John Murphy

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Art Brussels

Art Brussels

Art Brussels

Olivier Foulon
Sans titre (The [Absent] Museum /Le Musée [Absent] / Het [Afwezige] Museum), 2017
Copies laser marouflées sur toile, 80 x 100 cm

Art Brussels

Jacqueline Mesmaeker
Yang Tse Kiang, 2017
Collage sur papier, 43 x 21 cm

art Brussels

Walter Swennen
Remake I.M.M.Zimmer, 1987
Huile, laque et pastel sur toile, 60 x 58 cm

Art Brussels

Art Brussels

John Murphy Abstinence from the Image: An anatomy of …emptiness, 2006 Photographic print 186 x 231 cm

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Lu dans la Libre de ce vendredi 21 avril

La Libre

Résonances

Photo Charlotte Lagro

Résonances

Jacques Charlier
Peinture mystique I, 1988
Technique mixte, acrylique sur toile, objets trouvés, 200 x 350 cm

Résonances

Résonances

Photo Charlotte Lagro

Résonances

Photo Charlotte Lagro

Résonances

Marie Zolamian
Eschatologie, 2016
Huile sur papier, 17 x 24 cm

Résonances

John Murphy
Abstinence from the Image: An anatomy of …emptiness, 2006
Photographic print 186 x 231 cm

Résonances

Résonances

Guy Mees
Niveauverschillen, 1970
6 photographies NB, tirages argentiques, (6) x 12,5 x 8,8 cm

Résonances

Résonances

Résonances

Résonances

Lili Dujourie
Zonder titel (mannelijk naakt), 1977
Série de 6 photographies NB, tirages argentiques, (6) x 18 x 24 cm

Résonances

Résonances

Photo Charlotte Lagro

Résonances

John Murphy
The Discipline of Uncertainty, 2015
Photocopy, gouache, pen and ink on board, 46 x 54 cm

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John Murphy

John Murphy
Abstinence from the Image: An anatomy of …emptiness, 2006
Photographic print 186 x 231 cm

Tout l’art de John Murphy consiste à rassembler une constellation de signes révélateurs d’une expérience poétique. John Murphy dialogue sans cesse avec des œuvres existantes provenant pour la plupart d’un corpus littéraire, pictural, cinématographique, principalement avec des auteurs, des peintres, des cinéastes qui ont (ré)inventé le symbolisme, Mallarmé, Magritte, Resnais, par exemple. Ainsi occupe-t-il l’espace mental qui se créée entre les mots et les images. L’intervalle, comme l’ont remarqué les cinéastes Dziga Vertov et Jean-Luc Godard ou encore le philosophe Gilles Deleuze, est une affirmation du présent, celui du regardeur tout autant que celui du créateur. Par delà même ses expositions, conçues comme des pléiades signifiantes, Murphy suscite le développement dans l’esprit du spectateur d’un large faisceau d’associations, enrichi par ce dialogue entre passé et présent.
De l’utilisation qu’il fait de la photographie et principalement des photogrammes de films qu’il utilise (Fellini, Losey, Antonioni,…), Murphy à l’habitude de déclarer qu’elle n’est en rien différente de la peinture. Ainsi, cette image extraite de La Grande Bouffe, la grande abbuflata, de Marco Ferreri (1973), séminaire gastronomique et suicide collectif, en mangeant jusqu’à ce que mort s’ensuive, de quatre hommes fatigués de leurs vies ennuyeuses et de leurs désirs inassouvis. On y voit Ugo Tognazzi, s’apprêtant à donner la pâtée à Michel Piccoli étendu sur sa couche et flanqué, à gauche, d’un Philippe Noiret se bâfrant tout autant. Etrange triangulation des visages sous un voile au plissé baroque. La montagne de purée à l’avant plan est déjà le ventre d’un Piccoli bientôt moribond et qui mourra victime d’une indigestion. On pense à la truculence et aux débordements d’une vie faite d’excès des scènes de table peintes par Jacob Jordaens, lorsque le Roi boit, exubérant dans sa démesure, profitant de toute occasion pour ignorer les normes et les règles, tandis que le bras nu de Piccoli qui traverse le « tableau » de part en part nous fait penser à celui du Marat assassiné de Jacques Louis David. L’image précisément choisie par John Murphy est déjà une mise au tombeau. John Murphy rapproche cette image de Marco Ferrerri à d’autres dessinées par Giambattista et Giandomenico Tiepolo, des Pulchinello, masqués, ventrus, bossus, préparant, se bâfrant et digérant la polenta. « Abstinence from the Image: An anatomy of …emptiness » : Murphy évoque ici le vide de tous les excès.

John Murphy

John Murphy
The Discipline of Uncertainty, 2015
Photocopy, gouache, pen and ink on board, 46 x 54 cm

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Jacques charlier

Jacques Charlier
Peinture mystique I, 1988
Technique mixte, acrylique sur toile, objets trouvés, 200 x 350 cm

La résonance est un phénomène selon lequel certains systèmes physiques, électriques ou mécaniques, par exemple, sont sensibles à certaines fréquences. Un système résonant peut accumuler une énergie, si celle-ci est appliquée sous forme périodique, et proche d’une fréquence dite « fréquence de résonance ». Par extension de langage, elle est aussi faculté de résonner, propriété d’accroître la durée ou l’intensité d’un son, effet produit, écho rencontré, mode de retentissement d’un événement vécu ; elle est enfin ce qui fait vibrer le cœur et l’esprit. Toutes les œuvres rassemblées dans cette exposition ont cette capacité de résonance, en ce qu’elles sont échos et vibrations des états du monde : excès en tous genres, nationalismes exacerbés et place du religieux, combat féministes renouvelés, exode et immigration, multiculturalisme et chocs ou rencontres des cultures, compétition ou questions environnementales. Elles sont également résonances à d’autres créations d’un passé plus ou moins éloigné, résonances au cinéma ou à la littérature, à l’histoire de l’art et de la peinture, à celle des arts premiers. Le terme de résonances, au pluriel même, est sans doute le plus à même de rendre compte de ce phénomène de mise en mouvement de l’esprit au contact de l’autre, une mise en mouvement qui oblige au dépassement de ses limites et à l’inventivité d’un autre monde.

Avec des œuvres de : James Lee Byars, Jacques Charlier, Lili Dujourie, Charlotte Lagro, Sophie Langohr, Jacques Lizène, Emilio Lopez-Menchero, Jacqueline Mesmaeker, Guy Mees, Benjamin Monti, John Murphy, Pol Pierart, Maurice Pirenne, Valérie Sonnier, Raphaël Van Lerberghe, Marie Zolamian.

Vernissage ce samedi 18 mars à 19h
Exposition du 19 mars au 15 avril 2017.

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John Murphy

John Murphy

John Murphy
A Different Constellation (Lupus) 1994
Oil on linen, 290 x 335 cm

John Murphy

Exhibition view

John Murphy

John Murphy

John Murphy
The Song of the Flesh or The Dog who Shits (Lyra), 1993
Oil on canvas, 264 x 198,5 cm.

John Murphy

Exhibition View

John Murphy

John Murphy
The Invention of the Other (Vulpecula), 1994
Oil on canvas, 264 x 198,5 cm.

What else ?

Exhibition view

Jacques Charlier

Jacques Charlier
Paysages professionnels, 1970.
Photographies N.B. et texte imprimé.
9 panneaux de 50 x 60 cm

Suchan Kinoshita

Suchan Kinoshita
Jogger Fragment 8, 2006
Technique mixte

Aglaia Konrad

Aglaia Konrad,
Boeing Over, 2003-2007
Photographies N.B. tirages argentiques sur papier baryté, 48 x 32 cm, marouflés sur aluminium, 2003-2007

What else ?

Exhibition view

Walter Swennen

Walter Swennen
Jime Dine slept here, 1990
Huile sur panneau, 122 x 110 cm

What else ?

Exhibition view

What else ?

Exhibition view

Emilio Lopez Menchero

Emilio Lopez Menchero
Trying to be Valie Export, 2016
Photographie NB marouflée sur aluminium, 105 x 135 cm

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Art Brussels

Art Brussels

Maurice Pirenne
Maison en construction, 1948
Pastel sur papier marouflé sur panneau,
17,5 x 25,5 cm (encadré 19,5 x 27,5 cm)
Signé et daté en haut à droite

Art Brussels

John Murphy
Fall upward, to a height (Recto), 2015
Photograph, pen and ink on board. 78 x 54 cm

John Murphy
Fall upward, to a height (Verso), 2015
Photograph, pen, ink on board, 78 x 54 cm

John Murphy
Fig.10, 2007
Litho, pen and ink on paper. 38.5 x 35.5 cm

John Murphy
Can’t you hear it? Don’t you hear it? 2001
Postcard, pen and ink on board. 85 x 64 cm

Art Brussels

Benjamin Monti
Sans titres, de la série des histoires naturelles, 2010-2015

Art Brussels

Art Brussels

Emilio Lopez Menchero
Trying to be Valie Export, 2016
Photographie NB marouflée sur aluminium, 105 x 135 cm

Art Brussels

Jacques Charlier
L’art, quoi de plus naturel ?
Photo Sketche, 1976

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Walter Swennen

Walter Swennen Les Egyptiens, 1996
Huile sur panneau, 80 x 60 cm

Walter Swennen

Exhibition view

Walter Swennen

Walter Swennen Pouce, 2008
Huile sur toile, 150 x 135 cm

Walter Swennen

Exhibition view

John Murphy

John Murphy
Fall upward, to a height (Recto), 2015
Photograph, pen and ink on board. 78 x 54 cm

John Murphy

John Murphy
Fall upward, to a height (Verso), 2015
Photograph, pen, ink on board, 78 x 54 cm

John Murphy

Exhibition view

Jacqueline Mesmaeker

Jacqueline Mesmaeker
La discrète, 2016
photographie couleurs, impression sur papier baryté et imprimé, 60 x 100 cm

Jacqueline Mesmaeker

Jacqueline Mesmaeker
La discrète, 2016 (détail)

Jacqueline Mesmaeker

Jacqueline Mesmaeker
La discrète, 2016 (détail)

Jacqueline Mesmaeker

Jacqueline Mesmaeker
Passage 1, 2016
Photographie couleurs, impression sur papier chiffon, 60 x 70 cm

Jacqueline Mesmaeker

Jacqueline Mesmaeker
Passage 2, 2016
Photographie couleurs, impression sur papier chiffon, 60 x 70 cm

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A la galerie actuellement.

John Murphy

John Murphy

John Murphy
A Different Constellation (Lupus) 1994
Oil on linen, 290 x 335 cm

John Murphy

Exhibition view

John Murphy

John Murphy

John Murphy
The Song of the Flesh or The Dog who Shits (Lyra), 1993
Oil on canvas, 264 x 198,5 cm.

John Murphy

Exhibition View

John Murphy

John Murphy
The Invention of the Other (Vulpecula), 1994
Oil on canvas, 264 x 198,5 cm.

Tags:

John Murphy

John Murphy

John Murphy
In the Midst of Falling: The Cry… 2016
145.4 x 241.8 cm C-print (Unique), Satin Float Glass and Gesso Wood Frame.

John Murphy

John Murphy

John Murphy
Fall upward, to a height. 2015
Stuffed Black Rooster, rope, pen and ink on publication, vitrine, variable dimensions.

John Murphy
Opened in a Cut of Flesh. 2015
Framed postcard, pen and ink on board. 84 x 62 cm, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy
Opened in a Cut of Flesh. 2015
Framed postcard, pen and ink on board. 84 x 62 cm, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy

John Murphy

John Murphy
Fall upward, to a height. 2015
Stuffed Black Rooster, rope, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy

John Murphy
Cadere: Waste and Cadavers All. 2015
photocopy, gouache, pen and ink on paper. 46 x 54 cm

(…) John Murphy, who is of Federle’s generation, has asimilar respect for art from the recent past. His art resembles a pantheon of signs that transmit poetic experience. He engages with existing works from a modernist body of literature, painting and film, and particularly with a number of ‘authors’ who (re) invented Symbolism (Mallarmé, Magritte, Resnais). His work often comes in the form of delicate objects or images that sit or hang lightly in a space, like a spider’s web or celestial notations. In fact the physical space between the elements in his work is essential and signifies the mental space that opens up when a visitor tracks the (symbolical) lines that connect the elements, and when words, images and associations reveal themselves. Our exhibition features a body of works inspired by the notion of the fall, especially the fall from grace recounted in Genesis, when Adam and Eve are expelled from the Garden of Eden, as famously depicted by the Italian painter Masaccio in a fierce and moving fresco. Masaccio’s painting returns in Murphy’s epic, newly made photograph In The Midst of Falling. The Cry (2015), which derives from a charged image in Joseph Losey’s film Eve (1962), where a woman is transfixed in a hallway before a reproduction of the painting. Murphy is like a dancer aiming for a light gesture, because for him it is the most powerful conduit of experience. His titles, resourceful and full of sillent threat, create a world in itself. (…)

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John Murphy

John Murphy
Fall upward, to a height. 2015
Stuffed Black Rooster, rope, pen and ink on publication, vitrine, variable dimensions.

John Murphy
Opened in a Cut of Flesh. 2015
Framed postcard, pen and ink on board. 84 x 62 cm, pen and ink on publication, vitrine, variable dimensions.

John Murphy

John Murphy
Cadere: Waste and Cadavers All. 2015
photocopy, gouache, pen and ink on paper. 46 x 54 cm

John Murphy

John Murphy
In the Midst of Falling: The Cry… 2016
145.4 x 241.8 cm C-print (Unique), Satin Float Glass and Gesso Wood Frame.

(…)The idea for Show your Wound comes from a paradoxical work by Joseph Beuys, an installation or environment called Zeige deine Wunde (Show your Wound), which is discussed in depth in this publication’s essay by Antje von Graevenitz. Zeige deine Wunde raises questions of how we take care of nature, ourselves and society, and it seems to emphasise notions like responsibility and awareness.

This work was first made in an underground pedestrian passage in Munich in 1976, and in 1980 became part of the Städtische Galerie im Lenbachhaus collection. In the muséum Beuys built a room for the objects: two morgue tables on wheels (‘beds’ in Beuys’s words), two blackboards with a call-up (‘Zeige deine Wunde’) written in chalk, two glass cases on the wall with papers from a Turin-based left-wing political organisation (Lotta Continua), and two pairs of garden tools. All the objects suggest ways of nurturing human life, attending to nature and culture, but they have come to a stand still. Today we can read that ‘Beuys created the environment for an underground passage. Its aura of melancholy and mourning arises from its charged subject matter: death, decay and a sense of trauma that Beuys referred to as “the wound”.’ What is absent in the work, I would argue, takes on presence in our imagination: man and nature, an energised world and society of living beings. Today this work reminds me of Malevich’s Black Square, especially of the photo of the Polish-Russian artist on his death bed, his painting on the wall behind him, radiating above his saintly head.

Today we see more clearly Beuys’s concern with nature and with man as part of nature; with the social body and with Western society’s development. The artist’s empathy for the individual and belief in the human potential for inner growth continues to inspire.
However, we also live in different times: the recent rise of scientific notions such as the Anthropocene and the posthuman condition indicates a huge paradigm shift and suggests that we have to think and act differently now, to survive as mere humans in a world whose
system of natural elements and tissue of social relations is impaired by our wrongdoings. This awareness is reflected in the art of artists such as Kader Attia, Pierre Huyghe and Sióbhan Hapaska, who seem to have been touched by Beuys. It is my consideration of their work
that has led me to think that at present Beuys has new relevance for artists.
Beuys’s work is no longer eclipsed by his words, by the dominant presence of what he said in public, and this has created space for artists to connect with this significant artist once more. Here we should realise that in general processes of transmission are miraculous. As a rule we could perhaps say that what informs or shapes the work of artists who process the achievements of a preceding generation are imponderabilia : an élective affinity (Goethe’s Wahlverwandtschaft), a constructive resistance, and a ‘creative misunderstanding’ in literary critic Harold Bloom’s words.

There is a religious ring to the title of this exhibition. The words Show your Wound resonate both with Christian and pagan tones and recall a twelfth-century story in which the knight Parsifal is on a spiritual quest to find the Holy Grail and heal the wounded king Amfortas (artistic and musical interprétations of the story are offered by Wagner and Beuys). This connotation is quite intentional: etymologically ‘religion’ can be derived from the words ligare (connect) and religare (reconnect). Here the idea is perhaps that art has a larger place in society and that the artist Works in the service of mankind for a common goal. A visit to the Moyland Castle, which houses the Beuys collection of the brothers Van der Grinten, will convince both art connoisseur or laic that Beuys saw his art in the service of a larger total. This brings me back to Joseph Beuys’s Zeige deine Wunde. I propose to draw a web of lines from this environment to the work of the seven artists in Show your Wound.

(…) John Murphy, who is of Federle’s generation, has asimilar respect for art from the recent past. His art resembles a pantheon of signs that transmit poetic experience. He engages with existing works from a modernist body of literature, painting and film, and particularly with a number of ‘authors’ who (re) invented Symbolism (Mallarmé, Magritte, Resnais). His work often comes in the form of delicate objects or images that sit or hang lightly in a space, like a spider’s web or celestial notations. In fact the physical space between the elements in his work is essential and signifies the mental space that opens up when a visitor tracks the (symbolical) lines that connect the elements, and when words, images and associations reveal themselves. Our exhibition features a body of works inspired by the notion of the fall, especially the fall from grace recounted in Genesis, when Adam and Eve are expelled from the Garden of Eden, as famously depicted by the Italian painter Masaccio in a fierce and moving fresco. Masaccio’s painting returns in Murphy’s epic, newly made photograph In The Midst of Falling. The Cry (2015), which derives from a charged image in Joseph Losey’s film Eve (1962), where a woman is transfixed in a hallway before a reproduction of the painting. Murphy is like a dancer aiming for a light gesture, because for him it is the most powerful conduit of experience. His titles, resourceful and full of sillent threat, create a world in itself. (…)

Mark Kremer, in Many Moons and a Single Star (I’m Lost in One Breath). Meditations on the exhibition Show your Wound

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John Murphy

John Murphy
Opened in a Cut of Flesh, 2015 (detail)
Stuffed Black Rooster, vitrine, publication, variable dimensions

Press Release

TEFAF Curated is a recent TEFAF initiative, which taps into the vibrant scene of contemporary art. Invited galleries have been asked to present one single artist. TEFAF Curated aspires to be an energetic gallerists forum and an intelligent group show where fair visitors can make new discoveries.

The first edition of TEFAF Curated was composed by Sydney Picasso, and was titled “Night Fishing”. This year’s edition is titled “Show your Wound” and is curated by Mark Kremer, an independent curator and writer based in Amsterdam.
The artists represent different generations. The youngest is Folkert de Jong, a figurative sculptor with a recent reputation as a maker of colourful portraits and tableaux vivants that burst with life and energy. His works seem to ponder and wonder about extremes of human behaviour, aggression, madness, rapture. The eldest artist is William Tucker, an abstract sculptor of strong gestalt-like forms. He combines modern and ancient not ions of the sculptural. In his art one finds distant observation and ritual suggestion. His works embody deep emotions: surrender, empowerment and anxiety that comes before the fall.

Helmut Federle is a mystical painter. His oeuvre is an insistent reflection on the painterly language that was first introduced by abstract artists of the early 20th century (Mondrian. Malevich). His paintings show a similar concern for signs and symbols, and how they can evoke spiritual meaning. His art gives a personal response to this question, based on his dedication to art’s tradition. With John Murphy, who is of the same artist’s generation, we find a similar respect for the signs and symbols that are passed down to us by art from the recent past. He too engages with existing artworks, but his interest is rather modern film and literature. His fascinating body of work often takes on the form of fine constellations of objects and images that sit subtly and lightly in a place, creating space for a gesture, a light thought, about serious matters.

Peter Buggenhout has recently gained much acclaim for his sculptures that venture into a dark realm, a land of scorched earth where it 1s not anymore clear if there’s space left tor us humans. He is creating three series of works since ea 2000, using earth, dust, animal hide, and other left over materials. His raw sculptures suggest obsolete energy systems; they emit a melancholy spirit, perhaps comparable to duende (the core of flamenco singing). Pedro Cabrita Reis is an acclaimed artist; his spatial installations are often made using daily simple building materials. These works refer to poetic horizons, to daily life in a place, to thoughts and emotions of humans interacting with the space, and each other. The connections between the different parts and elements of his installations signify something larger, they signify systems and conduits, flows and resistance, obstacles that need to be over come by spirit.

Klaas Kloosterboer is the seventh artist 1n this company. His body of work, pitting painting and sculpture against each other, is highly original. In this show he will present a recent installation, consisting of a ‘stooge’ lying on the floor, a figure who has fallen apart. And whose body parts, arms and legs, arc filled with straw. Motionless and powerless he is on the ground, against the backdrop o f a rural landscape abstract. He is impotent, his colour pops out.

These artists’ oeuvres have a kaleidoscopic aspect, the moment a visitor sees their work, (s)he is carried away to another parallel world or reality as it were.

INSPIRATION

The idea for “Show your Wound” comes from a paradoxical work by Joseph Beuys, an installation or environment called “Zeige Deine Wunde” (Show your Wound). Its various elements suggest ways of nurturing life and taking care of nature, yet the work as a whole seems to have come to a stand still, with a connotation of energy-in-rest.

Joseph Beuys

This work was first made in an underground pedestrian passage in Munich, 1976. In 1980 Beuys’s work became part of the art collection of the Stadtische Galerie im Lenbachhaus. In this museum Beuys built a room for the objects: two iron dissecting tables on wheels, two blackboards with the sentence ‘Zeige deine Wunde’ written in chalk, two glass cases with magazines from a Turin based political organisation “La lotta continua”, and two x two pieces of garden tools. These objects suggest ways of taking care, nurturing life, but they’ve come to a stand still. Today we may read: ‘Beuys originally created the environment tor a desolate underground passage. Its aura of melancholy and mourning arises from its subject matter: death, decay and a sense or trauma that Beuys referred to as the ‘wound’.

Curator Mark Kremer proposes to draw a web of lines from this dramatic environment by Beuys, to the work of the artists in “Show your Wound”. He suggests that Joseph Beuys possibly has a new relevance for artists today: Currently the work of this significant artist is no longer eclipsed by his word, the things he said in public and this has created ‘space’ for artists to connect with Beuys once more but on their own terms. What shapes the art of one generation of artists, while processing the achievements of the preceding artists, are imponderabilia such as elective affinities (Goethe’s Wahlverwandtschaften), constructive resistance, and what the literary scholar Harold Bloom has described as ‘creative misunderstanding’. Today we see now clearer what Beuys was about: his concern with nature, and man as part of nature, his interest in the social collective, in Western society’s historical awareness and its course of development, and his empathy for the individual and inner potential for growth/transformation continue to inspire.

SHOW YOUR WOUND

There is a religious ring to this title, with Christian and pagan tones (in a 12th century story the knight Parsifal is on a spiritual quest to find the Holy Grall). This connotation is intentional: the etymology of the word ‘religion’ can be derived from religare, ‘to reconnect’. But what, then, should be reconnected? Joseph Beuys’s environment ‘Zeige deine Wunde’ suggests: expose your own vulnerability and extend empathy onto others.

show your wound

READER

The exhibition will be accompanied by an extensive reader with essays by art historian Antje von Graevenitz, curator Lorenzo Benedetti, and Mark Kremer.

TEFAF

The European Fine Art Fair · Maastricht (TEFAF)
Preview and professional day : Thursday 10 March 2016
Friday March 11 to Sunday March 20 · 2016 (29th edition)
MECC (Maastricht Exhibition & Congress Centre) · Forum 100 · Maastricht · Netherlands
Daily from 11am to 7.00pm (on 20 March the Fair closes at 06.00pm)

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TEFAF

La galerie Nadja Vilenne a le plaisir de vous annoncer sa participation à la TEFAF, The European Fine Art Fair Maastricht, dans la section TEFAF curated, du 11 au 20 mars

TEFAF curated est une récente initiative de la célèbre foire d’art néerlandaise, une ouverture sur l’art contemporain, via une exposition collective commissionnée. Confiée cette année au curateur indépendant et écrivain Mark Kremer, TEFAF Curated prend appui sur un héritage, celui d’une oeuvre célèbre de Joseph Beuys : « Zeige deine Wunde » (Show your Wound) conçue à Munich en 1974-1975. 7 galeries d’art ont été invitées à proposer un solo d’artiste en relation avec cette installation de Joseph Beuys qui, de façon envoûtante et sur un rythme binaire, explore les thèmes de la mort, de la finitude de l’existence, de la blessure et de la guérison.

Joseph Beuys

Joseph Beuys, zeige deine Wunde (show your wound), 1974/75. Städtische Galerie im Lenbachhaus, München

Show Your Wound is a curated presentation that complements TEFAF Modern. The title is a reference to a sculptural work presented by Joseph Beuys in an underground passageway in Munich in 1974-5. The installation will show the work of artists that continue to explore and give expression to the ideas death, decay, dispossession and a sense of trauma (the wound) as suggested in Beuys’ original work. These concepts continue to have relevance for younger generations of artists working all over the world. Mark Kremer will make a selection of artists and invite their representing galleries to showcase their works at TEFAF. All objects will be, as are the rest of the objects at the fair, for sale. The exhibition and coinciding publication aims to create awareness of this work and of the resonance of Beuys’ artistic legacy.
TEFAF is known for providing a forum where historical crossovers can be made and discovered. The exhibition aims to show works by living artists that have not previously been shown at the fair but nevertheless have an art historical connection with works that are currently exhibited. The wound is a familiar motif throughout European art history and plays a significant part in our cultural iconography. The title Show Your Wound will therefore inevitably create links with important works from earlier periods.

Participants :
Ellen de Bruijne Projects, Amsterdam : Klaas Kloosterboer
Buchmann Galerie, Berlin : William Tucker
Galerie Laurent Godin, Paris : Peter Buggenhout
Galerie nächst St.Stephan Rosemarie Schwarzwälder, Vienna : Helmut Federle
Sprovieri Gallery, London : Pedro Cabrita Reis
Galerie Nadja Vilenne, Liège : John Murphy
Galerie Fons Welters, Amsterdam : Folkert de Jong

The European Fine Art Fair · Maastricht (TEFAF)
Preview and professional day : Thursday 10 March 2016
Friday March 11 to Sunday March 20 · 2016 (29th edition)
MECC (Maastricht Exhibition & Congress Centre) · Forum 100 · Maastricht · Netherlands
Daily from 11am to 7.00pm (on 20 March the Fair closes at 06.00pm)

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John Murphy

Exhibition view

John Murphy

John Murphy
Words fall like stones, like corpses.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

John Murphy
Up or Down It’s All the Same.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

John Murphy
Not there.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

John Murphy
For the eyes of dogs to come.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

Exhibition view

John Murphy

John Murphy

Exhibition views

John Murphy

John Murphy
Dancing on the volcano of lost time.
Photocopy, gouache, pen and ink on board, 2015
48 x 54 cm

John Murphy

John Murphy
In their own dark.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

John Murphy
Yet Another Effort…
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

John Murphy
Nothing, Wait and See.
Photocopy, gouache, pen and ink on board, 2015
48 × 54 cm

John Murphy

 

John Murphy

John Murphy

John Murphy
…do not be too prodigious…, 2016
Vitrine, publication, picture, 94 x 64 x 54 cm

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