Un·e historien·ne de l’art, un·e curateur·trice,un·e critique d’art nous présente une œuvre de son choix, la décrit, l’explique, la déplie dans son contexte d’émergence et de fleurissement. Une focale sur ce qu’une œuvre peut dire, promettre et susciter…
The work described can be seen here: www.moma.org/artists/72286#works
To view the work, go to www.koregos.org/fr/valentine-pige…ies-bruxelloises/
The work is here: www.markmanders.org/works-a/shadow-study-2/
To view the work: fr.wikipedia.org/wiki/Les_Bulles_…douard_Manet.jpg
To view the work:
hl-projects.com/artists/29-emmanu…e-xxi-vegas-2019/
www.artspace.com/emmanuel-van-der…pture-xxi-vegas#
To view the work: blog.slate.fr/wp-includes/ms-fil…aunay_Sonia_08.jpg
𝐃𝐨𝐫𝐨𝐭𝐡𝐞́𝐞 𝐃𝐮𝐯𝐢𝐯𝐢𝐞𝐫, curator at BPS 22, talks about 𝐵𝑎𝑟𝑏𝑎𝑟𝑎 𝑑𝑎𝑛𝑠 𝑙𝑒𝑠 𝑏𝑜𝑖𝑠 (2015), a film by Nicolas Clément and Barbara Massart, around which photographs and textile creations gravitate. An arrangement is proposed at 𝐁𝐏𝐒 𝟐𝟐, until 3 January 2021, in the exhibition 𝑳𝒂 𝑪𝒐𝒍𝒆̀𝒓𝒆 𝒅𝒆 𝑳𝒖𝒅𝒅, curated by Dorothée Duvivier.
In the exhibition “Tomber en Amour” (Maison des Arts de Schaerbeek) are exhibited 2 works of the Belgian artist Edith Dekyndt
lamaisondesarts.be/tomber-en-amour/
1/ 𝑇𝑜 𝑃𝑒𝑒𝑙 𝐴 𝐵𝑎𝑙𝑙, 1997
2/ 𝑃𝑟𝑜𝑣𝑖𝑠𝑜𝑟𝑦 𝑂𝑏𝑗𝑒𝑐𝑡 02, 2000
On stage, Doreen Mc Pherson explains how the drawing was made. We also see her at work (Whitechapel films / Intoart, 2020) intoart.org.uk/film/whitechapel-…doreen-mcpherson/
In 2014, the Belgian artist 𝐅𝐥𝐨𝐫𝐢𝐚𝐧 𝐊𝐢𝐧𝐢𝐪𝐮𝐞𝐬 (°1988) stumbled upon a postcard reproducing a sculpture by Jacques de Braekeleer (1823 – 1906) entitled L’attente (c.1860). It depicts a seated nude woman holding a child in her arms. She seems to be waiting, looking pensive. It is listed as belonging to the collections of the Brussels Museum. This reproduction sparks a series of approaches, research and writing that will be the subject of two exhibitions 𝑂𝑢𝑡 𝑜𝑓 𝑜𝑓𝑓𝑖𝑐𝑒, at Eté 78, in 2017; and “…”, in 2020, at MAAC. Florian Kiniques talks about this creative process, of which waiting is the substance…
As a prelude to the conference scheduled for 31 March on Francis Picabia’s Transparencies series (iselp.be//en/conferences/beaux-monstres), Delphine Florence talks about Mardi Gras (Le Baiser) 1924-25.
The work described can be seen here: deuxieme-temps.com/ff1e49a624640a6…14423be5055fe3/
You can find Delphine Florence on our Soundcloud with the archives of her lectures on:
la grotte Chauvet: bit.ly/36CkPuI
Mike Kelley: bit.ly/3ayaZei
La forêt métaphore des foules: bit.ly/2Lf9F7u
https://soundcloud.com/iselp/d-florence-pica
A child prodigy of the American minimalist generation, Eva Hesse died at an early age in 1970, at the age of 36. She left behind a body of work that is rich in nearly one hundred sculptures that combine rigour and sensuality, cerebration and intuition. This is the case of Accession III, which Virginie Mamet, art historian (Université Libre de Bruxelles, Art contemporain), guide and lecturer, attached to the educational service of the Royal Museums of Fine Arts of Belgium, tells us about. Her final thesis was on TAPTA’s soft sculptures.
The work described can be seen here: antronaut.net/post/183381647412/…nd-polyester-resin
Belonging to the collection of the SMAK (Ghent), 289 𝘰𝘦𝘶𝘧𝘴 is part of a body of work that preceded the thermoformed plates and the creation of the Museum of Modern Art, Department of Eagles (1968-72). More than a rough stammering, this period of “eggs, moulds and pots”, “objects abandoned by housewives” is an essential matrix where the relationship between words, things and images is played out in a desire to give a “realistic turn” to Magritte’s legacy.
Explanation by Delphine Florence, art historian, lecturer, regular speaker at the Institute (see playlists 𝘡𝘖𝘖𝘔, 𝘊𝘩𝘢𝘯𝘨𝘦𝘳 𝘭’𝘢𝘳𝘵, 𝘵𝘳𝘢𝘯𝘴𝘧𝘰𝘳𝘮𝘦𝘳 𝘭’𝘦́𝘤𝘰𝘭𝘦, 𝘓𝘦𝘴 𝘖𝘳𝘢𝘨𝘦𝘴)
The work described can be seen here: smak.be/fr/collectie/de-smak-collectie/152
In 1973, Robert Filliou (1926 – 1987) proclaimed 17 January to be the birthday of art. He celebrated the millionth and tenth anniversary by turning the “Neue Galerie” in Aachen into a place of celebration. No art objects, no exhibitions. But libations, festivities, cake. This is one of the signs of the equivalence between art and life.
“A million and ten years ago ART was LIFE, in a million and ten years it will be again”, writes Filliou to his “friends”, inviting them to celebrate the anniversary of art, without art…
We talk about it with Valentine Verhaeghe, in charge of Robert Filliou’s archives, and Michel Collet, poet and performer, professor of art and human sciences
Interview: Laurent Courtens – Readings: Alexandra Geraci – Sound and editing: Sami Boulares
Illustration: Le geste de l’admoniteur, visual from the eponymous exhibition curated by Septembre Tiberghien, Archiraar Gallery, Brussels, 2016. Copyright: Gilles Ribero
In the wake of the anniversary of art, we publish a full reading of the whispered history of art written and first performed by Robert Filliou in 1963.
Alexandra Geraci lends her voice to the exercise, allowing us to publish the first recording of the text by a female voice…
Sound and editing: Sami Boulares
Illustration: Le geste de l’admoniteur, visual from the eponymous exhibition curated by Septembre Tiberghien, Archiraar Gallery, Brussels, 2016. Copyright: Gilles Ribero
Between 1964 and 1968, the American artist Paul Thek produced his 𝘛𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘪𝘤𝘢𝘭 𝘙𝘦𝘭𝘪𝘲𝘶𝘢𝘳𝘪𝘦𝘴, also known as 𝘔𝘦𝘢𝘵 𝘗𝘪𝘦𝘤𝘦𝘴. These are casts of human limbs or illusionistic copies of pieces of flesh, shown in very “high tech” devices evoking minimalism. It is an enterprise of contamination of serial neutrality and Pop intoxication. A contamination by the flesh, the dead and the living, the crudest triviality and religious fetishism. “𝘘𝘶𝘦𝘭𝘲𝘶𝘦 𝘤𝘩𝘰𝘴𝘦 𝘥𝘦 𝘵𝘳𝘦̀𝘴 𝘥𝘦́𝘴𝘢𝘨𝘳𝘦́𝘢𝘣𝘭𝘦, 𝘥𝘦 𝘵𝘳𝘦̀𝘴 𝘦𝘧𝘧𝘳𝘢𝘺𝘢𝘯𝘵, (…) 𝘲𝘶𝘪 𝘥𝘦𝘷𝘦𝘯𝘢𝘪𝘵 𝘴𝘦𝘳𝘦𝘪𝘯” will say Paul Thek himself
To tell us about it, Tristan Trémeau, doctor in art history, art critic, curator, professor of history and theory of arts at Esad TALM in Tours and at ARBA-Esa, Brussels.
Paul Thek, 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 1966-67, 𝘛𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘪𝘤𝘢𝘭 𝘙𝘦𝘭𝘪𝘲𝘶𝘢𝘳𝘪𝘦𝘴 series.
Wax, wood, metal, hair, plastic, paint and plexiglass with wig and fabric. 17 x 51.5 x 17 cm. Watermill Center Collection.
To see the work, go here: bit.ly/3Mboa5M
Trained as an architect, designer and sculptor, Willy Kessels (1898 – 1974) distinguished himself above all as a photographer. His best-known images are his vivid and dynamic readings of modern buildings, even more so his photographs from the shooting of the film 𝘔𝘪𝘴𝘦̀𝘳𝘦 𝘢𝘶 𝘉𝘰𝘳𝘪𝘯𝘢𝘨𝘦, directed by Henri Storck and Joris Ivens in 1933.
Clémentine Davin presents us with one of these shots, quite emblematic of the cult film shot by Storck and Ivens. But the path of this image is also characteristic of Willy Kessels’ strange political path. Along with other photographs from the shooting of “𝘉𝘰𝘳𝘪𝘯𝘢𝘨𝘦”, 𝘖𝘶𝘷𝘳𝘪𝘦𝘳𝘴 𝘴𝘶𝘳 𝘭𝘦 𝘵𝘦𝘳𝘳𝘪𝘭 was indeed published in a fascist magazine, one of the many indications of Kessels’ collaborationist break, a complacency (if not conviction) that led to his being condemned after the war.
From then on, his work entered the grey zone of collective repression and denial.
Clémentine Davin is an art historian and art critic. During an internship at the Museum of Photography in Charleroi, she initiated a study and analysis of the Kessels collection in that museum as well as in the FoMu in Antwerp.
Here is a link to a reproduction that gives a better idea of the atmosphere of the image we are talking about (2nd visual): bit.ly/3HpPlJj
And to go further: bit.ly/3mWmAKE