Wednesday, 17 August 2016
Sunday, 24 January 2016
The exhibition explores how each of these artists uses every-day, familiar objects and commodities to create abstract pictorial assemblages that play with our sense of what those objects are commonly used or known for. Within their respective installations, photographs and sculptural assemblages the objects become ambiguous, free-floating signifiers that when combined together alienate their familiarity to the viewer. The artists disregard the objects’ natural hierarchy to focus upon their decorative, material and sensory qualities, combining natural and artificial imitation, antiquity and plasticity, the industrial and hand-made.
While each artist works sculpturally, their practice clearly occupies the space between two and three dimensions, sharing much in common with the history of painting, and predominantly that of the still life where colour, texture, surface, composition, the layering of fore-and background, and the relationship between, and the arrangement of, objects is paramount. In the case of all the artists presented here however, the still life is anything but static. The works all appear to imply some form of live activation, either through references to the body and the absence of it and in the live substances and elements that amalgamate within some of the works.'
Monday, 4 January 2016
Pieter Geenen: This Land is My Land. This Land Is Your Land: Argos centre, Brussels: 04.10.15 - 20.12.15
In the first half of the twentieth century, this particular part of Canada became home to a large number of European migrants, especially people from the Flemish-speakin
Geenen uses the story of tobacco—its discovery by Europeans, its cultivation outside its original habitat, and the economic decline of the industry—as a metaphor for the concept of colonialism and the migration wave that followed, as well as for the potential loss of identity. Using the tobacco plant as a vehicle, the artist focuses on the special socio-economic reality of the ethnic and cultural groups involved.
In Geenen’s oeuvre, “time” and “space” are concepts that can be compressed and that can shift. “Here” and “there”, “we” and “they” are vague and mutually exchangeable. When all elements converge in this exhibition, a new, undefined and ambiguous reality results. A reflection on the identity of every individual being that questions both our personal and our collective position.'