Berlinde De Bruyckeres getormenteerde monumentaliteit in Mechelen

Gepubliceerd op: 24 January 2019

Voor haar tentoonstelling ‘It almost seemed a lily’ in Mechelen heeft Berlinde De Bruyckere zich laten inspireren door de zogeheten Besloten Hofjes. Deze 16de-eeuwse retabels met voorstellingen van het aards paradijs confronteert De Bruyckere met monumentale sculpturen waarin hoop, geloof en liefde vervangen zijn door aftakeling en dood. Een diepdonkere tentoonstelling.

Eric RINCKHOUT

Praktische Info

‘Berlinde De Bruyckere. It almost seemed a lily’ tot 12 mei in Museum Hof van Busleyden, Sint-Janstraat 2a, Mechelen. Open vr-di van 10-17 u., do van 10-22 u. www.hofvanbusleyden.be

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Voor haar tentoonstelling ‘It almost seemed a lily’ in Mechelen heeft Berlinde De Bruyckere zich laten inspireren door de zogeheten Besloten Hofjes. Deze 16de-eeuwse retabels met voorstellingen van het aards paradijs confronteert De Bruyckere met monumentale sculpturen waarin hoop, geloof en liefde vervangen zijn door aftakeling en dood. Een diepdonkere tentoonstelling.

Eric RINCKHOUT

[cnt_info] =>

‘Berlinde De Bruyckere. It almost seemed a lily’ tot 12 mei in Museum Hof van Busleyden, Sint-Janstraat 2a, Mechelen. Open vr-di van 10-17 u., do van 10-22 u. www.hofvanbusleyden.be

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Wim De Pauw (°1989) is de derde kunstenaar die door de Vrienden van het S.M.A.K. in Gent uitgenodigd werd om tentoon te stellen in hun locatie De Vereniging. De Pauw werd als schilder opgeleid aan Sint-Lucas Gent, maar stapte vrij snel over naar het maken van assemblages: in plaats van te werken met doeken op standaardformaat knutselde hij zijn doeken zelf in elkaar, zoals een ‘schabschilderij’ met legplankjes, dat in de hal van zijn kot hing en waarop medebewoners voorwerpen konden plaatsen (blikjes, brieven, sigarettenpakjes). Foto’s van de wisselende ‘displays’ zijn te zien in de Vereniging.

Maar De Pauw ging en gaat verder: met afgedankte meubelstukken, voorwerpen op straat gevonden, objecten uit zijn eigen atelier enzovoorts maakte hij even enigmatische als poëtische assemblages en installaties, die hij vaak een tweede huid geeft, door ze te beschilderen of met plastic te overtrekken. Opvallend is ook de mobiele schuifdeur mét kijkgaten langs één wand, die over de rails schuift van wat vroeger de bibliotheekruimte in de Vereniging was. Al schuivend zie je door de kijkgaten enkele assemblages aan de muur opduiken. Uit de perstekst: ‘Met deze onbewuste stillevens die getuigen van onze rommelige manier van leven vervaardigt de kunstenaar zijn sculpturen, vertrekkend vanuit de agency of things, om een plot te creëren die de statische eigenschappen van het object overwinnen’.

Zelf legt hij het poëtischer uit: “Schilderen is, zo ervoer ik, verstillen. Dat was niet genoeg voor mij, ik zocht de beweging en de mobiliteit. Elk werk is voor mij een kleine biotoop waarin ik me beweeg.”

De tentoonstelling heet ‘Zwischenzug’: een Duitse term  uit het schaakspel waarin de betrokken speler niet de verwachte zet doet, maar een ‘tussenzet’. In dit geval: tussen schilderkunst en sculptuur, tussen artefact en banaal object, tussen het verwachte en het onverwachte.

MR

 

 

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Wim De Pauw, ‘Zwischenzug’ tot 10 februari 2019 in De Vereniging, Jan Hoetplein 1, Gent. Toegang gratis. Open di-vr van 9u30-17u30, za-zo van 10-18 u. www.smak.be

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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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