Jacques Charlier, Jacques Lizène, Muhka, Antwerpen, les images (suite)

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, Festival flash Danse, Théâtre Universitaire de Nantes

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, So close yet so far away, Petah Tikva Museum, Tel Aviv

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, Illusion and Revelation From the collection of the Bonnefantenmuseum, Maastricht

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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Agenda Janvier 2017

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

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Season’s Greetings

John Murphy

John Murphy, Dancing on the volcano of lost time, 2015. Photocopy, gouache, pen and ink on board , 48 × 54 cm

La galerie Nadja Vilenne vous souhaite d’excellentes fêtes de fin d’année et vous présente ses meilleurs voeux pour 2017

Jacques Charlier

Jacques Charlier, La piscine, 1976,Photos Sketch, 12 photographies couleurs rehaussées à l’encre (12) x 30 x 40 cm

La galerie sera fermée du 23 décembre au 4 janvier 2016

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