International Art News

Peter Keene & Piet.sO – Big video light bulbs – Grandes ampoules 1000W, Vidéo projecteur, électroniques – 170 x 45 x 45 cm – 2010

From February 8 to March 16, 2013 – Mazel Galerie
The Sun has a rendezvous with the Moon.
The two artists Peter Keene and Piet.sO in residence in Brussels since 2010, venture between two spells: the sun, the moon, man, woman … in this vast gap where compasses are crazy, meetings ectoplasmic, childhood ubiquitous but worried.

Peter Keene & Piet.sO – Happy Birthday Mr.Président 2009 – Sculpture lumineuse, Leds RGB, Jelly en silicone, chassis métallique, moteur et bande sonore – 210 x 140 x 140 cm – © Mazel Galerie

Crazy machines, ghostly appearances, we feel like walking cautiously between two accomplice worlds, robots, giant dresses, projections of light bulbs filaments becoming constellations.
He has this crazy British inventor eccentricity, free and unclassifiable. Born in the vicinity of Birmingham, in the land of the industrial revolution, Peter Keene manipulates techniques as a big box of games and he does what he wants: waves, rays, reinventions of the world.

Peter Keene & Piet.sO – Red in Red – 2010 – Résine molle transparente, structure en fil cuivre et lumière – 130 x 120 x 200 cm – Crédit photographique : A.Meyer

Her, she wears this playful melancholy which diverted the myths and stories to better capture a story. Granddaughter of Polish immigrants in France in the twenties, having lost touch with her roots, Piet.sO invente for herself weird memory transmission devices.
In chemistry, the association of two elements allows the creation of a new compound which possesses different characteristics. Poetically and simply, one plus one equals more than two. Peter Keene and Piet.sO somehow embody this “miracle” chemical and poetic where plastic dresses dialogues with mechanical Christ all that in a melody electronic and binary.

Mazel Gallerie Bruxelles

Jimmy De Bock, Pompidou Center (summer)2011 - Photo printing under diasec - 65 x 152 cm (edition of 5 ) - 90 x 210 cm (edition of 2) - 128 x 300 cm (unique edition) - © Jimmy De Bock & Mazel Galerie

From February 3 to March 10, 2012 – Mazel Galerie
Born in 1975. Jimmy De Bock live and work in Brussels.
“It sometimes seems our eyes are shut to the simple beauties that surround us. Our daily life, our daily movements absorbe our attention away from our environment…
…it is about reconnecting your soul to what you forgot was there. It is about opening your eyes for the first time… again. eMotions is about us.”
Art has always been part of my family. Grand-parents painters, uncles graphic designers, father printer and very fond of photography. I have myself worked in my father’s printing factory from 1990 until 2000 as a graphic designer.

Photography came to my attention in 1994 in the United States.
A blessed year since, as the present prooves, it had a major impact on my life. I got to learn the basics of photogrpahy. I worked with a basic SLR camera, I made my own rolls of film, developed them, spent hours in the dark room.

I majored in Business in 2000 (Solvay Business School, ULB, Brussels). In the meantime, between 1996 and 2004 I traveled mainly in South America and Asia. Each year brought its load of learning until I finally realized I was destined to grow as an artist…

Bruno Timmermans, Eastwood+, Photo printing under diasec, 150 x 150 cm, 2011

Bruno Timmermans, born in Brussels in 1977, finds its calling in 1995 in Saint-Luc (Brussels) Art of the image and then continues at La Cambre studying silkscreen from 1999 to 2005.
Professional photographer, the artist throughout the years refined its style and perfected his techniques. His world view as well as his aesthetic gaze result in an image processing very singular, giving his works a special sublimation of the subject.
Bruno Timmermans’ works combine respect and embellishment whilst preserving the original purity of the “Papous”. He uses sophisticated techniques to further enhance the creative ornaments and detailed markings of the tribes. PapouArt is a genuine crossing between primal and contemporary art.

Galerie Hours

Cy Twombly, Brushes, Lexington,2005, dryprint on cardboard, 43,1 x 27,9 cm, courtesy : Schirmer/Mosel Verlag - Fondazione Nicola del Roscio

Wednesday first of February to Sunday the 29th of April 2012 – BOZAR – Centre for Fine Arts
The exhibition Cy Twombly. Photographs 1951-2010 presents more than 100 dry prints, generated from Polaroid photographs, which were selected in close cooperation with the artist himself prior to his death on July 5th, 2011. Cy Twombly’s photographs have been a rather recent discovery. Snapping photographs with his Polaroid camera since his student days, the artist did not make available to the public his photographic material until the 90s.

Cy Twombly, Painting Detail (Roses), Gaeta, 2009, dryprint on cardboard, 43,1 x 27,9 cm, courtesy : Schirmer/Mosel Verlag - Fondazione Nicola del Roscio

The subject matter of his photographs varies considerably. From still-life images of flowers and brushes, snap shots of his studio and museums interiors, details from his paintings to views of ancient temples and atmospheric landscapes, the ethereal and delicate photographs reveal the themes that have nourished the artist’s paintings, drawings, sculptures and graphic art. The exhibition will include a number of paintings by Cy Twombly and the intimate cinematic portrait “Edwin Parker” by artist Tacita Dean as a tribute to the recently deceased greatest artist of our times.

Centre Hours

Untitled, mixed media on paper, 220 x 320 cm, 2008

From September 10 to October 22, 2011 – Galerie Aliceday
Charlotte Beaudry (b. 1968, Huy, Belgium) is a contemporary Belgian painter. Her paintings and drawings are figurative, but not realistic. In pursuit of her contemporary and radical vision of a certain femininity, Charlotte Beaudry evokes the turbulence of an unstable emotional universe, putting her androgynous teenager models through a choreographic repertoire in a pictorial space. Charlotte Beaudry is represented by Aliceday, Brussels and Von Bartha Garage, Basel.

“She departs from photographs she makes herself or downloads from the internet. Usually Beaudry focuses on a certain idea she explores from the perspective of the painter in a series of works. She translates certain shapes and images in a personal style, highlighting particular aspects, revealing specific features and linking these with a certain atmosphere or emotion. Beaudry invariably depicts her subjects frontally, almost filling the entire composition. She never pays attention to situating the scene or the object — there is no room for the context. It is as if she zooms in on the meticulously chosen objects and presents a close-up of situations we never experience that close or from this perspective. By isolating the subjects and as it were portraying them, the artist raises questions about the status of images. It is as if she seeks to tell us something about the abstract character of images. By entirely eliminating the context, the message or the story about or behind the images, Beaudry apparently wants to emphasize their significance. Some of the images are reminiscent of michelangelo antonioni’s famous film Blow-up, in which a photographer becomes obsessed with a photograph. Seeking to find out what it is exactly that can be seen on the photograph, he blows up the image to such a scale that it no longer relates to reality. Similarly, Beaudry depicts reality on the canvas, recognizable and strange at the same time. Because of the isolation of the subjects, some of the images breathe a certain melancholy. a helmet, a megaphone, a bracelet or a catapult—their isolation lends them a certain sadness. Though Beaudry’s paintings are all autonomous, their meaning is often enhanced by relating them to other works that belong to the same series or period. The combination of images such as the catapult and the megaphone emphasize their connotation with aggression. They turn into metaphors of the human condition that refer to a sentiment of oppression, the longing to communicate or cry out. Still another series of smaller works zooms in on aspects of identity and the urge to be distinguish the self from the other. Six cups, of the sort awarded for winning a sports event, are portrayed in close-up. But unlike in the news, the winner is absent, and so is any reference to the meritorious act that is symbolized by the trivial metal cup. Yet another series zooms in on the ribbons awarded to the winners of beauty pageants. Beaudry’s paintings feature a fragment of a ribbon with a reference to the contestant’s country of origin, but the ribbon is depicted anonymously, against an abstract background. Five paintings of identical Buddhas, apart for the size, are arranged from large to small, like a series of interchangeable russian dolls that have lost their identity. Through the subjects depicted, the various paintings provide food for thought about news events, sporting achievements, top models, film stars, etc…”© Eva Wittocx

Galerie Hours