‘Echolalia’ van Ana Torfs in Wiels Brussel

Gepubliceerd op: 4 September 2014

‘Echolalia’ staat niet alleen voor de speelse herhaling van woorden door een kind dat leert praten, maar heeft ook betrekking op een medische afwijking waarbij iemand dwangmatig woorden en zinnen nazegt. Bovendien verwijst het woord naar de opeenvolging van geluiden in de poëzie, die de betekenis ondergeschikt maakt aan het geluid. Met die titel lijkt beeldend kunstenares Ana Torfs (°1963), de Brusselse grande dame bij wie taal en beeld onlosmakelijk met elkaar zijn verbonden, aan te geven dat taal een substantieel bestanddeel van haar werken vormt. Met ‘Echolalia’ toont ze in WIELS haar oeuvre van de laatste vijf jaar, in zes installaties, die op één na nooit eerder in België te zien waren.

Fotogalerij

Praktische Info

Ana Torfs, ‘Echolalia’ van 12 september tot 14 december in Wiels, Centre d’Art Contemporain, Avenue Van Volxemlaan 354, Brussel. Open wo-zo van 11-18 u. www.wiels.org
Naar aanleiding van deze tentoonstelling verschijnt een gelijknamige publicatie die werd samengesteld door de kunstenaar; het is een beeldboek dat tekstbijdragen bevat van Dirk Snauwaert, Catherine Robberechts, Kassandra Nakas, Gabriele Mackert, Christophe Van
Gerrewey, Emiliano Battista, en Ana Torfs. 'Zyklus von Kleinigkeiten’ wordt op 21 november in Cinematek in Ana Torfs (foto: Jean-Pierre Stoop) Brussel getoond. www.cinematek.be

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‘Echolalia’ staat niet alleen voor de speelse herhaling van woorden door een kind dat leert praten, maar heeft ook betrekking op een medische afwijking waarbij iemand dwangmatig woorden en zinnen nazegt. Bovendien verwijst het woord naar de opeenvolging van geluiden in de poëzie, die de betekenis ondergeschikt maakt aan het geluid. Met die titel lijkt beeldend kunstenares Ana Torfs (°1963), de Brusselse grande dame bij wie taal en beeld onlosmakelijk met elkaar zijn verbonden, aan te geven dat taal een substantieel bestanddeel van haar werken vormt. Met ‘Echolalia’ toont ze in WIELS haar oeuvre van de laatste vijf jaar, in zes installaties, die op één na nooit eerder in België te zien waren.

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Ana Torfs, ‘Echolalia’ van 12 september tot 14 december in Wiels, Centre d’Art Contemporain, Avenue Van Volxemlaan 354, Brussel. Open wo-zo van 11-18 u. www.wiels.org
Naar aanleiding van deze tentoonstelling verschijnt een gelijknamige publicatie die werd samengesteld door de kunstenaar; het is een beeldboek dat tekstbijdragen bevat van Dirk Snauwaert, Catherine Robberechts, Kassandra Nakas, Gabriele Mackert, Christophe Van
Gerrewey, Emiliano Battista, en Ana Torfs. 'Zyklus von Kleinigkeiten’ wordt op 21 november in Cinematek in Ana Torfs (foto: Jean-Pierre Stoop) Brussel getoond. www.cinematek.be

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Museum Het Domein in Sittard mag zich op de borst kloppen: ‘Out-Smarting Capitalism’ is de eerste museumsolo in Europa van The Yes Men. Het New Yorkse duo licht het kapitalisme bijna stiekem een beentje door zich voor te doen als woordvoerders van bedrijven en organisaties. Hilarisch! Vlijmscherp! En het blijkt nog kunst te zijn ook…

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The Yes Men, ‘Out-Smarting Capitalism’ tot 30 november in Museum Het Domein, Kapittelstraat 6, Sittard, NL. Open di-zo van 11-17 u. www.hetdomein.nl

Gratis rondleiding door Roel Arkesteijn op 2 november om 15 u.

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De schilderijen van Karin Hanssen zijn vaak gebaseerd op gevonden afbeeldingen uit de jaren 1950-1970. Eerder dan naar een gevoel van nostalgie te streven, legt Hanssen het achterliggende discours van een tijdperk bloot. Dat is niet anders voor haar laatste reeks, waarvoor ze vertrekt van het invloedrijke essay ‘A Room of One’s Own’ (1929) van Virginia Woolf.

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Karin Hanssen, ‘A Room of One’s Own’ van 12 september tot 16 november in Roberto Polo Gallery, Lebeaustraat 6-8, Brussel, Open di-vr van 14-18 u., za-zo van 11-18 u. www.robertopologallery.com
‘The Borrowed Gaze’ met een tekst van Charlotte Mullins, Lannoo Publishers, 2014, ISBN 9789401420426

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