tag:blogger.com,1999:blog-13768960885592282172024-02-18T23:41:15.158-08:00AXELVERVOORDTGALLERYAxel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.comBlogger75125tag:blogger.com,1999:blog-1376896088559228217.post-37410919825452521242012-07-03T04:36:00.000-07:002012-07-03T04:36:34.438-07:00Jef Verheyen at Centre Pompidou, ParisWe are very proud to anounce that Jef Verheyen's "Vlaamse-Aarde Essentie-Aarde" (1962) will soon be part of the collection of the Centre Pompidou in Paris, France.<br />
As from Octobre it will be permanently on show opposite Yves Klein's "Blue Monochrome".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2dROdtBKgHnYZEe44_fTYa_k6B5HtccC43d-EtucD6Hwm0kV9Svr8eUDVQra1NIjDgzPZXnome2oWs-ax6czwp6BT4qFoE9eGQMMjiV5tTM9hyUSTLkXhRL_eZcvtKGrr4WbZzKgSnbg/s1600/AINV0215.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2dROdtBKgHnYZEe44_fTYa_k6B5HtccC43d-EtucD6Hwm0kV9Svr8eUDVQra1NIjDgzPZXnome2oWs-ax6czwp6BT4qFoE9eGQMMjiV5tTM9hyUSTLkXhRL_eZcvtKGrr4WbZzKgSnbg/s320/AINV0215.jpg" width="243" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Jef Verheyen, <em>Vlaamse-Aarde Essentie-Aarde</em>, 1962, oil on canvas, 130 x 97 cm</span></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-64479855688132203332012-06-26T07:26:00.000-07:002012-06-26T07:26:02.533-07:00Sugimoto at De Elektriciteitscentrale, BrusselsWe were happy to lend one of Sugimoto's <em>Lightning Fields</em> to "Mindscapes", a new exhibition at De Elektriciteitscentrale in Brussels.<br />
June 27th - September 30th 2012<br />
Place Sainte Cathérine 44, Brussels<br />
For more information: <a href="http://www.lacentraleelectrique.be/">www.lacentraleelectrique.be</a><br />
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June 27th - September 16th 2012<br />
More information: <a href="http://bos18.com/">http://bos18.com</a><br />
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</div><div class="separator" style="clear: both; text-align: left;">For more information: <a href="http://www.mkb.ch/en/1-1-program/events/2012/Hermes.html">www.mkb.ch</a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-47509297740799276002012-06-07T05:20:00.002-07:002012-06-07T05:20:36.076-07:00El Anatsui in The Word MagazineThe Word Magazine believes a visit to our Anatsui exhibition is the perfect way to spend a weekend full of art in Belgium.<br />
Find out <a href="http://thewordmagazine.com/culture/the-weekend-in-belgium-31-05/">here.</a>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-35066402091408862642012-06-01T04:56:00.001-07:002012-06-01T04:56:11.869-07:00Nitsch and Shiraga at the Moderna Museet in StockholmTonight's the opening of <em>Explosion! Painting as action</em> in the Moderna Museet at Stockholm. Today we already spotted a meeting between Hermann Nitsch and Kazuo Shiraga...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJk5WcZm64lCXqBlmbCRSpSDhaiJAFpKVmhjPWhMxR32Ci2jODP9qD-k8KWjFzVmG0uQ-AOlZkOjACSIxeR8a9bv2jrqCYo13ol89EFRbSC8hVcuY6R0qMPDaTE6hcrMBOh965iVnLCeE/s1600/El+Anatsui+-+La+Libre+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJk5WcZm64lCXqBlmbCRSpSDhaiJAFpKVmhjPWhMxR32Ci2jODP9qD-k8KWjFzVmG0uQ-AOlZkOjACSIxeR8a9bv2jrqCYo13ol89EFRbSC8hVcuY6R0qMPDaTE6hcrMBOh965iVnLCeE/s1600/El+Anatsui+-+La+Libre+II.jpg" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-51987929907517079452012-05-25T06:06:00.001-07:002012-05-25T07:04:42.287-07:00"EXPLOSION! Painting as Action" at the Moderna Museet in Stockholm<div style="text-align: justify;">
Explosion! is the latest exhibition at the Moderna Museet in Stockholm, Sweden. It opens on June 2nd and runs until September 9th 2012. The exhibition will travel on to the Fundacio Juan Miro in the fall.</div>
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Explosion! brings together many of Axel Vervoordt Gallery's artists that value the creative act of art making. The gallery was very pleased to lend some works of the collection for this exhibition. You can see work of a.o. Sadaharu Horio, Kazuo Shiraga, Otto Piene and Gunther Uecker.</div>
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The exhibition brings together some 50 artists from the late 1940s up to the present.<br />
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After the second world war, a number of painters in different parts of the world began to attack painting’s fundamental assumptions in ways that were at once both aggressive and playful. Many artists attached as much importance to the creative act itself as they did to the painting that resulted from it. On this borderland between painting and performance, chance or the spectator were often recruited as co-creators of the work. This experimental, conceptual attitude to painting and art subsequently inspired a lot of other artists. In recent years, interest in performance art has increased, and with it interest in its roots. </div>
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Curator: Magnus af Petersens<br />
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For more information, see: <a href="http://www.modernamuseet.se/">www.modernamuseet.se</a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-75920181143784401322012-05-19T04:28:00.000-07:002012-05-19T04:29:38.256-07:00Lunch with Anish Kapoor (by Jackie Wullschlager, Financial Times art critic)<div style="text-align: justify;">
Over a fusion takeaway feast at his London studio, the artist talks to the FT’s Jackie Wullschlager about sex, psychobiography and the ‘madness’ of his towering new sculpture at London’s Olympic Park <br />
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Although I have the address, it is impossible to pinpoint the entrance to Anish Kapoor’s studio in Camberwell. It turns out that the artist owns all the buildings in the street – a low-rise row of former rollerblind factories that line one side of the road. On the other side is a construction site, piles of rubbish and an abandoned Routemaster bus – nothing to do with Kapoor. All around are the tower blocks of south London.</div>
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“I’ve been here for 25 years,” says Kapoor, a trim, small figure with floppy silver hair and matching grey glasses, when he emerges at the end of the terrace. This is where, a few months ago, the last factory was converted into a huge, glass-walled, white-painted box, the atelier where he works alone, undisturbed by the 20-strong technical and office staff on the rest of his site. “Life’s gone pretty well and I’ve been able to get the whole street,” Kapoor explains, speaking softly but precisely, with a slight Indian accent – he was born in Mumbai in 1954. “I hope it’s not just megalomania – well, a certain amount of it is, of course! – that drives all this.”</div>
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Dressed in jeans, open-necked shirt and dark jacket, he is relaxed and immediately friendly, taking my arm to negotiate the muddy puddles on the pavement as we begin a tour. One of Britain’s most acclaimed sculptors, he has made an estimated fortune of £80m from his art and won the Turner Prize. But this summer his work, which is abstract and depends on formal contrasts of light and dark, surface and depth, inside and outside, will reach a vast new public with “Orbit”, at 115 metres the largest public sculpture in the UK. Commissioned for London’s Olympic Park after a competition in which Kapoor was chosen ahead of other celebrated names, including his keen rival Antony Gormley (“He did make a bit of a scene about it”), “Orbit” was completed days ago and launches next week.</div>
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Kapoor first suggested meeting at La Petite Maison in Mayfair but a last-minute visit to the Olympic Park in the East End of town left him short of time, so we relocate for a studio lunch, beginning in his serene working space. Walking past walls lined with his characteristic concave mirror pieces and yellow, purple, pink discs which look solid but are radiant voids – “Monochrome is incredible, isn’t it?” – we arrive at a model of the rollercoaster steel coils and giant canopy of “Orbit”.</div>
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“It’s a bit of madness,” Kapoor laughs. “The canopy is dark and menacing. I’m interested in this journey from dark to light – you go into this dark heavy object, then up the lift and you’re tipped out into an observation platform with two concave mirrors, so you’re in a kind of instrument for looking. You’re inside a telescope ... I’ve been looking at this for two years and it still looks uncomfortable. That’s the point. I can make long, sleek elegant things, but this object needed to be the opposite.</div>
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“There’s so much in the tradition of the tower that’s about symmetry but even though ‘Orbit’’s bolted steel is a 19th-century method, it’s a 21st-century result, it’s asymmetrical, it’s tipping, a mess of a knot, the elbows sticking out. I hope Cecil [Balmond, the structural engineer, Kapoor’s collaborator] and I get away with it! It has the language of sculpture, but also archaic architecture – the Tower of Babel, an ant’s nest, people storming, climbing all over an object. It’s the idea of participation, performing, you act it out, you go up.”</div>
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I think “Orbit” (or “ArcelorMittal Orbit” to give it its full title, after the company that contributed £19.6m towards its cost) manages to combine a mythic quality with the inventiveness, humour and subversions of history that are a mark of 21st-century sculpture. But it is also the most extravagant example yet of how, in the past two decades, sculpture has become spectacle, performance, architecture – from Gormley’s “Angel of the North” (1998) to installations in Tate Modern’s Turbine Hall Unilever Series such as Rachel Whiteread’s mountain of 14,000 white boxes in “Embankment” (2005) and Carsten Höller’s giant slides “Test Site” (2006). With this gigantism, sculpture has won wider popular engagement; but has it also suffered losses – of seriousness, of innovation and experimentation?</div>
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“Public sculpture is problematic because it always becomes an emblem,” Kapoor says. “I’ve tried to avoid it being a logo. I’m interested in scale because it’s a genuine, actual tool of sculpture. We live in a world where there are lots of big things but few have scale. That jaw-dropping moment – when you say, ‘Can it really be?’ – there are only a few of those: like in a cathedral, when your body is thrown into it, and it brings all kinds of emotional repercussions. That’s what I’m aiming for.”</div>
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At this rather hubristic instant, there is a loud, resounding bang: a mirror piece crashes down from the wall, shattering into fragments. Kapoor strolls over, phones a technician and shrugs: “Stuff happens.” But he hurries from that studio into another, packed with a cement mixer and a work-in-progress of piled-up cement turds, then invites me into a long pristine room with oak floors, white walls, two white chairs and a white table set with salads and platters of fish. Kapoor’s studio manager, Lucy, offers drinks: he chooses Coke, I request mineral water.</div>
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The food has been ordered from the fashionable delicatessen Ottolenghi. Its rich western/Middle Eastern/Asian mix of colours and flavours offsets the streamlined purist interior in a way that almost parodies Kapoor’s aesthetic of late-minimalist abstraction revitalised by brilliant hues and sensuous textures. The artist, however, surveys the luscious offerings mournfully, presumably thinking of what might have been. “Have you been to La Petite Maison?” he inquires. “You must go, Jackie! It’s superb, Provençal food done so well – and owned by an Indian!”</div>
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Nevertheless, he tucks in readily. We begin with chargrilled tuna steaks with chilli, on which Kapoor heaps miso yoghurt. “I love food!” he announces, adding some salad – a spoonful of mixed green beans, shaved asparagus with spinach, chilli, garlic and chervil; another of cucumber, celery and radish with coriander, mint and nigella seeds. I follow suit and, wondering whether these dishes share something of the fusion cuisine of his childhood – Kapoor’s maternal family came from Baghdad, emigrating to India where his grandfather was cantor of the Pune synagogue – I question him about his mother.</div>
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“My mother? Oh God, don’t ask! God knows!” he answers hastily, adding without enthusiasm, “It was a great childhood.” The oldest of three brothers, Kapoor left India at 17 for Israel: “My parents were very cosmopolitan, we grew up with Judaism as a cultural reality, a family reality, rather than a religious one – which is right, I believe in that.”</div>
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Initially, he lived on a kibbutz, then studied engineering before realising “it really wasn’t for me, it was too tight. I went back to the kibbutz and decided I had to be an artist. I got myself a little studio and made some really bad paintings. My parents weren’t over the moon. I was so young and so naive. I’d hardly looked at any art, hardly ever seen a painting. Then I came to art school [Hornsey College of Art] in London and felt utterly liberated. They were very difficult years emotionally, but in a way I’m grateful for them. It took me many years of psychoanalysis to get over it.”</div>
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Was the problem a standard coming-of-age neurosis? Kapoor looks vaguely amused at this understatement. “Er, no. It was much, much, much more than that. It was a sense of disorientation, not culturally, but with myself, which I needed to live with, understand, be less afraid of. Perhaps I was also coming to terms with an idea that I wanted to do something. No – wait, it’s difficult to find the right words – a sensation that I had something to do, but I didn’t know how to do it and didn’t know if I could allow myself to do it.</div>
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“The first years when I was making art, I felt as if I didn’t exist if I didn’t work. Now I don’t. The work got better when I didn’t feel that. Now I’ve allowed the work to be the work, I can be me, and somehow we can live together.” He quit psychoanalysis around the time he married medieval art historian Susanne Spicale in 1995; the couple have a daughter, Alba, 16, and son Ishan, 15.</div>
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We move on to grilled salmon served with avocado, coriander, chilli onion and mustard seed salsa, helping ourselves to further salads: baby potatoes with parsley pesto, courgettes, walnuts, radicchio and watercress; roasted squash with green olive and yoghurt sauce, red onion, capers, mint and sumac. Everything is fresh, robust and tastes less complicated than it sounds.</div>
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“The psychoanalytic method is somewhat the studio method,” Kapoor expands. “The speculative process, the space between analyst and patient where there’s a third object, the fantasy object – that’s very much like sculpture. In a post-Freudian world, it’s not very interesting if you don’t speculate. After the idea that human motivation is complex, that there is Jewish guilt and taboos, that there is anxiety in all projects, there’s no such thing as an innocent eye. All looking is done with envy, hate, love. </div>
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“That’s a problem for the maker of things, this question of the anxiety of the viewer and therefore the anxiety of the object. [Marcel] Duchamp came to the idea that the viewer needed to look with a particular stance. ‘The Large Glass’ (‘The Bride Stripped Bare By Her Bachelors, Even’) is divided into male and female – looking is divided, it’s about desire, stripping something bare.”</div>
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I say that I often ask artists whether creativity and sex come from the same place. “Definitely, yes! Does any artist ever say ‘No’? It’s pretty bloody obvious, isn’t it? A fundamental thing of the world is that it’s made up of male and female, night and day, up and down, all opposites, from the moment we are born until we die, life and death. It’s almost silly to say it. One of the riches of abstract language is that it can point to these bits of deeper content.”</div>
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Kapoor’s earliest powdered pigment pieces in the 1980s featured thrusting red stalactites and rounded lemon-orange breasts. Tate Modern’s popular “Ishi’s Light” (2003, named for his son) is an incomplete egg with a distorting mirrored red lacquer interior that you enter through a slit. In “Shooting into the Corner”, an installation at his 2008 Royal Academy show, a gun of red paint was fired across a gallery (“Corners are crucial to sculpture. A corner has all kinds of implications – sexual, architectural, the secret part of the room, womb-like”). This was a parody of masculinity – as is the curving, looping “Orbit”, which can be read as a feminised, circular, open-ended version of the phallic tower form.</div>
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Why has Kapoor so relentlessly explored abstract forms of sexual polarity? “Look, Henry Moore spent his whole career making women in a landscape. I think he didn’t acknowledge fully the sexuality – they were almost asexual presences. I have always been interested in involuted form, which is often vaginal, female. It would be dishonest not to recognise that it’s blatantly sexual. You can’t be coy about it. Art is good at intimacy: it can say, ‘Come here, be part of this’, beckoning. It’s a tool of intimacy.”</div>
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Is his art, then, autobiographical? “No! No, but yes. You can’t avoid your psychobiography. In psychoanalysis, you go into the room with a problem, lie on the couch, and something else emerges, which has repercussions way more interesting than anything you might have gone in with. Similarly when you go into the studio, you get unexpected connections. If I had a great message to deliver, god how boring it would be. Boring for me above all. Not knowing, yet daring – that’s the métier!”</div>
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Lucy comes in to offer coffee – “Oh I’d love one!” he exclaims. “No I wouldn’t, I’ve already had too much” – and pudding: chocolate fondant cake and lemon mascarpone tart. We both declare that we are full, yet the cake, moist and flavoured with coffee and rum, is irresistible. “I can’t help it,” says Kapoor.</div>
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“I love poetry, I read a lot,” he continues, as we each slowly slice wedges off the cake until we have finished it all. “Rilke was a great constructor. And Twombly, a bit of paint and he scribbles something on canvas, how does he get away with it, the fucker – conveying a whole passionate universe with the smallest of means!</div>
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“That’s what poetry is about – condensing experience into a meaningful few words, gestures. ‘Vir Heroicus Sublimus’ by Barnett Newman, it’s a big red painting with a strip in, and yet it isn’t – it’s something mysterious. Newman is one of my favourite artists. Duchamp is another – ‘The Large Glass’, there are very few objects in the world that remain mysterious like that. And the third artist for me is Joseph Beuys: if Duchamp’s idea was that all objects are art, Beuys’ was that all objects have mythological potential.</div>
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“It’s compelling, a deeply serious idea but also playful. I hope with increasing confidence that I’m being playful ... You know, who cares? I have the guts to do it.”</div>
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by Jackie Wullschlager, Financial Times chief visual arts critic </div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-69064688675960892282012-05-16T09:12:00.000-07:002012-05-16T09:13:06.928-07:00Conversation with El Anatsui right before installing Stitch in Time<br /><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">In the past ten years, Anatsui has focused on large tapestry-like metal
sculptures made up out of thousands of colourful liquor caps. Using found
objects he reworks and rearranges materials and transforms them into something
new without them losing their own history. His work could be described as a
collage of discarded memories. Anatsui recombines them into his own, never fixed
syntax, which the viewer is invited to adapt freely, bringing in his own
history. <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></span></i><br />
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<span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">(extract from the Axel
Vervoordt Gallery press release)<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">On May 10th El Anatsui’s
solo exhibition <b style="mso-bidi-font-weight: normal;">Stitch In Time</b> at
Axel Vervoordt Gallery opens. While much has been said and written about the
cultural influences that pervade El Anatsui’s work, it seemed a fortuitous
occasion to have a brief interview regarding the artist’s working processes and
their relationship to time. </span><a href="http://www.blogger.com/" name="GoBack"></a><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><a name='more'></a></b><br />
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">El Anatsui</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: I work with so many
assistants and the process is more exploratory than anything else. I don’t do
drawing, or sketch, or anything. Although there are so many people working, the
process is still very slow, so<span style="mso-spacerun: yes;"> </span>slow that
you can do all your thinking as it goes on. Earlier on, I worked with machines,
like a chainsaw or circular saw, which are very fast. For that you have to have
a fairly good idea of what you are doing. For this reason I used to draw, in
order to have something to guide me. This process is so slow and organic that I
don’t need the drawing: I let the materials lead me on. And eventually I decide
to stop when I feel it is right. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">Kate Mayne</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: You have spoken in other
interviews of working with “many hands”,<span style="mso-spacerun: yes;">
</span>with all your assistants, that this effort is almost symphonic, and that
this gives the work a certain charge, and - even the installation crew is part
of the process because I understand that you sometimes leave the choices to
them when installing the work - would you say there is a social or almost
ritualistic dimension to the making process? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Ritualistic? Yes, I think there is something
of a rite to it:<span style="mso-spacerun: yes;"> </span>you are asking people
to do this work, and every time, every day, it’s the same process. So you can
describe it as a ritual. And when the works are done, you leave it, or else you
take over and decide how it is hung… I think that is also another ritual. There
are so many rituals that surround my work and my working process. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: When I see the nature of the recent work I
see accumulations, a flocking together of elements, like a multitude, and in
this accumulation, it reminds me of the repetitive dimension of storytelling,
and the way in oral cultures, stories are related through the generations… <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: And every generation adding something to it..
<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Would you say that is also part of it? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: It could be. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqrn-J6jyV3GtrnEEK0FQXUWWJsBbwe-gFthc-t_IQM-R8dyec46R2895nHedHIybOl5BOiF1UN0JUZ47dXa7iI3c5Uy54JrPYAqOxseWgHwpDXiKuVq96L0jl8ZholCob5NV6c-Z0NA/s1600/Hesitant+Rivers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqrn-J6jyV3GtrnEEK0FQXUWWJsBbwe-gFthc-t_IQM-R8dyec46R2895nHedHIybOl5BOiF1UN0JUZ47dXa7iI3c5Uy54JrPYAqOxseWgHwpDXiKuVq96L0jl8ZholCob5NV6c-Z0NA/s320/Hesitant+Rivers.jpg" width="320" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">Hesitant Rivers, </span></i><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">388 x 233 cm, aluminum and
copper, 2012</span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: How do you relate to time? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Well… I don’t think I make myself a slave to
time. I do things when the right time comes for that. There are works that I
start with and I find that I am unable to move in a way that I like. So I
abandon it. There are a lot of abandoned works in my studio. If I feel that the
right time hasn’t come for them to move on, I hold them until the right moment
and the right idea comes and I can move them along. It is more difficult when I
have things like a commission, or a project, and then they have timeframes…they
have deadlines. They start asking you: can we have this? Those are the most
difficult times for me. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: But do you find that stimulating in another
way? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Yes, they are stimulating in the wrong way.
(laughter)<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: But the piece you made for Artempo</span></span><a href="http://www.blogger.com/blogger.g?blogID=1376896088559228217#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span style="font-size: 10pt; mso-bidi-font-size: 11.0pt;"><span style="mso-special-character: footnote;"><span class="FootnoteReference1"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%; mso-ansi-language: NL-BE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL-BE; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><span style="color: black;">[1]</span></span></span></span></span></span></a><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">, I remember this magnificent façade piece… <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Yes, with that piece I don’t think I had
problems with time, although I was working on two pieces at the same time, one
for the Venice Biennale itself and then one for Artempo. But because I started
in good time, it went well. I did a site visit a year before, and I was working
with ideas, and tossing them round, and got the right idea that I thought I
should work with, in good time. So a year moved on. And the same with the
Venice Biennale. They told me that I have two walls facing each other and I
decided to play with male and female elements<span style="mso-spacerun: yes;">
</span>in the media I work with for each wall respectively. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">Axel’s theme, the theme of
the show, was ‘Artempo, when time becomes art’, and I was thinking of earlier art.
I have always thought that time is the best shaper of things, so for Artempo I
created a work which talks about memory. Fading and fresh memories. And my work
goes on even at the time of mounting, if I can be there… During the mounting
process, I saw that I needed to open the work up so that it would relate to the
wall of the old building. Because my materials are also fairly new, aluminum
and shiny, I decided to start tearing portions of the work and creating
openings, so visually the top portion revealed the older portions of the old
building. You could see the walls through the work. In that way you bring the
two together, the old and the new, you are faced with time in two perspectives.
<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDdah2Qodj51IwsUajJAypxezmK9vCY2dzoYQKCNkZH2JIJDVcNMgFjkKUW8ZAl7I89pz6a9tY2qegbOvDOVwB5npbL4jMAniMRQjzPalnS3Y9C59d1x_UkpH7zN19JEbnZYNxuarnms/s1600/Stitch+in+time+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDdah2Qodj51IwsUajJAypxezmK9vCY2dzoYQKCNkZH2JIJDVcNMgFjkKUW8ZAl7I89pz6a9tY2qegbOvDOVwB5npbL4jMAniMRQjzPalnS3Y9C59d1x_UkpH7zN19JEbnZYNxuarnms/s320/Stitch+in+time+II.jpg" width="320" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">Stitch in Time II, </span></i><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">403 x 497 cm, aluminum and
copper, 2012<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Could you say a little more about the
technical aspect of making the pieces. I know you’ve tried different methods of
knotting and weaving, how far can you anticipate how this will work when you
start a piece? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: I cannot anticipate that. It goes as far as I
can see for that day. And if I think for that day it’s enough, then I might
change the format. You have different textures or formats that have developed
over the years. You can for one night think about what format that could have,
and compliment what is there, or if what is there is beginning to be tiring,
then you ask yourself:<span style="mso-spacerun: yes;"> </span>‘what format can
come in there in order to give it new life?’ It’s at a point like that, that
you have a failure in communication. You might not be able to come up with a
solution, the work is put on hold and a new one started. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: When I look at the pieces I have the feeling
it is not only our seeing that is touched but our other senses as well. It’s
very sensual; obviously there is movement suggested, and I think of sound,
because of the material…<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Yes, the sound is coming. With Axel’s project
in Venice, it was mounted in my absence. And when I went I saw the wind was
moving it around… I heard the sounds and they were very interesting to me.
Following that I did another piece in Berlin on a museum façade, and I played
with that idea, by deliberately having loose pieces. They are attached in such
a way that they could, at the smallest gust of wind, move, so I was exploring
the idea of movement and sound as well. And it was mounted in such a way that
wind could assail it from the back or the front; it was in the wind. It worked
effectively with that: you saw a lot of movement - in certain portions of the
work - and the rest remained silent. And then I did another work about the
ozone layer, this idea that we have an ozone layer which is torn, and the sun’s
rays are striking the earth directly without the filter of the ozone… <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: That brings me to my next question. Form and
beauty are so intensely present in the work; at the same time I have a feeling
that meaning, the dimension of all the possible resonances, is equally present,
triggering all kinds of additional associations in the same instant. Could you
say a bit more about the political dimensions of the work? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: I don’t know, most of the time when I make a
statement I might not intend it to be political… it’s just like playing around
with words that you see around… people can start to put meanings into them. But
it might not be that I intended to make a political statement. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">:<span style="mso-spacerun: yes;">
</span>Because of the all-over effect and the repetition, I can imagine that
when you are standing in front of the work, it sort of visually wraps around
you, and the middle is at the side and the other way round too…<span style="mso-spacerun: yes;"> </span>and it seems as if there’s no up or down..<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">:<span style="mso-spacerun: yes;"> </span>Yes,
in some cases there’s no up and down.<span style="mso-spacerun: yes;">
</span>It’s not like a painting, that you have to hang either horizontally or
vertically. Neither does one get limited to the four cornered format because it
can be altered to define its peculiar outline.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">KM</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: We are really looking forward to see what is
going to happen in the gallery space these next few days. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">EA</span></b><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: Yes, I am curious too to see how the works
will come out in that space. <o:p></o:p></span></span></div>
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<span style="font-size: 10pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: Calibri;">Interview by<span style="mso-spacerun: yes;"> </span>Kate Mayne<o:p></o:p></span></span></div>
</div>
<span style="font-family: "Calibri","sans-serif"; font-size: 10pt; mso-ansi-language: NL-BE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL-BE; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br clear="all" style="mso-break-type: section-break; page-break-before: always;" />
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<a href="http://www.blogger.com/blogger.g?blogID=1376896088559228217#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="FootnoteReference1"><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 8pt; mso-bidi-font-size: 10.0pt;"><span style="mso-special-character: footnote;"><span class="FootnoteReference1"><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 8pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: NL-BE;"><span style="color: black;">[1]</span></span></span></span></span></span></a><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"> ‘Artempo, where time becomes art’, Museo Fortuny,
Venice, 2007, conceived by Axel Vervoordt and Tijs Visser. </span><span lang="EN-US" style="color: windowtext; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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</div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-65565811579380338642012-05-16T00:44:00.003-07:002012-05-16T00:44:51.803-07:00Nieuwe Kunst in Antwerpen 1958 - 1962 @ M HKAOp 23 mei opent in het M HKA de derde aflevering van de vijfdelige reeks <em>Nieuwe Kunst in Antwerpen 1958 - 1959.</em> In deze editie wordt het concept van de legendarische tentoonstelling <em>Vision in Motion/Motion in Vision</em> in het Antwerpse Hessenhuis (1959) hernomen. <br />
Klik <a href="http://www.muhka.be/toont_beeldende_kunst_detail.php?la=nl&id=3130hier">hier</a> voor meer informatie.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXL1n0DlzNgudlZmKM7e3ns3howV1RWuUeXXURwi_coPAYp-xxihEJbLmtAA0jgDeScSs_IOavyscNFi1PKDEGKenfoFYF1Xn5hq3zX5JKtSupW8owiFDIitCJBN1ZMp3Li-5gSQAUYHI/s1600/image_4514.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXL1n0DlzNgudlZmKM7e3ns3howV1RWuUeXXURwi_coPAYp-xxihEJbLmtAA0jgDeScSs_IOavyscNFi1PKDEGKenfoFYF1Xn5hq3zX5JKtSupW8owiFDIitCJBN1ZMp3Li-5gSQAUYHI/s1600/image_4514.jpg" /></a></div>
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Günther Uecker, <em>Nagelstruktur</em>, 1959 Private collection, photo M HKA </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8Z_Ilfdf1NbwfBBRmrTvDjY8vborIqD4FmrgZOb2jOr49faukKNgTkEgEhgRJFdAa9T4LZH5efvKMFNzrxj81c65JVXeryQc6N70fG1jk-Kdfy_z7Yp0savrnXCoekK9dZzmSiFaGPI/s1600/image_4515.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8Z_Ilfdf1NbwfBBRmrTvDjY8vborIqD4FmrgZOb2jOr49faukKNgTkEgEhgRJFdAa9T4LZH5efvKMFNzrxj81c65JVXeryQc6N70fG1jk-Kdfy_z7Yp0savrnXCoekK9dZzmSiFaGPI/s1600/image_4515.jpg" /></a></div>
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Heinz Mack, <em>Lichtrelief</em>, 1958 Private collection, photo M HKA</div>
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Vision in Motion photo © gva</div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-70861108161383907652012-05-12T07:57:00.000-07:002012-05-12T08:05:26.155-07:00Opening of El Anatsui - Stitch in Time (10 May 2012)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0w9InD94ZxM_O0pEIsed6d2TO5ZntoGEDUHSAi4TjPhdOLdRWm38NiwCEl2y9JM8WkQx5tsBUwJrxxR6-G0EOYZu-BzzqfSY62L-_TG9QuW75biSQMHFw607pWK4CuAK7TF7q7QKZqQ/s1600/AXVE-001-0186.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0w9InD94ZxM_O0pEIsed6d2TO5ZntoGEDUHSAi4TjPhdOLdRWm38NiwCEl2y9JM8WkQx5tsBUwJrxxR6-G0EOYZu-BzzqfSY62L-_TG9QuW75biSQMHFw607pWK4CuAK7TF7q7QKZqQ/s320/AXVE-001-0186.jpg" width="320" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-14139164471419315942012-05-03T06:52:00.000-07:002012-05-03T06:52:38.345-07:00Excerpt from Fold Crumple Crush, a documentary about El Anatsui<div class="separator" style="clear: both; text-align: left;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Gr0sSCV2UDg?feature=player_embedded' frameborder='0'></iframe></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-78961670564359751842012-04-28T06:02:00.000-07:002012-04-28T06:02:46.708-07:00Interview with El AnatsuiThis link will lead you to a conversation between El Anatsui and Alisa LaGamma, curator at the Metropolitan Museum of Art.<br />
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<a href="http://www.metmuseum.org/metmedia/audio/collections/022-interview-with-el-anatsui">The Metropolitan Museum of Art - Interview with El Anatsui</a>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-83350124069308914042012-04-28T05:51:00.002-07:002012-04-28T05:51:34.166-07:00Our next show "EL ANATSUI - STITCH IN TIME" opens on May 10th<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Please join us at the opening of <em>El Anatsui - Stitch in Time</em> on May 10th, from 6 to 9pm.</span><br />
<br /><span style="font-family: inherit;">The exhibition runs from May 10th 'till June 30th.</span>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-19253900836064756692012-04-21T03:11:00.000-07:002012-04-21T03:11:08.364-07:00Axel Vervoordt Gallery at Art Brussels<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnS0LtnjX63A04ZdPD12O58NQSAHQchsCfYyBWNBgzJekVFC2v0nQSSmH7aM2eA1YprV3uEptgTVVXX6dTFnDFk_dQOHTRUP8Cy71smdQ0GuLb2NthRq3SXoYva5anwMU7hWpG_jeo__k/s1600/IMG_9657.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnS0LtnjX63A04ZdPD12O58NQSAHQchsCfYyBWNBgzJekVFC2v0nQSSmH7aM2eA1YprV3uEptgTVVXX6dTFnDFk_dQOHTRUP8Cy71smdQ0GuLb2NthRq3SXoYva5anwMU7hWpG_jeo__k/s320/IMG_9657.jpg" width="320" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-18208608483706844232012-04-13T08:23:00.002-07:002012-04-16T07:24:44.136-07:00Axel Vervoordt Gallery at Art BrusselsFrom 19 'till 22 April you can find us at Art Brussels.<br />
The gallery will be closed during the fair.<br />
For more information about the fair, see: <a href="http://www.artbrussels.be/">www.artbrussels.be</a><br />
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The eye catcher at our booth will be Ad Reinhardt's meditative <em>"Abstract Painting"</em> from 1959, an important black monochrome that perfectly incorporates the artistic philosophy of Axel Vervoordt Gallery. Like Allen Watts wrote in <em>The Spiritual in Art</em>: <em>"What is form that is emptiness, what is emptiness that is form [...] Granting one's vision sufficient time to perceive a black painting by Ad Reinhardt is equivalent to the assumption of a meditative position. Then the painting seems to yield its essence all at once."</em><br />
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</em>See you in Brussels!Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-11914663618094134232012-03-28T09:02:00.002-07:002012-04-06T06:14:20.829-07:00ARTPRESS °388 - Interview Piene, Mack, Uecker<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnswg59nYpBSZ52Y1foaiJqvwQJGtDbzOmdyzTsKzohVb6aqjUZk7R-sy5G8jvWksl2jTOblLfhAg0ouFjxWiDRD0XUl5FU8cm-MzLnkV5tYOMVKHdPm_hcqhkz-ECjiSWOd3SRRX6Zk/s1600/28029-photoIntro.panoramic%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnswg59nYpBSZ52Y1foaiJqvwQJGtDbzOmdyzTsKzohVb6aqjUZk7R-sy5G8jvWksl2jTOblLfhAg0ouFjxWiDRD0XUl5FU8cm-MzLnkV5tYOMVKHdPm_hcqhkz-ECjiSWOd3SRRX6Zk/s320/28029-photoIntro.panoramic%5B1%5D.jpg" width="320" /></a></div><div class="visuArticleTitre"><h1 style="font-size: inherit; font-weight: inherit; line-height: inherit; margin: inherit; padding: inherit;"><span style="font-family: inherit;">Le groupe ZERO</span></h1></div><div class="visuArticleSurtitre"><span style="font-family: inherit;"></span></div><div><b><span style="font-family: inherit;">n°388</span></b></div><span style="font-family: inherit;"><br />
</span><br />
<div class="visuArticleTexte justify borderDotted"><h2 style="font-size: inherit; font-weight: inherit; line-height: inherit; margin: inherit; padding: inherit;"><span style="font-family: inherit;">interview de Otto Piene, Heinz Mack et Günther Uecker par Heinz-Norbert Jocks</span></h2></div><div class="clearBoth"><span style="font-family: inherit;"></span></div><div class="articleTexte" style="text-align: justify;"><span style="font-family: inherit;">Après la guerre, dans une Allemagne en ruines, de jeunes artistes se réunissent pour tout recréer à partir de… zéro. Ils organisent des expositions-événements et fondent la revue Zero, reprenant le nom d’un groupe japonais d’où est issu Gutaï. Dans la logique des avant-gardes, le groupe a un rayonnement international, nouant des liens avec, outre le Japon, la France (Klein, Arman), l’Italie (Fontana, Manzoni, Castel- lani), les Pays-Bas (groupe NUL).</span><br />
<span style="font-family: inherit;">La conversation ci-dessous a eu lieu à l’occasion de la rétrospective au Museum Kunst Palast (présentée ensuite à Saint-Étienne) en 2006. C’était la première fois que les principaux acteurs du mouvement se retrouvaient en public depuis sa dispersion. Deux ans plus tard, les mêmes, avec Mattijs Visser, créaient la Fondation Zero. Une rétrospective des œuvres du groupe se tiendra au Neuberger Museum (NY), en 2013.</span></div><div class="articleTexte" style="text-align: justify;"><strong><em><span style="font-family: inherit;">Otto Piene, la raison première de la fondation de ZERO, à la fin des années 1950, ne se réduisait pas à la volonté de multiplier les occasions d’exposer vos œuvres. Il s’agissait d’une volonté de se démarquer de l’art informel alors en vogue, ainsi que d’une réaction à l’égard de la Seconde</span> Guerre mondiale. Après l’Europe, le rayonnement de ZERO s’est étendu des États-Unis au Japon. Aviez-vous pressenti cela lorsque vous vous êtes réunis pour la première fois en 1958 ?</em></strong><br />
Otto Piene Il nous était impossible d’espérer quoi que ce soit tant notre marge de manœuvre était étroite à cette époque. Tout a débuté à Düsseldorf, c’est-à-dire en Allemagne de l’Ouest, et plus précisément dans mon atelier, au numéro 69 de la Gladbacher Strasse. La situation politique et intellectuelle ne nous autorisait qu’une perception partielle de la réalité. ZERO est certes né d’une intention positive, mais également de la violence des pressions et des contraintes que nous subissions et dont nous voulions nous libérer. La naissance de ZERO est liée à une volonté de se projeter dans des directions nouvelles. Nous n’avions cependant aucune méthode. Tout s’est développé dans l’action.<br />
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</div><div class="articleTexte" style="text-align: justify;"><span style="font-size: 14px;"><strong>UN ETRANGE SENTIMENT DE VIDE</strong></span><br />
<em><strong>Heinz Mack, vous avez déclaré que ZERO participait de l’exorcisation des démons de la Seconde Guerre mondiale.</strong></em><br />
Heinz Mack Nous sommes issus d’une génération à laquelle on a inculqué une vision du monde extrêmement étriquée. Nous avons grandi dans une Allemagne totalement isolée, et, après la guerre, la nécessité d’acquérir une meilleure connaissance du monde s’est imposée d’elle-même. ZERO est né d’une soif d’expériences. Le champ de la représentation nous a tout d’abord permis de parcourir le monde, alors que nous n’étions pas en mesure de le faire concrètement. Pour donner un sens à nos rêves, il nous a fallu les réaliser, ne serait-ce que partiellement. Et pour rêver après une telle guerre, une bonne dose d’énergie intellectuelle, de force et de courage fut nécessaire. En d’autres termes, nous éprouvions tous les trois un grand désarroi et un profond désenchantement, que nous avons dû surmonter pour accéder à ce qu’on appelle la liberté de création.</div><div class="articleTexte" style="text-align: justify;"></div><a name='more'></a><span style="font-size: small;"><span style="font-family: inherit;"><strong><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">En se détachant de la subjectivité, ZERO s’est aussi opposé à l’art informel, bien que quelques artistes informels aient été proches du groupe. </span></i><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Günther Uecker, que signifiait ce détachement pour vous qui avez rejoint le groupe en 1961 ?</span></i></strong></span></span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Günther Uecker </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Originaire d’Allemagne de l’Est, j'ai été influencé par l’idée que l’homme se situe au centre de tout événement. J’ai donc tout naturellement accordé une grande importance à la subjectivité. Sur décision du parti communiste, un style artistique devant exprimer le monde du travail et la proximité sociale des hommes avait été promu. Ces conceptions m’ont été inculquées par le lavage de cerveau que représentait l’éducation antifasciste en RDA. La pensée analytique m’a par la suite permis de me détourner de la « représentation réaliste » et de cette image de l’homme qui n’était que mensonge. L’art soviétique du temps de la Révolution a eu une grande influence sur moi ; la célèbre formule prononcée par Maïakovski en 1917 – « Faire de la poésie à coups de marteau » – le résume très bien. Cette perspective m’a permis de penser différemment et la création et l’exposition des images dans le monde. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">La nécessité de me confronter à l’art occidental s’était imposée à moi, et c’est dans ce contexte, armé de tels idéaux, que je suis passé de l’Est à l’Ouest. Cependant, l’art informel pratiqué à l’Ouest était trop empreint de psychologisme. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Je pensais qu’il était du ressort des peintres d’assumer et de vaincre ce que le national-socialisme avait fait à l’homme.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">HM </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Je me suis rendu dans un pays étranger pour la première fois en 1950, et ce pays était la France. Le fait de me retrouver dans une ville vierge de ruines, Paris en l’occurrence, fit très forte impression sur moi. Les premiers </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">tableaux de très grande qualité que j’ai eu l’occasion de voir au Grand Palais étaient avant tout ceux de Picasso, ainsi qu’une image incroyablement belle de Matisse. Quand je suis rentré à Düsseldorf avec, dans les poches, des cartes postales représentant les oeuvres que j’avais vues, tout le monde tournait autour comme si elles provenaient d’une autre planète ! Nous nous trouvions dans une situation de totale désinformation, sans aucune connaissance de ce qui s’était passé ailleurs pendant le IIIe Reich : le vide. Cette première approche du context artistique parisien m’avait toutefois laissé un gout amer, et je me disais : tu arrives trop tard, tu ne pourras plus faire la jonction. Nous n’avions désormais d’autre solution que de </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">surmonter cet étrange sentiment de vide</span><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">existentiel.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Que signifie ce vide ?<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">GU </span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Après avoir évolué dans le contexte du matérialisme historique, j’ai recherché des visions qui s’opposaient à celles de la RDA. La conception matérialiste d’une utopie en mesure de libérer l’homme de l’exploitation et de fonder une société meilleure avait débouché sur une impasse en 1953. L’insurrection populaire de juin 1953, à Berlin-Est, fut un élément déclencheur qui me poussa à mettre un terme à mes études en RDA et à me rendre auprès d’Otto Pankok à la Kunstakademie de Düsseldorf. J’étais attentif à lui depuis un certain temps, notamment </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">en raison de la réputation d’antifasciste qu’il avait gagnée dans le contexte de la censure nazie. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Je voyais un libérateur en celui qui avait peint un Christ rompant un fusil sur ses genoux. Mon attachement aux utopies m’avait encouragé à créer une sorte de centre d’accueil au sein de l’école. Mais je devais aussi, d’une manière ou d’une autre, trouver un équilibre avec le monde de l’Ouest. J’y suis parvenu en lisant les oeuvres de Jean-Paul Sartre et de Bertrand Russell, en parlant avec des gens qui avaient résisté aux nazis, ainsi que par l’expérience acquise durant mon périple en France. Parmi les auteurs que je lisais à ce moment figurait également Arthur Schopenhauer, dont la philosophie m’a aidé à penser les interactions entre Est et Ouest. Puis j’ai été attiré par la pensée asiatique, bien moins rationaliste que la pensée utopique. Quant au vide sur lequel vous m’interrogez, il </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">s’agit de celui des caves dans lesquelles nous nous terrions durant les raids aériens. J’y descendais à plusieurs reprises au cours d’une même nuit… mais cela ne m’a pas empêché de connaître l’amour. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Les événements de la </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">guerre, aussi dramatiques fûrent-ils, étaient tout de même palpitants et appartiennent aux trésors d’expérience de l’enfance. Durant ces </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">raids, je voulais toujours rester dehors.</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Heinz Mack, c’est Otto Coester qui vous a fait découvrir le bouddhisme en vous recommandant la lecture d’un ouvrage de Eugen Herrigel. Vous avez également été le premier membre du groupe à entrer en contact avec le mouvement Gutaï au Japon, lui aussi marqué par le bouddhisme zen. L’expérience du vide est-elle dans votre cas liée au bouddhisme ?<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">HM </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Votre question est très importante. J’étais arrivé à un point de désespoir extreme et je ne savais plus quoi faire. Ce que j’avais appris à Düsseldorf pendant trois ans ne me semblait pas suffisamment solide, et la situation </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">d’isolement dans laquelle je me trouvais me procurait un sentiment de grand vide. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">C’est alors que mon professeur Otto Coester, qui avait conscience de mon découragement, m’a offert le petit livre intitulé <i>la Voie du zen</i>. J’ai mis un certain temps à me situer par rapport à cette pensée. Coïncidence ou pas, dans l’héritage que m’a laissé mon père après sa mort pendant la guerre se trouvaient trois volumes des <i>Paroles du Bouddha. </i>Je les ai étudiés avec beaucoup d’attention. Je m’intéressais aussi beaucoup à la musique. Ces paroles se lisent comme <i>le Boléro </i>de Ravel : la répétition continue d’une même phrase, qui varie sous l’effet de légères nuances, et qui génère une fascinante mélodie.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">DONNER CORPS AUX IDÉES<o:p></o:p></span></span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Otto Piene, dans quelles circonstances vous êtes-vous rapproché de ZERO ?<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">OP </span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Le IIIe Reich a laissé derrière lui un grand vide en matière d’éducation. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Nous voulions voir, entendre et lire davantage, et cela nous a tout naturellement porté vers les formes de pensée qui avaient vu le jour en notre absence. Nous nous intéressions tout particulièrement à l’existentialisme français (par opposition aux philosophies utilitaristes), mais la phénoménologie et le réalisme avaient eux aussi leur place. La littérature étrangère a retenu notre attention parce qu’elle divergeait radicalement de la littérature allemande du </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">19e siècle et de l’essentialisme dans lequel nous avions été endoctrinés sous le nazisme. Pour nous, Ernest Hemingway, William Faulkner ou James Joyce représentaient un pendant à l’existentialisme.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Dans l’un de ses essais, Jean-Paul Sartre dit que l’artiste éveille dès l’origine le soupçon. N’importe qui peut le condamner. Ce cons- tat est certes outrancier, mais il exprime aussi le statut d’outsider de l’artiste. La philosophie vous a-t-elle aidé à vous positionner en tant qu’artiste ?<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">GU </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Sartre m’a tout d’abord conduit à remettre en question ma posture existentielle, puis il m’a donné le courage de faire le voyage vers Paris en auto-stop, d’y dormir sous les ponts et de découvrir un tout autre milieu culturel. Cette échappée a principalement été motivée par un désir de me soustraire aux limites et à la domination d’un monde et d’une idéologie caractérisés par la schizophrénie. Mon désir d’abattre les frontiers était à la mesure du lavage de cerveau que j’avais subi durant mon enfance. À cette époque, mes principaux interlocuteurs étaient </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">des opposants au régime, et le désir de fuir la RDA était devenu une véritable obsession. Je voulais élargir ma perception tout en explorant des espaces plus vastes, ce qui va, d’une certaine manière, à l’encontre de ma pratique artistique. J’ai plutôt tendance à réduire les sensations pour donner corps aux idées – suivant en cela Bertolt Brecht, pour qui la simplicité était la chose la plus difficile à atteindre. Je voulais rapporter la nostalgie à son épais-seur essentielle, de façon à créer une image en mesure de susciter l’attention. En ce sens, le rôle du tableau consiste à faire saillie dans le monde tactile pour être le plus visible possible.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">UN NOUVEAU MONDE ?<o:p></o:p></span></span></span></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Quant à vous, Heinz Mack, vous étiez moins porté sur Sartre que sur Kant. Votre conception de l’utopie vous a, dans un premier temps, conduit à ne pas pénétrer l’espace muséal, mais le Sahara.<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">HM </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">En raison de mon intérêt pour l’histoire de l’art, j’ai très tôt pris conscience du fait que la peinture occidentale avait érigé la composition au rang de thème pictural primordial, et cela au moins depuis Giotto. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">À sa manière, Picasso s’est lui aussi inscrit dans le droit fil de la peinture européenne, en faisant de la composition le sujet central de ses oeuvres. De même, le cubisme, lorsqu’il se résout dans la vibration, s’est transformé en champ de forces. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ces phénomènes m’ont poussé à m’interroger sur l’avenir de l’art occidental : que faire puisque tous les sujets semblent avoir été traités ? Que peut-on ajouter à la puissance et à la vitalité de l’art russe des années 1920 ? Je pense à Malevitch et à son carré blanc. Ce qui allait se manifester plus tard chez Yves Klein avait été, depuis longtemps déjà, anticipé. La pure monochromie. Ce questionnement, et le vide qu’il ouvrait sous mes pieds, m’ont conduit à la pensée asiatique et à la méditation : ne rien faire, inspirer et expirer. De cet équilibre et de cette paix intérieure est née, intentionnellement ou non, une nouvelle forme d’excitation, qui m’a conduit, par l’imagination, dans le désert. Il s’agissait d’échapper à l’art occidental – avec, en toile de fond, le mot d’ordre futuriste selon lequel les musées ne sont rien d’autre que des cimetières. Cette liberté que j’avais trouvée dans le désert demeurait cependant utopique. L’accomplissement d’une utopie ne passe que par la perte de ce qui la fonde, en l’occurrence son ouverture à un autre horizon.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Otto Piene, tandis que Heinz Mack redécouvrait la lumière dans le désert, vous vous orientiez vers le ciel, avec, pour corrélat, tel que vous l’avez exprimé, une volonté de réharmoniser les relations entre l’homme et la nature.<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">OP </span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Laissez-moi revenir sur l’origine de cette conception de la luminosité. En 1945, peu de temps avant la fin officielle de la guerre, j’ai été renvoyé chez moi. J’errais avec effroi </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">parmi les champs de ruines, les cadavres </span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">d’animaux et le matériel militaire. Après quelques jours de marche, j’ai atteint l’Elbe, dans les environs de Glücksstadt. Comme beaucoup d’autres, je cherchais un moyen de traverser le fleuve. On m’a alors dit que je trouverai des bateaux de l’autre côté de la digue. Après l’avoir escaladé, je me suis retrouvé face à l’Elbe qui, lisse comme un miroir, s’étendait jusqu’à la mer du Nord. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">La surface de l’eau reflétait un ciel pur, sans aucun nuage. Cette expérience inoubliable incarna dès lors pour moi la fin de la guerre, la fin du drame – la paix retrouvée. Ce ciel bleu n’était plus celui des grands dangers de la guerre, avec ses escadrons de chasseurs et de bombardiers capables de frapper avec précision la moindre cible. Quelque temps auparavant, seules la nuit, la pluie et les intempéries pouvaient représenter une forme de sécurité. À ce moment précis, j’ai su à nouveau ce que pouvait être une atmosphere saine et quelle pouvait être la place de l’homme dans un monde normal. Cette image s’est faite de plus en plus présente, jusqu’à se substituer à la vision du monde de la peinture que j’avais héritée. Par la suite, elle m’a conduit au monochrome, puis au <i>sky art, </i>et enfin à la lumière comme élément dominant d’un univers insaisissable.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;"><strong>Pour quelle raison le groupe ZERO s’est-il éteint ? Cette rupture a-t-elle quelque chose à voir avec votre conception du « nouvel idéalisme », Otto Piene ?<o:p></o:p></strong></span></span></span></i></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">OP </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ce sont simplement des conflits qui ont conduit à la fin du groupe. Günther Uecker l’a exprimé à sa manière, et il y a là une certaine vérité. Le nouvel idéalisme s’attache à la forme et à l’aspect d’un nouveau monde, à la façon dont il pourrait nous porter, nous et nos semblables. Cette conception m’est propre et n’était pas partagée par les autres membres de ZERO. Il s’agissait d’oeuvrer pour un nouveau monde, dont la nécessité demeure </span></span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">aujourd’hui encore d’actualité. Je tiens toujours à cette idée.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">HM </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">En effet, nous ne partagions pas l’idée d’offrir au monde la chance d’une nouvelle idéalisation, pour la pure et simple raison que, en Allemagne, ce besoin d’idéaliser est depuis toujours une dangereuse tendance.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><span style="font-family: inherit; font-size: small;"> </span><span style="font-size: small;"><span style="font-family: inherit;"><b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">GU </span></b><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Je ne souhaite pas m’étendre sur le problème de l’idéalisme. </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">L’histoire de l’Allemagne présente une longue liste d’événements tragiques qui tirent leur origine de cette notion. ZERO a été l’occasion d’entreprendre un exercice spirituel en communauté, ce qui a permis de renforcer chacun de ses membres non seulement au travers du dialogue et de l’analyse, mais aussi parce qu’il nous a poussé à prendre conscience de certains </span></span></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: inherit;">processus intuitifs. Par la suite, la force ainsi acquise nous aura permis de poursuivre nos chemins de manière indépendante.<o:p></o:p></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; text-align: justify;"><br />
</div><div class="articleTexte" style="text-align: justify;"></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-31872647995714657132012-03-16T08:35:00.000-07:002012-03-16T08:35:34.175-07:00Opening show SHOZO SHIMAMOTO<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKx8lPu3FIc-8y2cBCn5deJtqzNE76sCDAnR10uJopcN_NsRtiKtuELCuTCgVkFv7FK_Ez3Xf3tQ22SvWCfEOwwx1uiwZi7wYiMOsJQ5IRzq2OmhD6iqCprWwz0P9IMt_b_jnbAkOBIAM/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKx8lPu3FIc-8y2cBCn5deJtqzNE76sCDAnR10uJopcN_NsRtiKtuELCuTCgVkFv7FK_Ez3Xf3tQ22SvWCfEOwwx1uiwZi7wYiMOsJQ5IRzq2OmhD6iqCprWwz0P9IMt_b_jnbAkOBIAM/s320/1.jpg" width="320" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgkO5RCDdHuQ-mpQ9ImqDcvT3ySqeuMaD1k6SNx7aAYPzB0JHAKJjJCJTpDkjGFRpHHQghyJmSdlRzWy5ibs33C8n1axCagh-zwCWiSQO-3AWbSsz03hd9UZ1mP-ZiTdiNz2CWf4tUvo/s1600/27.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgkO5RCDdHuQ-mpQ9ImqDcvT3ySqeuMaD1k6SNx7aAYPzB0JHAKJjJCJTpDkjGFRpHHQghyJmSdlRzWy5ibs33C8n1axCagh-zwCWiSQO-3AWbSsz03hd9UZ1mP-ZiTdiNz2CWf4tUvo/s320/27.jpg" width="320" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-54539361250873795782012-03-14T03:49:00.001-07:002012-03-14T03:49:08.409-07:00Shozo Shimamoto - Making a Painting 1960s<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszvx0ehCXgCoSfX6rHcZNgNrlyZj4YPipXQ-L_0eznRCZeQkRu9Xfm3bSnYZ9TsdyBV1qqdSShUFB-FlJEiIWk3EpjP8dQhmvAzYM06Fp6yjZ-HRpY4bM2wKzRMEmJ8Zm_1CSpsUE6ms/s1600/makingapainting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszvx0ehCXgCoSfX6rHcZNgNrlyZj4YPipXQ-L_0eznRCZeQkRu9Xfm3bSnYZ9TsdyBV1qqdSShUFB-FlJEiIWk3EpjP8dQhmvAzYM06Fp6yjZ-HRpY4bM2wKzRMEmJ8Zm_1CSpsUE6ms/s320/makingapainting.jpg" width="320" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-83567110146637222472012-03-06T08:26:00.000-08:002012-03-06T08:26:24.849-08:00Invitation next show SHOZO SHIMAMOTO<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDu0DbVu31SKq-U_VmvynpLELQWAhq9EBTKcOIMGnucgFvjAdr5BuFHAS9eLoe58Fg1kqTo9GYkmCmh0_1pjISaFkapbb4UCxSUxgpCprGR4n27NLMrgEVIgdkbn-GoBMobLEi5nPI8vo/s1600/AVG.08.INV3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDu0DbVu31SKq-U_VmvynpLELQWAhq9EBTKcOIMGnucgFvjAdr5BuFHAS9eLoe58Fg1kqTo9GYkmCmh0_1pjISaFkapbb4UCxSUxgpCprGR4n27NLMrgEVIgdkbn-GoBMobLEi5nPI8vo/s320/AVG.08.INV3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzNh6s3Sld38nm2o6E83CmvbpmzIZbOFFxdJIw9q2tIG42U6kqd5c5XQ6fP3Wzu53hgeAg7SKA59ESs3cStfQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-20385202130475074402012-02-03T06:35:00.000-08:002012-02-03T06:35:02.929-08:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2xgQ6qJdSOXiw9Iv8fFT6eiov1hKOACvmFi6KXU-yWMbduzB0rMMh1GEYj4ggOfjPfMl5c0Mwaz2rGLVSHJQgGKHsvz8JTCeGevvWCsr7BueNK3owpVKB-JQz66JsbkX8_JD16cUBebw/s1600/IMG_2351.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2xgQ6qJdSOXiw9Iv8fFT6eiov1hKOACvmFi6KXU-yWMbduzB0rMMh1GEYj4ggOfjPfMl5c0Mwaz2rGLVSHJQgGKHsvz8JTCeGevvWCsr7BueNK3owpVKB-JQz66JsbkX8_JD16cUBebw/s320/IMG_2351.JPG" width="240" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLP6EwXFQLoNE5OoVwGTFj0pyHVSmU5Dbix_RuLaHXOs4fz2-y1l9nnbndLvXS19ULygxihop7Kasx4njYgpn2ibIWSJJphip_b1pWVGQBlKdmRxswLR-l9Xfn8B6jmn3qd57xmwM3kgI/s1600/IMG_2353.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLP6EwXFQLoNE5OoVwGTFj0pyHVSmU5Dbix_RuLaHXOs4fz2-y1l9nnbndLvXS19ULygxihop7Kasx4njYgpn2ibIWSJJphip_b1pWVGQBlKdmRxswLR-l9Xfn8B6jmn3qd57xmwM3kgI/s320/IMG_2353.JPG" width="240" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com1tag:blogger.com,1999:blog-1376896088559228217.post-84398940922547240502012-01-31T03:05:00.000-08:002012-01-31T03:06:18.359-08:00Art as inner necessity - Dominique Stroobant<div style="text-align: justify;">"If art is not a necessity, you don't need art. It must want to come out of you. <br />
The desire to make something and to articulate yourself through it is an inner necessity." <br />
Dominique Stroobant, Miseglia-Carrara, 31 July 2011 </div><div style="text-align: justify;"><br />
Categories such as artist, philosopher, collector, sociologist, gallery owner or the scarcely graspable meta-category, art, do not play any central role for Dominique Stroobant in his thinking and practice. Stroobant does not fit into any pigeonhole and therefore does not correspond to any of the usual classifications aiming to lay down roles, functions and thus predictable modes of behaviour. He lives according to his own law-like regularities and in this has the courage and power to carry out his ideas. Dominique Stroobant is an author who is able to translate his questions born from curiosity into dream-images and inventions, and to transform these into matter. His sculptures rise from the depths of his creative mind that one could compare to a quarry, grown out of the traditional sediments of the human history of culture and technology. <br />
Stroobant has questions and finds solutions that could allow his multifarious actions to be categorized as those of a stonemason, photographer, sculptor, draughtsman, scientist, engineer or communicator, were it not for that inspiringly anarchistic trait in his being, which renders such a simple classification impossible. The first picture book he looked at in his early years in Westphalia in Germany was Struwwelpeter (Shaggy Peter) by Heinrich Hoffmann in 1854. Because of its questionable morality, it has come into disrepute today, but for more than a century this book has taught children where disorderly behaviour can lead. Fortunately, Stroobant did not let himself be influenced by the misfortunes of a "Fidgety Philip" or "Johnny Head in the Air", but interiorized what was rule-breaking and imaginative in it. The play with order and disorder, the search for the rule in what is apparently without one, and the pleasure in what is original drives him. Stroobant frequently likes to quote a statement by his friend, Max Bill: "I am chaotic, but have a great need to create order". <br />
When one views Stroobant's sculptures, the lightness of these tension-filled forms sawn from marble or granite with diamond wires is fascinating. Stroobant works in Carrara at a stonemasons’ studio equipped with state-of-the-art equipment for working with stone, whose spirit and organization are rooted in medieval stonemasons' lodges. The forms for his works are found by shaping clay before being geometrically transformed into ideal art forms — the Hegelian "art-beautiful". In sculptures such as<em> Door Vinnen Heen</em>, <em>Voile</em> or <em>Matrice</em>, so-called 'ruled surfaces' emerge that cannot be rolled up into a plane, as is the case with a cone or a cylinder. A hyperbolic paraboloid, a curved surface without a centre is generated in space by the motion of a straight line. If the stone being worked is rotated on its own axis on a supporting surface, while the straight wire saw moves downward, parabolic forms arise that cannot be grasped photographically and also challenge human perception. <br />
Classical art history developed its methods of viewing and analyzing works from painting. Language describes art works, but can never be anything more than an approximation. A painting can be seen. A sculpture is a thing that can be seen, felt and walked around, and whose view changes with every movement. In contrast to perceiving painting, what is unavoidably invisible from each point of view, the rear, is also always conceived. The exciting thing about Stroobant's most recent works is the difficulty of grasping the curved surfaces from the front and rear. According to Max Bill, sculptures are "knots in space". Knots attain their tension through the energy they bundle and retain. Spatially they can scarcely be imagined. Knots, like sculptures, have to be understood and thus solved. Stroobant's works are fascinating in this way. They foster attentiveness, attract, make viewers curious and teach them that there are elementary differences between sculpture and painting. </div><br />
Dirk Pörschmann, Kassel/Germany, January 2012 <br />
Translated from the German by Dr Michael Eldred, artefact text & translation, Cologne <br />
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<em>Commissioned by Axel Vervoordt, the author is working on a monograph on sculptures, photographs, drawings and illustrations by Dominique Stroobant. The book, which will comprehensively present Stroobant's versatile oeuvre for the first time, is to appear in summer 2012. </em>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-26679568672418651702012-01-28T07:42:00.000-08:002012-01-28T07:42:00.015-08:00Opening Dominique Stroobant Tempi e fili - Seil und Zeit<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FeKXfExf_wvpEk352X94IboOKDx6JlBqyTMhRN3eXwyLeLm48l-wdpNesA5-9YPUJ_RtUybu7y_almzbkJdfwBEKXt5ZKNIJC2yBiP_V45jM5sigrv-cfBu1gOCB1MkTUtdCwerGhGs/s1600/_MG_2715.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FeKXfExf_wvpEk352X94IboOKDx6JlBqyTMhRN3eXwyLeLm48l-wdpNesA5-9YPUJ_RtUybu7y_almzbkJdfwBEKXt5ZKNIJC2yBiP_V45jM5sigrv-cfBu1gOCB1MkTUtdCwerGhGs/s320/_MG_2715.jpg" width="320" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXSJbU9BKTllaWAJ099YnMPM7RlpZt5NcNPHFQ2a_UFv8s-XLqFi3rGvkfAy4d5Yj4DA8ccot4pFodFZn7DZ76Fhenoz8HhyphenhyphenYtnUuyeR4yISeMZxhvQcd56qJYx29ljLYkyUPZzEYlOw/s1600/_MG_2768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXSJbU9BKTllaWAJ099YnMPM7RlpZt5NcNPHFQ2a_UFv8s-XLqFi3rGvkfAy4d5Yj4DA8ccot4pFodFZn7DZ76Fhenoz8HhyphenhyphenYtnUuyeR4yISeMZxhvQcd56qJYx29ljLYkyUPZzEYlOw/s320/_MG_2768.jpg" width="213" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0tag:blogger.com,1999:blog-1376896088559228217.post-1594894752343493852012-01-20T01:09:00.001-08:002012-01-20T01:09:43.627-08:00Next show Dominique Stroobant Tempi e Fili - Seil und Zeit<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUl2p2TO9K9WnbFHUFODEYVg-ECPyp4JqjlaWRGQPXT6QXdXPXwuZndV87oVs0Gq-cB1Rud7E3VlE1dmsAPwfUqKI4PuAJ9_eN4JEhNNwvQP1dczfWOUy1vEXlNgfAwqZXFQrop9PSY3U/s1600/AVG+07+INV2+-+Stroobant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUl2p2TO9K9WnbFHUFODEYVg-ECPyp4JqjlaWRGQPXT6QXdXPXwuZndV87oVs0Gq-cB1Rud7E3VlE1dmsAPwfUqKI4PuAJ9_eN4JEhNNwvQP1dczfWOUy1vEXlNgfAwqZXFQrop9PSY3U/s320/AVG+07+INV2+-+Stroobant.jpg" width="320" /></a></div>Axel Vervoordt Galleryhttp://www.blogger.com/profile/08133463448211375979noreply@blogger.com0