{"id":6331,"date":"2018-05-09T08:15:41","date_gmt":"2018-05-09T08:15:41","guid":{"rendered":"http:\/\/www.centrale.brussels\/en\/?post_type=activities&p=6331"},"modified":"2018-07-26T12:20:56","modified_gmt":"2018-07-26T12:20:56","slug":"artcontest-window","status":"publish","type":"activities","link":"https:\/\/centrale.brussels\/en\/events\/artcontest-window\/","title":{"rendered":"ArtContest Window"},"content":{"rendered":"

ArtContest Window<\/strong>
\n20-04 > 08-07 2018<\/strong>
\nGalerie Rivoli
\n690 Chauss\u00e9e de Waterloo
\n1180 Brussels<\/p>\n

From 20 April to 80 July, the Galerie Rivoli presents artworks by Florian Kiniques and L\u00e9a Mayer in a collaboration between ArtContest and the CENTRALE for contemporary art.<\/p>\n

Artistic Director for the CENTRALE Carine Fol explains:<\/p>\n

\u201cIn response to Val\u00e9rie Voucher\u2019s invitation and as a starting point for a future collaboration between ArtContest and the CENTRALE for contemporary art, I recommended two artists whose work will be shown in the window of the Galerie Rivoli between 20 April to 15 July 2018.<\/p>\n

L\u00e9a Mayer and Florian Kiniques are both currently taking part in Private choices,<\/em> an exhibition at the CENTRALE focusing on the art collections of 11 Brussels-based contemporary art collectors. This choice further emphasizes the privileged relationship between collectors and emerging artists.\u00a0The three collectors presenting these artists in the space made available by the CENTRALE are committed to collaborating with up-and-coming artists: Nicole and Olivier G. (L\u00e9a Mayer) and Christophe Veys (Florian Kiniques).<\/p>\n

Mayer and Kiniques each exhibit two pieces in the window of the Galerie Rivoli in an ensemble articulating around the visible and the invisible, balance and unbalance, notions that take on a specific meaning in a shop-window: visible but inaccessible.<\/p>\n

The installation Quatre cale-portes et trois sculptures, <\/em>2017, and the watercolour drawing representing banana skins Variations autour du th\u00e8me de la peau de banane <\/em>(<\/em>2015) by L\u00e9a Mayer are emblematic of the artist\u2019s process, which is developed around notions of perception, knowledge and imagination. Starting from a questioning on the influence of our education and history in understanding an object, artwork, discourse, landscape, space and time, the installation articulates around a very singular, individual process. Conversely to conceptual art that tends to substitute linguistic sign to aesthetic object, Mayer advocates a synchronously sensuous and cognitive approach to the drawing and the installation. Mayer\u2019s intent refers to craftsmanship and the attention to detail resulting from long periods of observation underpinned by the process of revealing an object differently than through its iconic representation. In the piece made up of doorstops and in the drawing of eight banana skins, the artist attempts to go beyond the blatancy of the message to achieve a poetic language that leaves place to the interpretation of spectators.<\/a>[1]<\/a><\/p>\n

The indescribable and the suggested forge the link with the works of Florian Kiniques, an artist who does not solely focus on a project\u2019s representation and exhibition but who is interested in the encounters and relations that his experiments create with spectators. The two works shown: Sa<\/em> (mobile virtual poem), 2018, and Sans titre<\/em>, 2016 consist of two frames on a black background and of typed words that have been cut out and stacked up in a corner of the frame. The first piece, taken from a series created around the expression \u201cthink carefully before you speak\u201d (in French \u201cTourner sept fois sa<\/u><\/em> langue dans sa bouche\u2026\u201d – Turning one\u2019s tongue seven times before speaking\u201d) can \u2013 in principle \u2013 move with the hand of the person turning it. When stopped, it can be shown horizontally, vertically or – like in the gallery window – be off-centre. Here, the work is presented at standstill in a nod to the doorstop work that\u00a0leaves behind<\/em>\u00a0their original function.<\/p>\n

Florian Kiniques rationalizes that the mystery of these two artworks lies in the notion of \u201cshowing whilst hiding\u201d or to \u201cshow by unveiling\u201d, which takes all its sense in a shop window presenting works that remain partially invisible. Indeed, the cut out words integrated in the closed frame are never completely legible. Do these words form a sentence? What meaning do they hide or embody?\u00a0In the same way as a metaphor for automatic writing, everything articulates on the border between unveiling and evasion, between controllable and improvisation. [2]<\/a><\/p>\n

In this group installation, the question does not refer to representation but rather, to twisting and suggesting.\u201d<\/p>\n

<\/a>[1]<\/a> S.Tiberghien, in L\u2019art M\u00eame n\u00b060, 2014<\/p>\n

[2]<\/a> Benoit Dusart, http:\/\/www.lartmeme.cfwb.be\/no069\/documents\/AM69.pdf<\/p>\n

 <\/p>\n

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