janvier 2017

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Jacques Charlier
– Antwerpen (B), De Broodthaers à Braeckman – La photographie dans les arts plastiques en Belgique, Muhka, du 6 octobre 2016 au 5 février 2017

Eleni Kamma
– Tel Aviv (Israël), so close, yet so far away, Petach Tikva Museum, du 12 janvier au 11 mars 2017
– Pafos (Gr), Planetes, Group opening exhibition of Cultural Capital of Europe Pafos 2017, Old Powerhouse and Shelley Street Residence, du 28 janvier au 28 février 2017

Aglaia Konrad
– Madrid (E), Aglaia Konrad – Suchan Kinoshita, ARCO 2017, galerie Nadja Vilenne, du 22 au 26 février 2017

Suchan Kinoshita
– Madrid (E), Aglaia Konrad – Suchan Kinoshita, ARCO 2017, galerie Nadja Vilenne, du 22 au 26 février 2017
– Maastricht (Nl), Illusion and Revelation. From the collection of the Bonnefantenmuseum. Bonnefantenmuseum, du 24 décembre au 27 novembre 2017

Charlotte Lagro
– Heerlen (Nl), Parkstad Limburg Prijs. SCHUNCK* Heerlen, du 11 décembre au 19 mars 2016

Jacques Lizène
– Antwerpen (B), De Broodthaers à Braeckman – La photographie dans les arts plastiques en Belgique, Muhka, du 6 octobre 2016 au 5 février 2017

Marie Zolamian
– La Louvière (B), Des figurations. Acte 03. Prix Jean et Irène Ransy, musée Ianchelevici, du 18 février au 12 mars 2017

Eleni Kamma

Eleni Kamma

ΠΑΡΟΙΚΕΩ issue N02, 2017
A journal, a discussion, a walk.
Research team: Eleana Alexandrou, Eleni Kamma, Elena Parpa, Evi Tselika
Journal with the participation of Dr Bonnie Honig
12 pages, off-set printing
42 x 29.7 cm, edition of 250

Eleni Kamma participe à l’exposition Πλάνητες [Plánetes] qui inaugure le programme d’exposition de Paphos 2017 (Chypre), l’une des capitales de la culture européenne 2017.

Under the thematic strand Travellers of the World and in the context of the inaugural events programme organized for the opening of Open Air Factory, the Cultural Capital of Europe Pafos2017 presents the group art exhibition Πλάνητες [Plánetes] curated by Elena Parpa. The exhibition is hosted in two venues, at the Old Powerhouse and at the Shelley Street Residence, proposing an alternative route in navigating through the space of the city.

With etymological origins in the word πλάνης (plánis), πλάνητες (pronounced plánetes) in Greek means “wanderers”, itinerants in constant move who never give up their right to come and go at will. In its literal sense, therefore, the word may refer to the old figure of the drifter and the vagabond, the gypsy and the nomad. As observed, however, by French anthropologist Michel Agier, the present moment of refugee crisis and forced migration draws attention to a different aspect of the experience of wandering. For Agier, the wanderers of today are the stateless, the refugees and the displaced living under precarious conditions in liminal zones. Having experienced war and violence, they flee home for a safer future, only to experience rejection and wandering as a permanent condition trapped between borders and makeshift encampments.

Responding to such observations, the exhibition negotiates the notion of the contemporary pláneta without compromising the word’s cosmic connotations or divergence to other interpretations. Πλανήτες (pronounced planétes) in its most widespread use in the Greek language denotes celestial bodies in orbit in a constantly expanding network of parallel universes, where Earth and its assumed fate as the only living planet in the cosmos, instigates questions relating to the mystery of existence. Is it possible to continue the discussion on the fate of humankind with an eye on our position as inhabitants of a wandering planet in cosmic abyss?

The exhibition seeks to retain this double vantage point – of the world from the Earth and of the world from outer space – in the hope of a more creative, wider and critical perspective of the present. It does so in connection with the history of Pafos and in close rapport with the group of twenty-three participating artists and groups. Working in a range of media including photography, film and video, painting, installation and text, these artists negotiate the notion through different perspectives giving rise to the various manifestations of the contemporary πλάνητα – as migrant, refugee, traveller, gypsy, outsider or even as a mutative architectural structure and object that comes to us from distant times.

The exhibition is accompanied by a parallel events programme and a catalogue with the participation of Esra Plumer Bardak, Michelangelo Corsaro, Peter Eramian, Alkis Hadjiandreou, Henriette Huldisch, Gabriel Koureas, Chrystalleni Loizidou, Alexandra Manglis, Christodoulos Panayiotou, Maria Petrides, Kiriakos Spirou, Elena Stylianou, Evanthia Tselika and Evagoras Vanezis.

Participating Artists

Andreas Angelidakis, Rosa Barba, Inal Bilsel, Andrea Bruno, Banu Cennetoğlu, Savvas Christodoulides, Marianna Christofides, Marianna Constanti, Elizabeth Hoak-Doering, Haris Epaminonda, Ben Evans and Alkis Hadjiandreou, Eleni Kamma, Lito Kattou, Nurtane Karagil, Lefteris Olympios, Christodoulos Panayiotou, Yorgos Petrou, Re Aphrodite, Efi Savvides, Socratis Socratous, Lefteris Tapas, Marina Xenofontos, Natalie Yiaxi

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Lu dans l’Oeil #698, février 2017, à propos de Charlier, Lizène et de bien d’autres choses, cet essai de Pauline Vidal :

L'Oeil

L'Oeil

L'Oeil

L'Oeil

L'Oeil

L'Oeil

L'Oeil

L'Oeil

L'Oeil

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Jacques Charlier

Finissage de l’exposition « Photos-Sketches & Hard’Music », ce dimanche 29 janvier 2017, de 11 à 18h
Projection du film « Biennale 1971 »
Ambiance musicale : Jacques Charlier, Hard’Music, 1975

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Aglaia Konrad

Sur le site Documents Architecture, ce slide show concernant l’exposition « Aglaia Konrad, From A to K » au Musée M à Leuven

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Jacques Charlier

A l’avant plan : Jacques Charlier, Paysages professionnels, 1971

Jacques Charlier

Jacques charlier, Photographies de vernissage, 1975

Jacques Charlier

Jacques Charlier, Paysage artistique, 1970

Jacques Charlier

Jacques Charlier

Jacques Charlier

Jacques Charlier, photo-sketch en couverture de la revue d’art +/- 0

Jacques Charlier

Jacques Lizène

Jacques Lizène, exhibition view

Jacques Lizène

Jacques Lizène
Personnage photographié regardant le spectateur d’une photo. Personnage photographié essayant de se dérober au regard d’un spectateur d’une photo, 1971
Jacques Lizène
Contraindre le corps à s’inscrire dans le cadre, 1971
Jacques Lizène
Contraindre le corps à s’inscrire dans le cadre de la photo, 1971.

Jacques Lizène

Jacques Lizène, « Documents rapportés d’un voyage au coeur de la civilisation banlieue (Ougrée, banlieue industrielle liégeoise), par un petit maître liégeois, pauvre pitre en art, artiste de la médiocrité, représentant de la banlieue de l’art » (1973, Liège). Accompagné de : « Modèle contraignant son corps à s’inscrire dans les limites du cadre pour réaliser une tentative de reconstitution de portrait de l’indigène de la civilisation banlieue » (Collection Muhka Antwerpen)

Jacques Lizène

Jacques Lizène
« 144 tentatives de sourire… mais l’on sait le vécu quotidien de la plupart des individus, Accompagné de 881 tentatives de rire enregistrés sur cassette, tout d’une traite », 1974. 135 photographies NB, tirage argentique, marouflées sur carton, 9 x 73 x 61 cm et cassette audio digitalisée

Jacques Lizène

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Jacques Lizène

Jacques Lizène, Un film barré à la main (1972)

Les œuvres Tentative de dressage d’une caméra (1971), Tentative d’échapper à la surveillance d’une caméra (1971), Contraindre le corps à rester dans le cadre de l’image suivi d’une promenade d’un côté à l’autre de l’écran (1971) et Un film barré à la main (1972) de Jacques Lizène (toutes faisant partie de la collection du FRAC Aquitaine) sont projetées dans le cadre du Festival « Flash Danse, traversées chorégraphiques »au Théâtre Universitaire de Nantes. Du 16 au 26 janvier 2017.

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Eleni Kamma

Yar bana bir eğlence. Notes on Parrhesia.
a single screen film by Eleni Kamma duration: 37 min 24 sec (2015)

Eleni Kamma participe à l’exposition « So close yet so far away », une exposition qui rassemble quelques artistes tous d’origine chypriote, au Petach Tikva Museum of Art à Tel Aviv. Commissaire : Yannis Toumazis.

Organized by the Nicosia Municipal Arts Centre – Associated with the Pierides Foundation [NiMAC] and the Petah Tikva Museum of Art, Israel
Cyprus is so close to Israel, yet at the same time it lies so far away. Despite their geographical proximity, the two countries know very little about each other, and art is no exception. Alongside their many differences, they share significant similarities, including a long and dominant historical past, constant geopolitical turmoil, and incessant crises – social, religious, political, and financial – which continue to affect the present and the future. Located at the eastern end of the Mediterranean, in this region of osmosis between East and West, they could not avoid – each in its own way – their geopolitical « destiny » in shaping the current post-colonial realities; a destiny which, for both countries, is underlain by a narrative of “partitions.”
Indeed, today, we experience once again « partitioned times, » as Ranabir Samaddar, professor of South Asia Studies known for his critical work on justice and human rights, claims. Not only geographical and political divisions, but also social, racial, economic, and cultural ones define the international order, despite the spirit of globalization. The island-state of Cyprus could not escape this fate. Since 1974 it has also been divided, with approximately 36% of its territory under Turkish military occupation. Despite continuous efforts to reach a comprehensive, just, and viable solution to the Cyprus Issue, the buffer zone (also known as the “Green Line”) still dissects the island into a northern and a southern part. In addition, the financial collapse of the state in 2013 created an ongoing economic crisis, the results of which will haunt the island and its inhabitants for many years to come.
The exhibition “So Close Yet So Far Away” | Contemporary Artists from Cyprus presents for the first time in Israel a dynamic group of seventeen contemporary Cypriot artists, who scrutinize contemporary Cypriot culture and the many complexities of Cypriot identity. The exhibition attempts to illustrate how, in this era of globalization and increased visibility of “peripheral” artistic activity, contemporary Cypriot artists negotiate issues of history, memory, and politics, especially in the local context. It also examines how they deal with the modern history of trauma, conflict, and violence as well as with other crucial complexities, going far beyond the Cyprus Issue, which still affects the society of Cyprus.
In recent times, Cypriot art demonstrates an incessant international mobility and a sense of acute criticality. The work of many contemporary Cypriot artists has acquired an intensely socio-political dimension, capturing the complexity of the current local and global issues with great sensitivity, expressed sometimes through a neutral, dissociated gaze, sometimes through a poetic stance, and other times through keen sarcasm and subtle irony. The participating artists seek to highlight and negotiate existing positions and contradictions surrounding the apparent homogeneity of a globalized environment. Issues of multiculturalism, crossings, displacement, migration, and hybridization are given central stage in most of the works presented in this pertinent exhibition.

Andreas Kali, Andreas Sauva, Constantinos Talnotis, Eleni Kamma, Elizabeth Hoak-Doering, Klitsa Antoniou, Kyriaki Costa, Lia Lapithi, Marianna Christofides, Marina Xenofontos, Nayia Savva, Nurtane Karagil, Sholeh Zahraei & Kamil Saldun, Theodoulos Gregoriou, TWOFOURTWO ART GROUP.

http://www.petachtikvamuseum.com/en/

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Suchan Kinoshita

Suchan Kinoshita

Suchan Kinoshita, Hok 1, 1996.
« How 1 » (Hutch 1) is the unpretentious title of this work by Suchan Kinoshita. It is a shelter build of waste wood. Inside you can find a laboratory with hourglass-like bottles in all colors of the rainbow. If you turn the hourglass (ask an attendant to do that for you) you can see and hear time ticking, dripping and sloshing. Meanwhile when you look outside you can see the day go by.

Illusion and Revelation
From the collection of the Bonnefantenmuseum
24.12.2016 – 27.11.2017

« Really good art is always relevant. Because it refers to possible worlds that are inextricably linked to our own. Because art gives shape to shapeless feelings and ideas, to revelations that would never have been revelations if not expressed, and to perceptions that would never have achieved that status if no shape had been found for them. »‘ – Quotation from Marjoleine de Vos in NRC, 30 October 2016.

We have always been fascinated by illusionism as a painting technique. Even the Ancient Greeks used optical illusions. Central perspective and its perfectionistic little brother the trompe l’oeil have been used since the fifteenth century to convince the viewer that the image in front of them is real and part of the same three-dimensional space that the viewer inhabits.

In modern society, digital technology is creating an illusionary layer of information that fits in seamlessly with our perception of the real world. It has become more difficult than ever to separate fact from fiction, genuine from fake.

Contemporary artists seduce us with visual worlds that can seem deceptively real and ordinary, but when we look closely they reveal a mysterious, ambiguous character. Sometimes there seems to be no logic to them at all.

It is inherent to artworks that they undermine our everyday, passive way of looking, stimulating and confusing us. At such a moment, our gaze is almost literally shaken loose from its customary thought patterns and associations, triggering a different mindset that may let us see a more truthful reality.

The exhibition Illusion and Revelation by Ernst Caramelle and the collection presentation also named Illusion and Revelation are on show in the Bonnefantenmuseum from December 24. The exhibition of Ernst Caramelle shows that the relationship between perception and visible reality is much more complex and ambiguous than we assume. This insight serves as the starting point for the focus in the presentation of works from the collection.

This collection presentation features art from the following artists:

Francis Alÿs / Monika Baer / Joan van Barneveld / Centrum voor Cubische Constructies / René Daniëls / Jan Dibbets / Peter Doig / Marlene Dumas / Bob Eikelboom / Hadassah Emmerich / Luciano Fabro / Lara Gasparotto / Nancy Haynes / David Heitz / Rodrigo Hernández / Thomas Hirschhorn / Pierre Huyghe / Duan Jianyu / Suchan Kinoshita / Sol LeWitt / Laura Lima / Mark Manders / Katja Mater / Tanja Ritterbex / Roman Signer / Lily van der Stokker / Joëlle Tuerlinckx / Emo Verkerk / William P.A.R.S. Graatsma / Kim Zwarts

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Lu dans Le soir du 28 décembre 2016, cet article de Aliénor Debrocq :

Jacques Charlier

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Jacques Charlier
– Liège (B), Photos Sketches et Hard’Music, galerie Nadja Vilenne, jusqu’au 15 janvier 2017
– Charleroi (B), Panorama, BPS22, du 24 septembre au 22 janvier 2016
– Antwerpen (B), De Broodthaers à Braeckman – La photographie dans les arts plastiques en Belgique, Muhka, du 6 octobre 2016 au 5 février 2017
– Paris (F), Images et mots depuis Magritte, Centre wallonie Bruxelles, Paris, 12 octobre – 29 janvier 2017

Eleni Kamma
– Tel Aviv (Israël), so close, yet so far away, Petach Tikva Museum, du 12 janvier au 11 mars 2017
– Pafos (Gr), Planetes, Group opening exhibition of Cultural Capital of Europe Pafos 2017, Old Powerhouse and Shelley Street Residence, du 28 janvier au 28 février 2017

Suchan Kinoshita
– Düsseldorf (D), Behind the curtain. Concealment and Revelation since the Renaissance. From Titian to Christo, Museum Kunstpalats, du 29 septembre au 22 janvier 2017.
– Maastricht (Nl), Illusion and Revelation. From the collection of the Bonnefantenmuseum. Bonnefantenmuseum, du 24 décembre au 27 novembre 2017

Charlotte Lagro
– Heerlen (Nl), Parkstad Limburg Prijs. SCHUNCK* Heerlen, du 11 décembre au 19 mars 2016

Jacques Lizène
– Charleroi (B), Panorama, BPS22, du 24 septembre au 22 janvier 2016
– Antwerpen (B), De Broodthaers à Braeckman – La photographie dans les arts plastiques en Belgique, Muhka, du 6 octobre 2016 au 5 février 2017
– Hornu (B), Rebel Rebel, art contemporain et rock, MAC’S, musée des arts contemporains, du 23 octobre au 27 janvier 2017
– Hasselt (B), Identity as a TM, Stadstriënnale Hasselt-Genk, du 1er octobre au 8 janvier 2017
– Paris (F), Images et mots depuis Magritte, Centre wallonie Bruxelles, Paris, 12 octobre – 29 janvier 2017
– Athens (Gr), Urgent Conversations, Athens – Antwerp, EMST, 31 octobre – 29 janvier 2017
– Nantes (F), Festival Flash Danse, Théâtre Universitaire de Nantes, du 16 au 26 janvier 2017

Emilio Lopez-Menchero
– Charleroi (B), Panorama, BPS22, du 24 septembre au 22 janvier 2016
– Hasselt (B), Identity as a TM, Stadstriënnale Hasselt-Genk, du 1er octobre au 8 janvier 2017

Jacqueline Mesmaeker
– Paris (F), Images et mots depuis Magritte, Centre wallonie Bruxelles, Paris, 12 octobre – 29 janvier 2017

Pol Pierart
– Charleroi (B), Panorama, BPS22, du 24 septembre au 22 janvier 2016
– Paris (F), Images et mots depuis Magritte, Centre wallonie Bruxelles, Paris, 12 octobre – 29 janvier 2017
– Paris (F), galerie Bernard Bouche, 3 décembre – 26 janvier 2017