Emilio Lopez Menchero,
Tintamarre, 2018,
technique mixte, dimensions variables
Exposition Charivari, église Notre Dame de Pamele à Oudernaarde
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Du 19 septembre au 14 octobre, à Liège, soyez attentifs aux panneaux électoraux dévolus au Party Content (PVC, Party Vraiment Content) : ils sont investis par 34 artistes venant de tous les horizons. Et parmi eux : Jacques Charlier, Alevtina Kakhidze, Emilio Lopez Menchero, Jacques Lizène et Antoine Nessi ! Soyez contents !
Être content envers et contre tout, c’est la philosophie de Party Content ! L’art, la poésie, la musique, la fête sont ses moyens pour mener à bien ce vaste programme de contentement. Le Manifeste du Party Content, c’est ici
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Jacqueline Mesmaeker, Caméra non assistée, 1996 – 2009.
6 min, Hi8 numérisé, couleurs, son mono.
Suchan Kinoshita et Jacqueline Mesmaeker participent toutes deux à Middle Gate II – L’histoire de Dimpna, exposition organisée à Geel dans divers lieux.
Le projet d’exposition Middle Gate II – L’histoire de Dimpna est une collaboration entre le M HKA, Musée pour l’ Art Contemporain à Anvers, et le centre culturel de Werft à Geel. Middle Gate 2 est la suite de l’exposition Middle Gate de Jan Hoet à Geel en 2013. Le concept de l’exposition est étroitement lié à la légende de sainte Dimpna, la patronne des possédés et malades mentaux, et la sainte protectrice contre l’épilepsie et la folie. La légende de Dimpna est très liée à l’identité de la ville de Geel, “la ville miséricordieuse”.
Middle Gate II – L’histoire de Dimpna est construit autour de quatre symboles de sainte Dimpna – la couronne, le livre, le diable et l’épée – chacun représentant un thème lié à la légende de Dimpna. La couronne est associée à la migration, le diable représente la folie, le livre est symbole pour la spiritualité et l’épée est liée à la violence (sexuelle). Ces quatre symboles/thèmes sont exposés à quatre endroits différents, ce qui résulte dans une exposition de groupe qui fait un parcours à travers la ville de Geel: l’Académie de la vile pour les Beaux-Arts (la couronne/migration), le Musée Gasthuis (le diable/folie), l’Eglise Sainte-Dimpna (le livre/spiritualité) et les Halles (l’épée/violence (sexuelle)). Les œuvres exposées entrent chaque fois en dialogue avec la location spécifique et les œuvres (d’art) et objets qui y sont déjà présents. Middle Gate II approche à l’aide d’œuvres de la collection M HKA, souvent jamais exposées auparavant, quatre thèmes sociaux qui étaient urgents dans la légende de sainte Dimpna.
Middle Gate II – L’histoire de Dimpna
15.09–04.11.2018
SA–DI 11:00–18:00
Groupes sur rendez-vous
Académie de la vile pour les Beaux-Arts, Kollegestraat 118
Musée Gasthuis, Gasthuisstraat 1
Eglise Sainte-Dimpna, Sint-Dimpnaplein
Les Halles, Markt 1.
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Jacques Halbert
La Galerie Cerise, 1976
triporteur, technique mixte
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 100 x 100 cm
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 100 x 100 cm
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 100 x 100 cm
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 100 x 100 cm
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 165 x 130 cm
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Accrochage La Panacée, 2018
Benjamin Monti
Sans titre, 2016
Encre de chine sur carte perforée de la « Courage-Organisation SA » 21 x 14,7 cm
Benjamin Monti
Sans titre, 2016
Encre de chine sur carte perforée de la « Courage-Organisation SA » 21 x 14,7 cm
Benjamin Monti
Sans titre, 2016
Encre de chine sur carte perforée de la « Courage-Organisation SA » 21 x 14,7 cm
Benjamin Monti
Sans titre
Encre de chine sur dessin trouvé (de la série des histoires naturelles)
22,7 x 14,5 cm
2010-2016
Benjamin Monti
Sans titre
Encre de chine sur dessin trouvé (de la série des histoires naturelles)
22,7 x 14,5 cm
2010-2016
Accrochage La Panacée, 2018
Benjamin Monti
Sans titre, 2016
Encre de chine sur carte perforée de la « Courage-Organisation SA » 21 x 14,7 cm
Benjamin Monti
Sans titre, 2016
Encre de chine sur carte perforée de la « Courage-Organisation SA » 21 x 14,7 cm
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Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Accrochage La Panacée, 2018
Benjamin Monti
Sans titre (queue de triton)
Encre de chine sur dessin trouvé (de la série des histoires naturelles)
22,7 x 14,5 cm
2010-2016
Benjamin Monti
Sans titre (sapindacée : acer)
Encre de chine sur dessin trouvé (de la série des histoires naturelles)
22,7 x 14,5 cm
2010-2016
Benjamin Monti
Sans titre (coupe de prunus, coupe de Narcisse)
Encre de chine sur dessin trouvé (de la série des histoires naturelles)
22,7 x 14,5 cm
2010-2016
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
Benjamin Monti
Sans titre, 2018
Encre de chine sur papier, 29,7 cm x 21 cm.
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Jacques Charlier et Emilio Lopez-Menchero participent à l’exposition Charivari, organisée en l’église Notre Dame de Pamele à Oudernaarde. (commissariat : Jan Hoet Jr et Mélanie Deboutte)
Adriaen Brouwer (1605-1638) is regarded as one of the most important artists of the 17th century, although still too little known today. Brouwer was born in Oudenaarde and died at the age of 33 in Antwerp, 380 years ago this year. The city of Oudenaarde is now organizing an ambitious exhibition in their museum, bringing together no less than half of Brouwer’s entire oeuvre.
We offer a response to this exhibition by bringing together a group of 29 contemporary artists under the title CHARIVARI in the oldest church of Oudenaarde, on the banks of the Scheldt. We are inspired by the artistic heritage of a figure like Brouwer with a critical, often moralizing but always humorous look at a society that doesn’t seem so different from ours today. Among the participating artists we recognize a similarly critical voice, as well as a substantial sense of emotion, vulnerability and humor.
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In response to administrative difficulties when applying for a residential permit for a building that was originally a coach house, then a warehouse for glass objects from Czech Republic and is now her studio, Suchan Kinoshita has decided she does not want to be housed any longer: wohnen.
Anyone who reads the ‘Ministerial Decree of the Brussels-Capital Government of 23 January 2014, published in the Belgian Official Gazette of 07.02.2014’, with its definitions and specifications of housing and what criteria a residence must meet, will become discouraged indeed. Rules like “Each room is fitted with a light point with switch” are just the tip of the iceberg. The house must be divided entirely in compartments, and every space must meet standards specific to the room in question. This impacts the use of the spaces: the interpretation of inhabiting a space is strictly speaking no longer free. Activities like cooking, eating, sleeping, working, doing the laundry,… require separate zones (whether walled or not).
To what extent is there still a connection with the original meaning of ‘to be housed’, ‘to inhabit’ (‘wonen’)? The Germanic root WEN and the Sanskrit VAN (see also the Latin Venus) signify ‘to like’, ‘to love’. Through the Old Norwegian ‘una’ and the Gothic ‘wunan’, which means ‘to rejoice oneself’, cf. German ‘Wonne’ (=joy, bliss), and the Old-Irish ‘fonn’ (meaning ‘joy’; think ‘fun’) the sounds developped into the Middle Dutch word ‘wonen’ and the New High Germanic ‘wohnen’. So the basic meaning is: to enjoy being somewhere. The Indo-Germanic root WEN developped into (gi-)wuna in the West-Germanic languages, meaning ‘to accustom oneself’ (‘gewennen’), ‘habit’ (‘gewoonte’). In other words, ‘wonen’, to inhabit or be housed, is directly associated with a positive aspect of life.
Can people withdraw from inhabiting, ‘wonen’ in our society? It is claimed that this is impossible. One cannot not inhabit a residence. Because of this evident nature, inhabiting a space is given an existential dimension.
That is how German philosopher Martin Heidegger (1889-1976) saw it as well. To him, to inhabit, wohnen, is our fundamental condition here on earth. In his essay Bauen, Wohnen, Denken (1951) he argues that wohnen is our way of being; it is the only way man can be on earth. Heidegger derives this meaning from the Old High Germanic word ‘buan’ that to him simultaneously means ‘to build’, ‘to inhabit’ and ‘I am’. In other words: I inhabit, therefore I am. Or vice versa.
In 1951, Heidegger gave a lecture in which he said that there is a crisis in Wohnen. He argued it does not result from a post-war housing shortage, or inadequate construction techniques, but because of a lack of insight into the essence of what housing is. Since the nineteenth century, man has been at home everywhere and nowhere. The spiritual connection to the place where people live has been lost. Man only has an instrumental attitude towards the world, usefulness and efficiency predominate. This applies to wohnen as well. In other words, the fact that people own a house does not imply they actually inhabit it.
We all know the snail and the turtle that live, work and sleep at the same place. For them, this constitutes a whole. There’s no nest to leave (or return to), no place for rest, no shelter or place to hibernate. Since they always carry their home with them when ‘at work’, the distinction between the two is blurred. Whether they are working at home or living at work is no longer relevant, home and work cannot but coincide. In that sense, they are continuously at work.
For Suchan Kinoshita, work and wonen are one. Piece by piece the exhibition reveals the history of her new building. She discovered new materials (like pitch in an underground reservoir, iron armatures in the side wall, old beams under the roof) at the site and she uses them to reshape spaces here. Five old armatures, externally bent to form a letter, used to support the side walls. Four of the five letters O – S – C – A – (R) were still present in the facade when Kinoshita acquired the building. She changed their order to C A O S (“chaos”).
This is where the anatomy of housing, das A und O vom wohnen, starts. Alpha and omega. New zones are created in the exhibition space through minimalistic changes.
Everything the building of Suchan Kinoshita has yielded so far constitutes the background on which the exhibition develops. Both specific elements and materials, and mental processes: How to relate to an existing situation? Because the space of LLS Paleis is not finished yet either, it presents new accents with every new exhibition.
One room of the house in Brussels has its own specific character, the ‘hanare’. It is situated underneath the ridge of the roof, with only a steep staircase leading to it. In Japan, a hanare is a separate place next to main house. It is a place where one can distance oneself from daily life. This is what happens in the last space: it has two chairs and a picture “Le Jardin Japonais” (which actually represents a Chinese table), in which seated figures look at a fictional model representing wonen…
Stella Lohaus, August 2018
Suchan Kinoshita
CAOS zonder R, 2018
mixed media
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Jacques Halbert
HTFAM (how to fuck a monochrome), 2017
Laque, 40 x 40 cm
Jacques Halbert
Camouflage, 2018
Huile sur toile, 165 x 130 cm
Jacques Halbert
HTFAM (How to fuck a monochrome), 2017
Laque, 165 x 130 cm
Jacques Halbert
Camouflage, 2018
Huile sur toile, 80 x 80 cm
Jacques Halbert
La Galerie Cerise, 1976
triporteur, technique mixte
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