"Film as Sculpture" looks at a new generation of artists and the problem that a number of them seem to be insistently grappling with: how to create works that either sit between or somehow address two seemingly contradictory mediums. Also on show Jef Geys and Monir Shahroudy Farmanfarmaian.
Film as Sculpture
6.6 - 18.08.2013
curated by Elena Filipovic
Film as Sculpture looks at a new generation of artists and the ‘problem’ that a number of them seem to be insistently grappling with: how to create works that either sit between or somehow address two seemingly contradictory mediums: one of art history’s most classical forms, sculpture, and its apparent opposite, film (or video). For while film is typically thought of as being essentially moving, temporal and immaterial, an infinitely reproducible collection of fleeting images and flickering light (or, in the case of video, pixels and equally immaterial digital code), sculpture, almost by definition, is a solid, obdurate thing, nothing if not the literal attempt to give lasting form to matter. This group show investigates the growing interest among young artists to think through the specificities of sculpture and film by creating hybrid objects that respond to, inhabit, and question both traditions at once. Indebted to the legacy of 1970s expanded cinema, and resurgent at a moment when the 16 mm celluloid that many of them use is itself facing extinction, the fantastic constructions on view at WIELS foreground the slippery relations between the moving image and the sculptural object.
The response of these visual artists to what we might call ‘film’ or ‘sculpture’ varies considerably from case to case. The selection represents a sampling of some of the most interesting examples from around the world by artists who have seized the task of thinking through both mediums and made it the very centre of their practice. Neither merely filmic nor only sculptural, each of these projects, however different they may be from each other, achieve the critical effect of shifting film from its traditionally conceived (temporal) image-producing function to its (spatial) sculptural possibilities, and vice versa. The consequence is that neither medium remains pure, calcified or unquestioned, instead, they become building blocks to be used in new ways and given new meaning.
Rosa Barba, Zbyněk Baladrán & Jiří Kovanda, Ulla von Brandenburg, João Maria Gusmão & Pedro Paiva, Rachel Harrison, Žilvinas Kempinas, Elad Lassry, Karthik Pandian and Bojan Šarčević
Jef Geys and Monir Shahroudy Farmanfarmaian
curated by Curator Dirk Snauwaert
6.6 - 15.09.2013
Jef Geys suggested the unlikely combination for this double-exhibition, which orchestrates a meeting between his work and that of Iranian artist Monir Shahroudy Farmanfarmaian, who is described as ‘one of Iran’s most inspiring and innovative artists’. Although she lived and worked in New York for a good many years, her work is deeply rooted in Iranian culture and tradition, both in form and spirit. Like Farmanfarmaian, Geys is also interested in shapes composed from geometric figures and in their variations; in local traditions and practices; in the visual play of illusion and appearance; in the simple beauty and complexity of nature. In the exhibition The world as seen through a Pelican in Plexi, two individual presentations, the show will bring together a number of early as well as very recent works by both artists.
Image: Monir Shahroudy Farmanfarmaian, Variation on a Hexagon 7, 1976. Pencil on paper
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Opening: 06.06.2013, 19:00
WIELS, Contemporary Art Centre
Avenue Van Volxemlaan 354 - 1190 Brussels
Opening hours: Wednesday – Sunday 14 – 18:00