Dood en verderf in de Dogenstad

Gepubliceerd op: 22 May 2019

Een centrale tentoonstelling die ons wat op onze honger liet en niet bijster veel uitschieters bij de nationale paviljoens. Maar deze 58ste editie van de Biënnale van Venetië is een Belgisch feestje geworden: met eervolle vermeldingen voor het paviljoen van Harald Thys en Jos de Gruyter en voor Otobong Nkanga, de enige Belgische kunstenares op de centrale tentoonstelling.  

Sam STEVERLYNCK 

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Een centrale tentoonstelling die ons wat op onze honger liet en niet bijster veel uitschieters bij de nationale paviljoens. Maar deze 58ste editie van de Biënnale van Venetië is een Belgisch feestje geworden: met eervolle vermeldingen voor het paviljoen van Harald Thys en Jos de Gruyter en voor Otobong Nkanga, de enige Belgische kunstenares op de centrale tentoonstelling.  

Sam STEVERLYNCK 

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www.labiennale.org

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‘Ik was heel jong toen ik in Afrika reeds werd getroffen door de gratie en de ongelooflijke sterkte van die vrouwen. Ik kan veel van hen leren’ 

“Je suis une femme gourmande”, lacht Sophie Whettnall bij haar ijsveld van witte en rozige sculpturen, die veel weg hebben van buitenmaatse marshmallows. Lichtjes van haar sterrenhemel dwarrelen over de vloer en aan de muren laat ze kleurrijke abstracte landschappen van Etel Adnan meespelen. ‘La banquise, la forêt et les étoiles’ is een wandeltentoonstelling over het landschap, de mens en kracht van vrouwen die de CENTRALE in Brussel en de bezoekers inpalmt. Noem het gerust haar grootste en sterkste tentoonstelling ooit in België. 

Christine VUEGEN

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Sophie Whettnall - Etel Adnan, ‘La banquise, la forêt et les étoiles’ tot 4 augustus in CENTRALE for contemporary art, Sint-Katelijneplein 44, Brussel. Open wo-zo van 10u30-18 u. www.centrale.brussels 

In CENTRALE.box tot 2 juni laureaat Art Contest 2018 Pascale Valcke, 13 juni tot 4 augustus de keuze van Sophie Whettnall: Zinaïda Tchelidze. 

26 mei om 15 u: gesprek rond Etel Adnan met Sébastien Delot, directeur LaM. 

Monografie ‘Sophie Whettnall (at) Work’, o.m. gesprek tussen Whettnall en Marina Abramović, Mercatorfonds, 209 p. 

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‘Yes, the empire is sick, and, what is worse, it is trying to become accustomed to its sores. This is the aim of my explorations: examining the traces of happiness still to be glimpsed, I gauge its short supply. If you want to know how much darkness there is around you, you must sharpen your eyes, peering at the faint lights in the distance.’ 

Italo Calvino, ‘Le città invisibili’ (1972) 

Ik ben een simpele jongen. Zeker, ik geniet bepaalde privileges, al weet ik soms niet goed wat ermee te doen. Materialistisch ben ik hoogstens in filosofische zin, en dat zie ik als een intellectuele troostprijs. Ik wil zeggen, ik ben op weinig materieels gesteld. Getallen met meer dan drie nullen zie ik meestal niet op mijn rekening, en dat is met dank aan de Belgische belastingen. Vergeetachtig ben ik, dat ook. Gelukkig heb ik zorgzame vrienden in Venetië, waardoor mijn paraplu zich intussen in Berlijn bevindt, mijn boek in Rotterdam en mijn sjaal in Wenen. Maar goed, ter zake: ik ben een simpele jongen, zoals ik al zei. Ik kijk daarom telkens weer met grote ogen naar de privéclubs, luxejachten en cruiseschepen in de Dogenstad, en naar de haastige doortocht van de mondiale jetset voor de tweejaarlijkse hoogmis van de hedendaagse kunst. Ook na vijf edities blijf ik het een merkwaardig sociologisch tafereel vinden.  

Pieter VERMEULEN

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www.labiennale.org

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