Brenda Tempelaar's artist book entitled The Exhibition Tower documents a series of four staged exhibitions at the Jan van Eyck academie. Her scale model based on OMA's design of architectural flexibility for LaFayette Anticipations in Paris served as a virtual environment for the work of Stéphanie Lagarde, Graham Kelly, GVN908 and Golnar Abbasi. With preface written by Lex ter Braak and essay 'Animating The Ghost Sonata' by Brenda Tempelaar. Installation views by Romy Finke.
James Lee Byars: The Perfect Kiss is the first retrospective exhibition by James Lee Byars in Belgium and simultaneously also a tribute to Byars as a European artist, a Belgian artist, even an Antwerp artist. Byars traveled for ten years between New York and Kyoto before arriving in Europe in 1969, invited for an exhibition at the Wide White Space Gallery. He quickly became part of a group of artists and art lovers around this groundbreaking gallery, and became a prominent figure in the European art scene with participations in five documenta's from 1972 until his death.
Tubelight is a Dutch quarterly magazine for art criticism founded in 1998. Together with Céline Mathieu and its editorial team we launched the first issue in the fall of 2018 with our new art direction and design. #107 features an insert by the artist Ans Mertens on her film 'As I Walk at Leisure'. Tubelight is free and can be found at art institutions, galeries and schools in the Netherlands and Belgium.
Shimmer is a Rotterdam based exhibition space that operates with an ever-changing studio-like mentality where knowledge arises through participation and experimentation. Shimmer was founded by Eloise Sweetman and Jason Hendrik Hansma. It is a momentary flash of light and an ever-changing space where practitioners, thinkers, audience, and entities are brought together in the spirit of care and companionship. First several images show Moment II: Waves with Lisa Tan for Museumnacht010, 03.03.2018, Goethe-Institut Rotterdam. Consecutive images show Moment I: EVER- with Ruth Buchanan, Damon Zucconi & Perfume Area, 10.02.2018, Shimmer. Installation views by Jason Hendrik Hansma.
Schemerschijn is a biannual publication, distributed through literary magazine Terras. Each edition features a piece of literary fiction written at the Van Eyck. The series is printed at the Charles Nypels lab and made possible by Ben Remkes Cultuurfonds. #1 'De Erker' by Bregje Hofstede was published in 2017, #2 'Wat ben ik meer dan stilte, verhalen van geesten' by Roos van Rijswijk (with illustrations by Sophie Schmidt) and #3 'Geringere schepsels' with essays and photographs by Jan Postma were published in 2018.
'Sanguine: Luc Tuymans on Baroque' confronts the genius of Baroque masters with the vision of contemporary artists. The term 'baroque' continues to evoke its original negative connotations: exaggeration and indulgence, but simultaneously suggests something elusive. The M HKA Museum van Hedendaagse Kunst Antwerpen invited Luc Tuymans to present his view on the stylistic period. He brushes the dust from the threadbare term, and revisits the intensity and intelligence of the practice. Tuymans chose Sanguine echoing the energy flow of life and death as the title for the exhibition.
'Relieken' by Mustafa Stitou (2016) and 'Hozen in de Regen' by K. Schippers (2017) are two publications designed for the poet-in-residence program of the Van Eyck. Both poets investigated their own connection with the surrounding area of the institute and wrote a selection of poems based on their personal experiences there. K. Schippers' publication was designed together with Céline Mathieu. Printed and bound in an edition of 100 at the Charles Nypels lab.
'Joseph Beuys: Greetings from the Eurasian' was an exhibition at M HKA Museum van Hedendaagse Kunst Antwerpen. It sought to simultaneously consider Beuys’ activities in Antwerp during the 1960s and 1970s alongside considering his oeuvre's relevance to a new generation. Beuys was active in Antwerp through his relationship with Wide White Space gallery, for whom he was a key reference. As a figure who worked in a way that was contrary to the logic and hegemony of Modernism, he was in a sense the embodiment of the anti-Modern. Using his Eurasienstab performance as a starting point, the exhibition considers how Beuys’ use of the term ‘Eurasia’ was looking away from the grand-narrative and hegemony of the West.
M HKA Museum van Hedendaagse Kunst Antwerpen reopened in 2017 with a completely renovated ground floor, introducing a wing for a permanent exhibition of significant works from the Flemish collection as well as the new Centrum Kunstarchieven Vlaanderen, center for research on the archives of contemporary artists. Likewise its graphic identity was reworked to accommodate the museum's expanding program and communication as a forum for the world.
2×1 is a two volume print and web publication initiated by participants of the artist residency at Jan van Eyck Academie. It brings together text and image contributions from twenty nine artists and authors around the themes ‘Compression’ and ‘Augmentation’ finally collected in one edition, concerning itself with the literal and metaphorical expansion of cultural production. The contributions vary in form from essays and poems to interviews and editorial pieces to series of photographs and experimental writing, and an inserted stencil. Designed and edited with collaboration with fellow participants Golnar Abbasi, Beny Wagner, Alina Schmuch, Teresa Cos and Ruben Castro.
Manipulated reproductions of engravings from the 18th century treatise Het Groot Schilderboek on the theory of painting by Gerard de Lairesse. Presented in a series of five A3 RISO prints in black and flat gold, for the exhibition ‘Stupid as a Painter’ at the Jan van Eyck Academie curated by Niek Hendrix. Edition enclosed in silkscreened envelopes. Installation views by Romy Finke.