Archives par étiquette : Aglaia Konrad

Harem, Aglaia Konrad, Projekt Skulptur and guest : Suchan Kinoshita, Isofolies, les images (1)

Seen from the perspective of the discipline of sculpture, both bodies of work in the exhibition Harem would have to be considered as not entirely legal. Also, together both types of work give an unforeseen ‘light touch’; especially in the way they are hindering the chances of a full view on either element. The two bodies of work are in each others way; the black boulders present obstacles, ruining the chances of a single perspective, each work obstructing the view of the other. The eye must move and keep moving, in search of a vantage point from where a good view and a perspective might be possible. This work of Aglaia Konrad, Schaubuch-Skulptur, is constructed from snapshots, taken over the past decades and turned in to a pocket album. lt seems to represent classical ‘sculpture’, when displayed in photography, white the work of Suchan Kinoshita, called lsofollies, seems to have been made by hiding all of its material content from the eye. lt is a well-kept secret that the boulder’s content consists of wrapped up leftover garbage from museum installations. Rejecting any rationale for the incidental merging of the two bodies of work, this exhibition makes space for a selected number of abjects in a limited environment, which we call ‘Harem’.

Aglaia Konrad Projekt: Skulptur, 2017 BW
prints on ecoboard, stones, 178 x 120 cm. Ed 3/3

Suchan Kinoshita
Isofollies, 2007-2017
Mixed media (wrapped plastic, oil). Variable dimensions

 

Harem, Aglaia Konrad, Suchan Kinoshita, vernissage ce samedi 2 juin

Aglaia Konrad

Béatrice de Gelder et la galerie Nadja Vilenne
ont le plaisir de vous convier au vernissage de l’exposition

Beatrice de Gelder and Nadja Vilenne gallery
invite you to the opening of the exhibition

Harem

Aglaia Konrad, Projekt Skulptur and guest : Suchan Kinoshita, Isofollies.

Samedi 2 juin à 17h – Saturday June 2, 5pm

Rue de l’Abattoir, 4 – Slachthuisstraat, 4 1000 Bruxelles / Brussel

Exposition / Exhibition 2.06 – 14.07. 2018
Je. Ve. Sa. de 14 à 18h / Thu. Fr. Sa. 2-6pm

Espace d’art associé
Gluon Foundation for Art & Research
rue de l’Abattoir, 4 / Slachthuisstraat, 4 1000 Bruxelles / Brussel

Art Brussels 2018, les images (3)

exhibition view

Exhibition view

Aglaia Konrad

Aglaia Konrad
Demolition City, 1992-2016
20 épreuves à la gélatine argentine sur papier baryté

Marie Zolamian

Marie Zolamian
Sans titre (Berlin), 2016
huile sur papier marouflée sur bois

Marie Zolamian

Marie Zolamian
Est-Ouest-Sud-Nord, 2017
Huile sur toile marouflée sur panneau, 31 x 43 cm

Jacques Charlier

Jacques Charlier
Je m’appelle Barbara… 1974
Technique mixte sur papier, (14) x 21 x 29,7 cm

Lili Dujourie

Lili Dujourie

Aglaia Konrad, Il Cretto, Argos, Bruxelles

Projection chez Argos du dernier film d’Aglaia Konrad, durant le Week-end de Art Brussels.

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad

AGLAIA KONRAD – IL CRETTO
BLACK BOX – SCREENING

Premiere Screening!

Late opening night screenings in the presence of the artist on Saturday 21st of April from 6pm to 9pm

Over the years the Brussels-based artist Aglaia Konrad brought together an enormous archive of images shot in such diverse cities as Sao Paulo, Beijing, Chicago, Dakar, Tokyo, Cairo or Shanghai. In her new film, Aglaia Konrad brings us to Sicily where we discover one of the most extensive contemporary artworks in the world. Known as The Great Cretto (or Cretto di Burri or Cretto di Gibellina), the site specific artwork has been conceived and undertaken by the Italian artist Alberto Burri (1915-1995). Started in 1984 and left unfinished in 1989, the work was completed in 2015 to mark Burri’s one hundredth birthday. Located on the old city of Gibellina which was completely destroyed by the 1968 Belice earthquake, this landscape intervention appears as a series of white concrete fractures on the ground and pays homage to the victims of the disaster.

Aglaia Konrad
IL CRETTO
2018, 16mm transfered to video, 13′, color, sound.

Argos Arts
Adresse : Rue du Chantier 13, 1000 Bruxelles

Aglaia Konrad, The Photographic, Other Pictures, SMAK, les images

The Photographic I – Other Pictures is the first part of a diptych spread over two years. The exhibition comprises new and existing work by around 20 international artists and photographers ranging from the 1960s to the present. The selection demonstrates a lively interest in the power of the still image as a means of examining the world. It concentrates on indefinable images with an open view, whose multi-layering requires slow reading.

Aglaia Konrad

Aglaia Konrad

Aglaia Konrad

photographies Dirk Pauwels.

The films and photos of Aglaia Konrad (1960, Salzburg) take architecture and the urban space as their subject matter. Aerial shots, street views and angular cut-outs of the built environment in metropolitan cities emphasize the physical and psychological impact of mostly modernist façades, con- crete housing blocks, peripheral neighbourhoods, shipyards and generic non-spaces such as airports, roadways and other infrastructure. Her keen observations of the empty metropolis simultaneously expose the economic, historical and social layers of a globalized society. A major part of her oeuvre consists of in situ installations of large-scale photographic prints stuck directly onto glass or walls, thus creating tension between the spaces depicted in her photographic images and the physical space of the exhibition architecture – a strategy that lies at the heart of her artistic practice. The monumental geometry of her montages, grids and spatial interventions, moreover, amplifies the abstract nature of her photo stills. Every presentation, whether in an exhibition space or in one of her artists’ books, reinterprets selections from her prodigious archive, displaying a love of systematic lists and collections, particularly for the alphabet and atlases. Aglaia Konrad lives and works in Brussels.

Gent (B), The Photographic I – Other Pictures, SMAK, du 7 octobre au 07 janvier 2018

Fiac Paris 2017, les images (1)

Fiac 2017

Fiac 2017

Exhibitions views

Fiac 2017

Aglaia Konrad. Demolition City, 1992-2016,
20 épreuves à la gélatine argentine sur papier baryte.

Konrad’s photography plays with notions of «original » and « index, » « nature » and « culture, » with the fact that the original « stone » cannot be dated and with its « social » shaping in the historic present. This reversibility is further witnessed in Demolition City (1991/2016) the photographie series she made of the demolition of a terrace of houses on Rosier Faassenstraat in Rotterdam, which looks as if it might read either way, forwards or backwards, reiterating both the construction or deconstruction of walls, floors, and roofs.(…) (Penelope Curtis, From A to K)

Fiac 2017

Suchan Kinoshita, viewer desk, custumised viewers

Fiac 2017

Olivier Foulon
Sans titre (un citron), 2017
Sans titre (un citron), 2017

Fiac 2017

John Murphy

John Murphy
Cadere. Waste and Cadavers All, 2015
Photocopy, gouache, pen and ink on board, 46 x 54 cm

Fiac 2017

Fiac 2017

John Murphy
As high above as the ditch is deep, 2015
Stuffed Black Rooster, rope, variable dimensions

John Murphy

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

Fiac 2017

John Murphy

John Murphy
Fall upward, to a height ( verso & recto), 2015
Photograph, pen and ink on board. (2) x 78 x 54 cm

(…) John Murphy has a similar 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.(…)

Fiac 2017

Aglaia Konrad, The Photographic I – Other Pictures, SMAK, Gent

Aglaia Konrad

Aglaia Konrad participe à l’exposition The Photographic I – Other Pictures. Du 7 octobre au 7 janvier 2018, au SMAK à Gent. Vernissage le 6 octobre

The Photographic I – Other Pictures est la première partie d’un diptyque, répartis sur deux années. L’exposition comporte des oeuvres nouvelles et existantes d’une vingtaine d’artistes et de photographes internationaux des années ’60 à aujourd’hui.

La sélection témoigne d’un vif intérêt pour la force de l’image tranquille, comme moyen d’étudier le monde. Elle se concentre sur des images indéfinies et ouvertes, dont la structure stratifiée demande une lecture lente.

John Szarkowski a formulé un jour la célèbre distinction entre les photos qui fonctionnent comme une fenêtre sur le monde et les photos qui reflètent l’intention de leur réalisateur. Other Pictures montre que les images photographiques concrétisent simultanément les deux fonctions: elles se tournent vers le monde tout en approchant leur sujet de manière résolument subjective et sensorielle.

Les images photographiques ne montrent pas seulement notre environnement, mais en constituent également des éléments essentiels. De nouvelles manières de produire et de diffuser des images, et l’innovation technologique sur le plan civil et militaire, font chaque fois évoluer le média dans de nouvelles directions et s’infiltrent aussi dans la pratique artistique actuelle. Un des objectifs de cette exposition consiste à savoir comment les photographes et les artistes réagissent à ces possibilités et défis récentes.

The Photographic I – Other Pictures montre entre autres des oeuvres des artistes et photographes suivants: Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier et Tobias Zielony.

Roma Publications Amsterdam publie un magazine d’exposition dans ce cadre.

Symposium le 23 – 24 november 2017
En collaboration avec le groupe de recherche Thinking Tools (KASK Anvers), un symposium sera organisé le jeudi 23 et le vendredi 24 novembre 2017. Dans un programme de lectures, de conférences d’artistes et de présentations de portefeuille, des conférenciers nationaux et internationaux commenteront le positionnement actuel de la photographie dans le contexte de l’art contemporain

The Photographic I – Other Pictures is the first part of a diptych spread over two years. The exhibition comprises new and existing work by around 20 international artists and photographers ranging from the 1960s to the present.

The selection demonstrates a lively interest in the power of the still image as a means of examining the world. It concentrates on indefinable images with an open view, whose multi-layering requires slow reading.

John Szarkowski once formulated the familiar distinction between photos that act as a window on the world and photos intended to reflect their maker. Other Pictures demonstrates that photographic images can perform both functions at the same time: they focus on the world and they invariably approach their subject in a subjective and sensory manner.

Photographic images not only show the world we live in, but are among its essential building blocks. New ways of producing and distributing images, and technological innovation in the civil and military spheres, make the medium repeatedly evolve in new directions and also seep into current artistic practice. The way photographers and artists handle these recent possibilities and challenges is one of the focal points of this exhibition.

The Photographic I – Other Pictures comprises work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier and Tobias Zielony.

To accompany this presentation, Roma Publications Amsterdam are publishing an exhibition magazine.

Symposium on the 23th and 24th of November 2017
A symposium organised in association with the Thinking Tools research group (KASK Antwerp) is being held on Thursday 23 and Friday 24 November 2017. In a programme comprising lectures, talks by artists and portfolio viewings, national and international speakers present a picture of where photography currently stands in the field of contemporary art.

Book, Aglaia Konrad, Angle 17°, shapping stones

Aglaia Konrad

Konrad has in her photographic work developed an unique way of documenting the escalation of global urbanization. Her archive holds thousands of pictures that focus on infrastructure and architecture, an almost boundless collection that highlights the relationship between society and place. The images allow the viewer to participate in scenarios with blurring and fluctuating lines between the old and the new, between architecture and nature, between power and symbols. In Shaping Stones Konrad combines found architecture with created architecture, anonymous buildings with acclaimed, and ruins of ancient times with modern archaeological excavations. By formally equating opposites, she suggests an existential and timeless world.

Aglaia Konrad

Aglaia Konrad

Angle 17°
24 pages, 14,8×20 cm
Edition of 360, numbered
Editions Multipress

Book, Aglaia Konrad, Schaubuch / Skulptur, Roma Publications

Aglaia Konrad

The photographs in this book, taken by Aglaia Konrad between 2010 and 2017 in museums throughout Europe, share an interest in ‘sculptural architecture’. Her focus on the spatial display of sculpture allowed for an unrestricted subjective choice.

Aglaia Konrad

Aglaia Konrad

Roma Publications
Artist: Aglaia Konrad
In cooperation with: MONOLITH production
Year: 2017
Design: Roger Willems
Number of pages: 192
Size: 13 x 20 cm
ISBN: 9789492811028

Aglaia Konrad, Permanent Déplacement, FRAC Grand Large – Hauts-de-France, Dunkerque

Aglaia Konrad

Aglaia Konrad, Carrara Cut, 2013
Pigment digital print on fibaprint mate 280 gr and aluminium, 200 x 100 cm. Collection FRAC Grand Large – Hauts-de-France, Dunkerque.

Le communiqué de presse :

L’exposition « Permanent Déplacement » met en lumière le travail artistique de Sarah Feuillas, réalisé depuis sa sortie des Beaux-arts en 2011, en lien avec une œuvre de l’artiste autrichienne Aglaia Konrad, récemment acquise par le Frac. Toutes deux s’intéressent à l’architecture et aux paysages transformés par les hommes. La photographie tient une place importante dans leurs démarches. Elle permet de faire des repérages de sites, de prélever des détails, d’isoler des formes et d’accentuer des points de vue. Ces images, soigneusement cadrées, associées ou retravaillées, donnent lieu à de véritables lectures sociales, historiques, économiques et politiques du paysage.

Aglaia Konrad choisit de « monter » ses photographies dans des suites linéaires discontinues. Après avoir filmé des maisons modernistes aux allures sculpturales, en prêtant une attention particulière aux matières et aux surfaces, elle est remontée jusqu’aux carrières de marbre de Carrare en Italie pour scruter la transformation des falaises.
Le triptyque Carrara Cut associe des images coupées – comme sont découpés les blocs de marbre – et marouflées sur la surface miroitante de plaques d’aluminium. Le choix du noir et blanc fait ressortir les surfaces accidentées des falaises et leurs lignes géométriques. Parce que de nombreux chefs-d’œuvre de la sculpture et de l’architecture occidentales commencent avec l’extraction de la pierre, son exploitation n’a cessé depuis l’Antiquité et continue d’alimenter le commerce mondial. La transformation du paysage est comprise ici comme un acte culturel que l’artiste archive à un moment donné. L’œuvre fait penser au déroulé d’un film dont l’acteur principal aurait été effacé. Loin d’une vision nostalgique ou romantique du paysage en ruine, Aglaia Konrad agit pour lui donner une nouvelle forme. On peut ici penser aux interventions de Robert Smithson (1938-1973) dans le désert américain, comme sa célèbre Spiral Jetty à Salt Lake City. Avec cette construction minérale éphémère, il revendiquait l’acte artistique comme un principe d’interruption poétique dans le processus global de dégradation du paysage.

Le titre de l’exposition « Permanent Déplacement » peut évoquer cette confrontation au phénomène entropique, qui est inéluctable dispersion de la matière, principe physique d’instabilité et d’usure permanente. Comme Aglaia Konrad, Sarah Feuillas s’intéresse à la géologie des sites, leurs échos formels et leurs rythmes. Toutes deux s’attachent à reformuler les paysages et à révéler leur dimension narrative.

23.09.17 – 31.12.17
Vernissage le samedi 23 septembre à 17h