For this group exhibition, we will show artists whose work reflects on the concept of ‘value’ in art. In what sense can you say that an artwork possesses worth? And does this need to be limited to monetary and material value, or can art have other kinds of value, such as social value, spiritual value, emotional value, ...?
Participating arists: Andrea Balladelli, Chris Dennis, Daniëlle Raspé, Giovanni Casu, JaZoN Frings, jo+kapi, Jorden Boulet, Lea & Adrian, Maria Konschake, Nathaniel Trost, Obed Vleugels, Pancho Westendarp, Rabten Tenzin, Ringo Lisko, Simone Marconi & YiqueTuesday, March 28, 2023
WORTH MORE/WORTH LESS at K.L.8, Brussels 25.03.2023
Tuesday, March 21, 2023
support group. Gallery Nostrum. Vernissage: March 11, 2023
support group' is an exhibition featuring the work of Francesco Battistello (IT), Laura Dauchet (FR) and Stefano Moras (IT).
Three artists explore the
existence or absence of 'support',
figuratively and literally
in their work.
March 11 - April 29, 2023.
Vernissage March 11. 13hr -18hr.
Sunday, February 5, 2023
Gallery Nostrum, (BE). bodies: noun / verb. Vernissage 14, 01, 2023.
bodies: noun / verb.
noun
plural
noun: bodies.
The physical structure, including the bones, flesh, and organs, of a person or an animal.
verb
3rd
person present: bodies
To give material form to something abstract.
January 14 – February 18, 2023.
The work of Inge Dompas (BE) is about the
transiency and volatility of life.
The
transient figures she observes depict the anonymity of the masses as well as
the rare and precious moments of true contact and intimacy. www.ingedompas.com
Caroline
Ledoux’s (BE) current focus is our impossibility as a species to
exist in the world. Deserted landscapes peopled only with silhouettes,
buildings or armchairs serve as fossils of our existence. Her work places us on
the threshold of a self-regulating world that chooses to continue without man. instagram.com/ledoux.caroline
The photographs of Charles Lemaire (BE) concentrate on the human body and skin
(tattoos, scars, body modifications, aging). With these works, the focus is
intensified to the point where the flesh becomes a landscape and the marks of
human inhabitants and interaction are clear. www.charleslemaire.eu
The film director Antoine Vans (BE) uses painting as an antidote to some of the
lighter aspects of his “other profession”. His canvases embody the frustrations
he would otherwise be unable to capture and express. instagram.com/antoine.vans
In describing some of the pieces
included in this show, Ehrling White
(Ca/US) paraphrased a text by David Hinton. That there is a bridge linking the
body itself and the act of art-making. The corporeal form that creates, or
lives, and sheds its skin. The leaving it behind, is a natural process. Maybe
art making, being very human and laden with history, thoughts, afterthoughts,
and second thoughts, is a neurotic attempt to calcify some fraction of it all,
give it a body, like a fossil, for others to make of what they wish, or not,
long after we’ve moved on. www.ehrlingwhite.com
Tuesday, November 1, 2022
Avant la Lettre. Vernissage at K.L.8, Brussels 29.10.22
Avant la
lettre
OPENING: 29 October 2022, 18h
Open 30
October, 1, 4, 5, 6 November 2022, 13h - 18h
From press release: Written Word and Image: these
are two fundamental components of the known history of art. Both possess
different powers, connotations, impediments, advantages, and have different
ways of establishing meaning. Whenever they are brought together in a work of
art, tension is inevitable, and throughout various cultures their relationship
has taken on surprising shapes.
For our newest exhibition, Avant la lettre, we will show the work of 19 artists who incorporate (hand)writing / type / text into their practice, and who explore the interaction between the written word and visual art.
The Image came first, without a
doubt. Our ancestors left paintings on cave walls, carved animal bone into
effigies, thousands of years before the invention of the first writing systems.
But writing got the upper hand, myths and holy Scripture came to determine how
human beings related to their surroundings and to each other. We explored the
world and aimed to capture all of creation in taxonomies, botanical treatises,
laws of physics. Only the supposed truth was ever written down.
In the Modern age however, the
power balance started to shift. The written word no longer maintained its
precedence over other modes of representation, and the author (who was of
course white and male) was no longer accepted as the all-determining
voice, whether in academia, film or journalism. Now, under the aegis of new
media like television and the internet, the Image appears to have emancipated
itself, and has gained an unprecedented ubiquity in all parts of the cultural
landscape.
None of us have been taught as
children how to interpret images, but reading and writing on the other hand are
acquired skills. Does this mean that looking at a painting requires more
spontaneity? Is reading more challenging? Can written words offer more meaning
than images? We are curious what associations or prejudices contemporary
artists have about these two extraordinary human devices. What are their
respective powers and shortcomings? And what processes are set in motion when
the two are combined into one single piece of art?
With works by Algolit, Andrey
Rylov and Maxim Mezentsev, Ash Bowland, Christina Mitrentse, Christine van
Poucke, Daniel Arthuus, Daniëlle Raspé, Éanna Mac Cana, Gabriel René Franjou,
Hyunbok Lee, Jing Wang, Laurence Petrone, Laurent Fiorentino, Leda Woloshyn,
Maarten Inghels, Marija Rinkevičiūtė, Martina Stella, Oliver Doe & Teresa
Weißert.