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"NOW LEAVES describes leaving and having left. Glossolalia like, against noise, about the bones of a writing, written in tongue graphics legible by reason of the trees with as many words as there are leaves. The percussion of these leaves is f***ing news. The percussion of these leaves is not his news. The percussion of these leaves is not her news. The percussion of these leaves is definitely not their news. NOW LEAVES presents itself as a block. Physically it adopts the scale of a human hand, its weight present, its structure flexible, almost human. The pages fall loosely apart to reveal dense black graphics - letters shaped as tongues, twisted to form barely legible words. Each page inscribed, playing on repetition, the word 'leaves' repeatedly tongued. The successive pages form statements, occasionally benign - it starts LEAVES FOR LEAVES - but as the pages turn a more visceral violence exudes from the pages - SLAVE LEAVES HAPPY LEAVES, FUCKING LEAVES LOST LEAVES KILL LEAVES, BLOODY LEAVES POSITION LEAVES. Whilst visually arresting, the experience of reading Dean's book reduces reading to the physical intimacy of your own mouth; as you to attempt to read the barely decipherable words to take pleasure in the babble, you feel your eyes contort as your own tongue does trying to shape the words, tempted to twist, stretch or replicate the graphic tonguing on the page." --Michael Dean.
kunst --- 7.071 DEAN --- artists' books --- kunstenaarsboeken --- woord en beeld --- concept art --- conceptuele kunst --- Groot-Brittannië --- Dean Michael --- eenentwintigste eeuw
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An Exhibition—Another Exhibition is the first monograph of the work of Belgian artist Valérie Mannaerts. The book catalogues two solo exhibitions that took place in 2010—“Blood Flow” at Extra City Kunsthal Antwerpen, and “Diamond Dancer” at de Appel arts centre.Dynamically collaging across mediums—from paint to bronze, papier-mâché to concrete—Mannaerts playfully arranges sculptural elements to create spatial installations, scenographies without stages. As scales oscillate and materials remain staunchly mercurial, the works exist in a space of deliberate ambiguity, sitting on the threshold between object and image. For the two exhibitions, Mannaerts manipulated the gallery spaces through the idiosyncratic positioning of diverse spatial objects, creating fields of tension and obscurity, surreal situations that asked viewers to decode the objects staring back at them.The monograph includes an essay by Anselm Franke, a conversation between the artist and Ann Demeester, and images and illustrations of the two exhibitions.
Mannaerts, Valérie --- vtr --- Mannaerts Valérie --- 7.071 MANNAERTS --- kunst --- België --- eenentwintigste eeuw --- beeldhouwkunst --- installaties --- schilderkunst --- tekenkunst --- Exhibitions
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art [fine art] --- Art --- Kmiecik, Magdalena --- Meulengracht-Vrancx, Van den, Benny --- Doms, Liesbeth --- Simons, Renée --- Bosmans, Kasper --- Schrijvers, Sanne --- Vrints, Vincent --- Dierckx, Chloé --- LVMM [Antwerp] --- art [discipline]
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Dodge, Jason ; Koganezawa, Takehito ; Meise, Michaela ; Rhode, Robin
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