Alan Fertil & Damien Teixidor - Santa Monica Airlines & Loose Groove (2012)
D : [laughs] they are paintings, we define them a bit like sculptural paintings ! This is a question for Alan.
A : Teixidor wants to be ironic and I have to reveal the secret, explain everything…
Koenraad Dedobbeleer - Hearsay, Rumours, Bed-sit Dreamers and Art Begins Today (2013)
Cristian Bors & Marius Ritiu - The Patron of the Travellers (2013)
Cristian Bors & Marius Ritiu have been working as an artist duo ever since they moved from Romania to Belgium. In fact, they form an indissoluble unity, one can’t possibly think of one without the other.
Uber & Kosher - Forêt monolithique (2013)
a pristine excursion into a sculptural landscape
Egide Rombaux - The daughters of Satan (1904)
Egide Rombaux is full of the ideas of the Italian Renaissance. He has known how to temper the overflowing of his Flemish nature by Latin discipline, and has been very justly called “the Rubens of the chisel.” His masterpiece, The daughters of Satan, a powerfully modelled work of magnificent composition, is in the Museum at Brussels.
(Catalogue of an exhibition of work by modern Belgian artists, 1915)
Johan Gelper - Spatial Drawing (2013)
As old-fashioned as it might sound, Gelper’s work (which is anything but old-fashioned) is incredibly well composed. Just as a painting with a dynamic composition draws your eye into it, suggesting pauses at critical moments along the way, the contours of his sculptures’ absorbent boundaries curve around and inward. They take your gaze with them as they circle into often-precarious bases that repurpose rakes, trolleys, vices, and furniture legs, with a knowing wink at their common materiality and a playful nod at the utilitarian function their constituents once had.
David Mesguich - Pressure (2013)
With his latest sculpture ‘Pressure 1.0′, Mesguich tells a story of people who are on the fence, of people in-between worlds, ‘those who are both inside and outside’. His inspiration came from a family history that steeped him in a violent, carceral universe during his youth and the ten years he spent trespassing with graffiti.
By placing ‘Pressure’ in a public space without permission, the unauthorized aspect of placing a piece of work was given a whole new dimension. Passersby became more or less involved in the artwork, children would climb it and it aroused curiosity of viewers.
Francis Alÿs - Untitled (gun number 17A) (2005)
In a dramatic display, the gallery floor is strewn with machine guns that resemble menacing toys. Each work is a collaboration with Angel Toxqui, and are constructed of colored woodblocks, vintage super-8 film reels (loaded with film) and wire. The antiquated technology and filmic fissure of these machines make them seem less threatening than real guns but more important somehow. They appear loaded with potential energy and stored knowledge, and out of the corner of one’s eye resemble nothing more than oversized (and testy) grasshoppers.
George Minne - First Model for the Georges Rodenbach Memorial (1891)
After breakfast departed Uccle with van de Velde across the fields to the home of the sculptor Minne. It is a little old chapel in which he has made a pair of rooms for him and his wife. The studio that he built himself next to it looks almost impossibly small for the colossal funerary monument that he is working on. […] He himself is a thick-set, short, blond Flammand with the remarkably light, full-blooded skin colour, as if constantly immersed in a stream, of his race. From top to bottom he’s splattered with clay and surrounded by his numerous progeny of little, blond children.
(Count Harry Kessel - diary entry, March 23, 1898)