11/12/2011 – 18/12/2011
The Ister presents HOMEWORK, a group exhibition with Lynn Aldrich, Frédéric Bernier, Dominique Blais, Jean-Marc Bustamante, Thibault Brunet, Bruno Christophe, Claude Closky, Ann Craven, Damien Deroubaix, Diana Duta, Fred Eerdekens, Alan Fertil & Damien Teixidor, Adam Fuss, Gaillard & Claude, Daniel Gordon, Ilka Halso, Thomas Hirschhorn, Jenny Holzer, Thomas Houseago, Ištvan Išt Huzjan, Bitsy Knox, Barbara Kruger, Tetsumi Kudo, Robert Kunec, Bertrand Lavier, Robert Lazzarini, Pierre-Pol Lecouturier, Nikki S. Lee, Andrea Lehmann, Alexandra Leyre Mein, Didier Marcel, Jennifer & Kevin McCoy, Julien Meert, Mark Napier, Xavier Noiret Thomé, Vincent Olinet, Ariel Orozco, Jurgen Ots, Philippe Pasqua, Bat Sheva Ross, Frank Stella, Tracey Snelling, Mickalene Thomas, Barthélémy Toguo, Siebren Versteeg, Roman Vitali, Nick Waplington, Yarisal & Kublitz.
Rue des Ailes, 10 – 1030 Bruxelles
Frédéric Bernier will perform ‘positive aspect at sight’ at 8 p.m on the 10th of December.
Exhibition open from the 11th until the 18th of December from 2 to 6 p.m and by appointment.
« Humans display the intriguing characteristic of making and using objects. The things with which people interact are not simply tools for survival, or for making survival easier and more comfortable. Things embody goals, make skills manifest, and shape the identities of their users. Man is not only homo sapiens or homo ludens, he is also homo farber, the maker and user of objects, his self to a large extent a reflection of things with which he interacts. Thus objects also make and use their makers and users. » in ‘The Meaning of Things: Domestic Symbols and the Self’, Mihaly Csikszentmihalyi and Eugene Halton, Cambridge University Press, 1981.
Homework is a group exhibition that deals with the specifics of a space: the house of Alain Servais, which displays it’s domestic appearance along with the collection it shelters.
The Ister has invited 9 artists to present a work (pre-existing or site specific), opening a dialogue with the strong presence of art objects and everyday things already in the space. Dealing with this entity immediately engages the exhibition’s subject matter and the exhibited works are required to answer certain questions, such as: what type of intervention may apprehend the autonomy of this place? What form could resist its inherent constraints and limitations?
The video ‘The Excursions of the Wandering Tinsel’ by Bat Sheva Ross describes a sort of domestic soul wave where the everyday is seized in a profound intimacy and becomes animated through tracking shots. Gaillard & Claude’s ‘the branding and both of our friends’, a sculpture which literally straddles interior architecture, sits like a symbol of filiation, possibly suggesting heredity of knowledge and possessions. The sound piece by Ištvan Išt Huzjan resonates in this space like a message coming from the building itself. ‘Rue des Ailes, 10′, with its apparent triviality, is disquieting by the sense of perpetual enigma it conveys.
Not far from this sound piece, Julien Meert’s ‘Nightmare before Christmas’ describes a ‘mise en abîme’ where the painting becomes the landscape for another painting. The medium becomes its own exhibition space. In the center of the room stands ‘untitled’ by ‘Jurgen Ots’, a sculpture resulting from the wrapping of nearly all of the household’s furniture. This monumental work sets a synthesized scene of the direct available material on site, oscillating between the end and rebirth of a cycle. Away from this platform, in a separated room, Diana Duta has composed ‘All the things you are, you are not yet (Script for a wardrobe)’. This abstract sound piece tells the story of the atmosphere captured within the confinement of the wardrobe.
Scattered around the four corners of the space lies ‘Hoarder Forger’ by Bitsy Knox, mimetic residue of the artist’s hair and polished pennies from her own apartment. This discrete gesture alludes to notions of domesticity and belonging. With ‘positive aspect at sight’, Frédéric Bernier creates a ritualistic act where the artist enters into a conversation with the works around him through a sort of performative instinct. Song, lyrical chants and growls become entangled with this part industrial, part mystical environment. It is then on the roof terrace that we encounter ‘H’, perfect replica of a helicopter landing pad. This installation by Alan Fertil & Damien Teixidor increases tenfold the possibilities of the space by injecting it with a sense of fugue.
With the support of: collection Famille Servais, vzw Nadine, Vincent de Hoÿm
—- images below —-
Bat Sheva Ross. The Excursions of the Wandering Tinsel. video 20:47min. no sound. 2010. (still)</a>
Bat Sheva Ross. The Excursions of the Wandering Tinsel. video 20:47min. no sound. 2010. (excerpt)</a>
Gaillard & Claude. The Branding and Both of our Friends. K-Way jacket, plaster. 2011.</a>
Alan Fertil & Damien Teixidor. H. paint, light. 2011.
Diana Duta. All the things you are, you are not yet. script for a wardrobe, speakers and microphone.
sound in loop 40’34 ». 2011.
Julien Meert. Nightmare before Christmas. oil and acrylic on canvas. 2011.
Frédéric Bernier. Positive Aspect at Sight. live. 2011.</a>
Bitsy Knox. Hoarder Forger. copper. 2011.</a>
Istvan Ist Huzjan. Rue des Ailes 10. sound 1:00min, Mp3. 2011. (overview)</a>
Jurgen Ots. Untitled. furniture wrapped in plastic bags. 2011.</a>
Grégoire Motte. Le steak surgelé dans le freezer. steak. 2011.</a>
John Waters racontait : « Il y a longtemps j’ai eu un petit ami qui faisait partie d’un gang. Un gang qui faisait du trafic de viande.
Il n’avait pas d’argent pour me faire des cadeaux, mais une fois, le jour de mon anniversaire, il est arrivé avec un steak de bœuf.
Je pense que c’est le cadeau qui m’a le plus ému . Je n’ai pas mangé le steak, je l’ai mis dans le freezer de mon réfrigérateur.
Il y a des années que j’ai perdu ce garçon de vue mais j’ai toujours le steak. Aujourd’hui encore, quand j’ai un coup de cafard,
j’ouvre la porte du freezer et je reste là un moment à regarder le steak. Ça me fait du bien. »