Jan Van Imschoot goes Caravaggio bij Galerie Templon in Brussel

Gepubliceerd op: 24 January 2019

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

 

Praktische Info

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

Keywords

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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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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

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‘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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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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