Installation

Frédéric ROLLAND casts his eyes on the the world around him and questions the meaning of what he’s looking at. Today it’s the B-Gallery he observes, and questions the process of exhibition.
In collaboration with the winning artists of the past, who play the game of cooperation, he confronts eclectic artistic practices with the publics’ choices and views:

• How to present a variety of works?
• Collection or Exhibition?
• What mediation to choose?

With Temporary Collection, between the artists’ installation and the curatorial proposal, Frédéric ROLLAND introduces you to the results of his research and wants you to undergo the B-Gallery experience.

© Frédéric ROLLAND

Installation

Gert De Clercq’s work comprises objects, actions and phenomena, which are given, based on an everyday and obvious foundation, a subtle twist. In this way, he registers and tries to visualise what he cannot put in descriptions. The results are short stories with a strong and stylised character. Sometimes the works are to be understood as deadly serious, but often they also contain a degree of cynicism.

© Gert DE CLERQ

Photography

Brussels is a home of not less than 170 nationalities, it’s a world city. Elisabeth Sri Unggul Ida Mulyani explores those different nationalities. The pictures are not only presenting the simple cultural differences but they offer a deeper and universal view trough those offices. This series offers the viewers a chance to experience further more than the waiting room or visa desks in the consulate office. The images are documentary, the perspective received from these interior images and the reading of these photographs would allow us to see things we might not even realize when we stand in those rooms. Each embassy office endeavors to present its homecountry by displaying some traditional objects or specific ones like pictures and flags. Compositions and objects are photographed in such a way that they become a composition trouvée.

© Elisabeth SRI UNGGUL IDA MULYANI

Installation

My works have a physical impact. Their size, materiality and contents are first of all experiences that I am confronted with. Then initiates the reading, the understanding, without really knowing.
An important aspect of my job is to make my works incomprehensible and ‘experiencible’ at the same time, which is a way of understanding, I think.

© Marco DI CARLO

Drawing / Installation

“Borrowings from the sweet and delicate, the characters of Pauline Cornu offer their heart in nourishment, undo themselves of the flesh, “dis-organize” or, as in expectation, seem to float, yet stay balanced. The space of the drawing is that of choreography, a staging, which, if sometimes evokes a kind of erotic ordeal, has nothing of the macabre or de Sade.

Only the empty eyes of the silhouettes escape candour, testifying an unspeakable crack, a latent danger.”

– From “Trouble désir”, Benoit Dusart, l’art même n°45.

© Pauline CORNU

Light installation

Joris Perdieus investigates the mobile identity of suggestive scenographic situations. He assembles elements that lose their dramatic charge as they are frozen in time, to create a balanced whole and release a new poetic potential. These exercises usually result in spatial installations that often seem to have been presented to their audience prematurely … populated by shadowy protagonists that we never get to see. The metropolis and its seething masses form the breeding ground for Perdieus’ stylised installations and sculptures that can be described as both tranquil and agitated.

© Joris PERDIEUS

Drawings

Comic and tragic. Temperate and excessive. Sober and frivolous. Delicate and decisive. Lively and morbid. Poetic and terrifying. The characters that inhabit these disconcerting worlds originate in fairy tales, legends, mythology; in the imaginary nourished by the artist’s travels. The protagonists, men and women, come into contact with animals, fish and birds and here and there objects from everyday life, such as a box, a chair or a tap. There is beauty in these works in which the colour employed so sparingly explodes as if with joy. There is repulsion too. Fear is generated, but gently. Ever elusive, the dreamlike drawings remain enigmatic because the characters might whisper their stories to us but they fail to reveal all their secrets. It’s down to us to discover, to be filled with wonder and to open our eyes! – Camille Perotti, 2011

© Annabelle GUETATRA

Sculpture / Installation

For her first solo exhibition in Brussels, Labastie unites three characteristics of her work treating the body, its appearance and disappearance. How does one figure a political and social body crisscrossed by history? Paradoxically, her first sculpture is a video in which the body appears and disappears in a fog of smoke, both dematerialized and constantly reincarnated. This seminal paradox between a title, a work and its suggested ambivalence is at the heart of a work in which the artist prefers the binary of opposing forces, this troubled region, intermediate, where opposing forces meet. A «home» can represent both the place of family or community alliance but also a mass grave; retention objects recalling the history of an a priori bygone time, the physical constraints imposed on slaves or convicts and evoke the permanent monitoring bodies still visible today in other forms. Both attractive and repulsive, the sculptures of Labastie crystallize the contradictions of history and reveal the complexity of the human condition, fashioning a true metaphysic of the body. – Christian Alandete

© Rachel LABASTIE

Installation

In “Habitat, un séjour à titre temporaire”, Vansteenkiste shows us his internal structure, his denkraum, his mind space, his habitat. Here, elements of architecture meld with references to film, drawings, personal possessions, stories, images, models and Vansteenkiste’s earlier and later works. In this way he makes physical and psychological use of our spatial experience. Fittingly, then, we can describe his work as “mind spaces”. Denkraum is a concept used mostly in philosophy and architecture. The term is best defined as the building of walls ‘inside’ or ‘outside’ the chaos of personal experience, emotion, thought…, to make them clearer or more manageable, in short, to structure them.

© Jonas VANSTEENKISTE

Photography

A pure perception, emanating from the purity of vision; returning to the basic beginnings of looking within our environment. Watching is perception and assigning a place on this earth of that awareness by representing its landscapes. Images deriven from nature are being appropriated and entail for each person a different experience.
This creates images that convey a certain tranquility and interact with the space and the viewer. This show challenges the «vision» and the images balance between the visible and invisible. With this less accessible visual experience, new visual stimuli are provided that can move people, making them pause to consider which way of looking at them is right. Eline Van Riet offers a new approach to photography in which the medium has found its way within contemporary art.

© Eline VAN RIET