From January 15th to March 8th 2020
Videos, anaglyphs, virtual reality, photographs, discover six installations questioning the notion of “gender”. Does genre influence the creation and/or perception of a work? No exhaustiveness, no preconceived answers, six viewpoints submitted to your gaze.
With Manon Argousse, Baptiste Lefèbvre and Florian Salabert, Ravel Kaspar, Sacha Morzy, Viviane Sagnier, Smith and Le Collectif TrafikandarsGratuit, free entrance
In partnership with the association ERHIA With the support of the Pépinières européennes de création and the University of Versailles Saint-Quentin.
From January 9th to February 2nd 2020
Karen Knorr will be exhibiting works from The Lanesborough series at Elephant West in London. “The Lanesborough” (once a hospital closed in the 1990’s) is one of the most expensive hotels in the world, where the wealthy 1% strive to live the celebrity lifestyle. Rooms come with butlers and the hotel is a themed fantasy palace where the special few can find happiness and fulfil all their desires of a perfect weekend in London. The animals here are undressed to kill and are all very willing subjects for Knorr’s camera. They pose, fly, flaunt their jewellery and royal connections who live down Buckingham Palace Road. This work emerged out of commission for Departures (2015) and is a playful satire on how to aspire to be rich rich and happy in a very exclusive part of town: Belgravia.
For Ridiculous!, writer and curator Paul Carey-Kent presents an exhibition and performance programme of some eighteen artists who are not afraid to look stupid. ‘The True Artist’, runs the statement famously caught in neon by Bruce Nauman in 1967, ‘Helps the World by Revealing Mystic Truths’. In the same spirit, the true artist is prepared to present the ridiculous, to work in an apparently ridiculous way, or to appear ridiculous themselves.
From December 1rst 2019 to June 6th 2020
Anyone who cuddles in a warm down jacket or sinks into a duvet and falls asleep comfortably under the light blanket knows that feathers are a gem of nature. They are as everyday as they are amazing. Thousands of feathers cover the bodies of birds, contour feathers, down, bristle feathers and many others, highly specialized, depending on their function in the bird’s clothing. Feathers warm and cool, keep dry, decorate and camouflage. At the same time, the flywheel is an aerodynamic masterpiece that gives birds something that humans have been dreaming of for thousands of years: flying.
The exhibition “Federn” bows in front of this extremely complex structure made of keratin and offers a course through its seductive beauty and variety of forms. It illuminates the ingenious multifunctionality of the feathers, their cultural-historical use and the current significance in design, art and pop culture. In addition, the show focuses on the relationship between humans and animals and takes a critical look at the development of biodiversity and the business with bird feathers.
From November 16th to February 9th 2020
The Nederlands Fotomuseum presents Attack, the first exhibition by Belgian artist Katrien De Blauwer in the Netherlands. De Blauwer has been working for twenty years on a voluminous and powerful work of photo montage, with which she was released only a few years ago. Attack is a reference to the artist’s method. She intuitively cuts images from old international magazines that she then combines out of emotion. New images appear. Women (parts of) women are almost always shown on the cuts. De Blauwer’s work thus responds to the image of Western women as published in magazines from the 1920-1960 period. Attack presents a selection of his work and can be seen at the Nederlands Fotomuseum from 16 November 2019 to 9 February 2020.
From october 06th to january 26th 2020
Le projet porte le nom d’un numéro Prince. Van der Linden: “Cela fait référence à la signature des artistes et à l’esprit du temps, au moment où ils fabriquent le masque.” Les masques sont reliés par la forme, mais chacun a sa propre signature et son apparence. Katinka Lampe a maculé la forme des yeux et du nez jusqu’à ce qu’un fond en pente apparaisse sur laquelle elle a appliqué un visage peint avec un masque. Lisa Couwenbergh a traité le masque de base avec de la mousse PUR afin de créer une forme simplifiée, qu’elle a fournie avec un «tapis d’herbe». Marc Mulders a fait une variante blonde et une variante sombre, des contreparties telles que le jour et la nuit, tandis que Michiel van Nieuwkerk a utilisé de la terre.