Aglaia Konrad, From A to K, Museum M, Leuven (3)

Aglaia Konrad

Aglaia Konrad
China Rushes, 2009
20 moniteurs, vidéo, couleurs, son

China Rushes #01 Shenzen Tower 2006, Beijing 2000, Shanghai 2000, Chongquing 2006
China Rushes #02 Chongquing 2006
China Rushes #03 Shanghai 2000, Chongquing 2006, Shanghai 2000
China Rushes #04 Chongquing 2006, Guangzhou 2006, Beijing 2000, Shanghai 2000
China Rushes #05 Hongkong 2006, Shanghai 2000
China Rushes #06 Beijing 2000, Shanghai 2000
China Rushes #07 Guangzhou to Shanghai 2005
China Rushes #08 Shanghai 2000, Beijing 2000
China Rushes #09 Beijing 2006, Shanghai 2000
China Rushes #10 Chongquing 2006
China Rushes #11 Hongkong 2006
China Rushes #12 Lhasa 2006
China Rushes #13 Beijing 2000, 2006, Shenzen 2006, Hongkong 2006
China Rushes #14 Beijing 2000, 2006, Shanghai 2000, Chengdu 2006
China Rushes #15 Hongkong 2006, Beijing 2000, Chongquing 2006, Shanghai 2000
China Rushes #16 Guangzhou 2006
China Rushes #17 Shanghai 2000, Beijing 2000
China Rushes #18 Hongkong 2006
China Rushes #19 Beijing 2000
China Rushes #20 Chengdu 2006

Aglaia Konrad

Unedited observations: men pulling a big metal tank over the road; women sitting besides a walkway, waiting and talking; people waiting in the train station hall with voluminous, improvised packages; ships passing in a harbor (Shanghai); people on bikes and mopeds impatiently waiting for the lights to change; a loud ghetto blaster playing waltz music in the park while people dance in full concentration and seemingly without a trace of enjoyment; traffic spiraling up towards a bridge; a truck leaving a smoke-black cloud behind it as it climbs, weighed down by its heavy load; people in a misty park wandering · around withot1t direction, staring directly at the camera lens; two people waiting, sitting on loads, talking and gesticulating franticly; an unoccupied waitress rearranging empty cups and glasses to loud music at the far end of a hall; etc. etc.

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad
Dakar Cuts, 2001-2016
Impression UV sur carton nid d’abeille

Aglaia Konrad

Dakar Cuts
architecture, drawing in the sand
A man decides to build a house for himself and his family. The piece of land he has purchased has already been leveled but he needs to make it look occupied. Having saved a little money, he can afford to buy some bricks and these need to be stored
safely. The need to occupy the land, and to store the bricks, can be met by fixing the bricks in a provisional floor plan consisting of two layers. This means the man can now save up more money for the subsequent layers until the walls are high enough to be covered by a concrete slab that can function as a roof, or as the second floor of the house. Building a house can be a lifetime occupation, whereas a village can resemble a museum of drawings in the sand.

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad
Ruckbaukristalle, 2015
Déchets divers et modifiés

Dans les salles 24 et 25, Aglaia Konrad déploie les Rückbaukristalle. Il s’agit de débris et gravats ramenés de chantiers de démolition des villes qu’elle a visitées. Elle donne donc une seconde vie à ces déchets (comme les panneaux de verre de l’Astro Tower) – avec un côté brut et non travaillé, et l’autre côté poncé et brillant.

Aglaia Konrad

Aglaia Konrad, Carrara Cut, 2013
Pigment digital print on fibaprint mate 280 gr and aluminium
200 x 100 cm

Pour Aglaia Konrad, la photographie, le livre, la copie et le dispositif d’exposition sont toujours intrinsèquement liés. Ainsi a-t-elle marouflé à même la cimaise un ensemble de photocopies des pages de son livre «Iconocity», nommant cette nouvelle déclinaison du travail «Iconocopycity», singulière remise en page du travail à même le mur. Cette fois, Aglaia Konrad reprend les pages de son livre sur les carrières de Carrare, un livre conçu comme un séquençage d’images, cadrées au cordeau, coupées comme sont découpés les blocs de marbre. Ces nouvelles séquences d’images, marouflées sur la surface miroitante de plaques d’aluminium s’appellent tout naturellement Carrara Cut.