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26/4/2011

Art Brussels 2011

Brussels Expo, Bruxelles

Every year in April, Art Brussels welcomes 30 000 professionals, collectors and art lovers from all over the world. Art Brussels is the European platform for upcoming talents in the field of contemporary art and focuses as well on strong established galleries representing a selection of their highest-quality paintings, sculptures, photography, video and installations.

Art Brussels offers a choice of 170 galleries, nominated in accordance with a rigorous quality-based selection procedure. The international selection committee places particular emphasis on the work of young creatives in contemporary art.
The fair has the most international profile of any other fair in Europe, with 80% of its participants coming from over 25 countries

Art Brussels yearly attracts 30 000 art enthusiasts, including a considerable number of art collectors, critics, journalists, curators and other decision makers; one in five visitors comes from outside Belgium. A VIP Privilege programme welcomes over 300 collectors from throughout the world, treating them to free overnight accommodation and a stimulating off-programme. Moreover, Belgium and Art Brussels itself represent a substantial number of significant art collectors. Compared to many other countries, the concentration of art collectors in Belgium is remarkable.

Exhibitors' list 2011

Austria // Galerie Grita Insam / Charim Wien / Hilger modern/contemporary / Krinzinger / Krobath Wien Berlin / Galerie Emanuel Layr / Mario Mauroner Contemporary Art / Galerie Meyer Kainer / Galerie Steinek / Galerie Elisabeth & Klaus Thoman // Belgium // / A.L.I.C.E. Gallery / Aeroplastics / Aliceday / Baronian_Francey / Base-Alpha Gallery / Jacques Cerami / Crown Gallery / D&A Lab / Patrick De Brock / Dépendance / Deweer Gallery / Geukens & De Vil / Gladstone Gallery / Hoet Bekaert Gallery / Xavier Hufkens / Galerie Jos Jamar / Rodolphe Janssen / Elaine Levy Project / Maes & Matthys Gallery / Maruani & Noirhomme Gallery /

Galerie Greta Meert / Meessen De Clercq / Mulier Mulier Gallery / Nomad / Office Baroque Gallery / Elisa Platteau & Cie Galerie / Almine Rech / Ricou Gallery / André Simoens Gallery / Stephane Simoens Contemporary Fine Art / Sorry we're closed / Galerie Micheline Szwajcer / Galerie Tatjana Pieters / Galerie Transit / Tulips & Roses / Twig Gallery / Galerie van der Mieden / Galerie Van De Weghe / VidalCuglietta / Nadja Vilenne / Zeno X Gallery / De Zwarte Panter // Brazil // Galeria Leme // Chile // Gonzalez y Gonzalez // China // Galeria Continua // Cuba // Habana // Denmark // Andersen's Contemporary / Martin Asbæk Gallery / David Risley Gallery / Nils Stærk / V1 Gallery / Galleri Nicolai Wallner / Galleri Christina Wilson // Finland // Galerie Anhava // France // 1900-2000 / Air de Paris / Jean Brolly / Galerie Chez Valentin / Galeria Continua / Cortex Athletico / Galerie Frank Elbaz / Gdm, Galerie de multiples / Galerie Les filles du calvaire / Galerie Laurent Godin / In Situ Fabienne Leclerc / JGM. Galerie / Jousse Entreprise / Yvon Lambert / Galerie Lelong / Galerie Gabrielle Maubrie / Galerie Nathalie Obadia, Paris/Bruxelles /

Galerie Françoise Paviot / Galerie Perrotin / Galerie Michel Rein / Galerie Pietro Sparta / Suzanne Tarasieve / Daniel Templon / Galerie Georges-Philippe & Nathalie Vallois // Germany // Buchmann Galerie / Charim Ungar Berlin / Conrads / Figge von Rosen Galerie / Galerie Gebr. Lehmann / Galerie Reinhard Hauff / Klemm's / Jette Rudolph / Nolan Judin Berlin / Peres Projects / Esther Schipper / Galerie Sonja Junkers / Van Horn / Wentrup / Galerie Eva Winkeler / Galerie Thomas Zander / Galerie Zink // Greece // Bernier / Eliades / Rebecca Camhi // India // Galleryske / Gallery Maskara // Israel // Chelouche Gallery for Contemporary Art / Sommer Contemporary Art // Italy // Galeria Continua / Galleria Franco Soffiantino / Francesca Minini / Galleria Massimo De Carlo / A arte Studio Invernizzi / Tucci Russo // Mexico // Galería OMR // Norway // galleri k // Portugal // Galleria Pedro Cera / Galeria Filomena Soares // Russia // Aidan Gallery // South Africa // Michael Stevenson // Spain // Distrito 4 / Max Estrella / Senda / Galeria Toni Tàpies // Sweden // Galleri Niklas Belenius / Elastic Gallery - Ola Gustafsson / Galerie Nordenhake // Switzerland // annex14, Raum für aktuelle Kunst / Blancpain Art Contemporain / Buchmann Galerie / Schau Ort. Christiane Büntgen / Susanna Kulli /

Galerie Lelong / Anne Mosseri-Marlio / Skopia art contemporain // The Netherlands // Grimm Gallery / Juliette Jongma / Galerie Ron Mandos / Galerie Gabriel Rolt / Galerie Diana Stigter / Martin van Zomeren / Galerie Fons Welters // Turkey // artSümer // United Arab Emirates // Gallery Isabelle van den Eynde // United Kingdom // The Approach / Ben Brown Fine Arts / Carlson / Fred [London] Limited / Ibid Projects / Bernard Jacobson Gallery / Simon Lee Gallery / Lisson Gallery / Kate MacGarry / Stuart Shave - Modern Art / Corvi-Mora / Mot International / Maureen Paley / Paragon Press / Timothy Taylor Gallery / Works l Projects // United States of America // Miguel Abreu Gallery / Cherry & Martin / Conner Contemporary Art / Lisa Cooley / Eleven Rivington / François Ghebaly Gallery / Honor Fraser / Gladstone Gallery / Gladstone Gallery / Bernard Jacobson Gallery / Yvon Lambert / Galerie Lelong / M+B / McCaffrey Fine Art / Perry Rubenstein Gallery / Honor Fraser / François Ghebaly / Gladstone / Yvon Lambert / M+B / Mc Caffrey / Perry Rubenstein / Stephane Stoyanov / Tracy Williams //
Special features

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Art in the City
Outdoor sculpture exhibition in Egmont Park

Since 2009, the City of Brussels supports the fair by acquiring an outdoor sculpture for the improvement of the public space projects. Each year one of the artists participating in “Art in the City” is invited to create an outdoor sculpture for a specific public space for the city of Brussels. The artists in the exhibition are represented by galleries showing in the fair.

The exhibition takes place in the idyllic Egmont Park, located in the heart of Brussels, next to the Hotel (formerly the Hilton hotel), from 26 April to 1 May April 2011. The prize winner will be announced at the official opening on Thursday morning, 28 April 2011.

PARTICIPATING ARTISTS 2011

Julien Berthier, Monstre, 2010, Georges-Philippes & Nathalie Vallois (FR)
Aldo Chaparro Winder, Seven, 2011, OMR (MX)
Johan Creten, La cathédrale, 1992-2000, Almine Rech (BE-FR)
Marlon de Azambuja , New Museum, 2011, Max Estrella (ES)
Edith Dekyndt, Ombre Indigène, 2011, VidalCuglietta (BE)
Wouter Feyaerts, Zonder pardon, 2010, Transit (BE)
Johan Gelper, Reassembled sculpture, 2010, Sebastien Ricou (BE)
Simon Gush, A song for André Renard, 2011, Michael Stevenson (ZA)
Sven’t Jolle, (Casse-toi alors) pauvre canard!, 2010, Laurent Godin (FR)
Markus Karstiess, Public Sling (for Brussels), 2010, Van Horn (DE)
Nadia Naveau, Into the wild, 2008, Base-Alpaha (BE)
Mick Peter, Untitled egg, 2006, Grimm (NL)
Fabrice Samyn, Vous êtes ici / U bent hier, Meessen de Clercq (BE)
Steve Schepens, The Bermuda Triangle is a Fraud, 2010, Van de Weghe (BE)
Oscar Tuazon, Untitled, 2011, Dependance (BE)
Joris van de Moortel, Untitled, 2011, Hoet Bekaert (BE)
Clemens Wolf , All that glister is not gold, 2010, Galerie Steinek (AT)

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Artist Projects by Mousse

For the 5 th time in a row, Art Brussels puts on stage the Artist Projects. The visitor discovers ephemeral and large scale interventions installed around, above or behind the existing fair architecture or upon existing communication supports.

Mousse magazine has been commissioned to curate the Art Projects for Art Brussels 2011. Selected artists are Matthew Brannon, Claire Fontaine, Liam Gillick, Linder, and Nora Schultz. Each artist has been invited to take a closer look at the boundaries of the art fair’s structure, its identity and its institutional character and to fully explore the experience of a visit to Art Brussels. The interventions will be discovered and experienced by the visitors throughout the fair. Rob Pruitt has also been called to realise a special contribution. The carrier bag for Art Brussels by Pruitt will feature instruction on how to morph and reuse this utilitarian and commercial item.

Matthew Brannon
I have mixed feelings about art fairs. I’m easily overwhelmed. I wanted my project to have a sense of humour. I wanted it to make us feel like actors in a play. I wanted it to make us feel self conscious about our own particular roles and the roles of others. And to have to faintest hint that it would take little to trade places.

Claire Fontaine
Claire Fontaine’s project revolves around the idea and the practice of commercial animation in shopping centres. This practice consists in having a person walking around the different commodities on offer in the store with a microphone amplified and describing all the characteristics and prices of the things that are for sale. Claire Fontaine wants to export this practice within the
context of the Art Fair in order to insure the promotion of artworks in the exact same way as the one of any other commodity, and in order to unveil the Art Fair’s atmosphere as an explicitly commercial one.

Liam Gillick
EXTENDED SOUNDTRACK FOR A LOST PRODUCTION LINE, 2011
Taking as its starting point the layout of a car factory in the north of Europe in 1971 a soundtrack has been produced by mapping the key nodes of the site, both temporal and geographical, into a specially adapted sound software. The resulting work lasts for the duration of the Brussels Art Fair and shifts through time following each mutation, adaptation and shift in function of the factory
until closure in 1992—which also marks the end of the work.

Linder
In Manchester in the late 1970s, there was much curiosity amongst a small circle of us, in the Handkerchief Code. It was used amongst the American gay community, to efficiently communicate one’s sexual preferences, by the display of a certain colour of hanky. Depending on which side of the body this was worn, this also indicated whether the wearer was passive or active. This seemed to us, in the north west of England, an economic use of time and desire. Our sexuality then was
still clumsy and uncertain, it could take six months to ascertain whether someone liked us, and then another six months to find out if we liked them. The sartorial shorthand of the hanky was very attractive. For Art Brussels, I have collaborated with the designer Richard Nicoll, a man continuously creating new codes of dress. We have created our own code for the fair, from the utilitarian boiler suit—a fabricated collage of trousers and shirt—to handkerchiefs. There is a certain discretion at work, codes are most efficient when homomorphic and elegant. Our dress code is displayed by the staff of Art Brussels, each at their own discretion.

Nora Schultz
Metal plates, ramps and foam mats were previously often appearing in my sculptural installations either as parts of the sculpture, as display underground or as printing devices in self made printing presses. The foam was therefore cut to stencils, frottages were taken from the ramps’ surfaces. Starting point for this installation was a floor sculpture consisting of a small ramp and a foam mat,
installed at Sutton Lane Gallery in Paris, 2010. The work was installed in the gallery’s entrance so that visitors were forced to step on it to enter the space. They would step up the ramp to sink down on the foam mat with the next step. As the effect and the appearance of the piece were rather subtle, people took it “for real”, for some architectural element of the space. So it was determining the movement and by this influencing the behaviour of the visitor. As the project in Art Brussels is placed in that areas that are not defined exhibition space originally, already the position of the
installation is putting to question the point of view and the physical and ideal presence of the piece. Cutouts in the foam could work as stencils, collages or simply as interventions to uncover the floor. The ramps will be used as accelerators and up-lifters as well as they simply define places within an undefined space.

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Solo Shows

Michiel Ceulers
(Maes & Matthys - BE)

Roe Ethridge
(Gladstone - USA)

Patrick Hill
(Almine Rech – BE)

Kevin Hunt
(Stephane Simoens –BE)

Tadashi Kawamata
(Mulier Mulier – BE)

Benoit Maire
(Cortex Athletico – FR)

Enrique Marty
(Deweer Gallery – BE)

Vincent Olinet
(Laurent Godin – FR)

Werner Reiterer
(Krinzinger – AT)

Barthélémy Toguo
(Lelong- FR)

Michael Van den Abeele
(Elisa Platteau & Cie– BE)

Maarten Vanden Eynde
(Meessen De Clercq – BE)

Vanessa Van Obberghen
(Suzanna Kulli – CH)

Hannes Vanseveren
(Hoet Bekaert – BE)

The Solo Shows presented by established and upcoming artists are spread throughout the 2 halls of the fair. Galleries are making a statement by showing one specific on site project by an individual artist. This gives the visitor the opportunity to get to know the work of an artist more in depth. The best solo show artist, selected by the collectors committee is rewarded with the Belgacom Art prize.

The winners of the best Solo Shows are announced at the press conference during the official opening of the fair.

Debates

Art Brussels organises an eclectic programme of panel conversations featuring important art collectors, museum directors, curators, critics, artist and gallery owners. The discussions mainly treat hot topics in the contemporary art world.
DEBATES @ conference room hall 3

Thursday 28 April 2-4pm

Sound and Vision: Beyond Reason - Contour 2011
Popular music accompanies or is constitutive of some of our most meaningful and widely shared cultural moments. The artists in Contour 2011, Sound and Vision: Beyond Reason explore the intersections of music and contemporary art.
With Anthony Kiendl, Yann Chateigné Tytelman, Edith Dekyndt and Anne-Mie van Kerckhoven

Friday 29 April 2-4pm
Social Contract or Survival of the Fittest? Interdependency and responsibility in the arts in times of crisis.
A panel with the artists Dora Garcia and Jonas Staal, critic Andrea Phillips and curator Binna Choi, chaired by professor Wouter Davidts, will discuss the state of social awareness and collective responsibility, against the background of the interdependencies – unspoken, overpriced or unpaid – that shape the present-day art world, its economy and internal regulations. The discussion will investigate complicities and armistices between art and politics by locating these exchanges 'within' rather than ‘outside’ the art world – postulated but never quite grasped by institutional critique and the emancipatory rhetoric of radicalism. They will discuss to what extent the art world seamlessly blends with - even if metaphorically distinct from - power relations at large.

Friday 29 April 5-6pm
Infosession Culture Programme (2007-2013): Discover the opportunities and objectives of this co-funding program for your European cultural cooperation project.
The Programme provides a budget for quality projects able to encourage innovation and creativity and provide real European added value. Operators from all cultural sectors (except audiovisual) are welcome to take part in this Programme.
Saturday 30 April 2-4pm

Memory, the index, the gestural and the specter of actuality.
A conversation between Angel Vergara, Laurent Busine and Luc Tuymans for the occasion of the exhibition “Feuilleton” of Angel Vergara in the Belgian pavilion of the 54th Biennale of Venice.

Sunday 1 May 2-4pm
Architist
The domus roundtable discussion will focus on current crossovers between contemporary art and architecture, using Donald Judd and his essay It’s Hard to Find a Good Lamp as a starting point for our discussion. More and more artists are now collaborating with architects, and vice versa. When does architecture become a work of art, and when does an artwork become architecture? And what is the collector buying—is it art or is it architecture?
With Alexandra Midal, Joseph Grima, Jan de Cock, Markus Miessen. Moderator: Angelique Campens
ARTIST TALKS @ mezzanine hall 3

Art Brussels presents a series of Artists Talks , curated by art critic Nathalie Hartjes, each revolving around the practice of one artist. The artists in focus are joined in the discussions by panel members (fellow artists, curators, critics, gallerists or collectors) who have a personal commitment to the artist´s practice. The art historian, critic and collector Alexander Mayhew will moderate each discussion.

Friday 29 April 5pm : Kendell Geers (Johannesburg 1968, lives and works in Brussels) on Irrespektiv/Auto-da-fé. In dialogue with Pierre-Olivier Rollin, artistic director B.P.S.22.
In 2007, S.M:A.K. (Ghent) and B.P.S.22 (Charleroi) hosted solo-exhibitions by Kendell Geers under the titles Irrespektiv and Auto-Da-Fé, Geers’ practice can be characterized as bold and provocative, yet in all its directness it is also very rich, expanding on many complex issues. The two exhibitions, that were different and complementary in nature, will be subject of a close reading by the artist himself and B.P.S.22 director Pierre-Olivier Rollin. The exhibition in Charleroi took the city’s name as reference to the fortress of Charles II, Charle-roy and hence to its inhabitants infamous backing of one of the largests auto-da-fé of the Spanish Inquisition in history. The central theme of fire as a purifying and destroying element of the exhibition in Charleroi will be scrutinized, meandering to notions of limits and boundaries, infringements and taboos, as presented in the classic institutional space of S.M.A.K.

Saturday 30 April 5pm : Mika Rottenberg on Squeeze.
In dialogue with Ann Demeester, artistic director de Appel.
In a factory of sorts an estranging process is taking place. Women exploiting their own specific abilities (blush, massage, labour) are deeply engaged in making something. The various production units in the assembly line are isolated and distorted, yet intrinsically connected as if part of a large incomprehensible machine. In the video-sculpture Squeeze Mika Rottenberg defies the logic of production by imposing her own idea of a manufactory. This artist talk offers an opportunity to wander through the absurdist mazes of production with Rottenberg herself.

Sunday 1 May 5pm: Karen Sargsyan (1973, Jerevan, Armenia, lives and works in Amsterdam) on Rage of the Oil God. In dialogue with Florian Waldvogel, director Kunstverein Hamburg.
An apocalyptic scene of violence and destruction. A large number of figures stand suspended in time, faces distorted in cries of agony, cynical laughter and outright fury. Karen Sargsyan’s Rage of the Oil God presents a quasi-mythological figure descending from the heavens to reprimand mankind. Sargsyan´s work is forged entirely of paper and the artist has an extraordinary ability to create uncanny ´Tableaux Vivants´ whose material fragility create a palpable tension with the bold gestures of their protagonists.
Book presentation @ mezzanine hall 3

Saturday 30 April 1pm : Presentation of the catalogue Serse. Geometriche dissolvenze with Michel Baudson, Serse. Event curated by Galleria Continua .
With the spirit of the late 18th-century Romantic travellers, I made several visits to the Brion Tomb, the monumental complex realized by Scarpa a few kilometres from Asolo. The complex structure, with the architecture floating on the water, immediately evoked in me Arnold Böcklin’s Island of the Dead. Fascinated by the magnificence of this architectural structure, the visit soon turned into a kind of pilgrimage to seek out the tiny details, the solid spatial relations between the different structures, the many symbolic references. Starting with pencilled notes and photographs, I found myself interpreting the systematic interlocking relationships between interior and exterior, and grasping all the spectres of the categories of the beautiful and sublime expressed by the architecture. I transformed the light of the sky into black, lunar light, giving a metaphysical semblance to the masses of cement, marble, metal and glass. And so while Scarpa managed to play down the funeral concept and to turn the burial area into a “sweet, idle city”, or, as Scarpa put it, “a restored Eden”, I put light and darkness together rather than opposing them, erasing the distinction between the world of dreams and the real world . Serse

Art Brussels would like to express their special thanks and appreciation to all the speakers as well as moderators for giving of their time to share their knowledge, exp eriences and ideas with all of us.

Off Programme Museum visits and private collections

Brussels Gallery Night
On Friday 29 April, from 6-10 pm, the exhibitors located in town open their doors to the Art Brussels visitors.

Press Office:
Gerrie Soetaert - Press & Communications
Populierstraat 9 Rue du Peuplier BE-1000 Brussels T +32 (0)475 4798 69 F +32 (0)2 2193027 gerrie.soetaert@skynet.be

Preview & Vernissage Wednesday 27th April 4 pm - 10 pm (by invitation only)

Brussels Expo - Halls 1 & 3
Place de Belgique, 1 BE-1020 Brussels
Hours: Wednesday 27 April: Preview noon-4pm/ Vernissage 4pm-10pm
Thursday 28 April - 1 May: 12 am till 7 pm
Admission: 1 day ticket: 15€/person
Reduced ticket: 10€ (for students and groups of more than 10 persons)
Catalogue: 25€
Combi-ticket (1 entry + 1 catalogue): 35€
ING: with your ING bankcard, receive 1 free entry for 1 paying entry

stampa

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