Marking the occasion of Didier Vermeirens eponymous solo exhibition at WIELS in Brussels, this book illuminates the recurrent strategies of repetition, reversal, doubling and inversion that the artist explores in his work

Double Exposition takes its name from a photograph by Vermeiren that refers to its own double exposure (exposition in French, which also translates as exhibition). The title thus evokes the recurrent strategies of repetition, reversal, doubling, and inversion that Vermeiren explores in his work.

Conceived by the artist and containing a rich array of his striking photographs, this book also features an in-depth analysis of Vermeirens most recent sculptures written by long-term commentator on his practice, Michel Gauthier; an essay on the central role of photography in his studio practice by Susana Gállego-Cuesta; and a look at the shifts and continuities in his oeuvre over the past four decades by the exhibitions curator, Zoë Gray.

For over 25 years now, Vermeiren has taken photographs of sculptures that catch his attention. He has thus compiled works that he has come across in his travels, outings, and visits to museums. These photos are part of a much-needed reexamination of the past. He nurtures intimate relations with the history of sculpture, which he infallibly shares with enthusiasm and conviction.”Vermeiren’s works embody the memory of both Giacometti’s palace and Donatello’s dancing children, of Andre’s floor pieces as well as the endless column of Brancusi. For the sculptor’s material, says Vermeiren, is not plaster, bronze or marble, but recollection.” – Dominic van den Boogerd.

Catalogue. Didier Vermeiren (born 1951 in Brussels, where he lives and works) belongs to a generation of artists who, since the 1970s, has been drawing on the legacy of conceptual art and minimalism. Vermeiren has been occupied with the history and specific nature of sculpture since the 1970s, more specifically the plinth. The fraught relationship between sculpture and pedestal is often viewed as a metaphor for the correlation of sculpture and reality—with Vermeiren subscribing to Brancusi’s belief that the plinth is integral to the work.