Inside_out, Sigrid Tanghe
9 Mai - 24 Juin 2021
May 9th - June 24th, 2021
Paper, water and paint are her working materials, a stone her starting point.
The starting point is millions of years old, was created in times when man did not even exist, it is slow. The working material, on the other hand, requires a certain speed and does not tolerate any failure.
Sigrid Tanghe looks at a stone and brings it to life, penetrates into the soul of the stone. She refers me to Karl Blossfeldt (1865-1932) who became famous overnight with his 'Urformen der Kunst'. She admires the enormous presence he managed to put in his pictures of sometimes minimal herbs and fruits. In a small village in France, she was struck by the many old walls and ramparts that define the landscape. The old, weather-beaten stones fascinated her and became the starting point for her work. She wanted to fathom the character of those stones, to transcend pure observation. She succeeded wonderfully in her self-imposed task. She made hundreds of watercolour paintings. The observation is a starting point, the result never an image.
The stone becomes a reason for reflection, reveals its inner strength, becomes a source of light and shows itself in its various forms and facets. The stone reveals its secrets, its history, and yet not again. The mystery remains.
The stone becomes more and more space, architecture with inside and outside, with light and dark. The monolith is gradually abandoned for the inside of things, the spatial experience. She reads Dom Hans van der Laan and gets to know his vision on architecture and the measure of things, visits the chapel of Kerselare by Juliaan Lampens and will soon be in residence at the Van Wassenhove residence by the same architect.
One of the thoughts she had after reading the book is that the opening is a necessary, essential fact. If we cannot enter a space - even if only with our eyes - then that space does not exist for us.
"My aim is to draw the spectator into the work, to suck him or her in, to make him or her experience the space. She is interested in the communication between the inside and the outside, she is attracted by cracks and crevices, her curiosity stimulates her to experiment and search and she comes to particularly attractive, expressive images, which show and hide and yet always keep the mystery, questioning the viewer.
Her work shows a special intensity, which is enhanced by a very limited colour palette. Like no other, she knows how to give a spiritual depth to the image she creates. With paper, which tends more towards cardboard, and those many layers of water and paint, she creates space, spiritual space.
Heldenleven, Jan Vanriet
9 Mai - 26 Juin 2021
May 9th - June 26th, 2021
‘Heldenleven’ (‘The Life of a Hero’) is the title of a book of gouaches and poems, an autobiographical work, the chronicle of youth, in the words of its creator. The poems and gouaches were created simultaneously in the summer of 2019. The gouaches are not illustrations of the poems, just as the poems are not the explanation of the gouaches, they are interpretations of the same thing. The painter, the poet looks back in time with some melancholy. He remembers the images, but also the tastes and the smells, the sensations that you sometimes subconsciously take in but that make a lasting impression. As a man of today, he moves to the time of his youth (and later) and recalls the experience of that time through the filter of his own life. This creates new images, not images from the past, but images of today that refer to a past. That past of the maker is not the past of the viewer; sometimes there are convergences if the viewer is from the same generation or has (had) a similar interest or if the image evokes associations with the viewer's own experiences or experiences.
There are influences that have strongly determined the work of this artist. For example, the war, which he has been confronted with since childhood, not directly but through the stories and fate of his parents. They met each other in a concentration camp, which is something you can't just brush aside. The commitment that his parents have always shown is also a fixed value for him.
But many fine experiences also play a role: deeply felt sensations, childlike dreams, all-encompassing love, an adventurous trip or an experience of beauty. On the other hand, there is the loss of loved ones, the absence of friends, the failure of society, threats and violence.
Pain, sorrow, happiness, safety, love and friendship: Jan Vanriet's gouaches show me all of this through their total simplicity. There are no tricks, no overwhelming formats, no ingenious techniques, it is just paint on paper, nothing more, but what a world they evoke in me. Each gouache can function on its own, you don't really need the poem with it, each little painting is an independent work. So is the poem, together they form a diptych. Good diptychs are known to be enjoyed on their own, but together they are more than the sum of their parts. This is also how it works with this artist. Look at the work, let it penetrate you, take your time, associate and then read. It may be that you experience something completely different from what the poet intended, it can only be enriching. More importantly, allow yourself to be moved and sympathise with the artist. Feel the strong hand on your shoulder, feel safe and explore the world again.
Spilled Milk, Hilde Overbergh
5 Juin 2021
June 5th, 2021
'Spilled Milk' is a solo show of Hilde Overbergh with works from the last 7 years. The 'accidental' will be the common thread of this exhibition. A catalog highlighting the work process in her studio is published on the occasion of this exhibition.
1180 Bruxelles - Belgique
Zwart Huis displays Belgian contemporary art. The gallery started its activities in 2001 at the modernist “De Beir” house in Knokke, Belgium. Solo shows were set up in the fifteen rooms of the house; the museum-style exhibitions took into account the building’s modernist architecture. Since 2014 the gallery is run by Elke Helbig who opened a new space at the Rivoli Building in Brussels in 2017. She collaborates with various contemporary Belgian artists: Liliane Vertessen (1952), Jan De Vliegher (1964), Hilde Overbergh (1964), Albert Pepermans (1947), Colin Waeghe (1980), Antoine Goossens (1992) and Koen Deprez (1964) amongst others. Zwart Huis has a tradition of figurative painting but also looks at photography and conceptual art. The exhibition program contains 5 solo exhibitions annually. The gallery has participated to Art Brussels in 2019, 2018, 2010, 2009, 2008, 2004, 2003 and 2002.