Upcoming:
FRANCES GOODMAN
'Keeping Up Appearances '
12 March - 17 April 2010 - opening 11th of March
FRANCES GOODMAN
'Keeping Up Appearances '
12 March - 17 April 2010 - opening 11th of March
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 21 albumsSee All
That's All Folks (Dec 2009 - Jan 2010)Created about 2 months ago
Terry Rodgers - Radical Continuity (Jan-Feb 2010)Created about 2 months ago
aeroplastics contemporary
has the pleasure to present 'Keeping Up Appearances', Frances Goodman’s upcoming exhibition, that showcases both new and older works, offering an incisive and extensive understanding of her practice. In keeping with her long-running interest in obsessions, this exhibition is an objective study in sound, text and sculp...ture of what happens to the human condition when a psychological line is crossed. On their most basic level, Goodman’s pieces are a detailed examination of how contemporary society is able to transform harmless activities like eating, shopping, exercising and taking medicine into deadly vices or dangerous obsessions. More critically, her works comment on the economic and cultural conditions and pressures that accelerate this perversion.
Mother’s Little Helper are a series of three sculptures that are, in fact, precise models of the molecular structures of the most over-prescribed prescription drugs on the market. The adornment of these unfamiliar forms in jewel-like pins and crystals is more than a matter of keeping up appearances. It’s a paradoxical reference to the absence of the packaging that would allow us to recognise these microscopic machines on our shelves. Viewers are invited to search for a correspondence between the forms within the shiny surfaces and their effects on the psyche.
The layered works of StealthWealth are the authentic shopping bags of fashion boutiques, which Goodman has upholstered, using and morphing the materials of the fake designer handbags of the same label. These grotesque hybrids are a study of the in transience of brand loyalty, in a recessionary context in which certain high-end outlets have actually stopped marking their carrier bags as a response to their customers reluctance to be seen consuming.
‘Nothing Tastes as Good as Being Thin,’ and ‘Starve Me Sane’ are just two of the slogans of the text pieces Goodman has crafted from the hook-and-eye fastenings typically used to make clothing tighter or looser. Entitled Bodycopy, the series is an investigation of eating disorders, and the subcultures they have produced. The slogans themselves come from websites that ‘Pro-Ana’, (pro anorexia) girls host online. Again, there exists within the work a reference to addiction, but in this instance the emphasis is on deprivation, rather than indulgence. At same time the pieces intimate that there is a certain amount of luxury implicit in choosing not to eat.
Included in her older works is Young Guns, a large-scale DVD installation in which the visuals of two young men executing formal competitive poses are accompanied by an audio-track that examines the controversial and much-maligned sport of bodybuilding. This work is shown in conjunction with Goodman’s Banner Series sculptures. The obsessively worked and highly decorative sequined surfaces declare a gaudy shallowness, which seems at odds with the sincerity of the bodybuilder’s life affirmations.
Opening of the solo exhibition by South African artist Frances Goodman
Time:6:00PM Thursday, March 11th
Location:AEROPLASTICS Contemporary
aeroplastics contemporary
will be at VOLTA New York presenting Samuel Rousseau, 4 - 7 March 2010
The video sculptures and installations of Samuel Rousseau indicate a search to master time and space so as to question, with humour and sympathy, the human perception of the often deleterious daily life. Even if Rousseau does not claim any “defini...te processes” and enjoys surprising himself, some key ideas support his non-stop creativity. As Ariadne’s clew, the necessity to survive and the recycling of scrap and abandoned material.
The new works shown for the 1st time at VOLTA are pharmaceutical blisters locking up a multitude of tiny walking characters shown on small video screens.
His installation “Jardins Nomades” (Nomadic Gardens – 2007) showing the same tiny characters running through the patterns of a carpet evoke migration or travel with a poetry and aesthetic that barely hides the sombre truth behind it: forced economic displacement.
Rousseau makes digital art seem warm , fertile, reassuring, generous.
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VOLTA NY is the American incarnation of the successful young fair founded in Basel in 2005. VOLTA NY was conceived to continue the original mandate to create a tightly-focused, boutique event that is a place for discovery and a showcase for current art production and relevant contemporary positions—regardless of the artist or gallery’s age.
VOLTA NY is an invitational show, organized by art critic and Fair Director Amanda Coulson, to complement the offerings across town at The Armory Show, with whom VOLTA NY shares the VIP and Talks Programs and shuttles to and from both fairs. By putting the focus back on artists through exclusively featuring solo projects, VOLTA NY promotes a deep exploration of the work of its selected projects, an opportunity for discoveries that move beyond those afforded by a traditional art fair.
A platform for challenging, often complimentary, sometimes competing ideas about contemporary art, the strictly solo format is what gives the fair its unique character. While visitors have positively compared VOLTA NY to doing a series of intense studio visits, nonetheless the dedication to a single artist, while surely the most striking of presentations in any economic landscape, has always be something of a risk. The dedication and confidence shown by the exhibiting galleries to continue to commit themselves to a risky and challenging format has therefore given rise to this year’s title: No Guts No Glory, a phrase that can be applied both to the work on show, its creators and its supporters/presenters.
Previews
Thursday, March 4th, 2010
Guest of Honor: 11 am - 12 pm (accessible by invitation from VOLTA or with The Armory Show VIP card)
VIP: 12 pm - 2 pm
VOLTA New York
AEROPLASTICS contemporary
Stand D5
7 West 34th Street (Facing the Empire State Building)
betw. 5th Ave. and 6th Ave.
New-York, NY
Public Hours Daily
Thursday, March 4th, 2 pm - 8 pm and Friday 5th to Sunday 7th, 11am - 7 pm
http://volta2010.aeroplastics.net/
Time:8:20PM Thursday, March 4th
Location:VOLTA New York, Aeroplastics contemporary, Stand D5
aeroplastics contemporary presents a new artwork by David Nicholson
nicholson.aeroplastics.net
| Woman in pink | Untitled | Untitled | Melissa | Sierra Leone | The Tigers | The Lions | Untitled | Untitled | Untitled | Untitled | Pet | Portrait of Alex Arcadia | Garden of love | Garden of love | ...
aeroplastics contemporary Opening views of the exhibtion Radical Continuity on January the 14th 2010
96 new photos
aeroplastics contemporary
is pleased to present "RADICAL CONTINUITY" by Terry Rodgers at Aeroplastics gallery from 15th Jan to 27th Feb 2010 - Preview on Thursday 14th Jan 2010
TERRY RODGERS
RADICAL CONTINUITY -
From 15 to 27 January 2010, Aeroplastics Contemporary presents a monograph exhibition from American artist Terry Rodgers (b. 1947). ... Little known in Belgium, the artist already enjoys international renown by grace of his large-format hyperrealistic tableaux, in which he sets the scene with young men and women of a ‘perfect’ form – at least with respect to the current criteria of fashion and advertising. Half-clothed, adopting lascivious poses in décors overloaded with luxuriance, sporting jewels and accessories, champagne glass in hand, these protagonists evoke the decadence of the Empire and the carefree life of a certain gilded youth. But much more than a world sorely lacking points of reference, it is panting itself that the oeuvre of Terry Rodgers examines, and beyond that, our way of representing reality to ourselves.
“We live in the amniotic fluid of our little worlds, content in the company of our prejudices.” In this one sentence, Terry Rodgers ably sums up the philosophy underlying his work, and the rapport that he wishes to weave with the viewer. At first sight, it is tempting to describe these compositions as evocations of orgiastic after-hours parties, midway between voyeurism and moralising reprobation. But closer examination takes us beyond this too facile reading, to look at the relationships – or rather, the absence of relationships – between the figures portrayed. If they seem at times to touch, they nonetheless appear incapable of establishing any modicum of communication, nor have perhaps the desire to do so. Insulated in their bubble, the actors naturalness may be seen as artificial , underlining the stereotypes that we project upon them. “My paintings describe imaginary worlds created out of offers conveyed by the media – luxury, wealth, as well as a self-validating version of beauty and desire, and all of this shot through with a dose of reality. Just how difficult is it for the participants of such scenes to step out of themselves and connect with each other?” In the end, the veritable subject of these compositions is the individual’s aloneness in the crowd, and the way that visual codes proper to painting can re-transcribe this experience. How to translate the contrast between glamour and vulnerability, between a chimerical world and the reality of experience?
For Terry Rodgers, photography is of essential value. “I’ve taken thousands of pictures and I’ll take thousands more, to try to discover the expressions and gestures that, I believe, reveal rapports between the internal and external confusion of the world in which we live.” These models are for the most part anonymous persons, just crossed on the street, whom the artist invites to come pose in his studio. He then assembles these different scenes in vast compositions, renewing in this way the technique of the Old Masters. As for his choice of using very large canvasses, he evokes the beginnings of Realism, like when Courbet created an uproar by representing an anonymous burial in a format up-to-then reserved for scenes heroic, mythological, or religious. But if the paintings are founded on a meticulous technique, the images attempt, on the contrary, to capture the energy of the moment in just a few brushstrokes. The poses are never chosen accidentally, and reflect what the artist describes as conventions used to characterize individuals and social types.
The confrontation between paintings and black-and-white photographs, allows Terry Rodgers to make explicit that which underlies his artistic aims. In these scenes, stereotypified beauty sometimes makes way for the most disturbing ugliness, with individuals masked and deformed. “Certain figures in these images correspond to Western canons of beauty, while others defy it. You can perceive, through these images, that the soul does not reside in the outer physical envelope.” Video also plays a central role in the elaboration of paintings, and quotes a media that has become the ultimate synonym for confusion between fiction and reality, ever more so since the invention of ‘reality’ television. The exhibition also presents illuminated caissons, melding diverse ways of representing the real; like the world that surrounds us, and that we erroneously perceive as a uniform whole, is rather composed of a multitude of fragments. “We tend to forget that everything we see, or hear, is ‘invented’. Our experience of life is like a multidimensional game whose pieces are in constant motion.” This game with the real, and with the social codes that govern our existence, are at play throughout Terry Rodgers’ entire oeuvre.
P.-Y. Desaive
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For FR - NL press release, please see below
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TERRY RODGERS
RADICAL CONTINUITY -
Du 15 janvier au 27 février 2010, Aeroplastics Contemporary présente une exposition monographique de l’Américain Terry Rodgers (1947). Peu connu en Belgique, l’artiste bénéficie déjà d’une renommée internationale, grâce à ses tableaux hyperréalistes de grand format, dans lesquels il met en scène de jeunes hommes et femmes à la plastique parfaite – du moins en regard des critères actuels de la mode et de la publicité. À moitié dévêtus, adoptant des poses lascives dans des décors surchargés et luxueux, arborant bijoux et accessoires, une flûte de champagne à la main, ses personnages évoquent la décadence de l’Empire et l’insouciance d’une certaine jeunesse dorée. Mais bien davantage qu’un monde en manque de repères, c’est la peinture elle-même qu’interroge l’oeuvre de Terry Rodgers et, par-delà, notre manière de nous représenter la réalité.
« Nous vivons dans le liquide amniotique de nos petits mondes, heureux en compagnie de nos préjugés » : cette phrase de Terry Rodgers résume bien la philosophie qui sous-tend son travail, et le rapport qu’il entend tisser avec le spectateur. Au premier regard, il est tentant de décrire ces compositions comme des évocations d’after-parties orgiaques, à mi-chemin entre voyeurisme et réprobation moralisatrice. Mais un examen plus attentif permet d’aller au-delà de cette lecture somme toute assez facile, pour étudier les rapports – ou plutôt, l’absence de rapports – entre les personnages représentés.
S’ils se touchent parfois, ils semblent incapables d’établir la moindre forme de communication, et n’en manifestent d’ailleurs pas le désir. Isolés dans leur bulle, les acteurs adoptent des poses artificielles, qui renvoient aux stéréotypes que nous projetons sur eux. « Mes tableaux décrivent des mondes imaginaires créés au départ des offres véhiculées par les médias – luxe, richesse, ainsi qu’une version validée de la beauté et du désir, le tout traversé par une dose de réalité. À quel point est-ce difficile pour les participants à ces scènes de sortir d’eux-mêmes et de se ‘connecter’ les uns aux autres ? » Au final, le véritable sujet de ces compositions est davantage la solitude de l’individu dans la foule, et la manière dont les codes visuels propres à la peinture peuvent retranscrire cette expérience. Comment traduire le contraste entre glamour et vulnérabilité, entre un monde chimérique et la réalité de l’expérience ?
Pour Terry Rodgers, tout passe par la photographie. « J’ai pris des milliers de photographies, et j’en prendrai encore des milliers, pour tenter de découvrir les expressions et les gestes qui, je pense, révèlent la combinaison entre la confusion intérieure et extérieure du monde dans lequel nous vivons. » Ces modèles sont pour la plupart des anonymes, croisés dans la rue, qu’il invite à venir poser dans son studio. Il assemble ensuite ces différentes scènes en vastes compositions, renouant de la sorte avec la technique des maîtres anciens. Quant au choix d’utiliser des très grandes toiles, il évoque les débuts du Réalisme, lorsque Courbet créait le scandale en représentant un enterrement anonyme dans un format jusqu’alors réservé aux scènes héroïques, mythologiques ou religieuses. Mais si les tableaux reposent sur une technique méticuleuse, les dessins tentent au contraire de capter l’énergie du moment en quelques traits ; les poses ne sont jamais choisies par hasard, et reflètent ce que l’artiste décrit comme des conventions utilisées pour caractériser les individus et les types sociaux.
La confrontation entre tableaux et photographies noir et blanc permet à Terry Rodgers d’expliciter ce qui sous-tend son projet artistique. Dans ces clichés, la beauté stéréotypée fait parfois place à la laideur la plus dérangeante, avec des individus masqués et difformes. « Certains personnages dans les images correspondent aux canons occidentaux de beauté, tandis que d’autres les défient. On peut percevoir, à travers ces images, que l’âme ne réside pas dans l’enveloppe physique extérieure. »
La vidéo joue également un rôle central dans l’élaboration des tableaux, et renvoie au média devenu synonyme par excellence de brouillage entre fiction et réalité, depuis l’invention du concept de « téléréalité ». L’exposition présente également des caissons lumineux, qui mêlent divers modes de représentation du réel, tout comme le monde qui nous entoure, et que nous percevons erronément comme un tout uniforme, est composé d’une multitude de fragments : « nous avons tendance à oublier que tout ce que nous voyons, ou portons, est ‘inventé’. Notre expérience de vie est comme un jeu multidimensionnel, dont les pièces sont constamment en mouvement. » Ce jeu avec le réel et les codes sociaux qui régissent nos existences traverse tout l’oeuvre de Terry Rodgers.
P.-Y. Desaive
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TERRY RODGERS
RADICAL CONTINUITY -
Van 15 januari tot 27 februari 2010, brengt Aeroplastics Contemporary een monografische tentoonstelling van de Amerikaanse kunstenaar Terry Rodgers (1947). Hoewel hij in België weinig bekend is, heeft hij al internationaal naam gemaakt met zijn hyperrealistische schilderijen op groot formaat van jonge mannen en vrouwen met een -– althans volgens de criteria van de huidig mode- en reclamewereld – perfect lichaam. In een luxueus en overladen decor nemen halfnaakte personages, een champagneglas in de hand, wulpse poses aan en evoceren de decadentie van de westerse levensstijl en de onbezonnenheid van een bepaalde ‘jeunesse dorée’. Met zijn schilderijen levert Terry Rodgers echter niet alleen kritiek op de wereld die het noorden is kwijtgeraakt, maar ook op de schilderkunst zelf, en stelt zich vragen over de manier waarop wij ons de werkelijkheid voorstellen.
‘Wij leven in het vruchtwater van onze besloten wereldjes, genoeglijk in het gezelschap van onze vooroordelen.’ Deze uitspraak van Terry Rodgers is een goede samenvatting van de filosofie die aan de basis ligt van zijn werk en de relatie die hij met zijn toeschouwer wil aangaan. Op het eerste gezicht is men geneigd om zijn composities te beschrijven als sfeerbeelden van orgiastische afterparties, halfweg tussen voyeurisme en moraliserende afkeuring. Maar bij een tweede visie blijkt dat het om meer gaat dan deze ietwat gemakkelijke interpretatie en wordt onze aandacht getrokken door de relaties – of beter de afwezigheid van relaties – tussen de personages. Hoewel ze elkaar soms aanraken, lijken ze niet in staat tot enige vorm van communicatie en geven ze ook niet de minste blijk van enige belangstelling daarvoor. Ze zijn geïsoleerd in hun eigen cocon en nemen gekunstelde poses aan die de stereotypen die wij op hen projecteren, weerspiegelen. ‘Mijn schilderijen beschrijven fictieve werelden gebaseerd op waarden die door de media worden verbreid – luxe, rijkdom en een geijkte versie van schoonheid en begeerlijkheid, het geheel overgoten met een dosis realiteit. In hoeverre zijn deze personages in staat om uit zichzelf te treden en met elkaar in contact te treden?’ Uiteindelijk is het echte onderwerp van deze composities de eenzaamheid van het individu in de massa, en de manier waarop de visuele codes van de schilderkunst deze ervaring kunnen overbrengen. Hoe het contrast te vertalen tussen glamour en kwetsbaarheid, tussen een fantasiewereld en de realiteit van de ervaring?
Terry Rodgers vertrekt altijd van foto’s. ‘Ik heb al duizenden foto’s getrokken en ik zal er nog duizenden maken, om te proberen de uitdrukkingen en gebaren vast te leggen die volgens mij de combinatie van innerlijke en uiterlijke verwarring van de wereld waarin wij leven onthullen.’ Zijn modellen zijn meestal anonieme personen, die hij op straat kruist en vraagt om te komen poseren in zijn studio. Daarna voegt hij deze verschillende scènes samen tot grote composities waarvoor hij aanknoopt bij de techniek van de oude meesters. In verband met zijn keuze voor heel grote doeken, verwijst hij naar het begin van het realisme, toen Courbet schandaal maakte door een anonieme begrafenis te schilderen op een formaat dat tot dan toe voorbehouden was aan heroïsche, mythologische of religieuze onderwerpen.
Terwijl hij voor zijn schilderijen een uitermate precieze techniek hanteert, probeert hij echter in zijn tekeningen de energie van het moment in enkele lijnen vast te leggen. De poses zijn nooit toevallig gekozen en reflecteren volgens de kunstenaar conventies om individu’s en sociale types te karakteriseren.
Door zijn schilderijen met zwart-witfoto’s te confronteren kan Terry Rodgers expliciteren wat aan de basis ligt van zijn artistiek project. In zijn foto’s maakt de stereotype schoonheid soms plaats voor de meest verwarrende lelijkheid, met gemaskerde en misvormde personen. ‘Sommige personages op mijn foto’s beantwoorden aan de westerse schoonheidsnormen, terwijl andere die juist tarten. Deze foto’s tonen ons dat we de ziel niet moeten zoeken in het uiterlijke fysieke omhulsel.’ Ook video speelt een centrale rol in de uitwerking van de schilderijen en verwijst naar de media die sinds de introductie van het concept ‘reality tv’ bij uitstek synoniem geworden zijn met verwarring tussen fictie en realiteit. Op de huidige tentoonstelling zijn ook lichtbakken te zien waarin verschillende manieren om de realiteit weer te geven worden vermengd, zoals dat ook is in de wereld rondom ons, waarvan we denken dat hij een uniform geheel is, maar die eigenlijk uit talloze fragmenten is opgebouwd: ‘We hebben de neiging om te vergeten dat alles wat we zien of dragen “uitgevonden” is. Ons leven is als een multidimensionaal spel, waarvan de stukken constant in beweging zijn.’ Het hele werk van Terry Rodgers is doortrokken van dat spel met de realiteit en de sociale codes die ons leven beheersen.
P.-Y. Desaive
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Exhibition from 15th Jan to 27 Feb 2010
Opening hours - Tue - Fri 11:00 - 18:00 / Sat 14:00 - 18:00
Opening 14th Jan from 18:00 to 21:00
Paintings, drawings, photographs, videos
Time:6:00PM Thursday, January 14th
Location:AEROPLASTICS Contemporary
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.
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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
RECENT ACTIVITY
aeroplastics contemporary wrote on Keeping Up Appearances's Wall.
