The second exhibition we saw in the same Zwarte Panter gallery (it was, in fact, the first one, time-wise) was a collection of art-works by French artist Jacques Brissot. I had a vague feeling that I wrote about one of his works already (a remake of the famous Bruegel’s Mad Meg aka Dull Grett) but I can’t track that posting back; may be I just wanted to write it, but never managed to.
Anyway. Brissot is specialized in what some people call the ultimate peak form of post-modern art, while others, a bad-taste garbage and kitsch. As always, I am above the fight, or rather I am integrating both these positions, easily). To be more factual, Brissot makes remakes of the famous old paintings, refilling them with modern figures, and thus, meanings.
The very location of the exhibition was quite symbolic (and provocative) too; I understand that the gallery also got a building of some old church, or a chapel – apparently, very old one
But by now significantly reconstructed, of course: Continue reading
Not sure how this relates to playing with futures: the art project by Belgian artist Raymond Minnen seems to be more about playing with the past. But as I often write, here and elsewhere, the very attitude of playfulness is an essential prerequisite for any serious approach to thinking on futures, and in this context this was a good exercise.
We bumped into this exhibition completely accidentally, when strolling through Antwerp the other day. De Zwarte Panter (Black Panter) is one of those art galleries that makes the city a center of refined, decadent, elitist, but still very interesting cultural life, at least in Europe for sure. The building is very close to the main square, an epicenter of touristic activities, and it’s difficult to miss it – yet we managed to do so during many years. Finally we made the efforts to enter, and immediately encountered at least two interesting exhibitions, this one, and another one on post-Bosch. More on the second later, and now the floor is with
A collection of random observations over the use of mobile phones in Moscow, as of July 2013; I added this extra filters, to somehow convey the sticky heat cushion that was laying on everything in the city.
Below are the same nine pictures, and few more:
I wrote already about TEFAF artfair in Maastricht, few times even; although ‘wrote’ would be perhaps to big a word to use, in all those cases I only posted a few selected images, in an attempt to convey atmosphere of the event. I made many more pictures at the fair, and think it would be a shame to keep them for myself only.
Besides, I recently re-started my blog about mirrors in art, and decided to make a story about ‘mirrors at the TEFAF’; it would be nice to have a backdrop of some sort for that mirror story, and so this posting. Again, I don’t plan to write a lot, may be a few explanatory remarks when necessary, although I hope that these image are self-explanatory. As before, I made most of then in HDR format, to both reflect (sic!) the typical yellowish light of the premises, and also a distinctive glamour look & feel of the event.
There is no particular logic in the order, I follow my trajectory along the TEFAF halls, which was fairly arbitrary.
I was in Moscow last week and suddenly learned that one of their cultural centers (ZIL) managed to bring a very interesting exhibition, The Future of Play, by Science Gallery from Dublin. I’ve seen many concepts before online, but it was a rare chance to experience them ‘for real’, so I managed to pop up there, between (too many, I am afraid) meetings.
These are the images from (or of) a brilliant game/installation called Interface, by Natalie Pozzi & Eric Zimmerman. Too bad nobody played it while I’ve been there; the exhibition hall was almost empty, and those few who’ve been there were too afraid to touch such beauty, I guess.
Below are the above images shown ‘properly’: