Archives de catégorie : Michiel Ceulers

BAD + Bordeaux, les images (2)

Jacques Lizène
Art syncrétique [1964], sculpture génétique [1971] en remake 2011. Statue fétiche africaine croisée copie inspirée d’antique.
Valérie Sonnier
Le bassin des Beaux-Arts, 2024
Fusain et acrylique sur papier coréen, 150 x 210 cm
Michiel Ceulers
Je peux vous tutoyer (Man Man), 2018
Caulk and gloss paint on cardboard shoebox lids / artist frame; duck tape, 65,5 x 58 cm

Michel Assenmaker Firenze, 2023
Collage, 17,5 x 23,5 cm
Jacqueline Mesmaeker
Séquence II, 2020
Photographies couleurs, impression pigmentaire sur papier archivable, 42 x 29,7 cm.

Art Brussels 2024, les images

Aglaia Konrad
I love Rückbau, 2020
Video, color, sound, flatscreen, 16:9 vertical, 19 min.
 
Aglaia Konrad
Footnote 1. CAT, 2020
Digital print, clip frame, 42 × 30 cm
 
Aglaia Konrad
Footnote 3. Concrete, 2020
Digital print, clip frame, 42 × 30 cm
 
Aglaia Konrad
Footnote 2. Rückbaukristall, 2015
Digital print, clip frame, 42 × 30 cm
Michiel Ceulers
“Your clock will never fade like a flower (ah non je ne fais plus ça)”, 2024
oil, gloss, spray paint, wooden pieces, perspex, collage on canvas and wooden panel
60 × 103 cm
Suchan Kinoshita
Hängen Herum No. 5/6, 2023
metal, JBL flip essential, son

John Murphy
Selected works #2, #3, #6, #23, 1973
musical partitions, vitrine, h.99 cm
Jacqueline Mesmaeker
Contours clandestins, 2020
crayon sur papier, (10) x 42 x 29,7 cm
Aglaia Konrad
Shaping Stones, 2023
Impression sur bâche
Exhibition view
Alevtina Kakhidze
Sans titre, 2023
technique mixte sur papier, 20,5 x 15 cm, 2023
Michiel Ceulers
Immer Realistischere Malerei / Je cherche quelqu’un, 2024
Oil, acrylic and acrylic mirrors on canvas in found frame, 64 x 52 cm (4500) 
Benjamin Monti
Sans titres, de la série Miniatures, 2020 – 2022. 
Collages de photocopies, 9 x 9 cm (encadrés 25,5 x 18,5 cm)
Michel Assenmaker
Florence Delay, 2022
Collage, documents, 37,5 x 47 cm
 
Michel Assenmaker
Blumen, 2022
Collage, documents, 37,5 x 47 cm
 
Michel Assenmaker
Sans titre, 2021
Collage, documents, 37,5 x 47 cm
 
Michel Assenmaker
Berthe, 2021
Collage, documents, 37,5 x 47 cm
John Murphy
Portrait of the Artist as a Deaf Man, 1996
Framed photographic print, 70 x 60 cm
Michiel Ceulers
Pierre, Jacques et Jean endormis (thirty pieces of silver running away), 2024
Oil, spray paint, pigment and caulk on canvas / artist made frame; oil & caulk on canvas on wood, staples, 88 x 77 cm

Art Brussels, preview, John Murphy, Suchan Kinoshita, Michiel Ceulers

One of ltalo Calvino’s ‘Six Memos for the Next Millenium’ is concerned with the question of ‘lightness’. Quoting the De Rerum Natura of Lucretius, he muses on the idea that knowledge of the world tends to dissolve its solidity, leading to a perception of ail that is infinitely light and mobile. He talks, too (for these essays were conceived as lectures), of ‘the sudden agile leap of the poet-philosopher who raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness. Lucretius, he tells us, is a poet of the physical and the concrete, who nonetheless proposes that emptiness is as dense as solid matter. Just so, as lightness is inseparable from precision and determination. ‘One should be light like a bird, and not like a feather’, said the poet Paul Valéry.

If lightness has to do with the subtraction of weight, then this body of work by John Murphy is light. Several of these canvases carry merely the delineation of an ear; the others refer to the state of being that remains when all weight has been removed. ‘Selected Works’, blank music paper bound and displayed in vitrines, push that liminal state a step further into the unknown, for they exist in a permanent state of potentiality, somewhere between birth and death.

A point of entry into this weightless world may be through ‘A Portrait of the Artist as a Deaf Man’, a recent work based on a painting by Sir Joshua Reynolds. To those who are in possession of all their senses, the condition of deafness, like that of blindness, can suggest both isolation and an acute awareness of an inner world. ln conjunction with ‘Selected Works’, are we to suppose that the artist, within himself, hears echoes of Baudelaire’s « La Musique », which was inspired by the work of the deaf composer, Beethoven? (‘l feel all the passions of a groaning ship vibrate within me, the fair wind andthe tempest’s rage cradle me on the fathomless deep- or else there is a fiat cairn, the giant mirror of my despair’). But perhaps he can hear nothing at all?

There is solitude in John Murphy’s work, as well as a little irony and a touch of the comic. (Calvino, again, remarks that ‘melancholy is sadness that has taken on lightness. Humour is comedy that has lost its bodily weight’). The space in these paintings is unidentifiable; it is neither close nor distant. So, too, is their colour, which is poised but unstable. Pink passes into blue; blue passes into pink.

Music and the metaphysical are seldom far apart. It is in and through music that many of us feel most intimately in the presence of meaning that cannot verbally be expressed. Murphy’s ‘Selected Works’ are either so full of meaning that they are inexpressible or, quite plainly, they have never existed. Like his paintings, the ‘Selected Works’ invoke the aesthetics of the sublime; they present the unpresentable to demonstrate that there is something conceivable which is not perceptible to the senses. The experience of the sublime, according to Kant, accords us simultaneous grief and pleasure, because it both opens and conceals. The sublime impedes the beautiful; it destabilizes good taste.

Francois Lyotard, who has written about a connection between the aesthetics of the sublime and postmodernism, suggests that it is the business of contemporary culture to invent allusions to the conceivable that cannot be presented – not to enjoy them but to impart a new sense of the unpresentable. Calvino makes a comparable point, more wonderfully. ‘Think what it would be like to have a work conceived from outside the self, he writes, ‘a work that would let us escape the limited perspective of the individual, not only to enter into selves like our own but to give speech to that which has no language, to the bird perching on the edge of the gutter, to the bee in spring and the tree in fall, to stone, to cement, to plastic… ‘. John Murphy conveys to us the activity of absence – its force and inner vitality.

John Hutchinson

Dublin, August 1996.

By titling her exhibition “Architectural Psychodramas,” Suchan Kinoshita effectively provides the salient keywords that lead to a possible mode of reception. Kinoshita invariably eschews fixed categories and definitions; she loves the changeable and the speculative. For her, architecture is built space, environmental space that influences us, but also some- thing that we shape. “Psychodramas,” experiences, memories and emotions stick to it, but without necessarily congealing; they remain changeable. This understanding of time and space, replete with the subject-object groupings and contexts of meaning that are constantly updated within it, also resonates recognizably in her background in music and performance art. The individual elements in the exhibition are not given one single role or meaning. Rather, it is about their “potential as objects,” as Eran Schaerf described it in the catalogue for Kinoshita’s exhibition at Museum Ludwig, Cologne (2010). As a result, there are countless connections to be discovered between the totality of the assembled elements, which coalesce and condense in a number of themes and ideas, no sooner to jump into another context once more. (…)

Suchan Kinoshita produce sounds  with the help of birdcalls. She presents them via instruments, made with by hand and with incredible creativity, in a kind of aviary, thus also adhering to the principle of granting a physical presence to the acoustic components of the exhibition. These objects, too, are architectures in Kinoshita’s understanding, since they form a dwelling place for sound. And this brings us back to the never-ending topic of change- ability: when Kinoshita deploys birdcalls, it is by no means to imitate them. Instead, it is about the creation of something new. Just as it is with every memory, every object, every word.

Kristina Scepanski,  introduction to the exhibition « Architektonische Psychodramen » Westfälischer Kunstverein, 2022.

Michiel Ceulers – Loïc Moons, Cartoon laws of physic, les images (3)

Loïc Moons 
Sans titre 2022 
Mixed media on canvas, 40 x 30 cm
Michiel Ceulers
Die Mathe-Mafia (Expérience professionnelle pertinente / Visualizing one’s own downfall), 2022-2023 
Acrylic, oil, encaustic, gloss paint, acrylic mirrors, mosaic mirror tiles and wood on found canvas, frame and canvas on styrofoam / artist made frame: cardboard, 80 x 162 cm.
Loïc Moons,
Sans titre, 2022, 
Oil on canvas, 151 x 142 cm
Michiel Ceulers
Un gioco di parole tra sweetie e tweet (ein englisches Onomatopoetikum für Vogelstimmen) / the Golden cage (Oh mon dieu!), 2023
Oil, acrylic, oil stick, spray paint, gloss paint and diamond dust on canvas, 57,5 x 52 cm

Michiel Ceulers – Loïc Moons, Cartoon laws of physics, les images (2)

Michiel Ceulers
Transhistoric willow tree motif / Tod im Herbst, Löwenzahnblatt / squeezed and passive, 2022 – 2023 
Gesso, acrylic, oil paint, Perspex, caulk, diamond dust, cardboard on canvas / artist made frame: cadapac, 143 x 122 cm.
Loïc Moons
Sans titre, 2023
Mixed media on canvas, 140 x 122 cm
Loïc Moons
Sans titre, 2023
Mixed media on canvas, 90 x 65 cm
Loïc Moons 
Sans titre, 2023
Mixed media on canvas, 160 x 140 cm
Michiel Ceulers
Brüder und Schwestern mit Vorzügen / Le donneur de vie (Anal Psych Chick), 2022 – 2023 
Oil, encaustic, caulk, glitter on canvas and canvas on board, 60 x 74,5 cm
Michiel Ceulers
Non liniair equation, 2023
Oil, encaustic, gloss paint, caulk, wood, mirror mosaic tiles on canvas, canvas on panel and canvas on styrofoam / artist made frame; cardboard and cadapac, 93 x 208 cm

Michiel Ceulers – Loïc Moons, Cartoon laws of physics, les images (1)

Loïc Moons
Sans titre, 2023
Technique mixte sur toile, 140 x 120 cm
Michiel Ceulers 
Raouls Gemälde auf einer New Yorker U-Bahn-Linie anstelle der Halle Poort 
(Riding the E-Train), 2023 
Oil, acrylic, oil stick, gloss paint, Perspex, caulk and Dymostrip on canvas and canvas on wooden pannel / artist made frame: cardboard. 39 x 58,5 cm
Loïc Moons
Sans titre, 2023
Mixed media on canvas, 170 x 144 cm
Michiel Ceulers
Halt mit Malen (Dead End), 2023 
Acrylic and oil on canvas and metal, 84,5 x 74,5 cm
Loïc Moons
Sans titre, 2023
Mixed media on canvas, 50 x 36 cm
Michiel Ceulers
L’esprit des lois bédéistes, 2022 – 2023 
Oil, acrylic, gloss paint, spray paint, caulk, wood, cardboard, metal lid, mirror mosaic tiles, screws on canvas and canvas on board / artist made frame: cardboard, 113 x 121 cm.