Tina Gillen in Bozar Brussel

Gepubliceerd op: 22 October 2015

Wie bij een schilderij louter denkt aan verf op canvas, komt bij het recente werk van Tina Gillen bedrogen uit. Voor haar presentatie in Bozar trekt ze alle registers open. Naast beschilderde doeken en panelen toont ze een wandschildering en een installatie, waarin ze presentatiemogelijkheden en de perceptie van schilderijen aftast. Haar omgang met verf en drager gaat ver. Ze toont een gedurfde vertaling van haar vertrouwde beeldtaal, wat een verrassend en samenhangend geheel oplevert.

Tina Gillen: "Ik wilde geen selectie van schilderijen ophangen, maar de dimensies van de ruimte erbij betrekken. Door de ruimte aan de ene kant af te sluiten met een wand, wil ik een contemplatieve, intieme ruimte creëren."

 

Praktische Info

‘Echo’ tot 7 februari in de Raadzaal van Bozar, Ravensteinstraat 23, Brussel. Open van di-za van 11-19 u. www.bozar.be

Vanaf 13 november is een publicatie te koop met werk van Tina Gillen van 2010 tot heden. Ca. 128pp., met een tekst van Eva Wittocx.

Keywords

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Wie bij een schilderij louter denkt aan verf op canvas, komt bij het recente werk van Tina Gillen bedrogen uit. Voor haar presentatie in Bozar trekt ze alle registers open. Naast beschilderde doeken en panelen toont ze een wandschildering en een installatie, waarin ze presentatiemogelijkheden en de perceptie van schilderijen aftast. Haar omgang met verf en drager gaat ver. Ze toont een gedurfde vertaling van haar vertrouwde beeldtaal, wat een verrassend en samenhangend geheel oplevert.

Tina Gillen: "Ik wilde geen selectie van schilderijen ophangen, maar de dimensies van de ruimte erbij betrekken. Door de ruimte aan de ene kant af te sluiten met een wand, wil ik een contemplatieve, intieme ruimte creëren."

 

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‘Echo’ tot 7 februari in de Raadzaal van Bozar, Ravensteinstraat 23, Brussel. Open van di-za van 11-19 u. www.bozar.be

Vanaf 13 november is een publicatie te koop met werk van Tina Gillen van 2010 tot heden. Ca. 128pp., met een tekst van Eva Wittocx.

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De Anjerrevolutie, die in 1974 een eind maakt aan veertig jaar militaire dictatuur in Portugal, past in een netwerk van gebeurtenissen. De opstand wordt gestuurd en heeft een belangrijk effect op bevrijdingsbewegingen in de Portugese kolonies. Langs daar krijgt ze een plaats in de geschiedenis van de koude oorlog en voedt ze spionageverhalen in de pers en in de populaire cultuur. En in hetzelfde klimaat verleggen avant-garde kunstenaars en (veelal zwarte) muzikanten grenzen. Al die geschiedenissen ontmoeten elkaar in ‘Interregnum’, de tentoonstelling van Stan Douglas bij Wiels in Brussel.

Stan Douglas: "De titel van dat werk verwijst naar de gelijktijdigheid van de opstand in Luanda en de ‘Rumble in the Jungle’ in Kinshasa. Daar stond Mohammed Ali voor een Amerikaanse culturele uitwisseling. James Brown en andere groepen speelden er rond die tijd."

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Stan Douglas. ‘Interregnum’ tot 10 januari in Wiels, Van Volxemlaan 354, Brussel. Open wo-zo van 11-18 u. www.wiels.org

‘Helen Lawrence’, de theatervoorstelling van Stan Douglas, staat op 29, 30 en 31 oktober in deSingel, Antwerpen.

‘The Secret Agent’, de catalogus bij de tentoonstelling, is uit bij Ludion. 192 p., 39 euro. ISBN 978-94-9181-938-4.

Op di 17 november (20 u.) leidt Luc Tuymans in Cinema Zuid Antwerpen Alfred Hitchcocks ‘Sabotage’ in, die net als Stan Douglas recente installatie gebaseerd is op ‘Secret Agent’ van Joseph Conrad. www.cinemazuid.be

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“Hij die nooit gefaald heeft, heeft nooit iets ontdekt.” Zo wist schrijver Samuel Smiles al. Maar welke plaats neemt falen in het werk van onze hedendaagse kunstenaars in? Hoe gaan zij om met beperkingen? Is de perfectie iets om van te dromen of voor te bibberen? Hoe goed beheersen zij de kunst van het falen? Vandaag is het de beurt aan schilder Luc Tuymans. “Je kan niet winnen, maar het is wel belangrijk hoe je verliest.”

Luc Tuymans: "Ik ben geen kunstenaar geworden om veel geld te verdienen. Je wordt kunstenaar om een bepaalde vorm van respect te krijgen. Dat is het allerbelangrijkste. Maar op een bepaald moment is dat werk zo belangrijk geworden, dat het eigenlijk steeds minder met het echte leven te maken heeft."

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