Ailbhe Ní Bhriain in Temple Bar Gallery

Gepubliceerd op: 24 January 2019

De titel ‘Inscriptions of an Immense Theatre’ van de Ierse kunstenares Ailbhe Ní Bhriain refereert aan de geschriften van Samuel Quiccheberg (Antwerpen, 1529-München, 1567). Volgens Quiccheberg is de ‘verzameling’ of ‘theatre’ ‘een samenbrengen van kunstmatige en wonderlijke dingen’ waarbij er naar gestreefd wordt ‘de wereld in zijn geheel’ een plaats te geven. In 1565 publiceert de Antwerpenaar zijn ‘Inscriptiones vel Tituli Theatri Amplissimi’. De tekst is een 16de-eeuwse handleiding voor het creëren van museale collecties, privéverzamelingen en rariteitenkabinetten met een expliciete koloniale invulling. De verhandeling kan beschouwd worden als een van de eerste museologiegeschriften in de westerse wereld. ‘Quiccheberg combined the traditional fields of art and curiosities with the Naturalia, Mirabilia, Artefacta, Scientifica, Antiquities and Exotica to a unit that justifies the term museum. He designed a five-part classification system for his ideal museum (‘Theatrum’).’

Roland PATTEEUW

Praktische Info

Ailbhe Ní Bhriain, ‘Inscriptions of an Immense Theatre’ tot 2 februari 2019 in Temple Bar Gallery, Dublin.  www.templebargallery.com

Keywords

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De titel ‘Inscriptions of an Immense Theatre’ van de Ierse kunstenares Ailbhe Ní Bhriain refereert aan de geschriften van Samuel Quiccheberg (Antwerpen, 1529-München, 1567). Volgens Quiccheberg is de ‘verzameling’ of ‘theatre’ ‘een samenbrengen van kunstmatige en wonderlijke dingen’ waarbij er naar gestreefd wordt ‘de wereld in zijn geheel’ een plaats te geven. In 1565 publiceert de Antwerpenaar zijn ‘Inscriptiones vel Tituli Theatri Amplissimi’. De tekst is een 16de-eeuwse handleiding voor het creëren van museale collecties, privéverzamelingen en rariteitenkabinetten met een expliciete koloniale invulling. De verhandeling kan beschouwd worden als een van de eerste museologiegeschriften in de westerse wereld. ‘Quiccheberg combined the traditional fields of art and curiosities with the Naturalia, Mirabilia, Artefacta, Scientifica, Antiquities and Exotica to a unit that justifies the term museum. He designed a five-part classification system for his ideal museum (‘Theatrum’).’

Roland PATTEEUW

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Ailbhe Ní Bhriain, ‘Inscriptions of an Immense Theatre’ tot 2 februari 2019 in Temple Bar Gallery, Dublin.  www.templebargallery.com

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Voor zijn tweede solotentoonstelling bij Galerie Templon brengt Jan Van Imschoot een eerbetoon aan Caravaggio. Maar hem kennend werd het geen brave hommage, maar een iconoclastische (her)interpretatie van de door hem bewonderde kunstenaar.

Sam STEVERLYNCK

 

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Jan Van Imschoot, ‘Amore Dormiente’, tot 23 februari in Galerie Templon, Veydtstraat 13A, Brussel. Open di-za van 11-18 u., www.templon.com

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Een tiental grote schilderijen. Meer heeft de jonge, Nederlandse kunstenares met Columbiaanse roots Raquel van Haver niet nodig om de tot vervelens toe doodverklaarde schilderkunst een adrenalineshot te geven. Dat doet ze met levendige composities vol reliëf, die het vlakke doek verlaten voor een meer ruimtelijke benadering op het snijvlak met beeldhouwkunst. Werk dat bruist van energie en kleur. En dat leven brengt in het Stedelijk Museum in Amsterdam, historisch hét baken van conceptuele en minimalistische kunst.

Sam STEVERLYNCK

 

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Raquel van Haver, ‘Spirits of the Soil’ tot 7 april in Stedelijk Museum, Museumplein 10, Amsterdam, NL. Open ma-zo van 10-18 u., vr van 10-22 u. www.stedelijk.nl

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