Le duo Olivier Foulon / Ella Klaschka ainsi que Eran Schaerf participent à l’exposition « Mind Fabric », produite par A.VENU.DE.JET.TE, Institut de Carton avec Ester Goris.
Vernissage le samedi 23 janvier de 16 à 20h
Exposition accessible tous les dimanche de 14 à 18h jusqu’au 28 mai 2016
Avenue de Jette, 41, 1080 Bruxelles.
[sociallinkz]
Sophie Langohr participe à l’exposition « L’image qui vient », produite par L »Iselp, Insitut supérieur pour l’étude du langage plastique, à Bruxelles. Vernissage ce 21 janvier.
Marcel Broodthaers, Bateau Tableau, 1973 / Projection de 80 diapositives / © Estate Marcel Broodthaers
L’image qui vient s’interroge sur le silence central des images, sur leur pensée muette, leur secret fondamental. Ce silence, ce secret, constitue les indices d’une action de l’image tendant à formuler une idée ou une sensation, mais la cherchant, l’affleurant, l’atteignant presque…
L’image pense, médite, débat avec elle-même, pressent (et fait pressentir) « ce qui monte et va surgir » (Pascal Quignard).
L’image qui vient consiste à rassembler des œuvres d’artistes d’aujourd’hui qui émettent cette vibration intérieure, témoin d’un conflit perceptible mais non explicitement visible.
L’exposition entend articuler ces travaux autour d’une œuvre de Marcel Broodthaers intitulée Bateau Tableau (1973) : une projection de diapositives décomposant, image par image, une marine anonyme du XIXe siècle. C’est l’image à l’acte, la pensée par l’image, pensée qui nous approche de son terme, mais ne trouve aucune conclusion, renoue sans cesse avec le cycle hypnotique de ses méditations.
Marcel Broodthaers (BE), Marco de Sanctis (IT), Sophie Langohr (BE), Yves Lecomte (BE), Chantal Maes (BE), Pauline M’Barek (DE), Léa Mayer (FR), Cédric Noël (FR), Oriol Vilanova (ES)
Commissariat : Laurent Courtens et Catherine Henkinet
Du 22 janvier au 19 mars 2016
Vernissage le 21 janvier / 18h30 – 21h
[sociallinkz]
Emilio Lopez Menchero et Jacques Lizène participent à l’exposition « Espèces d’espaces »
Centre culturel de Namur. Abattoir de Bomel.
Rue Piret-Pauchet à 5000 Namur
Du 12 décembre au 16 janvier 2016
Jacques Lizène
Sculpture génétique 1970, en remake 2015, Picasso croisé
Collection Space
Conçue par Lieux-Communs, cette exposition présente un large panorama de la création actuelle mettant l’accent sur les notions d’espace, de territoire, de ville, de quartier … Elle fait dialoguer une sélection d’oeuvres de la SPACE Collection avec des artistes de Namur et d’ailleurs. qui ont pour la plupart produit des pièces spécifiques. Cet événement est pensé comme une rencontre entre des démarches artistiques. citoyennes. associatives et publiques afin de faire découvrir les arts plasllques contemporains à un large public, un projet également porté par la future SPACE Namur. déja amorcée par la mise en place d’un comité de sélection local. La présentation du SPACE Founta1n Show d’Alain De Clerck, génératrice de culture mobile, vise à populariser l’idée que Namur rejoigne prochainement le réseau avec une sculpture interactive définitive.
Avec Bilal Bahir, Nina Berman, Jacques Charlier, Alexandre Christiaens, Eva Clouard, Fred Collin, Alain De Clerck, Alain Declercq, Paul Devens, Mathilde Denison, Tamara Erde, Marion Fabien, Benoît Félix, Michel François, Audrey Frugier, Michaël Guerra, Elodie Guillaume, Alice Janne, Florian Kiniques, Mehdi Georges Lahlou, Samuel Laloux, Sam Langelez, Jacques Lizène, Emilio Lopez-Menchero, Sylvie Macias-Diaz, Dorothée Maziers, Julien Morel, Romina Remmo, Stéphanie Roland, Pauline Tonglet, Dorothée Van Biesen, Nathalie Vanheule et Marc Wendelski.
Lancée en 2002 par l’artiste belge Alain De Clerck, la SPACE Collection construit un réseau culturel de villes liées entre elles par une collection transfrontalière d’art contemporain.
Les œuvres sont acquises grâce à des sculptures interactives implantées dans l’espace public. Quand un passant glisse une pièce dans une des bornes de la SPACE, il anime une sculpture « génératrice de culture » et reçoit, s’il est chanceux, un cadeau culturel. L’argent récolté est augmenté grâce à du mécénat et permet d’acheter des œuvres d’art. A Liège et à Maastricht, les deux premières génératrices de culture ont déjà permis d’acquérir 80 œuvres mélangeant les genres, les supports, les techniques et les artistes.
[sociallinkz]
Eleni Kamma participe à l’exposition L’Intru (Invaders) organisée à Londres par Rich Mix. Vernissage le 12 décembre.
L’INTRU (INVADERS) is a multidisciplinary exhibition and performance program that deals with issues of post-colonialism, memory, identity and narration.
Gathering together artists originally from Portugal, England, Rwanda, Greece, Germany, Argentine, Hungary, Spain, Serbia, Poland and Taiwan, who work in performance, object, photography, video and installation, L’INTRU aims to question these potent issues: postcolonialism, personal and collective memory, narration and identity. It not only asks who the invaders are, it also speaks of the personal narratives that these forces provoke within the individual. After a successful run in Vienna, the exhibition is being brought to London with the intention of engaging with local issues: capitalism, gentrification and the cuts. Join us for a packed performance program, on the front row will be some of the most prominent London artists.Curated by Ana Mendes
ARTISTS
Anamaria Kardos, Ana Mendes, Carla Cruz, Antonio Contador, Eleni Kamma, Franziska Becher, Justyna Scheuring, Mario Asef, Ishimwa Muhimanyi, Rosana Antoli, Hsinyen Wei and Sandra Djukic.
It takes courage and breath to speak up
HD video, color, stereo sound, 16:9, NL, 2014, 5 min 59 sec
The work It takes courage and breath to speak up features autonomously as a possible prologue of the exhibition, encouraging a thoughtful approach from the start. In this video work, Kamma reflects on the Greek ‘parrhesia’ or freedom of speech, a notion that stands for the expression of opinion while also alluding to an obligation to speak out in service of the greater good — in spite of the vulnerability that the individual may experience as a consequence. The choreographic movement of the camera captures three performers who occupy a theatre space representing a typical public agora. They come together as a community and together summon the courage to voice their thoughts freely, ultimately disbanding to forge their own paths.
Yar bana bir eğlence’ is the customary opening sentence in traditional Turkish shadow theatre, Karagöz. The central theme in this form of street theatre, which remained immensely popular until the late 18th Century, is the amusing interaction between the two protagonists. Hacivat embodies the better- educated well-to-do in society, while Karagöz is the outspoken representative of the man on the street, venting his opinions through ‘parrhesia’. This projected image stokes the imagination, but it is the voice of the narrator that assumes the more dominant role. The narrator utters what the people dare not speak but still wish to hear. He airs their grievances regarding social injustices. He freely criticises from the shadows of local politics, commanding an almost preposterous level of expressive freedom in a totalitarian regime such as the Ottoman Empire. During her residency in Istanbul in 2013, Kamma witnessed the civil protests in Taksim Gezi Park. It struck her that a clear link could be made between the way in which the public space is currently taking a new shape and how it did so in the Ottoman era: through ‘parrhesia’ and political satire, public participation and humour. A keenly relevant observation of current affairs that she has translated into her most recent work.
[sociallinkz]
Eleni Kamma est l’invitée de Art Seen Projects à Nicosie (Chypre)
In Fact What Do You See Behind this Curtain?
November 21 – December 22, 2015
Curator: Maria Stathi
Eleni Kamma
People didn’t see at first that this man was there to demonstrate in silence against the State
Silkscreen print on discarded silkscreen mesh,2014
foto credits: Thyra Smidt
Art Seen Projects is delighted to present Eleni Kamma’s first solo exhibition in Cyprus. The exhibition showcases a series of video installations under the title Yar bana bir e?lence. Notes of Parrhesia that explore the theme of the Greek word ‘parrhesia’, a prominent aspect in Kamma’s most recent works responding to the current political and cultural affairs. Her works explore the deployment of free speech in different contexts, from the general public to political parties, in order to question how the notion of entertainment relates to personal expression and public participation.
Kamma explores the traditional Ottoman shadow theatre, Karagoz, a common tradition in the region, in countries such as Cyprus, Egypt, Turkey, Greece and Romania. Karagoz is the representative of a common man who expresses himself with ‘parrhesia’ revealing the truth on social and political issues of society with unlimited freedom of speech. The shadow puppeteer narrates stories behind the theater curtain, telling the unspoken as an honest representation of society. According to Emin Senyer, contemporary Karagoz master, theater is society’s mirror and Karagoz is exactly that. In fact, in Karagoz’s jargon the theater curtain (perde) is called “mirror”. ‘Now, in the rapidly evolving information age, the transition from oral to written communication seems to occupy a minor footnote in cosmopolitan history. The voice of Karagöz was silenced in the 19th Century when political satire was forbidden. The social power of oral theatre was also lost due to the influence of Western theatre culture and the introduction of the written word’ as Beatrijs Eemans describes on Kamma’s recent solo exhibition at Netwerk, Belgium. How to move forward? Can we learn something from the old masters? Can old tools be rethought? This is where the artist links to the Gezi Park protests in 2013, in which humor and creativity were key elements in mocking the political regimes. Kamma works with the aesthetic language and learns from traditional mediated formats that are slowly becoming extinct such as the theatre of shadows, aiming at creating awareness and proposing new practices on being political through her research.The video It takes courage and breath to speak up reflects on ‘parrhesia’ which implies not only freedom of speech, but also the obligation to speak the truth for the common good, even at a personal risk. Camera moves in circles, choreographing and registering three performers around a microphone trying to “breathe” theater as public space. They come together as a group, but also depart from it, following their own individual rhyme. To speak your mind, you must first overcome fear by taking a deep breath.
Eleni Kamma
Yar bana bir eğlence: Notes on Parrhesia.
Video Installation, 2015
[sociallinkz]
EN
Walter Swennen
Ein perfektes Alibi
November 28th 2015 until February 14th 2016
Opening: November 27th 2015, 7.30 p.m.
After initially working in the field of poetry and performance Walter Swennen (born 1946) developed an extensive artistic oeuvre since the early 1980s that makes decided use of painting as a pictorial medium. In the process, the artist retains a conceptual proximity to a painting that is now once again all too gladly elevated as art’s supreme discipline. And although it might seem traditionalistic upon first glance he nevertheless concentrates on the self-made picture with all the strengths and weaknesses of painterly means.
It is the material circumstances of painting, the convention of the panel picture that Swennen plumbs in order to generally explore the quality of iconic and symbolic signs. Put differently, he tests image and word through painting with a view to its significance and effect. This approach can be characterised as a cognitive critical project that, references philosophical, semiotic and psychological discourses despite being carried out wholly in painting as medium, currency and institution. It is consequently not surprising that every picture once again represents its innermost problem that in each case must be handled separately and brought to a painterly solution and must also simply ‘succeed’ as a picture. Walter Swennen’s oeuvre is accordingly heterogeneous. It thrives on the complexity of the individual picture without taking style, manner or genre into consideration.
Organised in close cooperation with Walter Swennen the retrospective exhibition “A Perfect Alibi” at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf features circa 35 works by the Brussels-born artist, who now again lives and works in his native city. Featuring numerous loans from collections in Belgium, the Netherlands and French, the works made over a period of some thirty-five years provide an exemplary overview of the production of this artist, which can now be seen in such detail for the first time in Germany.
The exhibition likewise serves also the opening salvo for a series of events in the Kunstverein that are specifically devoted to the increasingly problematic position of the object in art – or rather the ‘thing art’.
D.
Walter Swennen
Ein perfektes Alibi
28. November 2015 bis 14. Februar 2016
Eröffnung: 27. November 2015, 19.30 Uhr
Walter Swennen (Jg. 1946) hat nach ersten im Bereich der Dichtung und Performance anzusiedelnden Arbeiten seit Anfang der 1980er Jahre ein umfangreiches künstlerisches Werk entwickelt, das Malerei dezidiert als Bildmedium einsetzt. Dabei lässt es der Künstler keineswegs an konzeptueller Distanz zu einer heute wieder allzu gern zur Königsdisziplin der Kunst überhöhten Malerei fehlen. Und dennoch konzentriert er sich, was auf den ersten Blick traditionalistisch anmuten mag, ganz auf das mit allen Stärken und Schwächen malerischer Mittel eigenhändig gemachte Bild.
Es sind die materiellen Gegebenheiten der Malerei, die Konvention des Tafelbildes, die Swennen auslotet, um die Qualität ikonischer und symbolischer Zeichen generell zu erkunden. Anders gesagt testet er Bild und Wort durch die Malerei hindurch auf ihre Aussagefähigkeit und Wirkung. Dieser Ansatz ließe sich als erkenntniskritisches Projekt bezeichnen, das sich, wenngleich ganz und gar in der Malerei als Medium, Währung und Institution ausgetragen, auf philosophische, semiotische und psychologische Diskurse bezieht. Es ist insofern kein Wunder, dass jedes Bild aufs Neue sein ureigenes Problem darstellt, das jeweils für sich bearbeitet und zu einer malerischen Lösung gebracht werden, als Bild eben auch ‚gelingen’ muss. Entsprechend heterogen stellt sich das Werk Walter Swennens dar. Es lebt aus der Komplexität des einzelnen Bildes, ohne Rücksicht auf Stil, Manier oder Genre zu nehmen.
Die in enger Zusammenarbeit mit Walter Swennen entstandene und retrospektiv angelegte Ausstellung „Ein perfektes Alibi“ im Kunstverein für die Rheinlande und Westfalen, Düsseldorf, versammelt rund 35 Arbeiten des in Brüssel geborenen und heute wieder dort lebenden und arbeitenden Künstlers. Die Arbeiten, darunter zahlreiche Leihgaben aus Sammlungen in Belgien, Holland und Frankreich, stammen aus einem Zeitraum von dreieinhalb Jahrzehnten und erlauben einen exemplarischen Einblick in das Werk des Künstlers, das erstmals in dieser Ausführlichkeit in Deutschland zu sehen ist.
Die Ausstellung bildet zugleich den Auftakt für eine Reihe von Veranstaltungen im Kunstverein, die sich gezielt dem problematisch gewordenen Stellenwert des Objekts in der Kunst – oder vielmehr dem ‚Ding Kunst’ – widmen wird.
[sociallinkz]
EN.
JOHN MURPHY
WHAT IS PAST IS PROLOGUE
Opening Thursday 26 November 2015, 6-9pm
27 November 2015 – February 2016
Rectangle, Brussels
Rectangle presents an exhibition by John Murphy.
Please join us on thursday 26 November, from 6 to 9 pm, at Rectangle, Rue Émile Féron 189, 1060 Saint-Gilles.
FR.
JOHN MURPHY
WHAT IS PAST IS PROLOGUE
Vernissage Jeudi 26 Novembre 2015, 18-21h
27 Novembre 2015 – Février 2016
Rectangle, Bruxelles
Rectangle est heureux de présenter une exposition de John Murphy.
Rejoignez-nous pour le vernissage jeudi 26 novembre à partir de 18h00 jusqu’à 21h00, à Rectangle, Rue Émile Féron 189, 1060 Saint Gilles.
[sociallinkz]
Une exposition en deux lieux: Objectif Exhibitions, Anvers et Galerie Nadja Vilenne, Liège.
An exhibition on two places : Objectif Exhibitions, Antwerp and Galerie Nadja Vilenne, Liège
John Murphy,
Opened in a Cut of Flesh, 2015
Postcard, pen, ink on board, 84 x 62 cm
John Murphy
Fall upward, to a height
Vitrine, publication, variable dimensions
John Murphy
Fall upward, to a height (Verso), 2015
Photograph, pen, ink on board, 78 x 54 cm
John Murphy
Lines Drawn Between 1972 And The Present, 1972
Charcoal on paper, 78 x 59,5 cm
[sociallinkz]
