Archives mensuelles : août 2019

Agenda Septembre 2019

Jacques Charlier
– Charleroi (B), Roman Photo, Musée de la photographie, du 25 mai au 22 septembre 2019

Maen Florin
– La Louvière (B), Parcours dans les collections, Musée Boch Keramis, jusqu’au 29 septembre 2019
– Antwerpen (B), On my Way, galerie Plus-One, du 7 septembre au 13 octobre 2019
– Bruxelles (B), ho are you (curator : Myriam Louyest), Maison des Arts de Schaerbeek, 14 septembre – 1 décembre 2019

Charlotte Lagro
– Maastricht (Nl), Beating Time, collectiepresentatie hedendaagse kunst, Bonnefantenmuseum, jusqu’au 12 janvier 2020

Jacqueline Mesmaker
– Wien (Ost), Viennacontemporary, galerie Nadja Vilenne, curated section by Harald Krejci, 26 – 29 septembre 2019

Benjamin Monti
– Liège (B), Restructuration du travail (solo), Space Collection, du 6 au 20 septembre 2019

John Murphy
– Metz (F), Opéra Monde. La quête d’un art total, Centre Pompidou Metz, du 22 juin au 27 janvier 2020

Werner Cuvelier @ Nadja Vilenne, finissage ce dimanche 1er septembre

La galerie Nadja Vilenne a le plaisir de vous convier
au finissage de l’exposition de

Werner Cuvelier
ce dimanche 1er septembre de 15 à 19h

L’exposition reste accessible jusqu’au samedi 6 septembre 2019

En présence de l’artiste et du commissaire de l’exposition, Dirk d’Herde
Dirk d’Herde est ingénieur civil architecte, managing partner chez Archipelago architects, collectionneur et co-fondateur de la Fondation Werner et Magda Cuvelier.

A 16 heures : performance de Daniel Dariel
« Mono Sphinx » par Daniel Dariel et Mathieu Lilin

Werner Cuvelier, les images (6)

Werner Cuvelier
Pachthof Melkerij Asse, 2005
Huile sue carton sur panneau, 37 x 220 cm

Werner Cuvelier
Cirkel / vierkant / ruit, 2006
Reeks 1/3 2/3 3/3

Werner Cuvelier
Balk, 1990-2013
Huile sur panneaux, (91) x 12 x 8 cm

Werner Cuvelier
Cirkel / vierkant / ruit, 2006
Reeks 1/8 t.e.m 8/8

TB.87.01 Espèces d’Espaces,1987, 21,3 x 15 cm, gemarbr
TB.94.06 Otterlo, 1994 20 x 14,7 cm, gemarbr.

Constructie, 1997-2001
Technique mixte, 13,5 x 33 x 10,5 cm

Werner Cuvelier
Sluishuisjes van Canal de Marne à La Saone 2000
Photomontage 151 x 72 cm

Werner Cuvelier, les images (5)

TB.00.01 Flagey, 2000, 13,3 x 9,1 cm, gemarbr.
TB.86.01 symmetrie,,1986, 18,1 x 13,2 cm, bruine band
TB.06.06 France/Espana, 2006, 12,8 x 8,9 cm, gemarbr.
TB.12.06 Cirkels & co., 2012, 26,2 x 17,3 cm, beige band
TB.92.05 Vaison-la-Romaine, e.a, 1992, 14,6 x 10,1 cm, gemarbr.
TB.94.02 Gulden Snede & co.,1994, 18,7 x 14,2 cm, gemarbr.
TB.94.07 Fibonacci & co., 1994, 18,5 x 13,5 cm, bruine band
TB.03.03 France/Espana/Chauny, 2003, 17,1 x 13,8 cm, grijze band
TB.97.02 Donau,1997, 17,4 x 11,3 cm, grijze band
TB.93.08 Drau,1993, 15,8 x 11,3 cm, gemarbr
TB.90.01 Perec & co., 1990, 15 x 10,4 cm blauwe band
TB.93.03 boek I , 1993, 147 x 11 cm, gemarbr
TB.92.03 Wien/Wenen, 1992, 11 x 14, 6 cm, beige band
TB.90.07 Georges Perec & co., 1990, 13,2 x 10 cm, bruine band
TB.13.05 Connelles, 2013, 20,5 x 14,2 cm, zwarte band
TB.99.02 Landschappen, Soria,1999, 18 x 13,6 cm, grijze band

Werner Cuvelier
Zonder titel, 1997
Technique mixte, 115 x 16,5 x 12,5 cm

Werner Cuvelier, les images (4)

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

Werner Cuvelier
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
gips + eigen preparaat / technique mixte sur plâtre

Werner Cuvelier, les images (2)

Werner Cuvelier
Sous-préfecturen France 1975-2012
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

Agenda Août 2019

Jacques Charlier
– Charleroi (B), Roman Photo, Musée de la photographie, du 25 mai au 22 septembre 2019
– Bruxelles (B), Unbuilt Brussels #3, CIVA, jusqu’au 18 août 2019

Maen Florin
– La Louvière (B), Parcours dans les collections, Musée Boch Kerammis, jusqu’au 29 septembre 2019

Olivier Foulon
– Berlin (D), Resources, Olivier Foulon, Megan Francis Sullivan, Sarah Lehnerer
invited by Cornelia Kastelan, Eclair, 19 juillet – 1er septembre

Aglaia Konrad
– Lisboa (Pt), fiction ans fabrication, MAAT, Museum Arrt Architecture, Techology, du 20 mars au 19 août 2019
– Arles (F), Cartes postales, nouvelles d’un monde rêvé, Les Rencontres de la photographie 2019, Musée départemental Arles Antique, du 30 juin au 25 août 2019

Charlotte Lagro
– Maastricht (Nl), Beating Time, collectiepresentatie hedendaagse kunst, Bonnefantenmuseum, jusqu’au 12 janvier 2020
– Maastricht (Nl), Studio #1 Charlotte Lagro, The fifth Gate, Bonnefantenmuseum, 16 juin, 1er septembre 2019

John Murphy
– Metz (F), Opéra Monde. La quête d’un art total, Centre Pompidou Metz, du 22 juin au 27 janvier 2020

Jacqueline Mesmaeker, La Verrière, revue de presse (5)

Lu dans la livraison Mai/juin du Witte Raaf :