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Adriaan Verwée
Adriaan Verwée (b. 1975) makes objects and installations that are caught in the middle ground between the literal and figural, between construction and image. It is as if that decision is still under consideration, or left hanging in the air. Yet many of Verwée s objects appear nevertheless to have a specific function, and as a result are an integral part of the here and now. The temporal and spatial character of his work is enhanced through the tension that the artist quite literally puts on his combinations of different objects: by, for example, giving gravity an active role, or by introducing elements that look incomplete or redundant. These elements often seem more like 'remnants' of the picture rather than a true part of it. Additionally an enormous amount of attention is lavished upon certain materials and their relationships. This lends these objects an aesthetic clarity and quality, which in turn appears to completely contradict their suggested functionality.00Exhibition: Museum M, Leuven, Belgium (29.8.-2.11.2014).
Paul Casaer. All We Can Get
All we can get, the title of Paul Casaer?s exhibition at De Garage, can be read in different ways. Inspired by all-you-can-eat restaurants, it denounces our human gluttony and desire for more. In today?s society, greed and unbridled consumerism guide our behaviour as individuals and as a species. Social media, advertising, trivial worries and boredom determine daily life. In this postmodern world-as-a-funfair, we hardly know who we are any more. In search of meaning, we seem to be collectively stuck in our role of individualistic, self-centred consumers.00Our needs have been met, and yet a piercing sense of hollowness remains. All we can get refers to the meaninglessness of our existence and the painful lack of content, truthfulness and fundamental values. We wonder desperately: Is this it? Is this all we can get?00Excerpt from text by Koen Leemans.00Exhibition: De Garage, Mechelen, Belgium (25 .09. - 21.11.2021).
Thomas Demand
Published on the occasion of a major solo exhibition of Thomas Demand’s work at Belgium museum M Leuven in October 2020, this book focuses on Demand’s relationship to architecture and his engagement with architects over almost fifteen years. The starting point is his ongoing series ‘Model Studies’, in which the concept of the model itself is key, and includes rarely show projects such as Black Label (2009), Embassy (2007), and Nagelhaus (2008).
Leen Voet. For All the Cats in the World
Leen Voet verwerkt elementen uit visuele en literaire bronnen met subtiele humor in schilderijen, installaties en tekeningen, die ze systematisch in reeksen samenbrengt. Vanuit een voyeuristische blik op het leven, de schilderkunst en het kunstenaarschap, reflecteert Voet over stereotypen, het lokale, de autonomie van het individu en over oorsprong en herkomst. Haar stijl balanceert op de grens van het picturale en wordt gekenmerkt door levendige kleuren, afgelijnde kleurvlakken en geometrische vormen.0Museum M brengt in april 2023 een uitgebreide monografische tentoonstelling van Leen Voet, waarin schilderijen en tekeningen uit verschillende reeksen van de afgelopen vijftien jaar worden samengebracht. Ze toont er ook nieuw werk. Dit rijkelijk geillustreerde boek is Leen Voets eerste monografie en bevat een essay van Martin Germann en een gesprek tussen de kunstenaar en Eva Wittocx.00Exhibition: Museum M, Leuven, Belgium (07.04. - 10.09.2023).
Jules Schmalzigaug
Jules Schmalzigaug en het kookboek van het futurisme wil een eerbetoon brengen aan het korte maar intense leven van deze Belgische futurist. In 2017 zal het honderd jaar geleden zijn dat Schmalzigaug het leven liet in Den Haag. Hij was de allereerste Belgische schilder die zich kon manifesteren in de kern van een internationale avant-gardestroming: het Italiaanse futurisme: zijn artistieke hoogtepunt bereikte hij in 1914! 0Deze retrospectieve blikt terug op de korte, maar zeer krachtige futuristische periode die Schmalzigaug in Italië en later als vluchteling in Den Haag heeft doorgemaakt. 0Geënt op de artistieke inspiratie van de Italiaanse futuristen Filippo Tommaso Marinetti, Giacomo Ba...
Disorder in the House
The Vanhaerents Art Collection contains hundreds of top art pieces and installations by modern artists. It was founded by Walter Vanhaerents and has recently been moved to a restored dock house in the centre of Brussels. This book is the catalogue that goes with the first exhibition of this collection. A bold mix of installations, video art and paintings from international artists such as Bruce Nauman, Paul McCarthy, Mariko Mori, Takashi Murakami, Tom Sachs, Francesco Vezzoli, Matthew Barney. ILLUSTRATIONS 120 colour illustrations *
14/18 – Rupture or Continuity
The impact of the Great War and its aftermath on Belgian artistic life World War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 – Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century.
Le Salon. Anthology 2011-2016
Le Salon was an editorial and curatorial platform active between 2011 and 2016. Founded by Devrim Bayar, it was designed as a meeting point where art lovers and professionals could discover new work and ideas and share their knowledge. This anthology commemorates a long adventure that brought together the artists, critics, curators, collectors, gallerists, art lovers, and organisations that we were privileged to have worked with. This book allows us to preserve some trace of the synergies that went into making Le Salon what it was, and to continue to champion and share the content that we were proud to have generated with everyone."
