The shape of things to come? ‘Red Dawn’ presents work by ten HISK-laureates (Ghent)

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Everything has already been done, but not by me. You just have to admire art students, for trying to find their own voice, even when it seems that it’s impossible to come up with anything new, in an art world that so often seems to be dominated by dollars and art fair frenzy. That’s why I always try to drop by at the HISK-exhibitions in Gent, set up by this Higher Institute For Fine Arts, offering a postacademic course in audiovisual and visual arts, providing 24 young artists a studio of their own for two years. Since 1997 207 laureates have graduated. Red Dawn, this year’s exhibition, was curated by Gertrud Sandqvist, and presents work by ten young artists (three from Belgium), through December 15 (Thursday-Monday, 12-6 PM). The catalogue contains a video interview with each artist.

The man who sold his collection to MoMA (New York): ‘La collection qui n’existait pas’ tells story of remarkable Belgian art collector Herman Daled

A man sitting at an old desk. Three stacks of index cards. He puts a rubber band around them, and puts the stacks away in the lower drawer of his desk. ‘That’s my collection’, he says. It is the great opening scene of a wonderful documentary, about one of Belgium’s most remarkable art collectors. Herman Daled, now in his eighties, a friend of many conceptual artists. In 2011 he sold a big part of his collection to MoMA, New York. ‘Among the most significant acquisitions in the museum’s history’, MoMA director Lowry described the deal back then. La collection qui n’existait pas (The collection that didn’t exist), by Joachim Olender, tells Daled’s story. It premiered last week at Bozar, Brussels. In the audience: Tate director Chris Dercon, choreographer Anne Teresa De Keersmaeker, MoMA’s Christophe Cherix, and of course, lots of people (young and old) from the Brussels’ art scene.

These boots are made for walking. Or… not? ‘Hintersteg’ by Sarah Westphal at Be-Part (Waregem)

It was right after I had left the basement, my eyes getting used to the light again, that it happened. I noticed a pair of rubber boots and a football, near the door leading to the garden. The objects confused me. It was a quiet Sunday afternoon, so maybe the owner of the art centre had left them here? Or had the artist, Sarah Westphal, put them there, intentionally, with that curtain as well? I checked the map of the exhibition. No, they were not listed. So I asked. And of course: the German artist had put them there. Just a small extra. But it tickled my imagination and made everything come to life, at Be-Part (Waregem, through November 30). Apart from that: just that flooded basement was already worth the trip to Hintersteg, a fine exhibition with just a couple of works.

There’s a blue Mercedes in your patio: The Still House Group has taken over MDD (Deurle)

The Still House Group has landed. And in case of that blue Mercedes you can take that quite literally. Contrary to what was planned MDD (Museum Dhondt-Dhaenens, Deurle) will not be closed after all this autumn and winter (it isn’t going ahead with those renovations yet). Instead it has invited the New York-based artist organisation (represented in Belgium by Galerie Rodolphe Janssen, Brussels) to take over the entire exhibition space, for Service Entrance (through March 1, 2015). The eight Still House artists present work of their own in the main hall. In the smaller rooms they present a program of several, changing exhibitions. They invite artists that have worked as residents at their studio in Brooklyn (Peter Sutherland and Augustus Thompson, through January 4), they have built a miniature gift shop (also through Jan 4) and Zachary Susskind will present three different exhibitions set up in collaboration with Art Without Bars and ten prisoners. And how did that Mercedes get into that patio, you wonder? With a crane, taking it over the roof of MDD into that open square onto those rice bags. You’ll find a couple of snapshots of the exhibition after the jump. You’ll find Zachary Susskind at Rodolphe Janssen as well (Nov 27-Dec 20).

Uncanny mannequins, funny selfies and moving family portraits: Lee Friedlander at Fondation A (Brussels)

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Touching, funny, playful, masterly… No shortage of words to describe Self and Family, the current exhibition at Fondation A Stichting (Brussels, through December 14, near Wiels). It’s an extraordinary show comprising 110 black and white photographs by legendary American photographer Lee Friedlander (now 80). The first one was taken in 1958 in Taos, New Mexico, the most recent one in a Cleveland Clinic intensive care unit in 2013. The exhibition focuses on Friedlanders self-portraits and family pictures, but in the small office of Fondation A you’ll also find a great selection of his famous Mannequins. The exhibition mainly touches on two books, In The Picture – Self Portraits 1958-2011 and the recently published Family In The Picture 1958-2013. For those of you thinking that the selfie was invented recently, think again. Must-see exhibition. For more of Lee Friedlanders work, check the site of Fraenkel Gallery, San Francisco.

Office supplies depot or odd artist’s studio? Michael Beutler turns La Loge (Brussels) into ‘Haus Beutler’

 

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A weird office supplies depot? An odd art atelier for children? An architect’s workroom? Or, simply a dump? You wonder where you’ve ended up, once you’ve opened the door of that solemn looking La Loge (Brussels). Once a Masonic temple, built in the Thirties by Modernist architects, now a non-profit art space. It has been given a rather drastic make-over by Berlin-based Michael Beutler, an artist known for his extensive bricolage installations. (He made the news in 2005, when dustmen in Frankfurt thought one of his sculptures on the street was just rubbish and burned it.) Haus Beutler (through January 17) is Beutler’s peculiar take on a retrospective; a sculptural intervention comprising models, studies, videos and drawings documenting earlier projects. Haus Beutler was first presented at Bielefelder Kunstverein (May-July 2014), Germany. In 2015 Beutler will develop a new large-scale project at the Hamburger Bahnhof (Berlin). Needless to say: if you haven’t discovered La Loge yet, now is the moment to do so.

Funny, creepy and ridiculously perfect: ‘AH/HA’ by Lisbeth Gruwez/Voetvolk

Stop! Now!, I was thinking. And surprisingly enough the lights went out that very moment. Artists often tend to want to prove too much and end up putting too many things in a performance. So it felt almost as a relief to see someone sticking to a couple of essential ideas and think them through. AH/HA by Lisbeth Gruwez and her company Voetvolk. Gruwez is the Belgian choreographer who has toured the world with her solo It’s going to get worse and worse and worse, my friend – more than 100 shows, and counting: Canada in January, Paris in March. AH/HA is her first group choreography, and it’s a gem.

The art of sharing: last days for ‘Use Me’ and ‘Genuine Conceptualism’ at Herbert Foundation (Gent)

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Belgian art collectors. There are many of them, and their collections can be pretty impressive. That’s no longer a secret. Proof of that, these days at Tripostal, Lille, where 18 collectors present 140 of their treasures, anonymously (Passions Secrètes, through Jan. 4). Some of them want to share their collection with the general public on a more permanent basis, such as Walter Vanhaerents in Brussels, and Anton Herbert in Ghent. I quickly want to draw your attention to the latter, as these are the last (Satur)days you can visit a really strong double exhibition at his Herbert Foundation: one centered around conceptual art (Genuine Conceptualism), and the other a more classic collection presentation (Use Me), comprising some forty works, by Wim Delvoye, Mike Kelley, Martin Kippenberger, Jan Vercruysse and Paul McCarthy. You can visit the Foundation tomorrow and November 8 (individual visits; 11 am-4 pm; closed Nov. 1), and Friday October 31 and November 7 (2 pm; guided tour). All info here. On the last day, Nov. 8, admission is free and there are guided tours at 11 am and 2 pm. (images: courtesy Herbert Foundation)

One not to miss: Berlinde De Bruyckere’s first Belgian ‘retrospective’ in 12 years (SMAK, Gent)

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‘Her art touches everybody. Not just those that are part of the art scene. That’s an incredible strength for an artist to have’. Not my words, but those of Philippe Van Cauteren, director of SMAK, G(h)ent. For the first time in 12 years Belgium will have the occasion to see a vast body of work by Belgian artist Berlinde De Bruyckere. Not really a retrospective, as Sculptures & Drawings (extended till Feb 22, 2015) comprises only recent work (2000-2014) and is built around center-piece Cripplewood-Kreupelhout, conceived for the Belgian pavilion at the Venice Biennale 2013. (It actually looks much better here). De Bruyckere has been wise enough to not put too many works in this overview, thus avoiding that the exhibition becomes too heavy. Do take time to look at her drawings, and look at the floor too, as it has been painted in a darker colour suiting her work better. Sculptures & Drawings 2000-2014 will travel to Den Haag (Gemeentemuseum, Feb 28-May 31 2015, without Cripplewood), and Bregenz (Kunsthaus, April 18-July 5 2015). De Bruyckere promises a different set-up for every venue, choosing other works of art. A beautiful monograph is published on the occasion of this exhibition, giving an excellent overview of her work. If you want to know more about her work, you’ll find my extensive interview with Berlinde De Bruyckere here.

Beautifully cutting up and reassembling the past: ‘Hunter’ by Meg Stuart/Damaged Goods

Some performances are gone the next day. Forgotten. Some stay with you a little longer. And some keep on popping up in your mind. Such as Hunter, the first evening-length solo by Meg Stuart. I watched the American choreographer perform it a couple of months ago in Essen, and scenes and images from it have been coming back to me regularly, since. Hunter, a piece about memories. The Venice Biennale wanted it on its programme last June, and the well-respected German magazine tanz awarded Meg Stuart the title choreographer of the year for it. The piece will have its Belgian premiere this week at Kaaitheater, Brussels.

That magnificent man and his flying machines: Panamarenko retrospective, M HKA (Antwerp)

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It reminded me of the days I was fascinated by Apollo and Saturn spacecrafts, was building Airfix airplanes and was playing with an ‘electronics for kids’-set. A boy’s thing, this exhibition? I don’t think so. It’s simply impossible not to like Panamarenko, one of Belgium’s most peculiar artists, now 74, and a man who has stopped creating new work in 2005. Panamarenko Universum (through February 2, 2015) is his unique comeback to Antwerp, the city where he was born. The retrospective at M HKA comprises some 40 key works, and lots of drawings, maquettes and objects, presented in 7 thematic clusters, and is bound to be a hit with a broader audience. Can’t make it to Belgium? Then order the English version of the wonderful catalogue (published by Ludion) or check M HKA’s online platform where you’ll find 1.750 Panamarenko related items. My favorite? That fragile, helpless looking robot called Arlikoop. If I could, I’d adopt him. Oh, and the title of this post? A respectful nod to that 1965 British comedy about flying machines I used to love as a kid.

Renovated art nouveau auction hall makes room for Belgian contemporary art (Marie-Jo Lafontaine at Lempertz, Brussels)

From Antwerp back to Brussels. Just in case you were planning to visit that quirky exhibition about the theater and performance works of New York artist Jack Smith (1932-1989) at Gladstone Gallery (through November 8), do it now and drop by at their new neighbours as well. The art nouveau auction hall Galerie Leroy Frères (by architect Jules Barbier) has been reopened after a two-year and 4 million euro renovation by German auction house Lempertz. In the impressive hall you’ll find an exhibition (through October 10) with two works by Belgian photographer and video artist Marie-Jo Lafontaine: Liquid Crystals (1999), a series of portraits of teenagers, and the video installation Victoria (1988), 19 black columns with tv-monitors. A link to a pdf version of the catalogue here. Next exhibitions at Lempertz, all focusing on Belgian contemporary art: Stef Driesen (Nov 14-Dec 20) and Thomas Huyghe (March 6-April 4).

The artist as a collector: Vaast Colson, Koenraad Dedobbeleer and Rinus Van de Velde present their art collection (LLS 387, Antwerp)

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Want another example of the vibrant, alternative Antwerp art scene? Check out A Pair Is Not A Collection, an offbeat exhibition (through October 19) presenting the art collection of six artists, at LLS 387, a nonprofit space for contemporary art. As to be expected with artists such as Vaast Colson and Koenraad Dedobbeleer, this is a show of the quirky kind. Two artists present their collection in a more traditional setup, the four others present their treasures in the unusual setting of the gatehouse of the former Military Hospital across the road, an old building awaiting renovation. Climbing the narrow stairs and entering the dilapidated rooms you feel as if you are walking into a gloomy fairytale world. Look closely and you’ll discover works by Jimmie Durham, Louise Bourgeois, Jeff Wall, Jonathan Meese and Adrian Ghenie. But you’ll also come across catalogues and plenty of strange stuff. The other participating artists are Rinus Van de Velde (the title of the show is taken from one of his drawings), Anne Daems, Henk Visch and Kurt Ryslavy. Definitely worth checking out.

Where does the work of art end, and the building begin? BORG biennial (Antwerp) presents work by more than 80 artists

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Interesting. Now that Brussels has become the place to be for the established contemporary art scene, could it be that Antwerp (after having lost a couple of galleries that have moved to Brussels) will become the city for more fringy, edgy initiatives? Just what I was thinking as I was visiting a couple of venues of BORG, the 2014 edition of a biennial of contemporary art in the Borgerhout district of Antwerp. A rather exciting project comprising exhibitions in some 20 venues. Some unexpected (an old bank and an old post office; you often wonder where the work of art ends and the building begins), some more traditional (galleries Base Alpha and Zeno X). BORG was initiated by a couple of gallerists, and curators Pieter Vermeulen and Hole Of The Fox, and presents work by more than 80 artists. It can still be visited today, and from Wednesday till Sunday October 5. It ends with the inauguration of a new work of art in a public space by Lodewijk Heylen. Want to stay informed about the Antwerp art scene? Subscribe to the newsletter of the revamped Antwerp Art site, offering information about openings, nocturnes and exhibitions. At the end of January the first edition of an Antwerp Art Weekend will be organised.

My house is out of the ordinary: Ron Gilad at Keitelman Gallery (Brussels)

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Seen too many ‘difficult’ works of art, lately? Want a show that will make you smile? Then head straight for Keitelman Gallery, presenting House Sweet House (through October 31), the first ever exhibition in Belgium by Israeli designer/artist Ron Gilad (not to be confused with Ron Arad, that other Israëli designer). Gilad was awarded the designer of the year prize at the Designer Awards 2013 of Wallpaper magazine. ‘It’s Gilad’s ability to give weighty materials like steel and marble a lightness and dynamism that make him a force to be reckoned with’, stated the jury (Rick Owens, Ferran Adria, Julian Opie…). Gilad has designed a furniture range for Molteni & C, marble pieces for stone specialists Salvatori, a lamp for Moooi, tables and a shelving system for Adele-C. He left his own company in 2012 (which probably explains why his website is strangely crappy for a well-respected designer) and now divides his time between Milan and Tel Aviv, where he had a show at the Museum of Art in 2013 (images & text here). ‘I don’t have a fixed recipe, but always have a certain goal in mind: to reduce my cooking stock to the purest broth possible’, Arad is quoted in an essay. If you go there on a sunny afternoon, you might notice a funny looking shadow on the front window of the gallery: one resembling a house.

Art people. It’s all about the art. Isn’t it?

No matter what, deep down, I keep believing, that still, it’s all about the art. About artists and artistry. Meaningfulness. No matter how many wealthy French investors move to Brussels, no matter how much money talk I keep hearing and bling bling I keep seeing when I visit all those contemporary art galleries. But sometimes, I almost lose heart. Last Sunday, for instance, happy to be able to visit quite a few galleries for Brussels Art Days. First: that pink guide, accompanied by a grey booklet by the main sponsor, about art as an investment. Then: at the entrance of many galleries, an art magazine I hadn’t seen before. I picked up a copy and flipped through it, curiously. Only to discover that the pages were filled with hundreds of snapshots of people at recent gallery openings. Art People. It felt like some sort of tipping point. The Brussels art scene has become that big that it’s interesting enough for a publisher to start a magazine with just pictures of people, sipping champagne. Without art. And a big ad of a private bank. Art: an integral part of your wealth. I’m so naive.

How to turn a car into a work of art in 15 minutes? Richard Jackson unveils his ‘Car Wash’ at CAB (Brussels)

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‘Art is a documentation of how a person spends his time. That’s all it is.’ You just háve to like Richard Jackson (75). Funny and honest. Fresh off his recent retrospective at Orange County Museum (California) and S.M.A.K. (Ghent) the renowned American artist unveiled a new radical project at CAB, Brussels: Car Wash. A fully automatic car wash, modified and designed to transform cars into works of art (through October 25). The cars that come out of Jackson’s machine are completely destroyed, but have a clean coat of red, yellow and blue paint. A day after the opening of the show Jackson made his machine attack a helpless looking little white Fiat 500 and offered some explanation afterwards. ‘It’s fun. When you get a little success, you want to do the things you wanted to do as a kid.’

Paper, scissors, stone… a fountain and a little spoon: Leon Vranken at Z33 (Hasselt)

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Time flies. And: shame on me. I should have told you about Leon Vranken and his Paper Scissors Stone, at Z33 (Hasselt), that closed yesterday. But I trust you’ve been smart enough to figure out for yourself that this was an exhibition worth seeing, this summer. I like the Belgian artist’s work –  influenced by artists such as Brancusi, Fontana, Broodthaers and Duchamp – because it is clever and funny, and because it encourages your eyes and your brain to look better. Vranken graduated as a landscape architect, and likes to think of himself as an in situ artist, as he usually starts with really looking at the location he is developing an exhibition for. In Hasselt that implied: stripping rooms, thereby bringing them back to a ‘neutral’ state, and installing a huge fountain, with the water going right up through a hole in the ceiling. (You’ll probably remember his huge fountain last summer at Middelheim, Antwerp. Vranken’s Raised Elevation (on loan) has recently been added to the Middelheim parcours). Intrigued? You’ll find more of Vranken’s work here. So: summer is over. Autumn, here we go. (most images: courtesy Leon Vranken, Z33)

An avant-garde donkey, a flying chair and doves in many colours. Last days for Watou festival!

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‘You call this art? Just get some stuff in a second-hand store and throw it all together?’ He cursed, shook his head, and hurriedly left the church (and that work by Michelangelo Pistoletto) in that small Flemish village called Watou. Every summer an arts festival is organised here (34th edition), combining contemporary art and poetry. For many people the exhibition is mostly a good reason to go for lunch in one of the many restaurants surrounding the town square. But at the same time, it means that lots of people who otherwise never visit art exhibitions are brought into contact with contemporary art. It’s easy to spot them, studying the map with the different locations of the exhibition. It’s the reason why you just have to like Watou, even if you might find the art on view not that spectacular. This year’s exhibition ends Sunday, so hurry and make that trip to that lovely village (1hr40 from Brussels). You’ll be able to spot works by Felix Gonzalez-Torres, Sophie Calle, Tinka Pittoors and Pascale Marthine Tayou, and doves in many colours, by Patrick Murphy.

First the beach and then some art? Nót closed for the summer holidays: Knokke’s art galleries

Brussels is where it all seems to happen these days, when it comes to contemporary art galleries. But where to get your fix, when they are closed for the summer holidays? The Belgian seaside is a good option. Knokke more specifically. Sure, you’ll find as much examples of bad taste hanging on the walls of the galleries as you’ll find them on the beach (the clothes being worn). But keep looking and you might even be surprised. Guy Pieters has just opened a new (third!) gallery space, presenting works by Bernard Venet and private collector André Goeminne. Samuel Vanhoegaerden is showing a nice collection of works by Fred Eerdekens, Sabine Wachters presents sculptures and drawings by Nicholas Pope, at André Simoens you’ll see Rudolf Stingel, Raoul de Keyser and Matthew Barney, and Geukens & De Vil is presenting a fine group show focusing on white works of art. But most certainly don’t forget to include Ronny Van De Velde in your afternoon stroll as the small gallery is presenting a remarkable collection of conceptual art (through September 14; with for instance one work by the recently deceased On Kawara.) A second part of that exhibition is on view at Art Factor, Ostend.