Upcoming: 2 solo shows
Carrie YAMAOKA, works 2004-09
Isabelle LEVENEZ, masques
opening Nov. 12th from 18.00 to 21.00
exhibitions from Nov. 13 till Dec. 23 2009
Carrie YAMAOKA, works 2004-09
Isabelle LEVENEZ, masques
opening Nov. 12th from 18.00 to 21.00
exhibitions from Nov. 13 till Dec. 23 2009
Information
- Location:
- Brussels, Belgium, 1060
- Phone:
- +32 (0)25372202
- Tues - Fri:
- 11:00 am - 6:00 pm
- Sat:
- 2:00 pm - 6:00 pm
Photos
2 of 19 albumsSee All
Wall PhotosUpdated about 4 months ago
Carlos AiresCreated about 4 months ago
aeroplastics contemporary
presents a project in Bruges, That's all Folks!
Curated by Michel Dewilde and Jerome Jacobs; That's all Folks ! explores the eternal clash between Reason and Destiny. The exhibition raises questions about the human condition, and the capacity of the individual to take control of his and everyone else’s destiny and that ...of the planet. We are constantly provided with undoubted images of idealism, beauty and wisdom, but our collective recall is poor and our plans for the future intrinsic and self centred.
That's all Folks ! is to remind us that a clear and objective understanding of the world and its terrible history is vital to our achieving a sense of the present and our avoiding the constant repetition of our eternal and devastating mistakes.
De clash tussen de rede en het noodlot / The endless clash between Reason and Destiny / Le Clash perpétuel entre Raison et Destin
Location:Stadshallen
Time:7:00PM Friday, December 11th
aeroplastics contemporary
CARRIE YAMAOKA
Works 2004-2009
Aeroplastics Contemporary is pleased to present the work of New York-based artist Carrie Yamaoka, in her second solo exhibition at the gallery.
Yamaoka’s paintings resist classification as painting and refuse to remain the same from minute to minute. For the past fifteen years the artist has... worked with reflective mylar, resin and various coloring agents as her media. The works generate a constant flow of visual and perceptual information depending on how the viewer situates him/her self in relation to the object.
Some of the more recent works incorporate interference pigments and phosphorescent tints, making way for an extended range of play with the possibilities of light—the light created both in the work and by the work. Most recently, the artist is stressing the object-ness of the work, welcoming more of the chance incidents derived from process, to eke out a wider spatial and experiential gamut.
Edward Leffingwell of Art in America has said:
Yamaoka’s radical paintings maintain a position among those rather racy art objects that mediate between painting and sculpture.
According to Roberta Smith, art critic of The New York Times:
Ms. Yamaoka’s sumptuous yet unassuming paintings constitute a kind of Situationist Minimalism. They are physically specific and implacable. … Like Robert Ryman’s work, Ms. Yamaoka’s is a reverent dissection of the modernist monochrome, but she also partakes of a more parodistic approach, exemplified by Robert Rauschenberg’s "White Paintings", from the early 1950’s, in which the viewer’s shadow becomes part of the work. However you parse them, her efforts intimate a rejuvenation of Minimalism, spurred by new materials, more refined techniques and fresh ideas.
Carrie Yamaoka has exhibited widely in the United States and in Europe including: the Wexner Center for the Arts in Ohio, the Albright-Knox Gallery in Buffalo, Artists Space in New York City, MassMOCA in Massachusetts; Torch in Amsterdam, Studio 1.1 in London, and Galerie Une in Switzerland.
---
and aslo Isabelle Levenez, "masques"
http://www.facebook.com/event.php?eid=19
Time:6:00PM Thursday, November 12th
Location:aeroplastics CONTEMPORARY
aeroplastics contemporary
Exhibition from November 13th to 23rd December 2009
AEROPLASTICS Contemporary has the pleasure to present an exhibition by French artist Isabelle Lévénez. Born in 1970, she currently lives and works in Angers (France).
She has exposed her works in a variety of renowned art centres, including Le Palais de Tokyo, the Or...angerie du Sénat, the Centre Georges Pompidou (projections) and the gallery of the Jeu de Paume (projections) in Paris, the Queen Sofia Museum in Madrid, the Nagoya Museum in Japan and the Huis Marseille in Amsterdam.
The artistic approach of Isabelle Lévénez employs a variety of media – video, voice, drawing, the presence of color. The artist encourages us to enter her universe, where her works propose identification with the body, often feminine, sometimes male. When she enters into the composition, her face and body, covered in red paint, go to evoke the life and world of suffering that she wishes to depict.
Her questions pertaining to societal masks are transmuted in her video installation entitled Désire (2004) where the artist’s enigmatic sensuality is enthralled in the body’s filmed unveiling and its exaggerated make-up. The filmic movement is rooted in order and abstraction. For Arc-en-ciel (Rainbow), face and body, once again, are diluted in water. The make-up becomes gradually blurred, with the identity of the main protagonist remaining nonetheless elusive. The artist leads us into a perpetual, intangible labyrinth of identity.
The photograph entitled Narcisse (2005), presents a woman who, body plunged into water with eyes closed, appears in full meditation. The color red, seemingly emanating from her own body, designs a face upon the water’s reflection. Her face.
Her video Frontière (2009), projected within an enclosed space, proposes a fixed depiction, devoid of emotion, of characters submerged in a bath of steam, enveloped in silence.
This exhibition also presents multiple drawings from the artist, Ecritures, where the theme is childhood: “It has to do with taking account of the complexity of human states-of-being, between naivety, tenderness, seduction and cruelty.” Her written works represent the relationship with the “other”, one’s entourage but also one’s self. These confused messages evoke nostalgia and memory. The artist attributes us with the role of witness, confronting these works of immense intimacy. Our involvement is immediate. Her permits us to explore the abyss of our beings, here giving us access by grace of these troubling and disconcerting works.
The video Jeux de main, jeux de vilain (2001) (Stop Fooling Around, or It Will End in Tears), which, thanks to its universe where sober technology and complicity are confounded, plunge us into this ambiguity of narration. A far-off voice with infantile tones is confronted by the symbolism of sexuality when the usual gaze is surprised by the controversy provoked by the artist. The graphic violence of her writing on the walls evokes one’s first attempts of doing so, clumsy, rendered automatic in the blind impulse of expression’s desire. Isabelle Lévénez awakens these devastating memories that haunt our forgetfulness.
and aslo Carrie Yamaoka, Recent works 2004-09
http://www.facebook.com/event.php?eid=16
Time:6:00PM Thursday, November 12th
Location:aeroplastics CONTEMPORARY
aeroplastics contemporary
reminds you that THE RABUS SHOW is running until October 31st.
The Gallery is open from Tuesday to Friday (11am. - 6pm.) and Saturday (2pm. - 6pm.), or by appointment.
aeroplastics contemporary is welcoming you to the opening of THE RABUS SHOW this saturday till 8pm, with live performances from Leopold Rabus, and also this sunday from 2pm to 6pm
aeroplastics contemporary
more info on http://therabusshow.aeroplastics.net
AEROPLASTICS contemporary takes great pleasure in presenting The Rabus Show, an exhibition/dialogue of works from Leopold, Till, Alex and Renate Rabus.
A Swiss family, full of stories, inspired by the places and the people around them, by their full consciousness of this ...world (Leopold Rabus, Mon ami Jean Buehler 2008, or further Renate Rabus Mutterglück 1993); but also four artists, markedly individual, developing a particular vision of the new artistic expression (Till Rabus, Nature morte au Poulet 2008 and Alex Rabus l'Areuse 2008).
Leopold Rabus leads us through his own personal universe, often rustic though never idyllic (Veau en train de brouter, 2009): here is painting whose reality is confronted by the interpretation it elicits. A non-existent world but one, nevertheless, we feel to have caught a glimpse of. The work is powerful and disturbing, often tinted with a humour that be taken as black (Personnes derrière une serre, 2009). Subjects approached with grace, but without beating about the bush. A gesture in perpetual motion, even when it's static (Le point d'eau, 2008).
His brother, Till Rabus, depicts the world that appears before our eyes and that we don't see. His urbane and hyperrealistic oeuvre beautifies the most banal refuse (P.E.T., 2008), declassifies genres and calls the validity of our value judgments into question. Precision of touch and quasi-obsessional feel for composition render his figurative work almost abstract (L'Automate à Fleurs, 2009).
And then, the parents complete this non-conformist choir, Alex Rabus, through his meticulous and incensed paintings and sculptures, leads us into questions concerning the future of Mankind and Nature. The vivid colours of his Excès de Vitesse first attract us, but we are held by the rightness of his aim and the adroitness with which its details form the whole.
Renate Rabus, by grace of her unique working of textile and her bittersweet embroidery, allows us privileged access to a different reality. Repas de Famille (2009) gives us a chance to admire this artist's exceptional mastery of technique as much as her intimist vision of the family.
The entire ensemble aims towards the meticulous and the punctual, close to the fundamental values that these four artists share. Something that reminds us that closely held convictions and their modes of expression may be an inter-generational story, one where contemporaneity infuses the breath of life.
Leopold Rabus, Till Rabus, Alex and Renate Rabus
Time:12:00AM Saturday, September 12th
Location:AEROPLASTICS contemporary
aeroplastics contemporary "LES PUTES" s'exhibent à Malaucène, galerie Martagon, France, jusqu'au 15 septembre 2009...
www.interviewmagazine.com
People always tell artist David Nicholson that with his talent, he should paint something nice. He just keeps on keeping on, with salacious porn stars, and at least one strung-up rooster.
aeroplastics contemporary David NICHOLSON living in BERLIN
vmagazine.com
V is a magazine about fashion with a capital F and all the things that go with it: art, music, film, architecture...you name it.
aeroplastics contemporary
Aeroplastics @ opening of Haunch of Venison
- March 10th
whitehotmagazine.com
Thanks to the recession, most of us are now pretty accustomed to anxiety, terror, confusion and desperate re-evaluation of our actual relationship with reality. Which is why the gallows' humour-laced surreality typified by David Lynch seems such a sensible form of fantasy to indulge in. ...
