Wednesday, 18 June 2014
Sunday, 27 April 2014
Thursday, 24 April 2014
STALACTICA
STALACTICA
Quincaillerie Vander Eycken 66 rue du Viaduc, 1050 Brussels (Ixelles)
Exceptionally open on the occasion of Art Brussels, Thu 24 – Sun 27 April 10 am to 6 pm
Saâdane Afif, Maurizio Anzeri, Aaron Aujla, John Baldessari, Roger Ballen, Davide Balula, Charles Baudelaire, Hilla and Bernd Becher, Tjorg Douglas Beer, Olivia Berckemeyer, Ghyslain Bertholon, Matthias Bitzer, John Bock, Melanie Bonajo, Dineo Seshee Bopape, Marcel Broodhaers, Jonas Burgert, Étienne Chambaud, Pauline Curnier- Jardin, Salvador Dali, Lionel Estève, Bernard Frize, Sara Glaxia, Lori Hersberger, Andreas Golder, Philipp Goldscheyder, Franz Graf, Gregor Hildebrandt, Melissa Ichiuji, Adrien Missika, Ekaterina Juskowski, Dionisis Kavallieratos, Kristof Kintera, Kolkoz, Terence Koh, Michael Kunze, Thomas Lerooy, Vincent Mauger, Marcel Marien, Alexej Meschtschanow, Isa Melsheimer, Klaus Mettig, Theo Michael, G.P. Monroe, Bruce Nauman, Yoko Ono, Jürgen Ots, Kirsten Pieroth, Daniel Richter, Henning Rogge, Brie Ruais, Benjamin Sabatier, Santiago Sierra, Jean Tinguely, Alexandros Tzannis, Guido van der Werve, Paul van Hoeydonck, Jannis Varelas, Costa Vece, Andy Warhol, Yarisal & Kublitz
Preview + Bar Open
Tuesday April 22, 5 pm to 9 pm, (rsvp to mail@galerieutopia.com)
Opening + Bar Open
Wednesday April 23, 5 pm to 9 pm, (rsvp to mail@galerieutopia.com)
Dinner Performance + Party
«Les Nourritures Terrestres » by Samuel Boutruche (Kolkoz), James Henry (chef from the Bones, Paris), Svante Forstrop (independent cook, Paris) - Only by reservation - 65 EUR, Friday April 25, 9.30 pm, (rsvp to info@ramapano.com)
STALACTICA Party (List & doorman)
Friday April 25, midnight until late, (rsvp to info@ramapano.com)
Opening Hours
April 25 until April 27 2014 10 am to 6 pm
Location
Quincaillerie Vander Eycken 66, rue du Viaduc
1050 Ixelles
Brussels
http://ramapano.com
http://galerieutopia.com
In collaboration with and with the kind support of
Atelier uto, Olivia Battard, Hecham Bouliez, Galerie Clearing, Moses Guez, Collection Frédéric de Goldschmidt, Clemens Gunzer, Galerie Rodolphe Janssen, Thanh Lam, Collection Patrick Letovsky, Collection Vincent Matthu, Jean-Philippe Notterman, Galerie Emmanuel Perrotin, Rabo Art Collection, Galerie Almine Rech, Collection Ariel Roger-Paris, Collection Ronald Rozenbaum, Collection Alain Servais, Collection Pascaline Smets, Stevenson Gallery, Galerie Micheline Szwajcer
Quincaillerie Vander Eycken 66 rue du Viaduc, 1050 Brussels (Ixelles)
Exceptionally open on the occasion of Art Brussels, Thu 24 – Sun 27 April 10 am to 6 pm
Saâdane Afif, Maurizio Anzeri, Aaron Aujla, John Baldessari, Roger Ballen, Davide Balula, Charles Baudelaire, Hilla and Bernd Becher, Tjorg Douglas Beer, Olivia Berckemeyer, Ghyslain Bertholon, Matthias Bitzer, John Bock, Melanie Bonajo, Dineo Seshee Bopape, Marcel Broodhaers, Jonas Burgert, Étienne Chambaud, Pauline Curnier- Jardin, Salvador Dali, Lionel Estève, Bernard Frize, Sara Glaxia, Lori Hersberger, Andreas Golder, Philipp Goldscheyder, Franz Graf, Gregor Hildebrandt, Melissa Ichiuji, Adrien Missika, Ekaterina Juskowski, Dionisis Kavallieratos, Kristof Kintera, Kolkoz, Terence Koh, Michael Kunze, Thomas Lerooy, Vincent Mauger, Marcel Marien, Alexej Meschtschanow, Isa Melsheimer, Klaus Mettig, Theo Michael, G.P. Monroe, Bruce Nauman, Yoko Ono, Jürgen Ots, Kirsten Pieroth, Daniel Richter, Henning Rogge, Brie Ruais, Benjamin Sabatier, Santiago Sierra, Jean Tinguely, Alexandros Tzannis, Guido van der Werve, Paul van Hoeydonck, Jannis Varelas, Costa Vece, Andy Warhol, Yarisal & Kublitz
Preview + Bar Open
Tuesday April 22, 5 pm to 9 pm, (rsvp to mail@galerieutopia.com)
Opening + Bar Open
Wednesday April 23, 5 pm to 9 pm, (rsvp to mail@galerieutopia.com)
Dinner Performance + Party
«Les Nourritures Terrestres » by Samuel Boutruche (Kolkoz), James Henry (chef from the Bones, Paris), Svante Forstrop (independent cook, Paris) - Only by reservation - 65 EUR, Friday April 25, 9.30 pm, (rsvp to info@ramapano.com)
STALACTICA Party (List & doorman)
Friday April 25, midnight until late, (rsvp to info@ramapano.com)
Opening Hours
April 25 until April 27 2014 10 am to 6 pm
Location
Quincaillerie Vander Eycken 66, rue du Viaduc
1050 Ixelles
Brussels
http://ramapano.com
http://galerieutopia.com
In collaboration with and with the kind support of
Atelier uto, Olivia Battard, Hecham Bouliez, Galerie Clearing, Moses Guez, Collection Frédéric de Goldschmidt, Clemens Gunzer, Galerie Rodolphe Janssen, Thanh Lam, Collection Patrick Letovsky, Collection Vincent Matthu, Jean-Philippe Notterman, Galerie Emmanuel Perrotin, Rabo Art Collection, Galerie Almine Rech, Collection Ariel Roger-Paris, Collection Ronald Rozenbaum, Collection Alain Servais, Collection Pascaline Smets, Stevenson Gallery, Galerie Micheline Szwajcer
Monday, 31 March 2014
Friday, 7 February 2014
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Monday, 6 January 2014
Friday, 13 September 2013
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Thursday, 5 September 2013
Under The Volcano
Under the Volcano
On the occasion of Hanarart festival | Nara, Japan
curated by Anissa Touati
From September the 2nd to the 15th | everyday from 10 am to 5 pm | in the old post office of Nagara Gose
Wilfrid Almendra, Maria-Thereza Alves, Matthias Bitzer, Kolkoz, Marie Maillard, Theo Michael, Nico- las Milhé, Bruno Persat, Iris Touliatou, Lucille Uhlrich.
Under the Volcano will take place in an abandoned and empty traditional Japanese house where there is still traces of former inhabitants. The artists will interact with the backbone of this deserted place playing with the concept of reality, the way we perceive it, and the various readings we can do of it. They also set up a dialogue with the past, and take an interest in the notions of myth and history.
Maria-Theresa Alves video, Bruce Lee in the Land of Balzac, takes the image of a mountainous landscape and insert on it the sound-track of a scene of a Bruce Lee fight, suggesting a movement through this sound even though it is a still shot. The two Kolkoz will film at the same time some every day life places in Nara (Nara Dreamland, a tea ceremony, the baths), but place them in a tangent world by introducing a distortion by the way they capture them. Matthias Bitzer, with his neon, I used my skin as your skin, introduces a duality in time, between masks and parallel identities and inserts into it a little poetry.
Some of the artists also take over well-known objects and forms, but make a slight shift to transfer them in a tangent world, a kind of mental reality, giving them new forms. Marie Maillard takes a picture of a french cup of tea and will send it by email so that it will be produced in Nara. This sending process deform its image and the spectator will be seeing with this work, Black tea, an imbricated object, almost petrified. The artist here interrogates the point of view that we have of an uncertain world with unsuspected dimensions and contours. With her piece Wall 1309, she singles out an element of the old post-office of Nagara-Gose and stretches it to reveal its essence; with this extension, she implements a virtual image in the real.
Iris Touliatou’s work, Three sins of my Past, plays with forms to lose the spectators, and uses the silk almost as an extension of the house’s architecture. This smooth material participates in evoking this tangent world by showing or hiding the architecture depending on the moment.
Bruno Persat, with Meter, tips his hat to the Japanese culture by creating inside this traditional house sheets of paper where the writing has completely disappear, leaving holes in the paper, reminding us of the house’s deteriorated Shoji.
Wilfrid Almendra’s work, as for it, leads to instantly recognizable shapes but unrelated to their original function. His sculpture, not far from a stained-glass windows, brings out a dimension both decorative and sacred; giving to these discarded materials a new value between fragility and nostalgia of a bygone era.
Then, this Japanese abandoned house is also becoming a pedestal, a sanctuary, enabling the artist to play with historical references and to base their works upon the past to reinvent the future. Lucille Uhlrich’s Tip of the tongue, questions this phenomena, as it is a moment where our spirit is in no place, where the word is as present as it is absent and where the images we picture in our mind are drifting towards an elsewhere. Theo Michael, with The Splendour Of The Heavens uses video, and by mixing incompatible and anachronistic elements, he makes up false chronologies in order to make the spectators lose their temporal guidelines.
At last, Nicolas Milhé, with his piece Locus Pyramidus, wonders on the symbolic of the pyramid: he will project a series of slides showing these structures, playing with their meaning, and their historic and mythological strength. By doing this archiving work, he insists on the fact that the polyhedron is universal. The pyramid has indeed be the first and purest form of the sanctuaries since the dawn of time, and here this form embraces the Japanese house, acting like a shrine for this already mystical place.
On the occasion of Hanarart festival | Nara, Japan
curated by Anissa Touati
From September the 2nd to the 15th | everyday from 10 am to 5 pm | in the old post office of Nagara Gose
Wilfrid Almendra, Maria-Thereza Alves, Matthias Bitzer, Kolkoz, Marie Maillard, Theo Michael, Nico- las Milhé, Bruno Persat, Iris Touliatou, Lucille Uhlrich.
Under the Volcano will take place in an abandoned and empty traditional Japanese house where there is still traces of former inhabitants. The artists will interact with the backbone of this deserted place playing with the concept of reality, the way we perceive it, and the various readings we can do of it. They also set up a dialogue with the past, and take an interest in the notions of myth and history.
Maria-Theresa Alves video, Bruce Lee in the Land of Balzac, takes the image of a mountainous landscape and insert on it the sound-track of a scene of a Bruce Lee fight, suggesting a movement through this sound even though it is a still shot. The two Kolkoz will film at the same time some every day life places in Nara (Nara Dreamland, a tea ceremony, the baths), but place them in a tangent world by introducing a distortion by the way they capture them. Matthias Bitzer, with his neon, I used my skin as your skin, introduces a duality in time, between masks and parallel identities and inserts into it a little poetry.
Some of the artists also take over well-known objects and forms, but make a slight shift to transfer them in a tangent world, a kind of mental reality, giving them new forms. Marie Maillard takes a picture of a french cup of tea and will send it by email so that it will be produced in Nara. This sending process deform its image and the spectator will be seeing with this work, Black tea, an imbricated object, almost petrified. The artist here interrogates the point of view that we have of an uncertain world with unsuspected dimensions and contours. With her piece Wall 1309, she singles out an element of the old post-office of Nagara-Gose and stretches it to reveal its essence; with this extension, she implements a virtual image in the real.
Iris Touliatou’s work, Three sins of my Past, plays with forms to lose the spectators, and uses the silk almost as an extension of the house’s architecture. This smooth material participates in evoking this tangent world by showing or hiding the architecture depending on the moment.
Bruno Persat, with Meter, tips his hat to the Japanese culture by creating inside this traditional house sheets of paper where the writing has completely disappear, leaving holes in the paper, reminding us of the house’s deteriorated Shoji.
Wilfrid Almendra’s work, as for it, leads to instantly recognizable shapes but unrelated to their original function. His sculpture, not far from a stained-glass windows, brings out a dimension both decorative and sacred; giving to these discarded materials a new value between fragility and nostalgia of a bygone era.
Then, this Japanese abandoned house is also becoming a pedestal, a sanctuary, enabling the artist to play with historical references and to base their works upon the past to reinvent the future. Lucille Uhlrich’s Tip of the tongue, questions this phenomena, as it is a moment where our spirit is in no place, where the word is as present as it is absent and where the images we picture in our mind are drifting towards an elsewhere. Theo Michael, with The Splendour Of The Heavens uses video, and by mixing incompatible and anachronistic elements, he makes up false chronologies in order to make the spectators lose their temporal guidelines.
At last, Nicolas Milhé, with his piece Locus Pyramidus, wonders on the symbolic of the pyramid: he will project a series of slides showing these structures, playing with their meaning, and their historic and mythological strength. By doing this archiving work, he insists on the fact that the polyhedron is universal. The pyramid has indeed be the first and purest form of the sanctuaries since the dawn of time, and here this form embraces the Japanese house, acting like a shrine for this already mystical place.
Thursday, 15 August 2013
Thursday, 6 June 2013
Saturday, 6 April 2013
Wednesday, 3 April 2013
WhiteHotMagazine Review: I DIDN'T THINK OF ANYTHING I DON'T KNOW WHAT TO DO
by Emmy Skensved
Theo Michael, I Cancelled The Best (Magnetic Mistakes) 13 & 12, mixed media on paper, 2013. Image courtesy of the artist and Preteen Gallery.
Theo Michael: I DIDN'T THINK OF ANYTHING I DON'T KNOW WHAT TO DO
Preteen Gallery, Mexico City
January 31st - February 20, 2013
Preteen Gallery, Mexico City
January 31st - February 20, 2013
One of the most striking aspects of Mexico City is its history. It is a place where the present intermingles with the past in a palpable way. Take the center for example, where sixteenth century Spanish palaces were built atop the ruins of the conquered Aztec capital, Tenochtitlan, giving rise to the present day archaeological site where the evidence of this history is layered like sediment in the ground.
Greek artist Theo Michael, who moved to the Distrito Federal in 2010, makes work that resonates with the agedness of his new home. His practice consists of mining history and pop culture, unearthing and recycling images and objects and reconfiguring these to produce drawings, collages and vitrines that re-imagine history and question the present order of things. His drawn works and sculptures look convincingly like illustrations and artifacts from the past, and toy with notions of what we think we know. In his collage work, Theo Michael culls images from the extensive collection that he has amassed over the past several years in order to create all-over compositions comprised of tiny cut-outs. Bearing some resemblance to the results of a Google image search, these collages imply an array of complex relationships between seemingly unrelated forms.
For his recent solo exhibition, I didn't think of anything I don't know what to do, Theo Michael punctuated the stark, white space of Preteen Gallery with a series of dog-eared, sepia-tone collages. At first glance these look like pages torn out of old science or geography magazines. It was only after talking with Michael, that I learned that he had crafted these carefully by hand. Subjecting the paper to multiple washes of paint, chemical solutions and other tools he effectively "aged" the prints. Through the veil of this yellowed, worn surface, the images looked deceptively older than they were. In comparison to the hand-cut forms in his other collages however, they had a markedly digital cut-and-paste appearance. Tiled on the page, they overlapped in some areas and formed negative geometric shapes between others, challenging their antique appearance and suggesting that they had been composed on a computer.
Theo Michael, I Cancelled The Best (Magnetic Mistakes) 14, mixed media on paper, 2013.
Image courtesy of the artist and Preteen Gallery.
Image courtesy of the artist and Preteen Gallery.
Despite the amount of information and the delicate surface treatment, the most striking thing about these collages was not what Michael added to them, but what he took away. Unlike the cumulative process used to produce most collage work, the signature characteristics of these pieces were made using a reductive approach. After printing and painting them, Michael removed several of the images, leaving gaping holes in the surface of the paper. Hung unframed in the gallery, these pieces seemed to hover over the walls, the bright white surface visible through the amorphic voids. Slight shadows were also created around the edges of the holes, lending the two dimensional work a sculptural quality.
When considering the themes of history, archeology and systems of categorization that Michael's work suggests, these collages conjure up even more associations than his previous pieces. With the series at Preteen, Michael invites his audience to use their imaginations to fill in the blanks and to forge links between the clues presented. When viewing these pieces, one's eyes cannot help but to jump from one absence to the next, connecting the dots, trying to solve the puzzle. What was there and then removed? This work not only speaks to things erased from a narrative or a history, but also to a story that is yet to be written and gaps that are yet to be filled.
When considering the themes of history, archeology and systems of categorization that Michael's work suggests, these collages conjure up even more associations than his previous pieces. With the series at Preteen, Michael invites his audience to use their imaginations to fill in the blanks and to forge links between the clues presented. When viewing these pieces, one's eyes cannot help but to jump from one absence to the next, connecting the dots, trying to solve the puzzle. What was there and then removed? This work not only speaks to things erased from a narrative or a history, but also to a story that is yet to be written and gaps that are yet to be filled.
Theo Michael, I Cancelled The Best (Magnetic Mistakes) 09, mixed media on paper, 2013.
Image courtesy of the artist and Preteen Gallery.
Image courtesy of the artist and Preteen Gallery.
Theo Michael, Exhibition view from I didn't think of anything I don't know what to do at Preteen Gallery, Mexico City, 2013.
Image courtesy of the artist and Preteen Gallery.
Image courtesy of the artist and Preteen Gallery.
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