Guy Rombouts bij Annie Gentils

Gepubliceerd op: 24 May 2018

Guy Rombouts (°1949) staat naast mij. We kijken naar een opschrift op het raam van de galerie. Het opschrift is gesteld in het Azart, een zelf ontworpen alfabet waarvan elke letter door zijn vorm verwijst naar de beginklank van de naam van een gelijkvormig voorwerp. Zo heeft de letter die naar de klank ‘m’ verwijst de vorm van een meander, net zoals de l-klank in het Fenicisch de vorm had van een primitieve hak of ploeghaak (een tak met zijtak), die ‘lamed’ werd genoemd (allicht verwant met ons ‘lemmet’ en het Franse ‘lame’). “Ons alfabet heeft zich langzaam losgezongen van de realiteit,” vertelt Rombouts, “en met het Azart ga ik er terug naartoe.”

Guy Rombouts: "Je wees mij net op de bijzondere bloesems van een Cornus Aurora, die als waterlelies bovenop de kruin lijken te drijven. En dan hebben we in stilte naar die boom gekeken. Zo’n stil samen kijken is een vorm van communicatie die voorafgaat aan de taal, denk ik."

Hans THEYS

Praktische Info

Guy Rombouts, ‘Les beaux contes font les bons amis, les mots comptent pour les faux amis’ tot 17 juni in de Annie Gentils Gallery, Peter Benoitstraat 40, Antwerpen. Open wo-za van 14-18 u. www.anniegentilsgallery.com

Keywords

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Guy Rombouts (°1949) staat naast mij. We kijken naar een opschrift op het raam van de galerie. Het opschrift is gesteld in het Azart, een zelf ontworpen alfabet waarvan elke letter door zijn vorm verwijst naar de beginklank van de naam van een gelijkvormig voorwerp. Zo heeft de letter die naar de klank ‘m’ verwijst de vorm van een meander, net zoals de l-klank in het Fenicisch de vorm had van een primitieve hak of ploeghaak (een tak met zijtak), die ‘lamed’ werd genoemd (allicht verwant met ons ‘lemmet’ en het Franse ‘lame’). “Ons alfabet heeft zich langzaam losgezongen van de realiteit,” vertelt Rombouts, “en met het Azart ga ik er terug naartoe.”

Guy Rombouts: "Je wees mij net op de bijzondere bloesems van een Cornus Aurora, die als waterlelies bovenop de kruin lijken te drijven. En dan hebben we in stilte naar die boom gekeken. Zo’n stil samen kijken is een vorm van communicatie die voorafgaat aan de taal, denk ik."

Hans THEYS

[cnt_info] =>

Guy Rombouts, ‘Les beaux contes font les bons amis, les mots comptent pour les faux amis’ tot 17 juni in de Annie Gentils Gallery, Peter Benoitstraat 40, Antwerpen. Open wo-za van 14-18 u. www.anniegentilsgallery.com

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De Belgische kunstenaar Jan Fabre heeft twee relatief kleine, maar sterke tentoonstellingen lopen in Brussel: één in galerie Templon, de andere in de Jordaens-zaal van de Koninklijke Musea voor Schone Kunsten. Ze hebben één ding gemeen: beide verwijzen ze naar zijn grote expo ‘Knight of Despair, Warrior of Beauty’, die in het najaar van 2016 in de Hermitage in Sint-Petersburg liep.

Jan Fabre: "Voor mij is Christus – dat zag je al in mijn tekeningen in de jaren zeventig – een model geweest: toen ik die figuur aanvaardde kon ik ook sculpturen maken met menselijke beenderen."

Marc RUYTERS

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Jan Fabre, ‘The Appearance and Disappearance of Antwerp / Bacchus / Christ’ tot 2 juni in Templon, Veydtstraat 13a, Brussel. Open di-za van 11 tot 18 u.

Jan Fabre, ‘My Queens’ tot 19 augustus in KMSKB, Regentschapsstraat 3 Brussel,. Maandag gesloten. www.fine-arts-museum.be

Jan Fabre, ‘Folklore Sexuel Belge / Mer du Nord Sexuelle Belge’ tot 21 juli in Templon, Rue du Grenier Saint-Lazare 28, Parijs, FR. www.templon.com

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Voor de reeks ‘Perspectief: Offspaces’ nodigde de Vlaamse culturele organisatie Kunstenpunt Pieter Vermeulen uit om een staalkaart van deze ruimtes te interviewen. Dit artikel is een reflectie op het onderzoek dat hij in het voorbije jaar voerde. De langere versie van de tekst, alsook de interviews, zijn te raadplegen op de website van Kunstenpunt.

Kunstenaarsinitiatieven en -collectieven, onafhankelijke of alternatieve kunstruimtes, projectruimtes, pop-ups, non-profits, offspaces ... : er lijkt geen consistente benaming te bestaan voor de kleinschalige organisaties in de marge van de beeldende kunstensector. Hoe het ook zij, de aandacht voor artist-run spaces is in het voorbije decennium aanzienlijk toegenomen, getuige tal van conferenties, tentoonstellingen, publicaties en kunstbeurzen. De belangstelling is eerder casusgericht en de discoursvorming wordt niet in het minst gevoed door de aanstichters van de organisaties zelf.

Pieter VERMEULEN

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Alle teksten op www.kunsten.be

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