BRUSSELS ART DAYS
OPEN GALLERY WEEKEND
Save the date!
Saturday September 10th & Sunday September 11th 2011
The gallery will be open from noon to 7 PM
Special Shuttle service all day long
www.brusselsartdays.com / email@example.com
Taryn Simon - Contraband
Centre d’Art Contemporain Genève, switzerland
21.04.11 - 24.07.11
The Centre d’Art Contemporain Genève is proud and happy to present the first solo show in Switzerland of the American artist Taryn Simon – one of the major figure of contemporary photography and winner of the 2010 Prix Découverte des Rencontres d’Arles – introducing her most recent work, CONTRABAND (2010), an analysis of JFK airport New York, one of the world's major transport hubs, and its passengers.
CONTRABAND is the result of an arduous and physically demanding sojourn at the airport requiring the artist and her team to adjust to its relentless 24hr rhythm. This series shows illegal, prohibited, pirated and/or counterfeited items detained or seized from passengers and express mail entering the United States from abroad - ranging from pharmaceuticals or drugs to Cuban cigars or animal body parts.
With this representative sampling frame of international trading, Taryn Simon exposes the mechanisms – needs and desires – of the globalized society in the early 21st century.
Curator: Katya García-Antón
The shop @ Almine Rech - Publications
RICHARD PRINCE - 'The Fug' - Coming soon..
Who is the real Richard Prince? That is the question critic John McWhinnie poses in his essay about the elusive Mr. Prince. The question isn’t obvious when asked of anyone: after all even Rimbaud had a large dose of the not-Rimbaud in him, but it is especially ambiguous when asked of a trickster and artistic shapeshifter of Prince’s caliber. McWhinnie's essay is a thought provoking exploration of how Prince has manipulated the rules of art and truth throughout his career and in doing so has created a unique body of work that trades in rumor, gossip, innuendo, fabrication, simulation and dissembling.The result is a performative styled art practice that causes a head-scratching whiplash on the part of an audience made up of critics, collectors, enthusiasts and detractors, all of whom suspect Prince of playing them like the butt of a joke.
Finally, Mcwhinnie addresses the ultimate question of his essay: where does Richard Prince the self-mythologizing artist end and Richard Prince the quotidian flesh-and-blood figure begin? And Rather than engaging the question from the perspective of journalistic truth, searching for facts and biographical nuggets to stoke admiration, or conversely, to fuel condemnation of the controversial artist, McWhinnie takes on Prince on his own turf, mythologizing the myth. To that end he steals and adapts a title from one of Wallace Stevens’ poems Thirteen Different Ways of Looking at a Blackbird and offers the reader thirteen different ways of looking at Prince the artist. Each is a metaphor drawn from the world of Prince’s obsession: literature, movies, magazines, and music. They may, McWhinnie claims, all be multiple ways of looking at a single artist, but then again, Je est un autre, and it may be that the best we can say is that they are multiple ways of looking at a very singular artist who contains multitudes.
'AFTER IMAGES', JEWISH MUSEUM OF BELGIUM, BRUSSELS
29.04.11 - 28.08.11
Cette exposition collective, consacrée à l’art américain récent, se concentre sur la façon dont les artistes réagissent à la pléthore d’images et d’informations dans la culture actuelle à travers tous les supports artistiques et les espaces ou hiatus qui les séparent : peinture, sculpture, photographie, film et vidéo. L’image est à la fois convoquée et révoquée dans plusieurs œuvres de cette l’exposition : des matériaux tout faits et des images trouvées sont utilisés d’une façon qui contourne l’héritage de l’Appropriation Art caractéristique d’une bonne partie de la création américaine. Contexte, source et échange sont naturellement impliqués, mais, dans la mesure où la nature associative de la séquence iconographique passe de plus en plus au premier plan. Cette exposition pluridisciplinaire réunit peinture, sculpture, film/vidéo et photographie, à travers une sélection de pièces issues des plus prestigieuses collections d’art contemporain en Belgique.
GARAGE - Centre for Contemporary Culture, Moscow, Russia
11.06.11 - 14.08.11
Garage Center for Contemporary Culture will present the first solo exhibition in Russia by one of the world’s most important contemporary artists - James Turrell. The American artist will be the subject of a retrospective spanning 40 years, including early experiments with light projections from the 1960s, a specially commissioned Ganzfeld installation (Purusa) and Perceptual Cell (Light ReignFall), presented here for the first time.
Ida Tursic & Wilfried Mille, 'Decade', FRAC Auvergne, Clermont Ferrand, France
09.07.11 - 18.09.11
Par quelle déformation de l’esprit croyons-nous voir des scènes pornographiques, des paysages ou des compositions abstraites, alors que cette peinture nous invite à la voir comme une peinture, comme une solution affirmée mais provisoire, une égalité temporaire ? Et pourquoi percevons-nous immédiatement que nombre de ces peintures nous survivrons, nous qui, pourtant, sommes éternels ?
Les images sont vulgaires mais la peinture, elle, est là dans sa grandeur, son lustre, quelque chose de grandiloquent presque, généreux, débordant. La peinture dans tous ses états. Toutes les factures sont là, toutes les touches possibles, tous les styles, parfois sur une même toile, toutes les manières de peindre, tous les aspects. Tous les genres aussi : portraits, paysages, abstractions, formes géométriques, expériences optiques. Leurs toiles convoquent l’histoire de la peinture, mais discrètement, tout le passé de la peinture sous toutes ses formes, et l’amènent dans notre présent, celui d’Internet où Ida Tursic et Wilfried Mille font leur marché d’images, celui du cinéma, de la pub, des journaux de mode, des starlettes, de la célébrité triste de seconde zone.
Exposition organisée à l'occasion de la sortie de la parution du livre "Decade"
Textes de Eric Troncy et Virginie Vuillaume
Français / Anglais - 280 pages
Disponible dans The Shop @Almine Rech
FRAC Auvergne - 6 rue du Terrail - 63000 Clermont-Ferrand
+33(0)4 73 90 5000 - firstname.lastname@example.org
Du mardi au samedi de 14h à 18h, le dimanche de 14h à 17h (Sauf jours fériés) - Entrée libre
ARKEN Museum of Modern Art, Ishøj, Denmark
25.06.11 - 14.08.11
Over the past seven years the German artist Anselm Reyle has won great international recognition. He is one of the major figures in a new wave of artists who have revived and renewed abstract art. At ARKEN’s major summer exhibition visitors can experience a number of Reyle’s works, including a huge site-specific installation that will be created specifically for the occasion.
Reyle remixes everyday objects, popular culture and ‘bad taste’ with references to the modernist art of the 20th century. His works are fascinating compositions of seductive materials and surfaces. The colours and materials that Reyle chooses are synthetic and kitschy: rustling silver foil, glossy metal paint and loud neon colours.
The exhibition will be the first presentation of Anselm Reyle’s works in a Danish museum of art.
Taryn SIMON - A Living Man Declared Dead and Other Chapters
Tate Modern, Londres, Royaume-Uni
25.05.11 - 06.11.11
Tate Modern premieres an important new body of work by the American artist Taryn Simon, who chronicles generational histories through an elaborate assembly of image and text.
In each, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance.
From feuding families in Brazil to victims of genocide in Bosnia, and human exhibitions in the United States to the living dead in India, Simon forms a collection that maps the relationships among chance, blood and other components of fate. Simon’s presentation explores the struggle to determine patterns embedded in the narratives she documents.
The Hague Under the Heaven
MUSEUM BEELDEN AAN ZEE, THE HAGUE, THE NETHERLANDS
Liu Wei’s multi-faceted oeuvre is a quick-witted commentary to the contemporary society and culture he observes around him.
The frenetic vibe, intemperate zeal and endless transition of today’s China are all reflected in his art. ChinaIV (2010), on show here, is a variable installation made from porcelain household ware, a tree trunk, cement, iron and netting.
Its vertical structure evokes another image of a high rise construction site; the arrangement of the separate parts compares how children would build with toy blocks.
Liu Wei uses existing everyday material, playing with imagination and perception, thus luring the audience in a site of evocative nature touching issues of our immediate surrounding reality.
Taryn Simon @ The Danish Pavilion
54th International Art Exhibition / Biennale di Venezia
Professional Preview Opening:
Thursday, 2 June 2011, at 15:30
Duration of exhibition 4 June–27 November 2011
For the 54th Venice Biennale, the Danish Pavilion will host an international group exhibition, curated by Katerina Gregos, which will explore the very timely and complex issue of freedom of speech. The question of freedom of speech is one that is being increasingly contested in light of transformations taking place globally, both in authoritarian regimes and in liberal democracies, where civil liberties seem to be increasingly under threat. Apart from the fact that it relates to Denmark specifically, it is also highly relevant in relation to much of what is happening in many countries in the world today, from: press intimidation and censorship in Russia and elsewhere; to Google's recent episode in China; current events in North Africa; changes to media law in Hungary; the WikiLeaks scandal; and other factors such as increased surveillance in the UK and the USA, and highly charged debates about the limits of freedom of speech in several European countries, such as the Netherlands. The notions of freedom of speech and freedom of expression also impact upon, and are interrelated with, other areas such as the freedom of the press, censorship and self-censorship, the internet, copyright, intellectual property, the privatisation of knowledge, protest and public order, public space, judicial and legal questions, pornography, sexual orientation, lifestyle preferences, and human rights issues in general. It is important to point out that the understanding of 'freedom of speech,' in this context is not only in relation to the spoken word per se but also to inextricably interrelated issues of freedom of artistic expression. The exhibition in the Danish Pavilion aims to complicate the issue of freedom of speech, which seems, increasingly, to be used as an empty political slogan that is subjected to a very simplified, biased and populist debate. Denmark has a longstanding reputation of freedom of speech and freedom of press. It has always been at the forefront of the public debate on a number of progressive issues in relation to freedom of speech; but it has also suffered the so-called 'trauma of free speech,' making it even more appropriate to use the Danish Pavilion as a springboard from which to discuss these issues.
SPEECH MATTERS features 18 international artists of different generations from 12 countries. 13 new installations and works have been commissioned specially for the exhibition
Participating artists: Agency (International, est. 1992) – Ayreen Anastas & Rene Gabri (Palestine & Iran) – Robert Crumb (USA, 1943) – Stelios Faitakis (Greece, 1976) – FOS (Denmark, 1971) – Sharon Hayes (USA, 1970) – Han Hoogerbrugge (the Netherlands, 1963) – Mikhail Karikis (Greece, 1975) – Thomas Kilpper (Germany, 1956) – Runo Lagomarsino (Argentina/Sweden, 1977) – Tala Madani (Iran, 1981) – Wendelien van Oldenborgh (the Netherlands, 1962) – Lilibeth Cuenca Rasmussen (Denmark, 1970) – Taryn Simon (USA, 1975) – Jan Švankmajer (Czech Republic, 1934) – Johannes af Tavsheden – Tilman Wendland (Germany, 1969) – Zhang Dali (China, 1963).