition and collection was represented in three different media: as a standard text table printed on a white sheet of paper; as on abstract color code, painted on a square, gray cloth; and as and sequence of electronic tones to be played out in the exhibition space. This work had been preceded by the Statistic project I ( 1970) in which Cuvelier employed the traditional medium of oil on canvass to map the statistical presence of artists in the catalogues of major international group exhibitions. Statistic project I has echoes of the modernist, abstract paintings of Neoplasticism while it is in fact scoffing at the systematizing thinking that underlies both modern art and late twentieth century science.

Statistic project VII. Five philosophical questions (Statistic project VII. Vijf filosofische vragen) 1973.

Statistic Project VII is a work that Cuvelier made in 1973 in collaboration with the German philosopher Rudolf Boehm (then at the University of Ghent). It is a geometrically constructed sculpture which, like other works of Cuvelier, seems to evolve from Neoplasticist aesthetics while actually being a three-dimensional representation of statistical data. The sculpture represents in diagrammatic form the results of a survey taken in Flanders and in the United States. The survey, developed by the artist and Rudolf Boehm, posed five existential questions to all kind of people. There were, for example, affective, personal questions such as « Do you feel guilty or innocent? » or « Do you think it’s better to live as if one will never die or that it’s better to live with an eye to the fact that one has to die? ». From the many layers- both literal and symbolic-of this work it is clear that Cuvelier wants to deal with statistics not only as a method for gathering and interpreting knowledge but also as a content in itself. As he wrote in a 1973 note, his work is a « pseudo-statistics » that « scoffs at science, and especially at statistical science by comparing results … with colors and sounds. »­­

Werner Cuvelier
cirkels
gips + eigen preparaat / technique mixte sur plâtre

Werner Cuvelier, les images (2)

Werner Cuvelier
Sous-préfecturen France 1975-2012
SC.75.01
Huile sur bois, (84) x 18 x 12 cm et (9) x 18 x 24 cm

Werner Cuvelier
Het Binnen
donker grijs (vloer), licht blauw (plafond), rood, donker blauw, groen & geel
olieverf op Unalit-paneel / huile sur panneaux unalit
différentes formes et dimensions

Werner Cuvelier
Zaffelare – project 1971
Acrylique sur panneau, 50 x 50 cm

Werner Cuvelier, les images (1)

In the early 1970’s Werner Cuvelier (1939, Jabbeke, Belgium) became one of the leading conceptual artists of his generation in Belgium. He came into prominence by producing a series of works – conceptualized as research – that sought to turn into visual form the « objective » data and statistical relationships that underlie the mechanics of cultural production, distribution and exchange. His ultimate goal was not the production of on image per se but, rather, the deconstruction through visual representations of the quantitative relationships behind what he called « the problem of art »(« het probleem kunst »).
Werner Cuvelier attended Sint-Lucas School of Art in the city of Ghent, where he graduated in 1963. Soon after he became a member of the Visual Research Centre (Visueel Opzoekcentrum) and of the group IX of Ghent, which brought him into contact with other members of his generation, including Rene Heyvaert, Yves De Smet, Octave Landuyt, Leo Copers and the art critic and curator Jan Hoet.
Cuvelier began showing his work early on in Galerie Foncke and Galerie Plus Kern of Ghent. In the 1980’s and 1990’s Cuvelier exhibited regularly in Galerie l’A and in Cyan, now gallery Nadja Vilenne, in Liege.
Drawing on the work of Joseph Kosuth, Sol Lewitt, Dan Van Severen, Rene Heyvaert and, especially, the abstract representations of Agnes Martin and the « surveys » of Hans Haacke, Werner Cuvelier developed a unique artistic strategy for the organization, cataloguing and inventory of all kinds of objective data which he employed to reveal the ultimately subjective and arbitrary nature of human events. These data were presented in diagrams, book editions, photographic series or notes.
In the 1980’s, Cuvelier’s work turned towards a more painterly representation of geometric and arithmetical relationships as pure minimalist indexes. In a rich production of drawings, paintings and conceptual works, Cuvelier moved away from his research into the mechanisms of the art world focusing, rather, in the conceptual relationships behind such mathematical constructions as the golden ratio or the Fibonacci series.

In his recent works he returns to the ‘real’ world from which he presents the objective data in a pure painterly way which, surprisingly, often reveals their underlying socio-political structure.

Werner Cuvelier
Alle eitempera’s van Rowney (GB)
Huile sur 26 x 107 cm, encadré

Werner Cuvelier
Pachthof Melkerij, Asse (voorstudie), 2005
Huile sur carton sur bois, 34,9 x 107 cm

Werner Cuvelier
De vier seizoenen – Hommage à Vivaldi
Huiles sur bois, 69 pièces, dimensions diverses

Zonder titel, 1997
Technique mixte, 83 x 19,5 x 17,5 cm

Raphaël Van Lerberghe, Conséquences (dessins), les images (5)

Raphaël Van Lerberghe
Business Card #3, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #2, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #1, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
La 11e est la votre #1, 2017
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
La 11e est la votre #2, 2017
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe, Conséquences (dessins), les images (4)

Raphaël Van Lerberghe
Cylindre, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Trajectoires, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Course lente, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #10, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #9, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #8, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #7, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #6, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #5, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe
Business Card #4, 2018
crayon noir sur papier, 59,4 x 84,1 cm

Raphaël Van Lerberghe, I hope no one suggest a pipe, les images

Dimanche 5 mai 2019
Raphaël Van Lerberghe
I  HOPE NO ONE SUGGEST A PIPE

une performance à partir du livre:

LES PREMIERS HAUTBOIS SONT LES MIEUX PAYÉS [2015]
Livre, 24 dessins originaux au crayon noir montés sur onglet et reliés
84,5 × 60,5 cm
Reliure par Clara Gevaert
Une édition de 5 copies signées et numérotées par l’artiste
GEVAERT EDITIONS

Tourneuse de page Saskia Gevaert

Raphaël Van Lerberghe, Conséquences (dessins), les images (3)

Raphaël Van Lerberghe
Épilogue, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Les malices, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #6, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #7, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #8, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #9, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #10, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #11, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Take-one #12, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Le chœur #1, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Le chœur #2, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Le tableau, 2019
crayon de couleur sur papier, 73 x 110 cm

Raphaël Van Lerberghe
Vue de l’exposition Conséquences (dessins)

Raphaël Van Lerberghe, I hope no one suggest a pipe, ce dimanche dès 15h

 

 

 

 

 

 

 

A l’occasion des expositions
Brecht Koelman, The cool of the day
Raphaël Van Lerberghe, Conséquences (dessins)

la galerie Nadja Vilenne a le plaisir de vous inviter
ce dimanche 5 mai 2019 dès 15h.

Au programme :

Raphaël Van Lerberghe

I HOPE NO ONE SUGGEST A PIPE

une performance à partir du livre
LES PREMIERS HAUTBOIS SONT LES MIEUX PAYES *

Tourneuse de page : Saskia Gevaert
_________
* LES PREMIERS HAUTBOIS SONT LES MIEUX PAYÉS [2015]
Livre, 24 dessins originaux au crayon noir montés sur onglet et reliés
84,5 × 60,5 cm
Reliure par Clara Gevaert
Une édition de 5 copies signées et numérotées par l’artiste
GEVAERT EDITIONS

Art Brussels 2019, les images (3)

Marie Zolamian
Aquarius, 2018
Huile sur papier, 50 x 70 cm

Sophisme, 2018
Huile sur papier sur toile

Marie Zolamian
«There is an in nite amount of hope in the universe… but not for us» Kafka, 2019.
Huile sur toile

Raphaël Van Lerberghe
Sans titre, 2016 – 2017
c-print sur papier argentique, passe partout dessiné, 30 x 40 cm

Art Brussels 2019, les images (2)

Maen Florin
Blue and Blind, 2019,
Ceramic h.47 cm

Maen Florin
Blue and Blind 2019,
ceramic h.58 cm

Maen Florin
Blue and Blind 2019,
ceramic h.58 cm

Michael Dans
Sans titre
Photographie NB, 183 x 122 cm

Messieurs Delmotte
The invisibles, Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

Messieurs Delmotte
Smurf Without Qualities, Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

Messieurs Delmotte
Playmobize Me !? Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

Art Brussels 2019, les images (1)

Jacqueline Mesmaeker
Versailles avant sa construction, 1981
Photographie noir et blanc, encadrement, cartel, 70 x 83 cm

Jacqueline Mesmaeker,
Versailles après sa destruction, 2018
transfert sur miroir, 63,5 x 40,5 cm

Jacqueline Mesmaeker
Bourses de ceinture, 2018
soie et velours, 20 x 6 cm chacune

Suchan Kinoshita
Das A und O vom wohnen (durchgestrichen), 2019
Mixed media

Suchan Kinoshita
Karoke furniture, 2019
Mixed media

Jacques Charlier
Paysages professionnels, 1964-1970
Photographies NB, tapuscrit, certificat, (3) x 78 x 108 cm

Brecht Koelman
2017-01-19
Huile sur toile, 30 x 45 cm

Brecht Koelman
2019-03-8
Huile sur toile, 25 x 20 cm

David Polzin
Unfolded Chair, 2017

Aglaia Konrad
Selinunte, 2017
Héliogravure, 58,45 x 79,2 cm, 2019
ed 3 + 2 a.p

Brecht Koelman, The cool of the day, les images (3)

Brecht Koelman
2017-01-19
Huile sur toile, 30 x 45 cm

Brecht Koelman
2019-03-24
Huile sur toile, 25 x 20 cm

Brecht Koelman
2019-04-1
Huile sur toile, 20 x 25 cm

Brecht Koelman
2017-06-3
Huile sur toile, 24 x 30 cm

Brecht Koelman
2017-07-7
Huile sur toile, 24 x 30 cm

Brecht Koelman
2017-09-15
Huile sur toile, 20 x 25 cm

Art Brussels 2019, preview & highlights (2)

Michael Dans
Sans titre
Photographie NB, 183 x 122 cm

Messieurs Delmotte
The invisibles, Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

Messieurs Delmotte
Smurf Without Qualities, Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

Messieurs Delmotte
Playmobize Me !? Fake drawings Series, 2014
Technique mixte sur papier, 87 x 67 cm

David Polzin
Unfolded Chair, 2017

Maen Florin
Blue and Blind, 2019
Ceramic h.47 cm

Raphaël Van Lerberghe
Sans titre, 2016 – 2017
c-print sur papier argentique, passe partout dessiné, 30 x 40 cm

Marie Zolamian
Aquarius, 2018
Huile sur papier, 50 x 70 cm

Art Brussels 2019, preview & highlights (1)

Jacques Charlier
Paysages professionnels, 1964-1970
Photographies NB, tapuscrit, certificat, (3) x 78 x 108 cm

A propos des Paysages professionnels : lire ici

Jacqueline Mesmaeker
Versailles avant sa construction, 1981
Photographie noir et blanc, encadrement, cartel, 70 x 83 cm

Jacqueline Mesmaeker,
Versailles après sa destruction, 2018
transfert sur miroir, 63,5 x 40,5 cm

Jacqueline Mesmaeker
Bourses de ceinture (détail), 2018
soie et velours, 20 x 6 cm chacune

photos : Isabelle Arthuis

A propos de Versailles… : lire ici

Aglaia Konrad
Selinunte, 2017
Héliogravure, 58,45 x 79,2 cm, 2019
ed 3 + 2 a.p.

John Murphy
Between Anguish and Desire – Between Vomit and Thirst. 2004
85.5 x 71.5 cm Photographic print, pen and ink on board, 85.5 x 71.5 cm

John Murphy
Between Anguish and Desire – Between Vomit and Thirst. 2004
85.5 x 71.5 cm Photographic print, pen and ink on board, 85.5 x 71.5 cm

Brecht Koelman
2017-01-19
Huile sur toile, 30 x 45 cm