Lonnie van Brummelen & Siebren de Haan
Opening: Friday 9 December 2011 - 20:00
Subi dura a rudibus
The adjoining room at KIOSK becomes a projection space for the film diptych ‘Subi dura a rudibus’ (16mm, 26’, 2010) by the Dutch artist duo Lonnie van Brummelen & Siebren de Haan. The inspiration for their silent film is a sixteenth-century series of tapestries depicting the 1535 conquest of Tunis under Charles V. The tapestries were designed by Jan Cornelisz. Vermeyen, a painter at the Habsburg court who accompanied the troops of Charles V as an ‘embedded artist’ appointed to make drawings of the expedition.
The film shows the drawn designs mirrored and juxtaposed to the tapestries. The diptych refers to the tension between objectivity and interpretation: the mirror images recall the well-known inkblots of the psychological Rorschach test and confront us with the differences between the original drawings and the tapestry weaver’s translation of them.
Slavs and Tatars
Opening: Friday 9 December 2011 - 20:00
Friendship of Nations: Polish Shi’ite Showbiz
The upcoming exhibition at KIOSK shows work of international artist collective Slavs and Tatars and of Dutch duo Lonnie van Brummelen & Siebren de Haan. Both ground their artistic practice in research and explore the interactions between the historical, the social and the political by way of association.
By their own account, the artist collective Slavs and Tatars has, since its inception in 2005, been mapping an area that stretches between the former Berlin Wall and the Great Wall of China. They focus on an oft-overseen cultural overlap between Slavs, Caucasians and Central Asians and humorously but polemically disrupt a univocal Western interpretation. The installations, performances, lectures and print publications that make up these alternative spheres of influence, form a playful mosaic of associations combining elements from a spectrum of high and low culture.
At KIOSK, Slavs and Tatars present a number of works under the collective title Friendship of Nations: Polish Shi’ite Showbiz. The solo show is in part an elaboration of the project of the same name they presented at the tenth Sharjah Biennial earlier this year. The multimedia Friendship of Nations: Polish Shi’ite Showbiz shows the unlikely common history of Iran and Poland. The revolutionary potential of handiwork and folklore behind two important geopolitical shifts – the Iranian Revolution of 1979, and the fall of Communism in 1989 heralded by the Polish Solidarność – are activated and explored as a source of mystical protest. This subject was first explored in the 79.89.09. project that consisted of a series of lectures, a contribution to Berlin-based magazine 032c, a newspaper edition that is being reprinted for the KIOSK show, and the mirror mosaic Resist Resisting God (2010) that is also on display at KIOSK. Further, the central dome room will be taken in by a series of colourful sewn banners boasting re-interpreted, creolized slogans from the Iranian Revolution and the Solidarność movement.
Opening: Saturday 8 October 2011 - 20:00
KIOSK opens the new season with Growth, a solo exhibition by Brussels-based Canadian artist Zin Taylor (1978). Taylor’s work is often rooted in narrative structures that are translated into sculptures, drawings, graphic works, performances and video works.
Taylor’s investigative attitude points to a remarkable fascination for natural forms which he transposes to sculpture through the use of traditional techniques, artisan methods and sculptural principles. It is this, the very nature of sculpture, that the title of the exhibition alludes to; the organic development of form. The works on display in Growth can thus be seen as variations on one central question: how does form materialize? How do works of art grow?
The artist’s ongoing inquiry into the development of a fundamental, sculptural form as a densely layered and organically growing process finds one of its most outspoken realizations in The Bakery of Blok, a work from 2009 that will be reinterpreted for KIOSK’s central hemicycle room. This installation, consisting of a series of materialist ‘units’, unfolds a complex narrative that interacts with the exhibition’s architecture.
Zin Taylor is represented by Galerie Vidal Cuglietta (Brussels); Jessica Bradley Art + Projects (Toronto); and Supportico Lopez (Berlin). Ursula Blickle Stiftung (Kraichtal), Contemporary Art Museum (St. Louis), Miguel Abreu Gallery (New York) and Etablissement d’en Face Projects (Brussels) all hosted solo shows by Taylor. Group shows in which he participated have been held at Witte de With (Rotterdam), Power Plant (Toronto) and Contemporary Art Gallery (Vancouver), among others.
Jan De Cock
Opening: Friday 22 April 2011 - 20:00
Improvise and Overcome
Jan De Cock (Brussels, 1976) garnered fame with his ‘Denkmal’: monuments, temporary installations made of wooden modules and photographic images that subtly integrate with the architectural and spatial context of their specific location. De Cock lets his interdisciplinary work engage in a dialogue with art-historical, architectural and cinematographical references, leading the visitor through a rhythmic course of repetition, linearity, fragmentation and perspective.
Improvise and Overcome is the title De Cock chose for his creation for the central round space of the KIOSK gallery, where he has installed an ‘infini’. This freestanding structure refers to the nineteenth-century panorama. The installation functions as a support for a series of two-dimensional interventions and a new sculpture.
Opening: Friday 22 April 2011 - 20:00
With Derek Sullivan and Jan De Cock, KIOSK has invited two artists who examine the history of contemporary art through their works. Both artists suggest that the interpretation of this history and its visual heritage is not a self-contained narrative, but always contains a new proposition.
Derek Sullivan (Toronto, 1976) makes drawings, gouaches and sculptural work in which he combines the visual aesthetics of American geometric abstraction, modernist design and graphic art with shapes and forms borrowed from the realm of conceptual art.
Sullivan’s characteristic large-format monochrome prints function as a backdrop for drawings and gouaches that combine geometric patterns and textual elements. Fascinated by artist’s books, Sullivan regularly publishes work, making ample use of the possibilities of print-on-demand.
Young Americans, the title of his KIOSK show, refers to the exhibition catalogues the New York MoMA published during the 1950s, an age where the interest for contemporary American art peaked. Fragments from these catalogues are being reproduced as posters, and combine with drawings and the fan-shaped architecture of the KIOSK cabinet rooms to make up separate pages of an imaginary book.
Thea Djordjadze & screening room: Anna Franceschini
Opening: Friday 4 February 2011 - 20:00
Quiet Speech in Wide Circulation
KIOSK hosts ‘Quiet Speech in Wide Circulation’, Georgian artist Thea Djordjadze’s (Tbilisi, 1971) first ever solo show in Belgium. The exhibition’s title refers to the venue’s original function as an anatomical theatre, where even the slightest whisper resonates throughout the room. Much like an object falling in water and drawing concentric circles on its surface, so Djordjadze seems to encircle her work, the KIOSK space and the visitor in a single movement, getting communication between them going.
Taking over the hemicycle’s floor surface, the level scaffolding the artist has forged effectively functions as an offset to the impressive, upward dome. These steel supports covered with foamed plastic subsequently invite to be interpreted as a kind of sun deck for the visitor to lie down on – receptive and open to the slightest whisper.
Djordjadze’s work starts with everyday, kneadable materials like plaster, ceramics, sponge, cardboard, clay, textile or papier-mâché which the artist shapes into modest though firmly present sculptures. These are positioned in space, surrounded by simple architectural wooden or metal structures that recall classical modernist aesthetics and whose stark linearity contrasts sharply with the sculptures’ organic and amorphous, ‘unfinished’ surfaces. Further juxtaposed with cryptic drawings and cultural artefacts like nomad rugs, all these elements combine to make a very specific amalgam of materials, shapes, objects and cultures that erodes its parts’ historical ideologies to shape a new, metaphysical result.
Thea Djordjadze works and resides in Berlin. She recently had solo exhibitions in a.o. Castillo/Coralles, Paris (2010), Kunsthalle Basel (2009) and Kunstverein Nürnberg (2008). Her work was also on display in group shows at the Rubbel Family Collection, Le CREDAC Ivry-sur-Seine and Hayward Gallery London. She also took part in the 5th Berlin Biennale (2008) and has collaborated with Rosemarie Trockel (for the 9th Biennale de Lyon, 2007, amongst other occasions). Thea Djordjadze is represented by Sprüth Magers in Berlin and London.
The side room adjacent to the hemicycle is transformed into a screening room for Nothing is more mysterious. A fact that is well explained (16mm transferred to DVD, 2010) by Anna Franceschini (Pavia, 1979). During a 2009-2010 residency at the Amsterdam Rijksakademie for visual arts, the Italian artist was captivated by the tradition of the pictorial still life and the private dimension of indoor life. This interest led her to the discrete Amsterdam Pianola Museum. In only two long movements, the camera explores the surfaces and textures of the objects in this intimate space. The result can be read as a long unwinding of visual memories, a recapitulation of art historical references; the film itself as an ‘object in movement’.
Geert Goiris & Vincent Lamouroux
Opening: Saturday 11 December 2010 - 20:00
Turbulence is the moniker under which KIOSK lets the works of French artist Vincent Lamouroux and Belgian photographer Geert Goiris interact. Both artists employ their practice as a means to examine notions as time and space, fiction and reality, landscape and composition. The results are often real or constructed spaces which strike the viewer as simultaneously familiar and alien.
Goiris and Lamouroux have collaborated before, and for this occasion they have again decided to take a common point of departure: the concept of ‘turbulence’, and the ways it can spark off the interaction between their work, the space it inhabits, and the visitor. The dialogue between their respective work is deliberately stimulated in an interplay of light, vistas and contrastive vertical and horizontal lines in space. The ‘turbulence’ between both arrangements is made palpable both in the harmony and the contrast between the upward force in Lamouroux’ sculpture in the hemicycle room on the one hand and the pull of gravity on Goiris’ hanging photo prints in the side room on the other. This turbulence manifests itself as a continuous struggle between perceptions.
Vincent Lamouroux (Saint-Germain-en-Laye, 1974) resides and lives in Paris. He creates spaces that appear both architectural and sculptural, both organic and constructed. His work originates in the notion that a sculptural intervention will influence the entire space. Often impressive interventions destabilize visitors’ orientation. Next to a number of smaller spatial interventions, Lamouroux presents the work Hélioscope in KIOSK’s hemicycle room. Hélioscope prompts an immediate novel, vertical interpretation of the room: the 8 meter high spiral staircase leans forward into the room, effectuating a dynamic upward movement. The upwards structure of the staircase lifts up the room, its whiteness absorbs the light and its subtle imbalance disorients the viewer. The artist received the ‘Fondation d’Entreprise Ricard’ prize in 2006. KIOSK is the first venue to show Lamouroux’ work in Belgium.
Belgian photographer Geert Goiris (Bornem, 1971) currently lives in Antwerp, from where he is steadily making his way in the international art scene. Goiris won this year’s Baloise Art Prize at Art Basel, and he had recent solo shows in the Hamburger Kunsthalle and at CAB Burgos. Until 16 January 2011, his work is on display in the group show Fresh Hell at the Palais de Tokyo in Paris. Goiris’ photographs go beyond merely recording as they make viewers instantly feel the alienating nearness of the abandoned, isolated places they show. Time and space are being cancelled out in a play with light, depth and subject matter. Goiris emphasizes both nature in itself and the traces of human presence in dilapidated architectural and utopian landscapes. Goiris’ landscape shots are often made using a slow shutter speed, a method which seems to impose on the viewer a parallel way of contemplating the photographs: they demand slow observation, allowing the gaze to adapt time’s own pace in penetrating the rows of trees and exploring the infinite horizons. Next to a number of earlier works, Goiris will present a new series of photo prints, Giants which is being presented at KIOSK.
With support of the French Embassy in Brussels. With special thanks to Chapelle Jeanne d’Arc Art Center and Brionne Industry who produced Helioscope for Vincent Lamouroux. Geert Goiris is affiliated researcher at Sint Lukas Higher College for Art and Design in Brussels (BE).
Opening: Sunday 10 October 2010 - 20:00
Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle, 1926-1972
For the exhibition at KIOSK, artist Zoe Beloff (°1958, Edinburgh, Scotland) proposed to adapt her most recent project to the particular architecture of KIOSK. ‘Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle’ originated in 2009, when the Coney Island museum invited Zoe Beloff to create an exhibition in celebration of the centennial of Sigmund Freud’s visit to Coney Island.
Beloff resurrected the forgotten world of the Coney Island Amateur Psychoanalytic Society, along with the visionary ideas of its founder, Albert Grass. The lively exhibition was well received by the public and the project was covered by the New York Times, Art in America and Cabinet. The show features ‘dream films’ made by members of this society, a working model of an amusement park designed by Albert Grass to illustrate Freud’s theories, as well as drawings, letters and many unusual artefacts. The KIOSK-version of this exhibition project is enhanced with the introduction of an exciting series of comic strip-like graphic explorations. The exhibition at KIOSK was initiated by Belgian curator and researcher Edwin Carels.
Beloff works with a wide range of media including film, stereoscopic projection performance, interactive media, installation and drawing. Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. Therefore her role as an artist can be considered as an interface between the real and the imaginary. The exhibition’s depiction of historical artefacts highlights the ambiguity of Beloff’s role in its creation. When visitors enter her version of “Dreamland”, they are entirely free to form their own opinion. Beloff has a very personal way of eliding the role of archivist and creator in conjuring up Coney Island’s hidden history.
Zoe Beloff moved to New York in 1980 to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings at venues including the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Centre in Paris. In 2009 she participated in the Athens Biennale, and she has an upcoming project in M HKA Museum in Antwerp. She has been working with the Christine Burgin Gallery on a number of projects, including prints and books. The exhibition in the Coney Island Museum was accompanied with a book and a DVD published by Christine Burgin and edited by Zoe Beloff, The Coney Island Amateur Psychoanalytic Society and its Circle. Beloff’s new book, The Adventures of a Dreamer by Albert Grass, will be launched in KIOSK during the opening. A more extensive biography can be found on her website www.zoebeloff.com.
The artist would like to thank Eric Muzzy, director of the Coney Island Museum Aaron Beebe, Christine Burgin and the New York State Council on the Arts.
Opening: Saturday 8 May 2010 - 20:00
Get Out of My Cloud
The second exhibition in the new location shows work of Edith Dekyndt (B) and Rik Moens (B), two artists that share a fascination for the experiment and the proces, both artists integrate the aspect of coincidence in their actual physical form.
Edith Dekyndt (°1960, Ypres) lives and works in Tournai. She is at this moment seen as one of the most important artists of Belgium’s French-speaking community. Edith Dekyndt’s work is characterized by a minimal, aesthetic visual language. In video works, sound works, installations and sculptures, she explores physical phenomena (including soundwaves and light), manipulates invisible elements (dust and magnetic particles) and records ephemeral events.
The artist attempts to sensitize the individual as a ‘viewer’ by sharpening our sense of perception. Edith Dekyndt’s Get Out of My Cloud exhibition includes a new installation, specially created for KIOSK’s central hemicycle space,Carousel. This installation gets form throughout image, text and sound.
Opening: Friday 7 May 2010 - 20:00
Proposal of the Props
The second exhibition in the new location shows work of Rik Moens (B) and Edith Dekyndt (B), two artists that share a fascination for the experiment and the proces, both artists integrate the aspect of coincidence in their actual physical form.
Rik Moens (°1969, Ninove) is an artist who repeatedly seeks ways to test the limits of his medium, without repudiating painting tradition. As a painter, Moens continually questions the conventions and the limitations of the medium, so that such fundamental cornerstones as format, medium, background, signature, texture and colour are repeatedly examined in depth. At KIOSK, under the title,Proposal of the Props, Rik Moens presents a recent series of paintings that have never before been exhibited. Each of these works exerts its strong physical presence into the space. This is not so much due to their monumentality as to their specific evolution, whereby in almost ritual fashion, they are built up, layer upon layer: paintings as the performative carriers of an extremely conscientious process of creation, which sometimes takes months to complete.