A Guide to Brussels Gallery Weekend – 布鲁塞尔画廊周末指南

‘Wiggle’
Galerie Greta Meert
7 September – 20 October

Unfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Ed Atkins, Untitled (Old Food #3), 2017, ink and acrylic on paper, 30 x 40 cm. Courtesy: the artist and dépendance, Brussels; photograph: Kristien Daem

Ed Atkins, ‘Members’
dépendance
5 September – 18 October

Working predominantly in high-definition video and moving image, Berlin-based British artist and poet Ed Atkins uses literary devices to bring intimacy into constructed virtual worlds. In his latest show at dépendance, Atkins employs video and sound to delve into dialogues around love, sex, death and relationships in the context of digital abstraction. For those who have encountered Atkins’ work, the immersion into his hyperreal narratives is near involuntary. His surround-sound, CGI-heavy digital performances allow viewers to become absorbed into the work’s attempt to decipher a computerized world that is rapidly becoming more real in both an optical and psychological sense. However, the artist's latest show at dépendance features only drawings; intimate portayals of hands, arms and faces belonging to people that he knows personally. Reminiscent of his previous show at the gallery in 2015, there’s a focus on the command technology holds over physical bodies. With artificiality now at peak production, we’re all invested in unzipping what passes for ‘experience’ – in a world where we respond with emotional depth to occurrences and events that are increasingly immaterial. While existential questioning reigns heavy in the artist’s practice, here, Atkins doesn’t ask how close we are to dematerialization, but rather, how our physical selves can be present when media is incessantly reconceptualizing the meanings of the veridical and the imagined.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Ambera Wellmann, Outerspace, 2018, oil on linen. Courtesy: the artist and Office Baroque

‘Above the Treeline’
Office Baroque
6 September – 13 October

The group show ‘Above the Treeline’ is concerned less with finished objects and more with displaying diverse experiments in material and figuration. The four artists featured, Virginia Overton, Jon Pestoni, Rezi van Lankveld and Ambera Wellmann, use the latitude where trees are no longer able to grow as a metaphor: Overton uses ‘masculine’ materials such as mud, sheetrock and wooden beams to create works that feel half-done, while Canadian artist Wellmann’s oil paintings depict porcelain figures often erotized and deformed. Underlying ‘Above the Treeline’ is an attempt to alter the viewers’ perception so they experience something familiar but also new. Jon Pestoni’s geometric paintings are layered with both texture and colour and are expressive through their animated brush strokes and Van Lankveld’s work has long been engaged with the activity and motion of paint itself, often pouring it directly on to the canvas and persuading it into a composition.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Sharon Lockhart, Nine Sticks in Nine Movements: Movement Two, 2018, chromogenic print, 1 x 1.3 m. Courtesy: the artist, Jan Mot, Brussels and Gladstone Gallery, New York and Brussels and neugerriemschneider
 

Sharon Lockhart, ‘Movements and Variations in Two Parts’
Jan Mot
7  September – 20 October

Los-Angeles based artist Sharon Lockhart is taking over both Jan Mot and Gladstone Galleries with a series of photographic and sculptural works. Born out of ideas around female empowerment, the exhibition is based upon a display of bronze sculptures cast from black walnut sticks collected from years of visits to the Sierra Nevada Mountains. For A Bundle and Five Variations (2018), a collaboration with Ravi GuneWardena from the Sogetsu School of Ikebana, the sticks appear balanced in varying arrangements. The sticks are also presented as nine photographic portraits, in addition to pictures which feature a female protagonist performing choreographed poses with each of the bronze sticks that reference stances influenced by art and historical sources. Nature, labour, and agency are themes that are present throughout Lockhart’s practice which hones in on social subjects and communities that she has followed over long periods of time: from teenage girls living at the Youth Center for Socio-Therapy in the Polish village of Rudzienko to factory workers in Maine. Building on existing work that prizes architectural construction, extensive research and locality, in this show, Lockhart is able to formulate layered narratives that gives weight to both communal histories and individuals, using her established composite of choreography, portraiture and quasi-formulaic arrangement to supply viewers with stories from uncharted spaces and environments.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Edi Hila, Open Museum Series (#1), 2017, oil on canvas, 102 x 98cm. Courtesy: the artist and Galerie Nathalie Obadia, Paris/Brussels

Edi Hila, ‘Open Museum’
Galerie Nathalie Obadia
6  September – 27 October

Galerie Nathalie Obadia is presenting the first exhibition in Belgium of Albanian painter Edi Hila, showing newly created works and previous series by the artist born in Shkodër in 1944. Considered one of the most important figures in the Balkan arts scene, Hila’s works respond heavily to the post-communist times in which they were created. For his show at Galerie Nathalie Obadia, several paintings which were also featured at the 14th Venice Biennale of Architecture in 2014, pictorialize the cultural, social and political reality in a country that Hila refused to leave despite the hostility and that he now considers to be in ‘permanent germination.’ As proven throughout his career, Hila is an observer of circumstance, surroundings and tensions and through this attentiveness, he is able to solidify his position as a painter of politics. His offerings are reflections on the bleakness of everyday life following the regime of Prime minister Enver Hoxha (1944–54), resulting in tones and scenes that embody a chromatic and melancholic temperament. Influenced by expressionism, his subtle meditations on history, domestic interiors or antique weapons, produce soft hued depictions of photomechanical images that communicate something poignant about the murky world around them.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Jean-Marie Appriou, Ophelia (detail), 2018, cast aluminum, 74 x 250 x 54 cm. Courtesy: the artist and CLEARING New York, Brussels

Jean-Marie Appriou, ‘Griffe, langue, rose et écailles’
C L E A R I N G
7 September – 20 October

Jean-Marie Appriou’s third solo show at C L E A R I N G, ‘Griffe, langue, rose et écailles’ (Claw, Tongue, Rose and Scales), sees the artist presenting large-scale sculptural installations cast in aluminium. Craftsmanship lies at the heart of the Paris-based artist’s practice and his monumentally impressively sculptures are built from – and for – an alternate universe in which nature, rather than humans, takes centre stage. Here unpolished, roughly hewn and darkly marked figures show the aftermath of the artist’s curiosity into alchemical process and studio-based experimentation. A continuation from past work, Appriou fabricates strange mythical forms influenced by symbolists, from Gustave Morea’s feathery markings to Fernand Khnopff’s statuesque women. If Appriou is a god, he is a creator of imperfect creatures: monkeys, serpents, jaguars with uneven textured exteriors that imply the presence of movement. The ecosystem created for this show, as well as the rose bushes installed in the exhibition space, symbolize the ‘mystical and romantic rapport’ humans have with nature.

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A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南

Otobong Nkanga, Masterplan, 2018, acrylic and crayon on paper, 42 x 30 cm. Courtesy: the artist and Mendes Wood DM, Brussels

Otobong Nkanga, ‘Transition’
Mendes Wood DM
6 September – 20 October

Fifteen years-worth of work has gone into creating ‘Transition’, Otobong Nkanga’s first exhibition at Mendes Wood DM. A new series of fleshy-toned drawings by the Antwerp based, Nigerian artist, sees the human body transform from a fully formed thing into fractured objects. Circling around the notion of land as a place of non-belonging and doubling up as an anthropological study, Nkanga’s work, ranging from paintings, sculptures and video, is a consumption of social and topographical changes that also factor colonization processes and the violence of which minerals are extracted from their natural environment into the equation. Alongside work that explores our physical and metaphysical relationship to the earth, Nkanga also references current affairs in her work, specifically Donald Trump’s ‘rusting state’. Steel to Rust (Calibration) (2018), a woven textile work, draws parallels with the corroding political state which, due to lack of care and attention, has decayed and oxidized.

Brussels Gallery Weekend runs from 6 – 9 September 2018, with shows continuing until mid October. 

Main image: Ricky Swallow, Reclining Sculpture (open #6), patinated bronze, 17 x 34 x 13 cm. Courtesy: the artist and Galerie Greta Meert, Brussels

Kadish Morris

Kadish Morris is digital assistant at frieze, a writer and contributor to AnOther, Twin, Huck and Dazed and the founder of interview series g-irl.com. She is based in London. 

Critics’ Guides /

Brussels
dépendance
Office Baroque
Jan Mot
Galerie Nathalie Obadia
Clearing
Mendes Wood DM
Galerie Greta Meert
Kadish Morris


“Wiggle”展示了15位国际艺术家的作品,他们用雕塑来质疑物质性的概念,超越了简单的表述。唐纳德·贾德用堆栈和木块来创作非参考性的艺术品,而特里·阿德金斯则把当地发现的乐器等物品组装起来,作为响亮的装置重新引入。卡廷卡·博克用天然材料做实验,用粘土陶瓷液体和织带来表达对历史和地理的思考以及光谱的另一端,黛安·辛普森的作品将服装、家具和工业建筑转换成了雕塑,这些雕塑是建筑与国内。反对画家阿德·莱因哈特的现代主义笑话,即雕塑是你“回头看画时碰上的东西”,这个团体展会反抗传统,给予形式比传统允许的更多的回旋余地。Ed Atkins,Untitled(Old Food#3),2017,纸上油墨和丙烯酸,30x 40厘米。礼貌:布鲁塞尔,艺术家和独立学院;照片:克里斯蒂安·达姆·埃德·阿特金斯,9月5日至10月18日在柏林的英国艺术家和诗人埃德·阿特金斯主要使用高清视频和运动图像。将亲密关系带入虚拟世界的文学作品。在DeEntPrimon的最新节目中,Atkins运用视频和声音,在数字抽象的背景下探讨围绕爱情、性、死亡和关系的对话。对于那些遇到Atkins作品的人来说,沉浸在他的超现实叙事中是近乎无意识的。他的环绕声,CGI沉重的数字表演,使观众能够专注于这项工作,试图破译一个在光学和心理上迅速变得更加真实的计算机化世界。然而,这位艺术家的最新展览只有绘画,手掌、手臂和脸部的亲昵肖像属于他所认识的人。回忆起他在2015画廊的前一次展览,有一个集中在指挥技术的物理身体。现在人工生产的高峰,我们都投资于解压缩那些“体验”——在一个世界里,我们对情感和事件的反应越来越不重要。当存在主义质疑在艺术家的实践中占据重要地位时,在这里,阿特金斯并不问我们离非物质化有多近,而是问,当媒体不断地重新认识真实和想象的意义时,我们的肉体自我可以如何呈现。BroQu.JPG A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南 Ambera Wellmann,外层空间,2018,亚麻油。礼貌:艺术家和办公室巴洛克“在树线之上”离子。弗吉尼亚?奥弗顿、乔恩?佩斯通尼、雷兹?凡?兰克维尔德和安布拉?威尔曼这四位艺术家用树木无法生长的纬度来比喻:奥弗顿用“阳刚”的材料,如泥土、石板和木梁,创作出感觉半成品的作品,而加拿大人则用“阳刚”的材料。艺术家威尔曼的油画描绘了瓷器人物经常被腐蚀和变形。在“在树线之上”的背后,是试图改变观看者的感知,使他们体验一些熟悉但又新鲜的东西。乔恩?佩斯托尼的几何画既有质感又有色彩,而且通过它们生动的笔触来表现出来,而凡?兰克维尔德的作品长期以来一直致力于绘画本身的活动与运动,经常把它直接倒在画布上,并说服它成为一个作品。对位。莎朗-洛克哈特.jpg A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南莎朗·洛克哈特,《九个动作中的九个棍子:第二乐章,2018年,彩色印刷,1×1.3米。礼貌:艺术家,简·莫特,布鲁塞尔和格莱斯通画廊,纽约和布鲁塞尔,以及神经外科医生
9月7日至10月20日,洛杉矶艺术家莎伦·洛克哈特(Sharon Lockhart),《两部分的运动和变化》周刊603003brJanMot周刊603003br10月20日以摄影和雕塑作品接管了Jan Mot和Gladstone画廊。这个展览源于女性赋权的理念,是以多年参观内华达山脉后收集的黑核桃枝制成的青铜雕塑为基础。对于A捆和五种变体(2018),与来自宜家Sogetsu学校的Ravi GuneWardena合作,这些棍子在不同的安排中看起来是平衡的。除了以女性主角表演编排的姿势为特征的图片外,这些铜棒还被呈现为九幅摄影肖像,其中每个铜棒都参考受艺术和历史来源影响的姿势。自然、劳动和机构是洛克哈特实践过程中贯穿的主题,这些主题贯穿了她长期遵循的社会主题和社区:从居住在波兰Rudzienko村青年社会治疗中心的少女到wo工厂。在缅因州。洛克哈特以现有作品为基础,重视建筑建设、广泛的研究和地域性,在这次展览中,她能够运用她既定的编排、肖像和拟形的组合,来构思分层的叙事,既重视公共历史,又重视个人。ULAIC安排提供观众从未知空间和环境的故事。开放式博物馆系列-1_2017_.-on-canvas_102x 98cm_c-edi-hila_courtesy-galerie-nathalie-obadia-paris_brussels.jpg礼貌:艺术家和画廊娜塔莉·奥巴迪亚,巴黎/布鲁塞尔·埃迪·希拉,“开放博物馆”603003br Galerie Nathalie Obadia
9月6日至10月27日画家Edi Hila,1944年初出生于Skod的R艺术家,展示新创作的作品和之前的系列作品。希拉被认为是巴尔干艺术界最重要的人物之一,她的作品对后共产主义时代产生了强烈的反响。在2014年的第14届威尼斯建筑双年展上,希拉还展出了好几幅画作《娜塔莉·奥巴迪亚》,这些画作描绘了一个国家的文化、社会和政治现实,这个国家尽管充满敌意,希拉仍拒绝离开,他现在认为自己是“永久居民”。正如希拉整个职业生涯所证明的,他是环境、环境和紧张局势的观察者,通过这种专注,他能够巩固自己作为政治画家的地位。他的作品反映了总理恩弗·霍克斯哈(Enver Hoxha,1944-54)执政后日常生活的凄凉,从而产生了带有色彩和忧郁气质的音调和场景。受表现主义的影响,他对历史、国内内饰或古董武器的微妙沉思产生了柔和的色彩描绘,这些图像传达了关于他们周围阴暗世界的某种悲哀。Jean-marie_appriou_clearing_2018.jpg A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南 Jean-Marie Appriou,Ophelia(细节),2018,铸造铝,74×250×54cm。礼貌:艺术家和清理纽约,布鲁塞尔,让-玛丽·阿普里奥,'格里菲,语言,玫瑰和卡莱尔斯'
C L E R N G
9月7日-10月20日,603003br
Jean-Marie阿普里奥在C L E A R I N G'G的第三次个人表演安格尔,罗斯等凯尔斯(爪子,舌头,玫瑰和鳞片),看到艺术家提出大规模的雕塑装置铸造铝。工艺是艺术家在巴黎的实践的核心,他令人印象深刻的雕塑作品来自——并为——一个交替的宇宙,在这个宇宙中,自然,而不是人类,占据中心舞台。在这里,未抛光,粗略切割和黑色标记的数字显示了艺术家的好奇心进入炼金术过程和基于工作室的实验的后果。作为对过去作品的延续,阿普里奥编造了受象征主义者影响的奇怪神话形式,从古斯塔夫·莫里亚的羽毛标记到弗尔南多·科诺夫的雕塑女人。如果阿普里奥是神,那么他是不完美的生物的创造者:猴子、蛇、具有不均匀纹理的外部的美洲虎,暗示着运动的存在。为这个展览创造的生态系统,以及安装在展览空间中的玫瑰丛,象征着人类与自然的“神秘和浪漫的融洽”。Tobong2.jpg A Guide to Brussels Gallery Weekend - 布鲁塞尔画廊周末指南 Otobong Nkanga,Masterplan,2018,纸上丙烯酸和蜡笔,42x 30 cm。礼仪:艺术家和门德斯·伍德马克,布鲁塞尔·奥托邦·恩坎加,“过渡”号603003br门德斯·伍德马克号603003br 9月6日至10月20日,603003br 603003br号603003br号15年来,奥托邦·恩坎加的第一场展览“过渡”已投入创作。在曼德斯伍德DM。尼日利亚艺术家安特卫普绘制了一系列新的肉质素描,展示了人体从完全成形的物体转变为破碎的物体。Nkanga的作品围绕着土地作为非归属地的概念展开,并兼作人类学研究,包括绘画、雕塑和视频,是对社会和地形变化的消费,这些变化也影响殖民化进程和矿物的暴力。从中提取


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