solo guide

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solo
guide
Art Brussels 2014
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Pirelli Prize
One of Pirelli’s main corporate values is art and the company has
always invested itself in cultural projects around the world. Thanks to
Art Brussels, Pirelli will express, once more, the importance it accords to
quality, innovation and internationalization.
Last year, Pirelli Benelux and Art Brussels started a collaboration to
support and invest in established and upcoming artists. The SOLO
presentations have been pre-selected by Katerina Gregos, the Artistic
Director of Art Brussels, based on the submissions of the participating
galleries. In 2013, the Art Brussels Collectors Committee selected David
Brognon and Stéphanie Rollin as winners of the Pirelli Prize, with an
award of € 10,000.
This year’s edition has taken another dimension as Pirelli and Art
Brussels decided to expand the SOLO category to 29 galleries instead
of the sixteen galleries in 2013. This support is a natural continuation of
the Pirelli’s commitment to the most advanced forms of innovation and
communication with consumers.
Gianluca Renato, Managing Director of Pirelli Benelux:
"In Pirelli’s history there has always been an open dialogue with artists
that, having a captivating way of interpreting contemporary society,
activate interesting inputs for our business strategies to look towards the
future."
Andrea Lissoni, Curator of HangarBicocca:
"More than other forms of expression, contemporary art manages
to convey the principles of experimentation, openness to diversity,
the ability to interpret the future, and the striving for excellence that
are among the fundamental principles of Pirelli’s corporate culture.
HangarBicocca is living proof of the fact that lively interaction between
the world of business and that of cutting-edge cultural research still
provides huge opportunities for achieving results at the highest levels, in
a spirit of research and innovation."
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introduction
This year, Art Brussels is proud to present an increased number of solo
shows – 29 in total – which together constitute one of the highlights
of the fair. Since art fairs have become of even greater importance for
artists and collectors alike, the proper presentation of artists’ works is an
increasingly important question. The predominant presentation format
at art fairs, which usually takes the form of a heterogeneous group
presentation (a format dictated by economic necessity), often impedes
the possibility to give full attention to the practice of an individual
artist. In fact, only a solo show can give better emphasis on the scope,
meaning and depth of the work of an artist and therefore allow for
a better, more focused understanding of the art work within its own
context. We are delighted to present the work of the 29 artists in the
SOLO section, in this SOLO guide.
Katerina Gregos
Artistic director, Art Brussels
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The HangarBicocca Foundation
HangarBicocca is a space devoted to the production, exhibition and
promotion of contemporary art. Set up in 2004, it occupies a vast
redeveloped industrial complex formerly owned by Ansaldo-Breda.
With solo exhibitions of works by top international artists, the
artistic programme is characterised by its focus on research and
experimentation and by its particular emphasis on site-specific projects
capable of interacting with their unique setting. HangarBicocca is the
brainchild of Pirelli and a tangible sign of its dynamic presence within
the community: a place where the values of artistic research interact with
those of a company whose core principles have always been innovation,
the promotion of talent, and dialogue between different disciplines.
Pirelli for HangarBicocca Foundation
Ever since it was founded in 1872, Pirelli has always had research,
quality, innovation and internationalism as its key corporate values.
Throughout its 140-year history, Pirelli has been one of the leading
actors in the most important moments of social, cultural and
economic development of Italy. Based on the premise that culture
and experimentation are the driving forces behind the development of
society, over the decades Pirelli has helped create important projects
in Italy and abroad. Its promotion of contemporary art is a natural
continuation of the company’s commitment to the most advanced forms
of innovation, and the works and exhibitions at HangarBicocca are
tangible evidence of the values that have always been at the heart of
Pirelli's corporate culture.
www.hangarbicocca.org
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solo
Supported by Pirelli
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Catharine Ahearn
°1985, USA. Lives and works in Los Angeles.
Catharine Ahearn, Pretzel Bike, 2013
Wire, aquaresin, acrylic, salt
182.9 x 86.4 x 111.8 cm
Courtesy of the artist and Office Baroque, Brussels
Office Baroque 1B-19 PRIME
www.officebaroque.com
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Rana Begum
°1977, Bangladesh. Lives and works in London.
London-based artist Rana Begum presents three main bodies of work:
white folded steel sheets, which originate from studies in paper, together
with colourful aluminum bars, the so-called box pieces and her latest
small and delicate paintings on MDF. Begum's minimal vocabulary is not
only influenced by Donald Judd and Agnes Martin, but also by colourful
Islamic art and architecture. Taking the vibrant collage of the urban
environment, Begum creates works that are crystalline, simple, pure and
hard-edged. Begum's work is minimal in its formal language, imposing
order and systems by abstracting moments of accidental and visual
wonder. The multi-perspectival quality of Begum's art invites the viewer
to walk around, choosing where to pause in front of the work, instead
of being a passive observer. In 2012 Begum received the Jack Goldhill
Award for sculpture from the Royal Academy of Arts in London.
Rana Begum, No. 490, 2014
Lacquer on powder-coated aluminum
210 x 97 x 5 cm
Courtesy Galerie Christian Lethert, Cologne
Galerie Christian Lethert 3A-28 YOUNG
www.christianlethert.com
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Patrick Bernatchez
°1972, Canada. Lives and works in Montreal.
Patrick Bernatchez is a multi-disciplinary artist whose work spans the
media of painting, drawing, sound, installation, video, and photography.
Over the past decade the meta-physical idea of time has been
fundamental to the artist's practice. Using a number of large-scale,
multi-media projects, Bernatchez has been developing a quasi-futuristic
world where time is measured in millenniums and figures meander
through timeless landscapes through which he reflects on death,
metamorphosis, renewal as well as the changing nature of industry
and power. Since 2009, he has devoted himself to the Lost in Time
project, a vast multidisciplinary undertaking including films, sculptures,
installations and sound works. Lost in Time will be the subject of a
large monographic exhibition undertaken by the Casino Luxembourg,
(Luxembourg) and the Musée d'art contemporain de Montréal (Québec)
starting in 2014. The exhibition will reunite the totality of works created
since 2010 as well as some pieces from his Chrysalides ensemble (2006
- 2008), a previous body of work comprised of an unfolding series of
films and sculptural installations.
Patrick Bernatchez, À la recherche du jour d'après (Vue d'exposition_Fraction III), 2012
Ink jet print on translucent plastic wrap, 3 light boxes
183 x 122 cm each
Toni Hafkenscheid, Courtesy Diaz Contemporary, Toronto
Battat Contemporary 3D-36 YOUNG
www.battatcontemporary.com
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andreas blank
°1976, Germany. Lives and works in Berlin and London.
At first glance, the booth appears unfinished. A pallet leans against
the wall; a wooden transport crate and a cardbord box holding a pair
of boots sit on the floor; hanging on the wall is a crumpled sheet of
white paper in a black frame next to a canvas still wrapped in plastic
transport packaging. However, upon closer inspection the objects reveal
themselves to be hand-carved sculptures made from varied coloured
stones. Andreas Blank's work sculpturally reinterpret the trompe-l'oeil,
playing tricks with our expectations and providing the everyday with a
monumental status. Blank uses a variety of rare stones from quarries
around the world and brings their intrinsic qualities to light through
his meticulous process of carving and polishing. While Blank's selfreflexive works relate to their current locale and comment on their status
as mobile objects in the global art world, they also possess a strong
material sensibility.
Andreas Blank, Installation view, 2011
Variety of different stones, variable dimensions
© the artist & Galerie Christian Ehrentraut, Berlin
Christian Ehrentraut 3D-32 YOUNG
www.christianehrentraut.com
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David Brian Smith
°1981, Wolverhampton. Lives and works in London.
David Brian Smith presents a selection of his most recent paintings
made with oil on linen as part of an ongoing series of shepherd
paintings. Having grown up in the English countryside, Smith is inspired
by the pastoral setting as well as some tangential thinking about
Andy Warhol and seriality. The source for these paintings is often a
photograph found either in old newspapers or in the family archives:
for example, a photo taken in 1912 in Bangalore by the artist's greatgrandfather who was a colonial explorer. The points of reference for his
works range from Henri Rousseau and Gustav Klimt to the nineteenthcentury Ruralists. For his Solo presentation at Art Brussels, David Brian
Smith presents a new series of works continuing from this point of
departure.
David Brian Smith, My Soul Hath
Them In Remembrance And Is
Humbled In Me - Is Your World
Really That Sweet, 2012
Oil on herringbone linen
180 x 150 cm
© David Brian Smith
Albert Baronian 1C-27 PRIME
www.albertbaronian.com
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Thorsten Brinkmann
°1971, Germany. Lives and works in Hamburg.
Thorsten Brinkmann's photographic self-portraits turn a classic genre
upside down. In general, Brinkmann's work is initiated by the things he
finds: objects discarded by civilisation, which he finds in bulk waste
collections in the street, but also ordinary things like bottles, flower pots
or shelves. Even his own body becomes an objet trouvé. Brinkmann
is a juggler who uses different everyday objects on an equal level,
introducing them into art in the manner of Duchamp.
Thorsten Brinkmann, Bertha von Schwarzflug, 2010
C-Print
170 x 130 cm
© T. Brinkmann & VG Bildkunst Bonn 2014. Courtesy Hopstreet Gallery, Brussels
Hopstreet Gallery 3C-34 YOUNG
www.hopstreet.be
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Romain Cadilhon
°1984, France. Lives and works in Brussels.
Romain Cadilhon presents a set of new works from his recent series of
drawings. In them, the artist explores the possibilities of the medium,
focusing on the physical aspect of the creative process. The Liminals
series is rendered with pigments blown onto the paper, allowing a
particular treatment of surfaces and textures. In pale or intense colour
gradients, these drawings concentrate on the fundamental subject of
light. Cadilhon will also present large charcoal drawings inspired by
small casts by Auguste Rodin. Again, a fascination with textures and
organic qualities of the material appears in the confrontation between
drawing and sculptural matter. Besides these two main series, he will
also present small and intimate drawings of his studio, with the aim of
proposing a new approach to the genres of still lifes and drawings of
interiors.
Romain Cadilhon, Studio # 1, 2014
Pencil on paper, 17 x 12.5 cm
Courtesy of the artist & Rossicontemporary,
Brussels
Rossicontemporary 3B-41 YOUNG
www.rossicontemporary.be
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Michael Cline
°1973, USA. Lives and works in New York.
Horton Gallery presents five new paintings by American artist Michael
Cline that have been created specifically for Art Brussels 2014. Cline
works in a range of mediums including painting, drawing and sculpture.
Pastel tones serve as a serene mask from behind which he takes on the
role of narrator, reporting violence, transition and tumult in a troubled
America. Cline's storylines unravel in layers, in the words and drawings
enclosed in each corner of his pieces. The artist confronts themes of
sin and expiation through detailed scenes, exposing the uncomfortable
and macabre as all-pervasive and banal. Characters in these tales live
realities turned inside out, stripped bare for all to see.
Michael Cline, Untitled, 2014
Oil, acrylic, fabric & paper
mâché on panel
40.64 x 40.64 cm
MC019
Courtesy of the artist and
Horton Gallery, New York
Horton Gallery 3A-10 YOUNG
www.hortongallery.com
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Claudia Comte
°1983, Switzerland. Lives and works in Berlin.
The zigzag is a trademark feature of Claudia Comte's work. It is an
archetypal form used since Paleolithic times and painted on pottery on
every continent. It is woven into Navajo blankets, unifies the décor of
the Villa Sommerfeld, and gives the chair of the same name its shape;
it adorns the wings of moths, the trimming of ravioli and gives form to
a San Francisco street. Like the zigzag, Comte's artistic practice moves
tirelessly from low culture to high art and back again. Comte's work has
a relationship with nature and manual expertise, perhaps reflecting her
rural origins near the Jura Mountains. Her work also suggests the rigour
of modernism, as well as cartoon imagery. By bringing handicrafts into
fine arts and designing an environment for fantasized images of modern
life, Comte shows us that the path linking art and life takes the form of
a zigzag.
Claudia Comte, Funiculà Funiculì, 2013
Oak
260 x 39 x 25.5 cm
Centre Pasquart, Bienne
Courtesy of the artist. Photo: Annik Wetter
Gladstone Gallery 1B-16 PRIME
www.gladstonegallery.com
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Anneke Eussen
°1978, The Netherlands. Lives and works in Berlin.
" When contrasts create a new tune, the present is here continues
my series of works based on architecture. I consider this site specific
installation at Art Brussels as an asset. For both installations of Neubau
Stuck (2013), I used two of the common Plattenbau floor plans, a
building type whose structure is constructed of prefabricated concrete
slabs. For the actual works I document these living spaces again, in a
way that reduces them to their outlines. The periphery of both spaces
will be turned into a folding ruler. I want to make three rulers which
transform three locations into the same sculptural appearance. With this
installation I intent to question the preservation of important historical
buildings." (Anneke Eussen)
Anneke Eussen, Neubau Stuck, 2013
In situ installation
800 x 600 x 50 cm
Unique
Courtesy Anneke Eussen & Galerie Tatjana
Pieters, Ghent
Tatjana Pieters 3A-34 YOUNG
www.tatjanapieters.com
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AndrÉs Galeano
°1980, Spain. Lives and works in Berlin.
Grimmuseum presents Unknown Photographers, a series of work
by Spanish artist Andrés Galeano. The works are photomontages,
and were created using found amateur snapshots. Galeano's image
collection reveals mankind's varied engagement with the idea of flying,
our manifold pursuit of leaving the ground for a short while and enjoying
the world from a different perspective (be it a mountain top, a church or
a dancer's stage). The beauty of these photos coming together lies in the
fact that the artist does not discriminate between them, which doesn't
mean he doesn't select. All the pictures used by Galeano, independent
of their provenance and looks, are eloquent testimonies of our desire to
inhabit the air for a while.
Andrés Galeano, Unknown Photographers #57,
2013
C-Print
60 x 60 cm
© Andrés Galeano
GRIMMUSEUM 3A-18 YOUNG
www.grimmuseum.com
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Marco Godinho
°1978, Portugal. Lives and works in Luxembourg and Paris.
Words like disappearance, gaps, absences, waiting, silence and
reminiscence could well describe the artist's recent works. For Marco
Godinho, the complex meanders of memory are as many sources
of inspiration to perceive what we are missing. Culture, geography,
language, habitat, personal and collective stories are mixed together
to create a multi-faceted body of work. Each intervention is based
on a practice of a precise observation, a sort of screening of reality,
and takes an interest in the notions of time and movement, which are
recurrent in the artist's approach. The propositions that have been
gathered together for this project are built like a constellation of
independent fragmentary elements.
Marco Godinho, Allgemeine Erklärung, 2013
Ink on paper
29.7 x 21 cm
Courtesy s o b e r i n g, Paris
s o b e r i n g 3C-16 YOUNG
www.soberinggalerie.com
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Alexander Gorlizki
°1967, Great Britain. Lives and works in New York City.
Alexander Gorlizki presents a 'Gesamtkunstwerk' which takes over the
entire space of the SOLO booth at Art Brussels 2014. The presentation
features new works on paper and sculptural objects, as well as an
overall wallpaper design covering the interior walls. He creates a
Baroque-Surreal space employing a diverse span of media and artistic
expressions. Gorlizki's solo presentation has a very direct impact on the
visitor as it is eye-catching and ostentatious from afar. Closer scrutiny
offers extremely intricate and subtle moments ranging from the banal to
the spiritual.
Alexander Gorlizki, You Are Me And I Am You, 2013
Pigment and gold on bookprint
26 x 47 cm
Courtesy Galerie Martin Kudlek, Cologne
Martin Kudlek 3D-16 YOUNG
www.kudlek.com
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Gabriel Hartley
°1981, United Kingdom. Lives and works in London.
Light is a consistent subject matter in Gabriel Hartley's paintings. From
references to the evanescent radiance of J.M.W. Turner or Claude
Monet to the digital glow of computer generated imagery, a history
of light effects seems to be interwoven in all of his paintings. Thickly
applied oil paint is scraped, scored, cut and allowed to congeal. The
use of carefully applied spray paint then helps to mask and flatten
the surface while, paradoxically, highlighting the blemishes. This
presentation is a specifically elaborated project, composed of canvasses
and sculptures conceived in dialogue with one another.
Gabriel Hartley, Pick, 2012
Oil and spray paint on canvas
200 x 200 cm
© Rebecca Fanuele
Praz-Delavallade 1D-15 PRIME
www.praz-delavallade.com
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Diango Hernandez
°1970, Cuba. Lives and works in Düsseldorf.
In this booth, a Plexiglas sheet has been installed transversally, cutting
or dividing a plinth and a table into two halves. One half of each object
is inside and the other half is outside. On top of the half plinth, there is
a sculpture by Cuban artist Florencio Gelabert (1904 - 1995) and on top
of the table there is a small drawing by Cuban artist Blanco Lopez. On
the back wall of the space there is something that from a distance looks
like a moving painting but is, in fact, a hole cut in the wall by Diango
Hernández, revealing the comings and goings of the art fair beyond the
booth.
Diango Hernández, Mundis translated, 2014
Chair and sea sponge
100 x 60 x 60 cm
Courtesy of Kunstverein Nürnberg. Photo Annette Kradisch
Marlborough Contemporary 1A-18 PRIME
www.marlboroughcontemporary.com
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Nikita Kadan
°1982, Ukraine. Lives and works in Kiev.
The main hero in the project Engineering Hope is the standard Soviet
'sun' grid on the window, which is still present in many post-socialist city
environments. The form of this grid represents totalitarian oppression
and dreams of a free and equal society, impoverished everyday life and
the utopian horizon of socialism. The composition of public and private
spaces in the city has changed a great deal in the last twenty years
since the collapse of the Soviet state. Now, new public spaces emerge
in the window displays of privatized municipal grocery shops and luxury
shops, which are policed to prevent homeless people entering their
spaces. Nikita Kadan exhibits recent drawings and watercolors, two
slide shows with existing sun grids and a wall sculpture made of iron and
neon light.
Nikita Kadan, Controlled Incidents, 2013
Watercolour on paper
49 x 69 cm
Courtesy galerie Transit, Mechelen. Photo Bert de Leenheer
Galerie Transit 3D-07 PRIME
www.transit.be
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Zilvinas Kempinas
°1969, Lithuania. Lives and works in New York.
Zilvinas Kempinas is best known for his perception- and space-altering
installations, which invite the viewer to participate in the art event as it
unfolds. Using magnetic tape as the main medium for his installations,
Kempinas' art acquires multiple points of interpretation. Magnetic tape
is used as a ready-made, and also evokes the laws of physics and
phenomenology. Through the concept of the line in space, Kempinas'
works expand the boundaries of the medium of drawing. Kempinas
represented Lithuania with the installation TUBE at the 53rd Venice
Biennale in 2009; he was awarded the Calder Prize and Atelier Calder
Residency Award in 2007 and the Lithuanian National Culture and Art
Prize in 2013.
Zilvinas Kempinas, Voyage, 2013
Installation view: Marso gallery, Mexico
city, 2013
Magnetic tape, fans
Courtesy Vartai, Vilnius
Galerija Vartai 3A-03 YOUNG
www.galerijavartai.lt
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William Klein
°1928, New York. Lives and works in Paris.
In the early 1950s, while he was learning painting with Fernand Léger
and André Lhote, William Klein started to develop a photographic
language. Using flashlights and exploiting the possibilities of the
darkroom, he produced a series of abstract images. Alexander
Liberman, then art director of Condé Nast, fascinated by the creations
of this young artist, offered him the opportunity of working as a fashion
photographer. William Klein's obsession with abstract and psychedelic
images led him to make his first film in 1958, Broadway by Light (the
film will be running in the booth's projection room). This visionary piece,
echoing Klein's publication Life is Good & Good for You in New York:
Trance Witness Revels (1956), is an ode to the modern city and its power
to brainwash the citizens. Orson Welles declared this to be the 'first
film I've seen in which colour was absolutely necessary'. Polka Gallery
presents a survey of the early period of William Klein's art, in which
painting, film and photography were simultaneously exploited to forge a
language and a vision that had a tremendous impact on the twentieth
century.
William Klein, Fashion & light, 1962
Gelatin silver print
60 x 50 cm
© William Klein, Courtesy HackelBury Fine Art/Polka
Galerie, Paris
Polka 1C-53 PRIME
www.polkagalerie.com
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Nevan Lahart
°1973, Ireland. Lives and works in Dublin.
For Art Brussels 2014 Kevin Kavanagh presents a series of works by the
artist Nevan Lahart. The exhibition Serf Vice Paintings encompasses a
variety of painting techniques depicting the role of the artist and patron
in art history and the artist within the market today. The stand will act
as both a capsule of history and a questioning of contemporary art and
politics.
Nevan Lahart, We Love Our Troops Tenth Anniversary Special Edition Afghanistan Ashtray,
2011
Acrylic paint, wood, digital print, sand and cacti
43 x 39 x 17 inches
Courtesy of the artist
Kevin Kavanagh 3B-42 YOUNG
www.kevinkavanaghgallery.ie
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Wesley Meuris
°1977, Belgium. Lives and works in Brussels.
The gallery presents a solo show by Belgian artist Wesley Meuris.
This exhibition is the continuation of his first monographic exhibition
at the gallery curated by Florence Ostende, adjunct curator at Dallas
contemporary. Through drawings, diagrams, texts, models and full-scale
sculptures and installations, Meuris provides an analysis of standard
systems of exhibition presentation and offers a reflection on the
museographical space. The booth will gather an ensemble of works
questioning the specific context of the fair as an exhibition space. All
the works are part of the FEAK project (Foundation for Exhibiting Art
and Knowledge) that the artist developed last year for his exhibition
at Casino (Luxembourg). FEAK is a fictional foundation that collects,
loans and produces exhibitions. Brought together, the different works
(storefront, pedestal, corners, posters, advertisement, ticket) conceived
by Meuris will evoke a museum room as well as an empty art gallery.
Wesley Meuris, A Unique Art Collection, 2011
Wood, glass, lighting
100 x 65 x 60 cm
© Wesley Meuris & Galerie Jérôme Poggi, Paris
Jérôme Poggi 3A-33 YOUNG
www.galeriepoggi.com
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Marc Nagtzaam
°1969, The Netherlands. Lives and works in Sluiskil.
For Art Brussels 2014, Marc Nagtzaam has conceived and created a
solo exhibition with a constellation of new works. The booth juxtaposes
a wall drawing and a selection of drawings on paper. Mural drawings
are common in Nagtzaam's practise. A drawing depicting an exhibition
space covers the three walls of the booth. On top of this background, a
selection of new graphite-on-paper works is carefully displayed.
Marc Nagtzaam, No Specifics,
2013
Graphite on paper
63.5 x 45.5 cm
© Marc Nagtzaam
ProjecteSD 3C-24 YOUNG
www.projectesd.com
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The Old Boy's Club
°1975, Belfort. Lives and works in San Francisco.
The Old Boy's Club, approaches various subjects - including ideas of
desire and judgement - with humour, whimsy, and a lightness of mood,
even if the subjects themselves reject this levity. La Destitution de la
jeune fille, which continues in this playful vein, is a direct response to
the book Premiers matériaux pour une théorie de la jeune fille written in
2001 by Tiqqun, a largely anonymous French writers' collective. Rather
than a historical narrative, the Young Girl is a non-gendered concept
symbolizing the capitalist machine and the meaninglessness of modern
life. Creatures with myriad masks - Native American, Indonesian, Hello
Kitty, burkas, American football helmets - wage war against commodity
culture and empty existence. Far from being a simple notion of good
versus evil, however, it is amidst a landscape of chaos and confusion
that these creatures fight the battle of the contemporary world.
The Old Boy's Club, La Destitution de la Jeune
fille, 2010
Wood sculpture, acrylic and gouache on wood
72 x 49 x 42 cm
© The Old Boy’s Club. Courtesy by Galerie Anita
Beckers, Frankfurt
Galerie Anita Beckers 3D-27 YOUNG
www.galerie-beckers.de
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Goran Petercol
°1949, Croatia. Lives and works in Rijeka and Rovinj.
"It is characteristic of the first Symmetries Series (2007-2009) that,
within various objects, I found forms to which I symmetrically added the
same forms, i.e. the reason for this symmetry was within the startingpoint object. For example, I cast the inner shape of a cup in concrete
and put it next to the cup in a symmetrical relation. I did not take into
account the body of a cup, nor the obvious difference in material, only
its emptiness." (Goran Petercol)
Goran Petercol, HALVES, 2014
Wood, paint
59.7 x 43.5 x 88.3 cm
Courtesy Galerie Krinzinger, Vienna
Krinzinger 1C-26 PRIME
www.galerie-krinzinger.at
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Heather Phillipson
°1978, United Kingdom. Lives and works in London.
Heather Phillipson's solo presentation is a conceptually hermetic
environment. Housing a video, paintings and objects, the booth
becomes a 'wet room', the centre of an eyeball, an oversized weeping
tear duct. However, no water is involved: everything is painted. The
screening room also mimics the video's aesthetics. Shot within a painted
set, the video deploys dribbles, glitches and audio/visual overlays:
a 'liquid' environment. Entering the booth, the visitor navigates flat,
painted panels, like stepping into a giant eye. Elements of the set litter
the room: cut-out mouths, painted tears, a makeshift beach. Suspended
panels and peepholes create sightlines, blind spots and punctuation
marks. Generic swimming accoutrements recur on-screen and off:
swimming caps, swimsuits and a wetsuit. The visitor shifts between
physical and digital elements. Phillipson's universe exists between the
body and its expulsions. Its watery overtone relays everyday neurosesexchanges of bodily fluids, submersion, floods and water bills. Tears are,
perhaps, the only possible reply.
Heather Philipson, Yes,
surprising is existence
in the post-vegetal
cosmorama, 2013
Installation view:
Baltic Centre for
Contemporary Arts,
Gateshead
Variable dimensions
Courtesy of the artist &
Colin Davison
Rowing 3B-19 YOUNG
www.rowingprojects.com
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Esther Stocker
°1974, Italy. Lives and works in Vienna.
"I want to combine sculptures with painting: structural works with
interruptions in geometry. To be more specific: systems that show both
order and disorder at the same time. I want forms to become free of
our expectations. We seem constrained by the things we know, and this
can restrict our imagination. I am looking for undefined, vacant, and
"open" points. My technique is to pursue detachment from order. There
are structures that have an open, free character because the elements
inside them are not combined in a logical way and therefore never
create a coherent whole. For me, this is the potential of the free form. In
my paintings and objects I want to describe a system's ambiguity and
uncertainty. I use the precision of a system mainly to question the system
itself. I try to liberate and let go of certain ways of understanding and
seeing connected with the recognisability of forms." (Esther Stocker)
Esther Stocker,
Untitled, 2013
Print on paper, epoxide
resin, glass fiber, wood
40 x 50 x 40 cm
© Meinrad Hofer
Alberta Pane 3D-40 YOUNG
www.galeriealbertapane.com
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Boris Tellegen
°1968, The Netherlands. Lives and works in Amsterdam.
Amsterdam in the 1990s: Boris Tellegen's artistic approach disrupts
the codes of graffiti. He becomes an emblematic figure of the
scene. In the beginning of the twenty-first century, the web culture
1.0 and subsequently web 2.0 acclaims graffiti and its incarnations
as it embodies the visual expression of this growing cosmopolitan
consciousness. With his graffiti background, Tellegen continues to
question the relationship between mankind and its urban environment.
The volume presented for the solo exhibition is an assembly of reclaimed
building and insulation materials. The strata form a cross-section of a
recycled architecture after the passing of a tornado or simply after a
contemporary art fair. This collage is a pure formal inquiry into chaos
and volume.
Boris Tellegen, Gridboom, 2014
Paper collage
37 x 28 cm
© Boris Tellegen & Alice Gallery, Brussels
Alice 3A-43 YOUNG
www.alicebxl.com
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Joris Van de Moortel
°1983, Belgium. Lives and works in Hoboken, Belgium.
Brussels1? Something greasy, something to wear on your hair2 instead
of stick it in your mind, but I'm sure it will be stuck after visiting the
fair booth – fairies wear boots3, you got to believe me. So let's go4; I
start building a studio inside the studio5 and build the in-, out-, up- &
downside of this modular piece of sculpture in which I probably start
a painting studio and occasionally play music in, cast and so & so6
make objects. Though it can't move imagine7 stepping into a car, a
small isolated world8 and hit the radio from station to station9, cars hiss
by your window10, hearing but the engine while rain hammers the steel
frame until you're deaf – so where was I? – The smaller studio, right. It
drags you to a different mode; inside, penetrating the sculpture – how
often does that happen? Eventually I won't show the sculptured studio,
but a nicely sliced up with all primary butcher skills and chainsaw drills
variation in 6 parts, tuned to wall pieces, all framed in a self-carved
and boat-lacquer-varnished wooden frame. A small sketch might kick
your brain in the right direction, or totally the opposite way, this is my
way11, this way Van de Moortel.12 Probably it will turn out to be totally
different – I tell you no lie.13 It's not new14 and at the time it was a loose15,
uncontrolled behavioural re-ac-tor16 of something-on-something
ungraspable now, as many things appearing in first bright daylight, as
a something, erupted of entering the studio, as many days, a day in the
life.17
(NOTES: 1Art Brussels 2014 • 2, 3, 4, 6, 7, 9, 10, 11, 13, 14, 15, 16 & 17Musical
notes & quotes • 5Studio Unlimited • 8Audi80 • This way
Brouwn, Stanley Brouwn - if I remember well.)
Installation view: Getting Comfortable Slowly by Joris Van de
Moortel at Nathalie Obadia Gallery, Brussels, September
2013
© Courtesy Galerie Nathalie Obadia, Paris/Brussels
Galerie Nathalie Obadia 1C-04 PRIME
www.galerie-obadia.com
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Anna Vogel
°1981, Germany. Lives and works in Düsseldorf.
Anna Vogel is the first Master student of Andreas Gursky. She
graduated from Kunstakademie Düsseldorf in 2012 and received the
prestigious 'Preis für Junge Kunst der Landeshauptstadt Düsseldorf' in
2012. For Art Brussels 2014, Vogel created a set of new works especially
for the SOLO presentation. Snippets from her own past meet abstract
fragments of thought to generate new highly individual motifs. Areas on
the image painted over or cut out draw attention to incongruous, even
irritating details but not without a sense of humour in combining staged
photographs with seemingly random image material into photographic
forays that remain wide open to interpretation.
Anna Vogel, Stereotype of Tivon, 2013
Collage, MDF frame
28 x 34 cm
© Anna Vogel & Conrads, Düsseldorf
CONRADS 3B-33 YOUNG
www.galerieconrads.de
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Nil Yalter
°1938, Cairo. Lives and works in Paris, France.
Since the 1960s, Nil Yalter has redefined political, aesthetic and
patriarchal narratives from a uniquely feminine viewpoint. Inspired
by poetry, philosophy, sociology, anthropology and ethnology, Yalter
operates in a complex artistic field. AmbassaDRESS (1978) is one of
Yalter's earliest pieces to include a video. The focus of the installation
is a white satin evening gown from the 1920s designed by Jeanne
Lanvin and owned by the wife of an ambassador. The seven-minute
video focuses on the details of the dress, while silver gelatine prints and
drawings are part of Yalter's engagement with the story of the dress's
owner. Yalter's work was included in the influential exhibition WACK!
(2007) at Los Angeles Museum of Contemporary Art (which travelled
to other major galleries across the USA). Her sculptures, videos, and
installations are in the permanent collections of the Tate Modern, the
Istanbul Modern, Centre Pompidou and the F.N.A.C., among others.
Nil Yalter,
AmbassaDRESS, detail,
1978.
Installation (found
object, drawings and
photographs)
© galerist, Istanbul &
the artist
Galerist 1A-09 YOUNG
www.galerist.com.tr
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Foto/photo Agostino Osio
Courtesy Fondazione HangarBicocca
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Pirelli invites international audiences to visit HangarBicocca, in Milan,
as part of its involvement in the production, exhibition and promotion of
contempory art. Fill in this application form and answer the questions
and you could win a trip to HangarBicocca, on the courtesy of Pirelli.
This two day trip is valid for two persons and includes the flights and
hotel in Milan. For all terms and conditions, please visit Pirelli.be or ask
a copy of these terms and conditions at the Infodesk Hall 1 or 3.
Name ...................................................................................................
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Answer these questions to win your trip to HangarBicocca.
• Who is the artistic director of Art Brussels?
.............................................................................................................
• How many visitors of Art Brussels 2014 do you think will take part in this
contest?
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f
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-Solo.indd 37
PIRELLI INVITES YOU TO VISIT
THE HANGARBICOCCA FOUNDATION
infodesk Hall 1
infodesk Hall 3
Kindly leave this
voucher at Infodesk
Hall 1 or 3.
* Pirelli will only use your personal data for promotional purposes. No personal information
will be shared with third parties.
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SOLO
HALL 3
1. Nikita Kadan (Transit - BE) ....................................................p. 22
2. Alexander Gorlizki (Martin Kudlek - DE) ................................ p. 19
3. The Old Boy's Club (Anita Beckers - DE) ............................... p. 28
4. Andreas Blank (Christian Ehrentraut - DE) ............................. p. 10
5. Patrick Bernatchez (Battat - CA) ............................................. p. 9
6. Esther Stocker (Alberta Pane - FR) ......................................... p. 31
7. Thorsten Brinkmann (Hopstreet - BE) .................................... p. 12
8. Marc Nagtzaam (ProjecteSD - ES) ........................................p. 27
9. Marco Godinho (s o b e r i n g - FR) ....................................... p. 18
10. Heather Phillipson (Rowing - GB) ......................................... p. 30
11. Anna Vogel (Conrads - DE) ...................................................p. 34
12. Nevan Lahart (Kevin Kavanagh - IE) ......................................p. 25
13. Romain Cadilhon (Rossicontemporary - BE) ........................... p. 13
14. Boris Tellegen (Alice - BE) ......................................................p. 32
15. Anneke Eussen (Tatjana Pieters - BE) ..................................... p. 16
16. Wesley Meuris (Jérôme Poggi - FR) ....................................... p. 26
17. Rana Begum (Christian Lethert - DE) ...................................... p. 8
18. Andrés Galeano (grimmuseum - DE) ...................................... p. 17
19. Michael Cline (Horton - US) .................................................. p. 14
20. Zilvinas Kempinas (Vartai - LT) ...............................................p. 23
HALL 1
21. Nil Yalter (Galerist - TR) .........................................................p. 35
22. Diango Hernández (Marlborough Contemporary - GB) ......... p. 21
23. Catharine Ahearn (Office Baroque - BE) .................................p. 7
24. Claudia Comte (Gladstone - BE/US) ..................................... p. 15
25. Joris Van de Moortel (Nathalie Obadia - FR/BE) ...................p. 33
26. Goran Petercol (Krinzinger - AT) ............................................ p. 29
27. David Brian Smith (Albert Baronian - BE) ................................p. 11
28. William Klein (Polka - FR) .......................................................p. 24
29. Gabriel Hartley (Praz-Delavallade - FR) ............................... p. 20
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hall 1 21 > 29
hall 3 1 > 20
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VIP Lounge - Restaurant
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