KATINKA BOCK

Katinka Bock works across sculpture, film, photography and installation to study concepts related to history, territory, customs and symbols. Experimenting with natural materials and responding to the direct environment in which she exhibits her work, she establishes historical, physical and social relationships between these elements.

RICHARD TUTTLE

By engaging various aspects of painting in a freehanded way, Richard Tuttle’s work exceeds rational determinations. The merging of painting and sculpture is an important part of his work, which occupies a liminal space in-between mediums and embraces a handmade quality that can draw beauty out of humble materials. Throughout the 1980s and 1990s he experimented with material and began to incorporate the frame as an element to engage with scale, light, systems of display, and marginal spaces such as floors and corners.

ENRICO CASTELLANI

Enrico Castellani is best known for his predominantly white monochromatic relief paintings made by stretching canvas over arrangements of protruding nails. After studying architecture in Brussels, Castellani returned to Italy in the late 1950s. He became a central figure of the Milanese art scene along with artists such as Lucio Fontana, and Piero Manzoni with whom he cofounded the short-lived but highly influential gallery and affiliated jurnal Azimuth. Refuting the narrative constraints and traditional conceptions of the tableau, Castellani experimented with colours and shaped canvases to devise monochromes like terrains and superficies. His stipped-down approach to create such topographical abstraction is exemplary of the 1960s European art movement know as the ZERO group. 

DAVID CLAERBOUT

David Claerbout is one of the most innovative and acclaimed artists working in the realm of moving images today, his oeuvre exists at the intersection of photography, film, video, 3D, digital technology and new media. Although trained as a painter, through investigating the nature of photography and film, Claerbout became increasingly interested in exploring the notion time and duration. Fusing together the past, present and future into stunning moments of temporal elasticity, his works present profound and moving philosophical contemplations on our perception of time and reality, memory and experience, truth and fiction. 

CATHARINA VAN EETVELDE

SOPHIE NYS

Sophie Nys uses sculpture, photography, video, text and objects to examine precise philosophical, political, historical and artistic themes with a wry sense of humor. Often working from local stories or from the particularity of everyday objects, she addresses larger issues class and gender by asserting the social idiosyncrasy of common objects, products, materials and ideas. 

KOEN VAN DEN BROEK

MAGALI REUS

The work of Magali Reus often begins with familiar existing objects. Applying a sensuous material intelligence and precise compositional grammar, Reus coaxes out relations between the characteristics of objects and our conventional encounters with them. Physical transformation and display sets the stage for an object to shed its function and perform a different image of itself. Oscillating between craft-based and technological production, the works destabilise material identity and association. Newly liberated, such objects and forms take on a strange, disobedient agency.  Recently, Reus’ latest works have deepened an interest in ecology and systems of production, considering the tensions between nature, technology and the impact of post-industrial human activity. 

The motifs and elements Anne Neukamp uses in her work derive from our everyday decor, the image archive of the consumer society: cartoon characters and mascots, letters from the newspaper, and advertising pictograms. She allows these functional signs and images, designed for efficiency, to become fragments beneath layers of painting or even to disappear entirely; she puts them together in new and different ways, stripping them of their univalent impact. Her works move within a logic of shifting and undermining and stimulate the most diverse interpretations. At the same time, through their occasionally cheeky imagery, they appear to flirt with the expectations of the market.

DIDIER VERMEIREN

Didier Vermeiren’s practice is based on repetition, reversal, doubling and inversion. The plinth is incorporated and elevated to a sculptural level: plinth on plinth, the plinth becomes sculpture, the mold becomes sculpture, the replica becomes the Original, the negative becomes the positive. These strategies are subsequently expanded to various means of production, transport and presentation. 

JEAN-LUC MOULENE

PIETER VERMEERSCH

Originating from photographic sources, Pieter Vermeersch’s work deploys painting as an instrument to create images that perpetually oscillate between abstraction and representation. Vermeersch’s color gradients are the result of a meticulous and almost mathematical process by which the artist becomes a kind of human printer – blending paint into a smooth and seamless surface he conceals any trace of the labor involved in the making of the painting. Behind their seemingly straightforward appearance, these paintings are the complex condensation of an ancient technique along with the painterly attempt to render the interpretation of a photographic source. Through this complex process, Pieter Vermeersch’s paintings liberate themselves from objective referents to allow the viewer to fully experience the effect created by the all-over.

LIAM EVERETT