Ed van der Elsken @ Rijksmuseum and Nederlands Fotomuseum

Rijksmuseum and Nederlands Fotomuseum acquire artistic estate of Ed van der Elsken

Ed van der Elsken, from the Photo Book Een liefdesgeschiedenis in Saint Germain des Prés’ (Love on the Left Bank), before 1956. Gelatin silver print.                        
The Rijksmuseum and the Nederlands Fotomuseum have jointly acquired the artistic estate of the photographer Ed van der Elsken (1925-1990), safeguarding for the nation the largest archive of work by one of the most important Dutch photographers of the 20th century. This acquisition will make it possible, for the first time, to gain a complete understanding of Van der Elsken’s artistic practice over the entire course of his more than 40-year career.

Van der Elsken’s widow Anneke Hilhorst has for 30 years managed her late husband’s artistic legacy, comprising 10,000 objects. The Rijksmuseum is to obtain more than 7,700 prints, while the Nederlands Fotomuseum will add 3,000 contact sheets and 300 photographs to its collection. The Rijksmuseum and the Nederlands Fotomuseum are working together to open up the archive and restore, study and digitise his work so it is accessible to all.

This autumn the Rijksmuseum will partner with the Nederlands Fotomuseum to stage an exhibition of Van der Elsken’s work. This exhibition focusing on the photographer’s methodology will show the artist’s hand at work in the designs for two photobooks, proof prints, book cover designs, photographs featuring the artist’s own descriptions and marks, and contact sheets. It is only through the acquisition of Van der Elsken’s entire artistic legacy that we are able to present his work in such an extensive way.

The collection was for a large part donated by Anneke Hilhorst, and partly purchased with the support of the Mondriaan Fund, the Rembrandt Association (thanks in part to its dedicated Photography and Video Fund and Dura Kunstfonds), BankGiro Lottery players, the Paul Huf Fonds/Rijksmuseum Fonds and the Marque Joosten en Eduard Planting Fonds/Rijksmuseum Fonds. The acquisition was made possible thanks to the mediation of Annet Gelink Gallery Amsterdam.

Anneke Hilhorst, widow of Ed van der Elsken: I have always regarded my ownership of Ed’s work as a great responsibility. I have never considered it to be mine alone; first and foremost, it is historical heritage of the photographic and visual arts in the Netherlands. I have now passed on this responsibility in complete confidence that the work of Ed van der Elsken will be cherished and well looked after by the Rijksmuseum and the Nederlands Fotomuseum. Highly specialised people will now escort his work into a long and beautiful future. For this I can feel only gratitude.

Taco Dibbits, General Director of the Rijksmuseum: Ed van der Elsken makes the everyday extraordinary. He offers us an intimate glimpse into the changes that took place in the second half of the 20th century, and that are still relevant in our lives today. He is one of the great Dutch masters of the 20th century, and Anneke Hilhorst does us a great honour in entrusting his legacy to us. We and the Nederlands Fotomuseum will together ensure that Van der Elsken’s work is made accessible to all, now and in the future.

Birgit Donker, Director of the Nederlands Fotomuseum: Ed van der Elsken’s photographs and contact prints constitute an exceptional addition to our wonderful collection; we maintain the complete archive of Van der Elsken’s negatives and slides. Until now this collection included only a limited number of prints, on two themes. Through this joint acquisition, the Nederlands Fotomuseum collection will now include early work by this important photographer, who is part of our national DNA.
Ed van der Elsken Contact sheet Saint-Germain-des-Prés, Parijs (Love on the Left Bank), 1950-1954.
Artistic legacy
Van der Elsken’s artistic estate contains many surprises, including more than 2,000 vintage prints, multiple prints from a single negative, cover designs, dummy photo book designs (including one for his 1966 masterpiece Sweet Life) and contact sheets. It is a whole of many parts and a source for further scholarly research. The series and sequences of images on the contact prints offer a comprehensive overview of the photographer’s entire oeuvre, with many of them including the descriptions and markings that reveal what was most important to him. The contact sheets therefore form a vital link between the negatives and his prints. There is also evidence of Van der Elsken’s abiding interest in experimentation in the domain of design, particularly in the form of his book dummies. He designed his own magnum opus Sweet Life,  experimenting with sequence, size, juxtaposition and printing techniques. The Sweet Life dummy will have a prominent place in this autumn’s exhibition. 
 Ed van der Elsken
Ed van der Elsken (1925-1990) photographed, amongst others, in the Netherlands, Paris, South Africa, Sierra Leone, Japan, Hong Kong, Mexico, the United States, and Indonesia, and built a body of work that is extraordinarily wide-ranging and rich. His direct and disarming approach was part of what made him the epitome of the ‘people photographer’ – it was this directness that enabled him to capture the human essence of his subjects. Van der Elsken’s used his uniquely raw and individual style to show that photography is about more than just an image; his photographs express a personal vision. Van der Elsken is acknowledged internationally as a pioneer of the subjective viewpoint; of the photographer’s vision and portrayal of people and the world.

Combined efforts and indispensable support
The collection was for a large part donated by Anneke Hilhorst, and partly purchased with the support of the Mondriaan Fund, the Rembrandt Association (thanks in part to its dedicated Photography and Video Fund and Dura Kunstfonds), BankGiro Lottery players, the Paul Huf Fonds/Rijksmuseum Fonds and the Marque Joosten en Eduard Planting Fonds/Rijksmuseum Fonds.

It is thanks to donations and bequests from private individuals, funds, family and other foundations, government and business that museums such as the Rijksmuseum and the Nederlands Fotomuseum can continue to exist and to connect people, art and history. 

Rijksmuseum Amsterdam

Postbus 74888
1070 DN Amsterdam
The Netherlands
E-mail: info@rijksmuseum.nl
Telephone: +31 (0) 20 6747 000
Visiting address
Museumstraat 1
1071 XX Amsterdam

Budapest, The Ludwig Museum – Museum of Contemporary Art will reopen on August 20th.


After several months of shutdown due to the COVID-19, the Ludwig Museum – Museum of Contemporary Art will reopen on August 20th.

The first exhibition is a new selection from the museum’s collection entitled Time Machine. The exhibition was created during the short break caused by the pandemic, under extraordinary circumstances, so the organizers could not ignore the lessons of the recent period. This time, works have been selected that reveal different aspects of personal, artistic and historical time to the viewer, and the works themselves can be seen as time machines that allow us to travel mentally.

From September 4, a selection from Art Collection Telekom entitled Keeping The Balance will be on view, which seeks to answer the question how to find and maintain the right balance in a complex, contradictory and often conflict-laden reality. The selection features works by artists with mostly Eastern European roots.

The exhibition BarabásiLab: Hidden Patterns. The Language of Network Thinking will open on 10 October. It presents the last 20 years of research based on the so-called Barabási networks mainly related to the activity of physicist and network researcher Albert-László Barabási. By following the development of network visualization – presenting the main projects of Barabási research lab – the viewer can gain insight into the application of this comprehensive method in art. Using state-of-the-art technology, network diagrams and structures vividly describe the hidden connections and relationships that underlie the studied phenomena.

The Ludwig Museum, including the museum shop, is open from Tuesday to Sunday from 10 a.m. to 6 a.m.

The museum does its best to protect the health of the visitors and staff, so we ask you to wear a mask when visiting our exhibitions and keep a distance of one and a half meters in the exhibition spaces.

A 22-metre-high bronze sculpture by Thomas Lerooy in Knokke, Belgium

A 22-metre-high bronze sculpture by the Belgian artist Thomas Lerooy in Knokke

A 22-metre-high bronze sculpture by the Belgian artist Thomas Lerooy will be installed in Knokke on 16 June 2020. The sculpture, entitled Tower, is Lerooy’s first permanent sculpture in the public space.
Tower consists of 49 bronze heads – busts – all facing the sea. The faces have been manipulated and abstracted in such a way that the noses, eyes, ears and chins are all on the same vertical axis, levelling out the differences and making everyone look alike.

As is often the case in Lerooy’s work, Tower, which can be seen as a sequel to Lerooy’s earlier works Obelrisk (2007) and Never Listen to Your Best Friend (2007), refers to the transience, the ephemerality of life and the meaning of existence – or the lack of it. The bronze will patinate and age naturally under the influence of time, the salt from the sea, and the wind.

The title of the work is as simple as it is powerful. Tower refers to today’s society, which is made up of various elements that are more valuable together than separately – a society in which we depend on each other, in which we need to listen to each other and make compromises. Just as a child stacks blocks to make a tower, Lerooy stacks heads to create something meaningful.
But the sculpture is just as much a reference to Brancusi’s Endless Column, a column 30 metres high with an infinitely repeated motif of a diamond-shaped bead that seems to rise to infinity. Just like Brancusi’s column, Tower has a strong verticality. It is as if a line is drawn by hand from the horizon of the sea to the sky. Like a struggle with the infinity of the sea, the sculpture functions as an obelisk, an anchor point, or a cathedral.
Duality and tension are inherent in Lerooy’s work, which provokes, plays and challenges. Lerooy is a master of seduction and deceit. He combines drama and humour, and reconciles the theatrical with the intimate, but he also focuses on the tension between transience and timelessness, between old and new, life and death.
The Belgian public first became acquainted with Thomas Lerooy in 2006 when one of the artist’s first bronze sculptures, Le Petit Jean, was shown on the roof of the Dhondt-Dhaenens Museum. The putto – the name for a chubby nude child figure – peed in the direction of the visitors. Fourteen years later, we see Leroy’s first permanent work in the public space, a bronze sculpture 22 metres high.

Thomas Lerooy
Thomas Lerooy was born in Roeselare in 1981 and now works in Brussels, producing a coherent oeuvre of drawings, bronze sculptures and paintings. In 2015, Lerooy was the first living artist to have a solo exhibition at the Petit Palais in Paris. In his own country, his shows have included a solo exhibition at Museum Dhondt-Dhaenens in 2017, a duo presentation with Félicien Rops at the Kasteel Van Gaasbeek in 2018/2019, and a solo exhibition at the Royal Museum of Fine Arts (KMSK) in Brussels.
Lerooy’s works are included in the collections of important international museums and institutions, such as the Centre Pompidou in Paris and the Belfius Art Collection in Brussels.

Ben Sledsens at Tim Van Laere Gallery, Antwerpen

A solo show by Ben Sledsens at Tim Van Laere Gallery

 From 3 September to 10 October, Tim Van Laere Gallery presents the third solo exhibition of the Belgian artist Ben Sledsens (°1991, lives and works in Antwerp).

In recent years Ben Sledsens has made a blitz career in the visual arts. The young Antwerp artist was picked up by Tim Van Laere Gallery during his studies at the Royal Academy and received his first solo exhibition with the gallery in 2016. Since then, he has been embraced by the international art world.

Sledsens is known for his large-scale canvases in which he transforms daily life, literary figures, animal portraits and elements from (art) history into his own personal utopia. Sledsens continually reuses motifs, themes, objects and poses from his works. In this way he creates an intriguing puzzle of references and continues to build on his recognisable, coherent oeuvre.
Sledsens' works bear witness to an in-depth knowledge of art history. His palette of strong, vibrant colors, high technical qualities and simple visual language exist within a long tradition that refers to great masters such as Henri Matisse, Claude Monet, Henri Rousseau and Pieter Bruegel the Elder. Nature and daily life are also important sources of inspiration for Sledsens. His large-scale canvases seem deceptively simple due to the naive visual language and very recognizable subjects, but behind this lies a strongly thought-out composition in which Sledsens brings a visual storyline into his work.

Ben Sledsens
3 September - 10 October 2020
Tim Van Laere Gallery
Jos Smolderenstraat 50,
2000 Antwerp


#upcoming BRUSSELS : Xavier Noiret-Thomé – Henk Visch. Panorama @ CENTRALE

#upcoming @ BRUSSELS : Xavier Noiret-Thomé – Henk Visch. Panorama @ CENTRALE for contemporary art

23.04 - 23.08.2020 >>> Opening : 22.04.2020 

Xavier Noiret-Thomé and Henk Visch at the CENTRALE for contemporary art

The Xavier Noiret-Thomé – Henk Visch exhibition is an ode to painting and sculpture, poetically questioning the human condition.
CENTRALE for contemporary art constantly strives to include its programming in a resolutely international scope.
Among other projects, it offers a series of duo exhibitions by both Belgian and international artists.
Once again, CENTRALE offers an innovative dialogue between two artists: Xavier Noiret-Thomé and Henk Visch.
Henk Visch, Cosmic Danse, 2018. Courtesy the artist and Tim Van Laere Gallery, Antwerp

A French artist based in Brussels, Xavier Noiret-Thomé creates singularly-varied paintings and collages that feed on knowledge, experience and lived experiences. He has chosen to invite internationally-renowned Dutch sculptor, draughtsman and painter Henk Visch, whose monumental and miniature sculptures , to him, echo the human thought process.
According to Xavier Noiret-Thomé, “one paints what one is”. This existential anchoring perfectly respondsto a humanist reading of art shared by CENTRALE, an institution that combines contemporary art, popularart and outsider art in its thematic exhibitions. Within this framework, the invitation to Henk Visch takes all its sense. Both artists are linked together by a vital energy unfolding in their art – the metaphysical dimension of their oeuvre stemming from life experience, all the while questioning the human condition.
Sometimes tinted with humour, their direct and intense works depict a vision of reality as these artists attempt to define the creative process and its impact on life.

Xavier Noiret-Thomé, La clef, 2019. Courtesy the artist
Henk Visch, Das Leben in Simulationsraum, 2019. Courtesy the artist and Tim Van Laere Gallery, Antwerpen

CENTRALE for contemporary art
Place Sainte-Catherine 44,
1000 Brussels



* via https://clubparadis.prezly.com

Will the Internet end soon? @ Ludwig Museum . Budapest

Will the Internet end soon?
exhibition @ Ludwig Museum . Budapest
24. January, 2020 – 26. April
Address:  Ludwig Museum . Budapest
H-1095 Budapest, Komor Marcell utca 1.

Nathalie Bachand, Kónya Béla Tamás

Julien BOILY, BORI Bálint, BEÖTHY Balázs, CSONTÓ Lajos, Romain & Simon de DIESBACH, EIKE, FORGÁCS Péter, GERHES Gábor, KOMORÓCZKY Tamás, Frédérique LALIBERTÉ, NAGY Kriszta, NÉMETH Hajnal, PÁL Zsuzsanna Rebeka, Roman ONDAK, Projet EVA (Etienne GRENIER & Simon LAROCHE), Dominique SIROIS & Baron Lanteigne, Société Réaliste, SUGÁR János, SZARKA Péter, SZEGEDY-MASZÁK Zoltán, Julie TREMBLE, Lukas TRUNIGER & Nicola L. HEIN, VÁRNAI Gyula, VÁRNAGY Tibor, ZICS Brigitta

It all began in May 2015, when an article on lemonde.fr spoke of the possibility of a collapse of the World Wide Web. Although this event is largely hypothetical, several articles have been written on the subject in response to a scientific symposium that the Royal Society of London organized around the Internet Capacity Crunch.
In a context where the network could collapse even before the end of its “adultescence”—in 2023, the Web as we know it will barely be more than 25 years old—we can try to picture the fall of the Web and the after-world that would ensue: Empty server carcasses and a sea of electronic junk? A digital oblivion on all screens? A digital desert to drift in? Machines imitating the Web? A handcrafted Internet? Rumours and testimony about what was the Internet? A desperate search for a disappeared connection?
How will the at once dematerialized and delocalized dynamics of power structures be impacted in both their evident economic and inevitably political manifestations if the network is disconnected? But also, what can still be said or done in the meantime? How does one occupy—or not— what is essentially borrowed time and space, a space-time henceforth to be shared between digital and physical realities.
In the wake of these reflections, the artistic proposals that echo these considerations have here been gathered. Though the exhibition was initially composed of Québec artists, Hungarian artists were subsequently added to it for the occasion ‑ from a call for proposals, as well as from the Ludwig Museum Collection, and of early web-based artworks from the C3 Center for Culture & Communication Foundation archives; in addition to artworks by Swiss artists which were part of The Dead Web exhibition at the last edition of the Mapping Festival. This approach thus provides a particular perspective in which to build and unpack our idea of the Web, and, at the same time, its absence.
The Ludwig Museum’s collection is comprised of more than 700 artworks. Through a call for proposals, curators Nathalie Bachand and Béla Tamás Kónya, have selected 5 artworks by Hungarian artists. Several works from the marvelous Museum’s collection and the C3 Center for Culture & Communication Foundation were also added to the exhibition, thus joining the Québec and Swiss selection.
The first iteration of the The Dead Web – The End exhibition was presented in 2017 at Eastern Bloc (Montreal, Quebec, Canada). In 2019, the exhibition produced by Molior was shown at Mirage Festival (Lyon, France) and Mapping Festival (Geneva, Switzerland).
With this premise as a starting point, the works in the exhibition question our relationship to the Internet and, more broadly, the notion of connection as a point of contact with the world. The exhibition is trying to engage the audience in presenting the post-internet world. The cooperative partner of the Ludwig Museum in the utopian endeavour is the Canadian media art organization Molior.

Exhibition coproduced by Ludwig Museum and Molior.
Supported by: EMMI, MÜPA, Canada Council for the Arts, the Conseil des arts et des lettres du Québec, the gouvernement du Québec, ProHelvetia, Conseil des arts de Montréal, Les offices jeunesse internationaux du Québec, Goethe-Institut, Samsung 
The associate partner of Ludwig Museum is C3 – Center for Culture & Communicatio


BRUSSELS: BRAFA 2020 presents James Ensor

BRAFA 2020 BRUSSELS highlight
>>> Solo show of James Ensor presented by Samuel Vanhoegaerden Gallery

26|01 - 02|2|2020 >> venue: Tour & Taxis, Avenue du Port 88, 1000 Brussels, Belgium
James Ensor (Ostend, 1860-1949) | La rencontre, 1912 | Oil on canvas
 At the 65th BRAFA Art Fair in 2020, Samuel Vanhoegaerden Gallery showcases an extraordinary collection of works by James Ensor for the first time. Thirteen paintings (canvases/panels) are shown along some twenty drawings, which are extensively described and studied in a new book/catalogue with more than 100 illustrations, to provide improved insight into the world of James Ensor. This unique exhibition is the fruit of 10 years of collecting and safeguarding drawings and paintings. It aims to bring the artist closer to the general public and, in addition to the paintings and drawings, includes photographs and documents made available by the Ensor archive. The compilation of this show already started in 2010 and finally will be on stage in 2020 (just over 70 years after the artist's death in 1949) during the BRAFA 2020 art fair..  James Ensor (1860-1949) is one of Belgium's most important artists, appearing in all writing on modern art. He was groundbreaking in his manner of painting, paved the way for Belgian Expressionism, Dadaism and Surrealism, while adhering to Symbolism. Already during his lifetime, and to this day, exhibitions of his works continue to be held in the most important museums of the world (including the MOMA, the Getty Museum and the Musée d'Orsay) and research of his oeuvre continues to expand. The BRAFA Art Fair, created in 1956, is one of the world’s oldest and most prestigious art fairs, famous for the high quality fine art, antiques, modern and contemporary art and design it offers. The first major art event of the year, it is considered a reliable barometer of the art market. The 65th international BRAFA Art Fair takes place from 26 January through 2 February 2020 at Tour & Taxis Brussels. Video by RGB Media.
James Ensor (Ostend, 1860-1949) | La bataille des éperons d'or, 1888
Black crayon on paper
 *images by https://www.svhgallery.be
The Brafa Art Fair, created in 1956, is one of the world’s oldest and most prestigious art fairs, famous for the high quality fine art, antiques, modern and contemporary art and design it offers. Brafa stretches on 9 days from the end of January to the beginning of February. The first major art event of the year, it is considered a reliable barometer of the art market. Brafa is located in Tour & Taxis, a magnificent site that is part of Brussels’ industrial heritage. The cosmopolitan capital of Europe is known for its excellent food and dazzling array of museums, monuments and boutique shops.
 >>> more >>> https://www.brafa.art


Jan Fabre@ Galerie Templon , Brussels

Jan Fabre | L'Heure Sauvage

Galerie Templon Brussels 

runs until 22.02.2020

The exhibition title, L’Heure Sauvage, refers to the blue hour defined by entomologist Jean-Henri Fabre. It conjures up that brief moment of silence when Nature awaits the dawn with bated breath; a fundamental yet fleeting moment when life is suspended between two worlds, night and day, in an enthralling near darkness echoed in the artist's metallic works with their discreet suggestion of curves.

Veydstraat 13A |1060 Brussel
Tuesday till saturday from 11am - 6pm

Jan Fabre – visual artist, author and theatre artist – is back in the capital of his homeland to offer an immersion into the depths of L’Heure Sauvage [The Fierce Hour] and present-day vanities.
Jan Fabre is considered as one of the most important and innovative figures on the international contemporary art scene. A radical artist whose works have often unleashed passionate responses, Jan Fabre had his own “Blue Period” during the 1980’s, centring on the ballpoint pen, his then favourite material, with which he meticulously covered large expanses of paper to create his metaphorical and
tormented drawings. In 1988, at the age of 30, Fabre found himself in Berlin, spending sleepless nights obsessively drawing, colouring and rubbing out an entire cosmogony featuring tornados, cyclones, giant waves and storms. The highly distinctive metallic blue of his disposable pen form mesmerizing landscapes, their details so dense and intense they almost seem to tear the paper. Each drawing thus emerges as the peak of a one-man performance, a powerful act on the verge of
hallucination and exhaustion. The young artist, penniless at the time, sold the whole series to a generous patron.The drawings remained rolled-up, untouched and forgotten for 30 years. Recently unearthed, they are now on public display for the first time, taking the viewer on a disconcerting journey through the genesis of Jan Fabre's imagination. In recent years, Jan Fabre has returned to blue ballpoint ink. Fans of this artistic technique can also see Le regard en dedans (L’Heure Bleue), a permanent installation created in 2011-2013 for the Oldmasters Museum’s royal staircase at the Royal Museums of Fine Arts of Belgium, walking distance from Galerie Templon's Brussels
 Bic Ballpoint pen on paper
237 x 164 x 5 cm |1988
The exhibition title, L’Heure Sauvage, refers to The Hour Blue defined by entomologist Jean-Henri Fabre. It conjures up that brief moment of silence when Nature awaits the dawn with bated breath; a fundamental yet fleeting moment when life is suspended between two worlds, night and day, in an enthralling near darkness echoed in the artist's metallic works with their subtle suggestion of curves.
The blue ink becomes a skin, which both conceals and reveals, either reflecting the light like a mirror or shrouding the viewpoint. With his new sculptures in Murano glass, Fabre covers human skulls with ink-stained handprints. The skulls act as a mirror, giving us an unsettling vision of our own mortality. Like strange fetishes - vanities or self-portraits? - they are trapped under skeletons of animals: birds,rodents, and an entire fauna we imagine surviving the human race yet already
By bringing together these 1988 drawings with his 2018 sculptures, Jan Fabre has created – possibly unintentionally – a troubling collision between his artistic concerns, fascinated as he is by the limits of human nature and catharsis, and our contemporary preoccupations with environmental threats and mass extinction. The Berlin drawings are thus premonitory, giving Jan Fabre's works a yet more
apocalyptical dimension as they explore the animal world – with his beetles and stuffed animals – as well as the human condition.
Born in 1958, Jan Fabre lives and works in Antwerp. He is an inveterate night-time writer and draftsman, creating sculptures and installations that tackle recurring topics, including metamorphosis, the dialogue between art and science, humankind’s relationship to nature, and the artist as a warrior of beauty. Recent notable exhibitions of his work include a retrospective at the Louvre (2008) and solo shows at the Kunsthistorisches Museum in Vienna, Musée d’Art Moderne in St Etienne and the
Kröller-Müller Museum in the Netherlands (2011), MAXXI in Rome, Palazzo Vecchio, Piazza della Signoria, Forte Belvedere in Florence, Hermitage Museum in St Petersburg (2016) and Fondation Maeght in Saint Paul de Vence (2018). The Musée des Beaux-Arts d’Arras will be presenting an exhibition of his work from 2 March to 4 May 2020. Four of the artist's permanent works will be officially inaugurated at the Pio Monte della Misericordia in Naples on 21 December 2019, and his site-specific work Hommage à un esprit libre will be inaugurated at the Fondation HELENIS GGL
in Montpellier on 13 March 2020.





30 Jan – 28 Sep 2020

A solo show by Chinese painter Liu Ye curated by Udo Kittelmann. Following the first iteration held in 2018 at Prada Rong Zhai in Shanghai, the exhibition travels to Milan for a new presentation, featuring a selection of 35 paintings realized from 1992 onwards.
Liu Ye expresses an intimate and sensual imagination, that feeds on heterogeneous sources related to literature, history of art and popular culture from the Western and Eastern world, giving rise to atmospheres which evoke introspection, purity and suspension. In the artist’s body of works the stylistic features of fairy-tales coexist with a sense of humor and a parodic vein. Referring to his own artistic production, Liu Ye underlined that “every work is my selfportrait”.
In Shanghai Liu Ye’s works related harmoniously with the 1918 historical residence’s original furnishings, decorations and colours, creating a symbiotic relationship with the intimate spaces and small rooms of Prada Rong Zhai. In Milan the paintings will generate a chromatic and material contrast with the concrete walls and the industrial environment of Fondazione Prada’s venue, in order to activate a new narrative sequence and an enigmatic contrast with these large exhibition spaces. The geographical dislocation will contribute to focus on the ability of Liu Ye to create a personal pictorial universe, which does not align with any particular artistic movement.
Combining different elements and sources, his paintings are generated by a plurality of creative forces: memory, observation, imagination and artistic education. All his works are pervaded by a certain ambiguity as they seem suspended between two worlds: reality and invention. During his career he created a personal domain, at the same time accessible and impenetrable to others, which can be described as a subjective reality. He employed his art as a mean of self-exploration and discovery, in a context in which artistic creation and daily life mutually influenced each other. As he specified, “Even though I have never become an abstract artist, I am nonetheless interested in stripping down narrative and simplifying.”
As Udo Kittelmann highlights, “I experienced his paintings as sensitive pictorial messages relayed between two worlds that are often viewed as contradictory: Western cultures versus Asian cultures. Even back then, Liu Ye’s paintings struck me as manifesting a dialectical constellation, for his work is not only interwoven in many ways with China’s manifold cultural developments; it also bears witness to a profound knowledge of the history of European culture and painting.”


Ruth Asawa at David Zwirner, London

Ruth Asawa at David Zwirner, London
A Line Can Go Anywhere
runs until 22 /02

David Zwirner is pleased to announce an exhibition of work by American artist Ruth Asawa at the gallery’s London location. This will be the first major presentation of her work outside the United States and will include a number of key forms spanning more than five decades of the artist’s career, focusing in particular on the relationship between Asawa’s wire sculptures and her wide-ranging body of works on paper.
An influential artist, devoted activist, and tireless advocate for arts education, Asawa is best known for her extensive body of hanging wire sculptures. These intricate, dynamic, and sinuous works, begun in the late 1940s, continue to challenge conventional notions of sculpture through their emphasis on lightness and transparency. Relentlessly experimental across a range of mediums, Asawa also produced numerous drawings and prints that, like her wire sculptures, are built on simple, repeated gestures that accumulate into complex compositions. Although she moved between abstract and figurative registers in her sculptures and drawings, respectively, viewed together, the works in this exhibition nevertheless incite a rich dialogue and find commonality in their sustained emphasis on the natural world and its forms, as well as in their deft use of the basic aesthetic concept of the line. As she noted, “I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.”1
The works on view include examples of Asawa’s well-known looped-wire sculptures, which she began while still a student at Black Mountain College. Their unique structure was inspired by Asawa's 1947 trip to Mexico, during which a local craftsman taught her how to create baskets out of wire. Suspended within the gallery space both in clusters and individually, these works range from elaborate multi-lobed compositions to nested shapes made from a single continuous length of wire, miniature spheres, and open-window forms that require extreme technical dexterity to achieve.
Presented alongside these will be Asawa’s tied-wire sculptures, a body of work begun in 1962. After having been gifted a desert plant whose branches split exponentially as they grew, Asawa quickly became frustrated by her attempts to draw its structure. Instead, she utilised industrial wire as a means of sculpting its form and, in doing so, was able to create her signature abstractions.
Additional highlights include a rare work on paper inspired by Asawa’s time at Black Mountain in which she used the ‘BMC’ laundry stamp to create  intricate and undulating compositions that derive from a series of exercises assigned by Josef Albers in his Basic Design class. Rather than emphasising technique, Albers pushed his students to focus on—as he did in his own work—the articulation of form through colour by asking them to limit themselves to a small number of basic shapes and motifs. Likewise, Asawa’s spare but elegant drawings of plants and flowers, made over the course of her life, echo this idea.
Also featured will be a group of vintage photographs of Asawa and her work by noted photographer Imogen Cunningham (1883–1976), her close friend and ardent supporter for more than two decades.

Born in rural California, American sculptor, educator, and arts activist Ruth Asawa (1926–2013) was first exposed to professional artists while her family and other Japanese Americans were detained at Santa Anita, California, in 1942. Following her release from an internment camp in Rohwer, Arkansas, eighteen months later, she enrolled in 1943 in Milwaukee State Teachers College. Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa’s time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesises a wide range of aesthetic preoccupations at the heart of twentieth-century abstraction.
Asawa’s work has been exhibited widely since the early 1950s, including in early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where she completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (traveled to Oakland Museum of California; 2001–2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and Norton Simon Museum of Art, Pasadena, California (2014).
In 2018–2019, the Pulitzer Arts Foundation in St. Louis presented Ruth Asawa: Life’s Work, the first major museum exhibition of the artist’s work in more than a decade. An accompanying catalogue published by Pulitzer Arts Foundation and Yale University Press includes essays by Aruna D’Souza, Helen Molesworth, and Tamara H. Schenkenberg. In May 2020, Ruth Asawa: Citizen of the Universewill open at Modern Art Oxford, England, and will subsequently travel to the Stavanger Kunstmuseum, Norway, the following October.
The artist’s works have also been included in significant group exhibitions, including Leap Before You Look: Black Mountain College 1933–1957, Institute of Contemporary Art, Boston (2015; traveled to Hammer Museum, Los Angeles, and Wexner Center for the Arts, Columbus, Ohio); America is Hard to See, Whitney Museum of American Art, New York (2107); Revolution in the Making: Abstract Sculpture by Women, 1947–2016, Hauser & Wirth, Los Angeles; Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York (both 2017); The Pencil is a Key: Drawings by Incarcerated Artists, The Drawing Center, New York; and In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury, Art Institute of Chicago (both 2019).
In addition to her wire sculptures, Asawa is well known for her public commissions, particularly in San Francisco and the wider Bay Area. These include the much beloved fountains in Ghirardelli Square (1968) and outside the Grand Hyatt San Francisco (1973), the latter of which includes hundreds of baker’s clay images molded by local schoolchildren, friends, and other artists cast in bronze. Upon moving to San Francisco in 1949, Asawa, a firm believer in the radical potential of arts education from her time at Black Mountain College, devoted herself to expanding access to art-focused educational programs. She co-founded the Alvarado Arts Workshop in 1968 and was instrumental in the opening of the first public arts high school in San Francisco in 1982, which was renamed the Ruth Asawa San Francisco School of the Arts in her honor in 2010.
The artist’s work is represented in prominent museum collections, including Crystal Bridges Museum of American Art, Bentonville, Arkansas; Harvard Art Museums, Cambridge, Massachusetts; J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; M.H. de Young Memorial Museum, San Francisco; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; San Jose Museum of Art, California; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Asawa has been the recipient of numerous prestigious awards.
The Estate of Ruth Asawa has been represented by David Zwirner since 2017. The gallery’s inaugural solo exhibition of the artist’s work took place that same year in New York, and was accompanied by an extensive publication that includes texts by Tiffany Bell and Robert Storr and features an illustrated chronology.

Ruth Asawa
David Zwirner, 24 Grafton Street, W1S 4EZ London, England
Jan 10 - Feb 22, 2020

24 Grafton Street, W1S 4EZ London, England
Jan 10 - Feb 22, 2020

Olafur Eliasson @ Kunsthaus Zurich

Olafur Eliasson | Weather orb, 2020
solo exhibition 
'Symbiotic seeing' 
at Kunsthaus Zurich 
runs until 22.03.2020

Danish-Icelandic artist Olafur Eliasson is one of the most important artists of our time. A major solo exhibition at the Kunsthaus presents many of his new works.

At its centre is a large scale installation created exclusively for Zurich that addresses a key issue of our age: the relationship and interplay between human and non-human actors on Earth.
In ‘Symbiotic seeing’, Eliasson tackles themes such as coexistence and symbiosis and aims to bring about a fundamental shift of perspective. The exhibition invites us not only to reflect on climate change – as a consequence of human action – but also to comprehend the human being as part of a larger system. The socially and environmentally committed artist, who was appointed Goodwill Ambassador for climate action and the Sustainable Development Goals by the UN in September 2019, proposes an idea of the world based on coexistence and collaboration rather than competition.
Eliasson’s art translates complex theoretical deliberations into spatial works that not only appeal to people rationally but also touch them emotionally and move them physically.



ArtVerona 2018

ArtVerona 2018 
12 – 15 October 14th edition. 

ArtVerona 2018 is growing in terms of numbers, quality, trust of the galleries and collectors. The second year of art director Adriana Polveroni sees the entry of 35 new galleries, for a total of 150 modern and contemporary art exhibitors, plus 14 independent spaces and 18 publishers, with an area that has been renovated so as to also host the more experimental work. The theme of the edition of 2018, to be held from 12 to 15 October, is Utopia, based on its design-related facets, linked to the ability to envisage new scenarios.
More growth is also seen in Verona’s involvement, with an itinerary that stems from the 3 projects of Art&TheCity that offer a rich programme of exhibitions and events organised in partnership with the local institutions and cultural organizations. Verona, with the beauty of its ancient centre and its aperture to the contemporary, is thus the harbinger of the message #backtoitaly that is the banner of ArtVerona’s identity.
There will be 6 sections hosted in the two Fair pavilions, dedicated to modern and contemporary art. In the Main Section visitors will admire the work of consolidated and emerging artists that compose a selected itinerary, and that focuses mainly on Italian artists, both those already acclaimed by the market and critics, along with mid career artists and the younger artists, as well as international proposals. The new section is Focus on: galleries that are exhibiting a host Country for the first time. This year, the focus is on Lithuania and its young and lively art scene, thanks to the assistance of Julija Reklaitė, the cultural attaché of the Lithuanian Republic to Italy. The section Grand Tour also gives us a glimpse of the international scenario with galleries that illustrate their ‘there and back’ stories: foreign galleries present in Italy and interested in our artists, and vice versa Italian galleries that have moved abroad. Fully confirmed is the presence of the two more experimental sections with a double formula that has gained excellent following in the previous edition: a solo exhibition for the Raw Zone and an exhibition expanded to include 3 artists in the Scouting section.
14 non profit organizations have been selected thanks to the annual contest of i9 - spazi indipendenti, the section curated by Cristiano Seganfreddo who opens the Fair’s doors to the variegated scenario of the project spaces that is becoming increasingly more active in producing contemporary art.
The first Italian fair to dedicate a section to the non-profit scenario, ArtVerona also hosts “independent artists”: 3 young artists who have never before been represented by a gallery will be presented in the section Free Stage by an international artist, Adrian Paci: the young debutantes are Leonardo Pellicanò (1994) and the duo consisting of Chiaralice Rizzi (1982) and Alessandro Laita (1979).
Themes, players, scenarios of the 14th edition of ArtVerona will be the topic of a series of talks, meetings with the artists and other occasions for further acquaintance stemming from the associations and projects shared in the course of the year, ranging from collecting to the relationship between art and business, from the utopias that guide art to the involvement of the new younger generations. The opening talk is related to the future: What’s Art for? A cosa serve l’Arte oggi?, concluding the research/action itinerary created and curated by Catterina Seia as an investigation in the role art plays in the everyday life of young people.
The team of ArtVerona sees the confirmation of its Steering Committee, consisting of Diego Bergamaschi, Mauro De Iorio, Giorgio Fasol, Patrizia Moroso, Cristiano Seganfreddo and Catterina Seia. The main partner is the Consorzio Collezionisti delle Pianure, led by Antonio Grulli, that will be participating in the Fair’s roadshow for Collezionismo al Centro, the last venue of which was Verona in mid September and to which will be dedicated the third edition of the editorial project Critical Collecting featuring ten art critics illustrating ten collections
ArtVerona 2018 also presents 2 new prizes: WiDiCollect (Wise Dialog Collecting) dedicated to multimedia art, conceived by the collector and financial consultant Fabio Agovino and promoted by Banca Widiba, and A disposizione, the new art purchase fund of Veronafiere.
Confirmed are the other prizes and awards: there are 14 Italian museum directors – with the new entries
Elisabetta Barisoni, in charge of Ca’ Pesaro - Galleria Internazionale d’Arte Moderna of Venice; Andrea
Bruciati, director of Villa Adriana e Villa d’Este in Tivoli; Mauro Felicori, general director of Reggia di
Caserta and Lorenzo Giusti, director of GAMeC in Bergamo – who will participate in Level 0, the project
sponsored by AGSM, by means of which one of the Fair’s artists is chosen to exhibit solo. Also confirmed are
Premio Icona, Premio Fotografia Under 35, supported by the entrepreneur and photographer Riccardo
Aichner, Sustainable Art Prize, in cooperation with the Ca’ Foscari University of Venice, Display, the i9 -
spazi indipendenti prize sponsored by AMIA, and the Gruppo Privato di Acquisizioni.
Art&TheCity is the program of the Fair’s events that offers an itinerary that touches upon Verona’s less
renowned locations, flanked by an extensive VIP programme for collectors and a rich programme of satellite
Chi utopia mangia le mele. Dal sogno al progetto in quattro tempi, the exhibition curated by Adriana
Polveroni and Gabriele Tosi and designed to fill the charming rooms of the Palazzo ex Dogana di terra,
loaned to the Superintendency for archaeology, fine arts and landscape of the provinces of Verona,
Rovigo and Vicenza that is working at the project together with the Municipality of Verona. With works by
over 40 artists, Via trans-generation dialogue and a selection of works of the period from the 1960’s to the
present, the project investigates the controversial, recurrent and fickle nature of utopia, the challenges it poses
in going beyond the conventional facts and the present (until 2 December, catalogue by Manfredi Edizioni).
ArtVerona this year pays homage to Hidetoshi Nagasawa, the great Japanese artist who passed away
recently and who had chosen to live and work in Italy. The itinerary, that crosses through several significant
locations of Verona, was created by Adriana Polveroni in dialogue with Ryoma Nagasawa, and enjoys the
assistance of the Direzione Musei Civici di Verona, of the Soprintendenza archeologia, belle arti e
paesaggio per le province di Verona, Rovigo e Vicenza, and the participation of Mart, Museo di
arte moderna e contemporanea di Trento e Rovereto.
Another comeback is the Festival Veronetta, a widespread event, a participatory art project set in an urban
context featuring a strong personal identity, with the participation of the Municipality of Verona, the
University of Verona, of ESU and of the Accademia di Belle Arti di Verona. The Fair also hosts La Terza
Notte di Quiete, the new edition of the project curated by Christian Caliandro that permeates the district with
the work of three artists - Elena Bellantoni, Eugenio Tibaldi e Marco Raparelli – together with 11 students
of the Fine Arts Academies of Verona, Frosinone and Foggia. The district’s involvement extends to the Santa
Marta Campus of the University of Verona that will host the exhibition marking a new partnership between
ArtVerona and the artist in residence project NUOVE//Laprima Plastics, curated by Geraldine Blais, and for
the occasion presents the artists Jesse Darling together with Fondazione Bonotto, Filippo Manzini and
Nicola Pecoraro; in addition to an intervention by Gianluca Concialdi. The same venue, that also exhibits
the arresting installation Aquila by Hitetoshi Nagasawa, will host Rosario delle Assenze, the environmental
installation by the artist Fabrizio Gazzarri, curated by Diego Mantoan.
The research and experimentation of the young artists is at the heart of the project First Step 9 of the
Accademia di Belle Arti di Verona. The program of the Festival also features the themes of innovation, of
photography and even of sound with a preview of the Path Festival and the projection of Negus by

practical information
Verona Exhibition Centre 
Hall 11-12
Viale del Lavoro 8 | 37135 Verona

12 October, 2018
from 11:00 am Opening (by invitation only),
from 2:00 pm to 7:30 pm open to the public
13 – 14 October, 2018
from 11:00 am to 7:30 pm
15 October, 2018
from 10:00 am to 2:00 pm



Open Call | Artist in Residence | Austria

Call for Applications for the Artist-in-Residence-Programme 2019 ||| Austria
deadline: September 30, 2018
In co-operation with KulturKontakt Austria, the Austrian Federal Chancellery makes available 50 residencies in Austria (Vienna and Salzburg) for the year 2019. Foreign artists can apply for this grant programme electronically via the www.artists-inresidence-austria.at platform.The residency is designed to offer an opportunity to familiarise oneself with the Austrian art scene and cultural environment and to make contact with Austrian artists. Residents are expected to complete a project during their stay. In the field of cultural education, the stay is primarily designed to foster exchanges and networking and not the realisation of a project.
During their stay, the artists in residence will be made familiar with the art scene and cultural environment. Activities on offer include visits at galleries, studios and museums, contacts to the literature and publishing sector, as well as access to Vienna’s music life. Whenever possible, the residents will receive free tickets for art and book fairs, the international ImPuls Tanz dance festival and other events.During their stay in Salzburg, the artists in residence will be taken care of by Kunstverein Salzburg. Residencies in Salzburg are only available for artists from the fields of the visual arts, artistic photography and media art.
There is the possibility of participating actively in the Artists-in-Residence-go-to-School-Programme of KulturKontakt Austria (the programme includes workshops at Austrian schools). This call is open to foreign artists whose permanent place of residence is outside of Austria and who have completed their training. Austrian citizens cannot apply for this programme. A high level of proficiency in English or German is required in order to enable participants to engage in a creative dialogue in an international context.
Participants are obliged to submit a final report about their stay.The age limit for applicants is 40 years, i.e. the applicants’ date of birth has to be after December 31, 1978. If an application is submitted by a duo at least one of the artists has to be born after December 31, 1978, and the artistic career of both individuals must be presented.
Artists who have already participated in artist-in-residence-programmes organised by KulturKontakt Austria, the Austrian Federal Chancellery or the Austrian Federal Ministry of Education, the Arts and Culture are not eligible for participation.
The artists in residence will be selected by sector-specific expert juries.When submitting an application, applicants agree to parts of their application file (CV and examples of work) being forwarded to third parties for the purpose of organising exhibitions, readings, concerts, lectures etc.
You are urgently requested to heed the sector-specific information on the following pages!
Applications can be submitted for only one of the following disciplines:
 Visual arts *
 Art photography
 Media art **
 Composition (new music, electroacoustic music, experimental music)
 Literature
 Literature for children and young people
 Literary translation
 Cultural education ***
* Applications from the sector of performing arts will not be accepted.
** For organisational reasons, the programme cannot accept applications from the film sector (shorts, feature film, documentary, avant-garde or experimental film etc.).
*** Cultural education. For an application in this sector please consider that cultural educators within the meaning of this call are responsible for the pedagogic part of an exhibition, concert, theatre etc. and in charge for the communication between the audience and the artists or the art. Cultural education can take place in a variety of
settings, including arts education in formal and non formal educational institutions and educational programs in cultural institutions.
Length of stay varies as a function of the artistic discipline:
 Residency of 3 months for visual artists, art photographers, media artists,composers
 Residency of 1-2 months for writers and literary translators
 Residency of 1 month for arts and cultural educators
The grants are funded by the Austrian Federal Chancellery within the framework of its Artist-in-Residence-Programme. KulturKontakt Austria acts as an advisor and provides organisational support.

What can be expected from the residency?
 Residencies are provided in Vienna (all disciplines) or Salzburg (only visual arts, photography, media arts). While requests for a specific place will be fulfilled subject to availability, this cannot be guaranteed.
 Accommodation subject to availability, either in an apartment at the Schloss Laudon Parkdependance (14th district), a room in a flat in Vienna’s 3rd or 9th district or an apartment at Salzburger Kunstverein in the City of Salzburg.
 The assignment of accommodation in Vienna is made by the residency provider. Unfortunately, individual preferences cannot be taken into account.
 Use of a community studio in Vienna’s 2nd district, at Schloss Laudon or at the Salzburger Kunstverein.
 Contribution to cost of living expenses of € 800 per month. In case of absence exceeding 7 days, a pro-rata share of cost-of-living expenses will be paid.
 One-time contribution to art supplies of € 300 for visual artists and composers.
 The costs of translation for one sample text (no more than 10 pages at 1800 characters each) from a foreign language into German for writers.
 Travel expenses as well as visa fees will not be paid nor refunded.
 Accident and health insurance will be provided; insurance cover excludes chronic disease and dental work.
 Each accommodation is provided with WLAN. Notebooks will not be provided.
 For the duration of the stay, a cell-phone with a one-time prepaid credit in the amount of € 40 will be made available to the residents.
 Residents will also receive monthly passes for public transport in Vienna or Salzburg for the duration of their stay.
 Regular cleaning service for the living quarters and change of bed-linen and towels will be provided weekly or monthly, according to the place.
 A presentation of works may be arranged towards the end of the residency (subject to confirmation).
 No financial support can be provided for the production of catalogues,translations, book releases and performances.
 Residents may not bring other people (family members, friends, acquaintances etc.) or pets to the residency. Only residents may spend the night at the accommodation.
 Neither the community studios nor the apartments are equipped for the needs of disabled.
 Compliance with the house rules of the residency is of the utmost importance.

The grant is designed for individuals who have completed their artist training and/or have been working as free-lance artists for at least five years. Whereas students are not eligible for application, post-graduate students are welcome.For organisational reasons, the programme can neither accept applications from the film sector (shorts, feature film, documentary, avant-garde or experimental film etc.) nor from performing arts.
The following application documents need to be submitted electronically via the www.artists-in-residence-austria.at online platform within the respective deadline.Applications by post or email cannot be considered.
An application portfolio contains mandatorily the following documents:

1. completely filled-in online-forms,
2. portrait photograph (standard quality, e.g. passport picture),
3. CV and/or artistic career; in case of duo or group applications, the artistic career of all artists involved needs to be presented, as well as a documentation of the artistic co-operation of recent years.
4. In case of duo or group applications, each of the individuals needs to register and submit a complete application. The application needs to include a reference to the respective partner/s.
5. a motivation letter (no more than 1 page) specifying current artistic interests and projects,
6. a description of the project planned for the stay in Austria; projects with some reference to Austria will be appreciated (1 page max.),
7. one (1) letter of recommendation (e.g. from a university institution, an art college, a gallery or other institution related to art and culture etc.),
8. information about all previous residencies, study visits and traineeships in Austria within the last 5 years (not applicable if this residency would be the applicant’s first residency in Austria).
9. documentation of previous artistic work (portfolio), meaning a representative cross section of no more than 10 pages; in case of media artists: no more than one file with a max. presentation time of 10 min.
Applications can be submitted as of now until no later than September 30, 2018,
24.00, upon registration at www.artists-in-residence-austria.at. The electronic timestamp will be used to determine whether the submission was within the deadline (Central European Summer Time – CEST).
Jury meetings are expected to take place in the months of October/November. The jury shall only consider complete applications.Applicants will be informed in writing of the receipt of their submission and of the result of the jury meeting. Reasons given by the jury will not be communicated.
Please address queries to application@artists-in-residence-austria.at
Telephone queries under 0043 (0)1 53115 - 206860.

Raoul De Keyser @ S.M.A.K.

Raoul De Keyser .oeuvre
22.09 until 27.01.2019

  Raoul De Keyser (1930-2012, Deinze) is viewed as the discrete master among the Belgian painters of the last fifty years. As from his debut in 1964 De Keyser developed unique tactile work in which the distinction between the figurative and the abstract dissolved in its poetic alliance with the painter’s everyday life. His artistic practice emerged from the Nieuwe Visie, a local variant of international Pop Art that was also influenced by literature.
Following his experiments with the fundamental elements of painting, including colour, paint and canvas, that were so typical of the 1970s, De Keyser’s visual idiom opened up and became more fluent. This signalled the start of a steady growth in international success, one of the highlights being his participation in Documenta IX in 1992. The artist frequently painted over earlier work or revived it in different formats. This game of looking both back and forward is also apparent in his final works. The title of the exhibition is an indication that in a certain sense each of De Keyser’s works includes the notion of a retrospective.
By unfolding De Keyser’s work both chronologically and thematically, oeuvre offers an insight into the artist’s method and his lifelong exploration of the boundaries of painting. In addition to more than a hundred paintings, a major ensemble of works on paper can also be seen; this is part of the gift the artist made to the Museum of Fine Arts in Ghent in 2008.
The setting in the middle room on the first floor was designed by the architects Robbrecht and Daem, who have previously created several exhibition spaces for De Keyser’s work (e.g. Documenta IX).
The exhibition is accompanied by an extensive catalogue, published by S.M.A.K. and Pinakothek der Moderne in association with Verlag der Buchhandlung Walther Koenig (Cologne) and Mercatorfonds (Brussels). This richly illustrated book contains the first comprehensive chronology of the artist’s life and work which was created in collaboration with the Archives Raoul De Keyser at Ghent University.
Film programme
Belgian art historian Koen Brams will present a wide-ranging film programme of television and film excerpts on the art and life of Raoul De Keyser.
Lastly, there will be an extensive series of talks including conversations between the curators of the two exhibitions, Martin Germann and Bernhart Schwenk. Erik Rinckhout, Bernard Dewulf and Steven Jacobs will also give talks and/or guided tours. More detailed information will be available later.
This exhibition is a joint project with the Pinakothek der Moderne in Munich.

Jan Hoetplein 1, 9000 Gent
9000 Gent

T +32 (0)9 240 76 01
E info@smak.be

Verona | Marmo Mac 2018

Marmo Mac 2018
Worldwide trade in this sector comes to 18 billion euros, 4.2 of which generated in Italy. Opening on Wednesday 26 September, during the 53rd edition of Marmomac (Veronafiere, 26-29 September) was presented at VeronaFiere today by President Maurizio Danese, irector General, Giovanni Mantovani and Mayor Federico Sboarina. It is one of the trade fairs with the highest level of internationality on a global scale.

And this record is confirmed by facts and figures for this show dedicated to natural stone (both unhewn and finished) and the world's most important technology and machinery industry: more than 1,600 exhibiting companies - 62% of which international from over 55 countries in attendance - with over 67,000 visitors expected from more than 140 countries. As a worldwide landmark platform for promotion, this event in Verona is also an opportunity to highlight Italian brands and natural stone districts, making up a national sector worth €4.2 billion, including technology. The sector boasts 3,300 companies (with more than 34,000 employees) with a major vocation for exports, since over three-quarters of turnover is generated on international markets.

Marmomac is reflects an increasingly global sector, as witnessed by the internationality of attendance by exhibition and operators alike," said Maurizio Danese, President of Veronafiere, during the press conference. For this reason we have intensified incoming initiatives and collaboration with MISE (Ministry for Economic Development) and ICE-Italian Trade Agency and Confindustria Marmomacchine with more than 200 top buyers, architects and designers selected through the Special Made in Italy Promotion Plan expected in Verona - alongside thousands and thousands of other specialist operators - to attend b2b theme meetings, technical training courses and visits to local companies."

"Natural stone, and the technology and machinery industry associated with it, is synonymous with quality and Italy is the acknowledged leader in this context," added Giovanni Mantovani, Director General of Veronafiere. This is demonstrated by the fact that the value of our finished products per square metre is more than double that of the world average for exports. This aspect sees Italy rank second in the world in natural stone sales with a balance of trade in the black by 2.8 billion euros, including technologies where Italy is the undisputed leader. The processed products sector, which is often affected by geopolitical situations, includes among its main customers the United States, Germany, Switzerland, United Kingdom, France, as well as the United Arab Emirates and China."

The Mayor of Verona, Federico Sboarina, said: "Marmomac confirms its strong bond with our local area. This show in particular and Veronafiere in general ensure socio-economic benefits that every year generate impressive financial figures - estimated at more than 1 billion euro of which 150 million generated by Marmomac - as well as promoting the image of the city, the province of Verona and its entrepreneurial activities."


Gilbert & George @ Baronian gallery in Brussels

Gilbert & George @ Baronian gallery in Brussels
10 November 2017 — 23 December 2017

Albert Baronian gallerie
Rue Isidore Verheyden 2
1050 Brussels, Belgium

are violent, eerie, grotesque, lurid and crazed. They show a dream-like world of paranoia and destruction and madness. Their strange sickly colours and creeping, smashed up, absurd landscapes confront the viewer with relentless aggression. THE BEARD PICTURES depict a world bereft of reason, in which negotiation no longer exists.

Gilbert & George take their places within THE BEARD PICTURES as intense, red, staring, empty-headed and sinister versions of themselves. Their eyes are shadowed and bizarrely prettified. Mutant impish explorers or dead-headed sentinels, they seem to look at, into and through the viewer. They look possessed and serious. They look
as though their spirits might have left their bodies. They look stern, absurd, imprisoned, mocking and mocked.
In each picture they wear beards that are surreal and symbolic. Beards made of wire mesh, beards made of beer foam, beards made of flowers, beards comprising rabbits with snakes for tongues. Secular and sacred, the throwback emblem of hip millennial youth as well as a mark of religious faith, the beard is depicted in THE BEARD PICTURES as both mask and meaning: a sign of the times.
In some of THE BEARD PICTURES, the artists stand either in front of a barbed wire or mesh fence, or behind one. Elsewhere, rusted steel rods sprout from collapsing buildings of pre-stressed concrete. In yet other pictures,
Gilbert & George are unsmiling comic grotesques, with tiny bodies and huge heads. Behind them a blank
silvery void, extravagant ornamental foliage, wire mesh fencing, newspaper advertisements for bouncers, builders and sex workers, the heads in relief of popes, monarchs, worthies and heroes.
Aggressively absurd, trashing contemporary artistic niceties but resonant with intense symbolism, THE BEARD PICTURES turn history into a mad parade, their mood shape-shifting between that of science fiction, lucid dreaming and Victorian caricature.

It is a vision and a form which brings to mind Oscar Wilde’s account of Walter Pater’s ‘Essays’: “….others are medieval in their strangeness of colour and passionate suggestion, and all of them absolutely modern, in the true meaning of the term modernity. For he to whom the present is the only thing that is present, knows nothing of the age in which he lives.
In the half century that they have lived and worked together as Living Sculptures, embarked on a visionary journey through the modern world, always together and always alone, Gilbert & George have made fiercely singular Anti-Art that is poetic, primal and emotionally driven. Order and madness are held in tension, vaudevillian
and nursery rhyme absurdity take on the air of paranormal ritual.
The more the viewer contemplates THE BEARD PICTURES, the more Gilbert & George appear like poltergeists within the cause of art and spirit sentinels within a world gone mad. In this chaos of trashed aesthetics and reversed values, all has become symbol and surface: mad symbols, presented with deadly seriousness. And as such they study the viewer.

more>>> https://www.albertbaronian.com/artists/gilbert-george/