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Victor Servranckx (1897-1965) staat algemeen bekend als een van de eerste abstracte schilders en beeldhouwers in Belgie. In de catalogus Victor Servranckx. De jaren twintig focust Mu.ZEE op het decennium waarin de jonge kunstenaar de overstap van de figuratie naar de abstractie maakte. Aan de hand van tientallen kunstwerken en archiefdocumenten volgen we het parcours dat hij in deze periode aflegde via stijlbewegingen als het futurisme, het purisme, de geometrische abstractie en het surrealisme. Net als in de tentoonstelling ligt in dit begeleidende boek de klemtoon niet alleen op zijn schilderijen en sculpturen. Voor het eerst presenteren we Servranckx' beeldende werk in combinatie met zijn architectuur- en designontwerpen - een zo goed als onbekend, maar belangrijk aspect van zijn oeuvre. De tentoonstelling en de catalogus brengen samen hulde aan Victor Servranckx, een pionier van de Belgische avant-garde, die zich met een schijnbaar gemak meester maakte van verschillende kunstdisciplines.

Servranckx, Victor --- toegepaste kunsten --- interbellum --- abstracte kunst --- constructivisme --- 20ste eeuw --- 930.25 <493 KUL> --- kunst --- twintigste eeuw --- schilderkunst --- België --- Servranckx Victor --- abstractie --- abstracte schilderkunst --- geometrische abstractie --- futurisme --- purisme --- surrealisme --- architectuur --- design --- beeldhouwkunst --- grafiek --- meubelkunst --- meubilair --- behangpapier --- behang --- 75.071 SERVRANCKX --- Archiefwetenschap. Archivistiek--België--KUL --- Exhibitions --- 930.25 <493 KUL> Archiefwetenschap. Archivistiek--België--KUL --- Painting [Abstract ] --- Belgium --- Art --- prints [visual works] --- sculpture [visual works] --- architecture [discipline] --- drawing [image-making] --- painting [image-making] --- anno 1920-1929 --- abstracte, niet-figuratieve kunst --- Servranckx, Victor, --- interbellum. --- abstracte kunst. --- constructivisme. --- Servranckx, Victor. --- 20ste eeuw.

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Sawing a plank is like going for a walk by Kato Six (b. 1986) is published on the occasion of Kato's solo exhibition at M Leuven this autumn. This book encapsulates 10 years of her quest as an artist.The work of Kato Six (b. 1986) balances between abstract and figurative art. She works on different themes which she develops into series or ensembles. Architecture, design, domesticity and utensils all act as important references. Starting there, she uses recognisable and everyday materials such as MDF, stone, plastic or textiles. Kato wants to question certain affinities and let the viewer look at familiar objects or images from a different perspective. As a viewer, you feel connected to the object or image but the actual meaning or function no longer applies.

7.071 --- kunst --- kunstenaars --- eenentwintigste eeuw --- textielkunst --- tekenkunst --- installaties --- beeldhouwkunst --- Six Kato --- Posture --- 7.07 --- Albers, Anni (Annelise Else Frieda Fleischmann) 1899-1994 (°Berlijn, Duitsland) --- Textiel en beeldende kunst ; wisselwerking --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Six, Kato °1986 (°Brugge, België) --- Belgische kunstenaars --- Textiele kunst ; installaties --- Six, Kato --- Art --- installations [visual works] --- cloth

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Garcia, Dora ; Koelewijn, Job ; Konrad, Aglaia ; de Gruyter, Voebe ; Zimmermann, Peter ; Deprez, Dany ; Venlet, Richard ; Visser, Barbara ; Augustijnen, Sven ; Braeckman, Dirk

Painting --- photography [process] --- Photography --- Art --- Sculpture --- installations [visual works] --- painting [image-making] --- sculpting --- sound [acoustics] --- Venlet, Richard --- Zimmermann, Peter --- Konrad, Aglaia --- Gruyter, de, Voebe --- Visser, Barbara --- Augustijnen, Sven --- Matthys, Kobe --- Koelewijn, Job --- Kempenaers, Jan --- Garcia, Dora --- Deprez, Dany --- Braeckman, Dirk --- Tuerlinckx, Joëlle --- Agence / Agency / Agentschap --- anno 2000-2099 --- anno 1900-1999 --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- België --- Brussel --- metro --- kunst en openbare ruimte --- Zimmerman Peter --- Garcia Dora --- Augustijnen Sven --- Venlet Richard --- de Gruyter Voebe --- Agence --- Agentschap --- Kempenaers Jan --- Braeckman Dirk --- Konrad Aglaïa --- Koelewijn Job --- Visser Barbara --- Deprez Dany --- Tuerlinckx Joëlle --- 7.038/039 --- Exhibitions --- García, Dora --- sculpture [visual works] --- artists' books [books] --- easel paintings [paintings by form] --- subways --- Brussels --- paintings [visual works]

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De tentoonstelling 'B.LAST' brengt een eeuw Belgische abstractie bekeken vanuit de ziel, zonder het kunsthistorische pad te volgen. Het is een passioneel parcours zonder gebondenheid, spelend met een bevrijdende gedachte waarmee de eerste avant-gardegroepen overtuigend het begrip abstractie kneden. L'exposition 'B.LAST' présente un siècle d'art abstrait belge, vu à travers l'âme, sans suivre la route de l'histoire de l'art. Il s'agit d'un medley artistique qui introduit une pensée libératoire qui, chez les premiers groupes d'avant- garde, a permis d'asseoir solidement la notion de l'art abstrait.

kunst --- twintigste eeuw --- eenentwintigste eeuw --- Stappaert Boy & Erik --- Lecompte Wannes --- Gees Paul --- De Sauter Willy --- D'Hollander Ilse --- De Pauw Wim --- Delabie Henk --- De Keyser Raoul --- De Brabandere Mario --- Doppagne Eric --- Cattoor Erwin --- Butaye Céline --- Wyckaert Maurice --- Van Sumere Hilde --- Vandercam Serge --- Vandenbranden Guy --- Van Severen Dan --- Van Lint Louis --- Van Hoeydonck Paul --- Van Anderlecht Englebert --- Swimberghe Gilbert --- Seuphor Michel --- Rets Jean --- Raveel Roger --- Peire Luc --- Noël Victor --- Mendelsonn Marc --- Mortier Antoine --- Mara Pol --- Lewy Kurt --- Leblanc Walter --- Drybergh Charles --- Delahaut Jo --- Decock Gilbert --- Cortier Amédée --- Collignon George --- Bury Paul --- Bogart Bram --- Boël Maurice --- Bertrand Gaston --- Alechinsky Pierre --- Vantongerloo Georges --- Peeters Jozef --- Servranckx Victor --- Maes Karel --- Gailliard Jean-Jacques --- Lacasse Joseph --- De Troyer Prosper --- 75.036/039 --- constructivisme --- lyrische abstractie --- geometrrische abstractie --- België --- abstracte schilderkunst --- abstractie --- 75.038(493) --- 75.037(493) --- 75.039(493) --- Abstracte schilderkunst ; België ; 20ste en 21ste eeuw --- Avant-garde --- Lyrische abstractie --- Geometrische abstractie --- Constructivisme --- Abstraction-création --- Tentoonstellingscatalogi ; Oostende ; Venetiaanse gaanderijen --- Schilderkunst ; 1950 - 2000 ; België --- Schilderkunst ; 1900 - 1950 ; België --- Schilderkunst ; 2000 - 2050 ; België --- Exhibitions --- Art styles --- Art --- Abstract [fine arts style] --- anno 1900-1999 --- anno 2000-2009 --- anno 2010-2019 --- Belgium --- Abstract [modern European style]

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Tornado is Pascale Marthine Tayou’s solo exhibition in Mu.ZEE. It is the conclusion of an intense collaboration that began in early 2018 with a ‘prologue’ entitled Ik ben Gentenaar. During this time – and in anticipation of the exhibition – an artwork was added at regular intervals to the collection presentations in Mu.ZEE. Tayou challenged the museum not to play it safe but to start working with him from day one. In this sense, Mu.ZEE functions as a laboratory, where a number of ideas can be tested spatially and reactions are quick. Under the guise of injecting movement into something rigid, the artist refers to activating what he calls the ‘frustrated’ museum space. The concept not only applies to the physical space as an exhibition gallery, but also for the mental space that is needed to build a bridge to our society. ‘The museum should engage in self-observation, should get out of itself. Society needs a space … that constantly questions itself and that will analyse, in almost real time, social changes and human movements.’ The traditional exhibition route is pushed aside, and the emphasis shifted towards being on the road. Movement is important and goes against the rusty museum systems.&#13;&#13;&#13;An intense collaboration with Pascale Marthine Tayou is akin to building on the path that Mu.ZEE has been treading for several years. The museum has consciously opted for long-term projects with artists working on social themes. Indirectly, these exhibition projects give oxygen to the museum debate on decolonisation, the decanonisation of the collections and the role of the museum in the 21st century.&#13;&#13;&#13;The prologue Ik ben Gentenaar comprises five proverbial ‘chapters’, which in the exhibition Tornado are rewritten and supplemented with an explosion of images, words, stories and emotions. Abundance is not strange to Pascale Marthine Tayou. He pursues aesthetic discoveries in which form, colour and light serve as raw materials for new sculptures, photographs, drawings, installations and paintings. Tornado brings a limited selection of existing artworks from the artist’s rich oeuvre into dialogue with mainly new creations and site-specific installations. Pascale Marthine Tayou (b. 1966, Nkongsamba, Cameroon) has been active for almost thirty years and his current preoccupations are not all that different from what initially inspired him to become a ‘maker’ and travel the world. ‘There is a tornado raging in my head!’ The exhibition is like a whirlwind of sincere emotions, stories of yesterday and today, that inspire us to do things differently tomorrow. Tornado is a portrait of the countless souls wandering around in search of a safe existence. It stands for ‘being on the road’ as a way of life and also reflects the fear of dealing with it as a society. ‘It is the portrait of the wind that blew when I last came to Ostend. Like the other elements of nature – such as rain or sun – the wind is driven by the seasons and tempers our ego. Modesty adorns us, no matter how great we think we are, we will always be ‘smaller’ than nature.’&#13;&#13;&#13;Tornado does not evade any subject – migration, gender equality, identity and origin, evolutions within nationalist thinking, colonial wounds and their place in the individual and collective memory, peace, fear and violence, but most crucially of all, the importance of knowledge and the transference of the ancient power it holds. Tayou does not shy away from these themes, but nor does he politicise them. He observes, is critical and above all curious in his quest for the universally human, for that which unites us all. The artist weaves forgotten histories and raked-up memories with a contemporary imagination. He constantly balances on a boundary between negative and positive energy. Nothing is what it seems, let alone unambiguous.&#13;&#13;&#13;A cobblestone symbolises revolt – ‘sous les pavés, la plage’ [Under the paving stones, there is a beach!] –&#13;but also serves to build a new road. The duality that lies in his visual language breaks open the conversation. In this way, he challenges our stereotypical image of ‘the Other’. ‘Fixing the past to the present on the canvas of the future’. Browsing through the past is useful as long as we don’t stick to the same old clichéd images. Under the guise of wanting to maintain a certain lightness in thinking about current social problems, Pascale Marthine Tayou prefers to make ‘human’ rather than political statements. The artist does not create so as to honour art, but in order to celebrate life. ‘And yes, can’t we use a bit of humour?’

Art --- installations [visual works] --- museum administration --- migration [function] --- humor --- color [perceived attribute] --- site-specific works --- identity --- installation artists --- assemblage artists --- gender [sociological concept] --- African [general, continental cultures] --- Tayou, Pascale Marthine --- kunst --- 7.071 TAYOU --- postkolonialisme --- kunst en politiek --- eenentwintigste eeuw --- assemblage --- beeldhouwkunst --- installaties --- Tayou Pascale Martine --- België --- Kameroen --- Exhibitions --- social criticism