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Mark Dion

Mark Dion, Arbeid Adelt, Rectangle, 2020

Mark Dion

Arbeid Adelt

Saturday 21 November 2020
at Waldburger Wouters, Brussels

My relationship with Brussels and rhinoceroses goes back more then three decades. My work, Extinction Series: Black Rhino with Head was produced for a group exhibition at Xavier Hufkens Gallery in 1989. The work was part of a larger series dealing with animals under extreme extinction pressure; animals which probably would not still exist in the wild by the end of my lifetime. This work featured a series of wooden shipping crates, the sides of which became surfaces which displayed information about the natural and cultural history of the black rhino focusing on the historical, economic and ecological reasons animal had become the most critically endangered large mammal species. Each side of the crate employed different types of information: graphic charts, maps, text, photographs. The largest of the crate contained a large black rhino head on a bed of shipping excelsior. It was a quite shocking object to come into contact with.

Interestingly, the Black Rhino is still with us and it was the Northern White Rhinoceros that when extinct in 2018, when the last male died and the two surviving females were too old to breed. Still the Black Rhino remains critically endangered.
This billboard returns my focus to the topic of extinction. Over the period of COVID lockdown I have produced a group of larger drawings which take as their inspiration graphic charts from the early 20th century. Many of these are the largest drawings I have attempted and in some way represent the resilience of artists under restriction and duress. Normally I work on location, in response to context. The lockdown has shown me that I don’t need site visits, large budgets and institutional support to make new work. All I need is some ink and paper. While drawing has always been central to my practice, the drawings have mostly been preparatory for sculptural works. These are the first group of drawings intended as purely drawing.

– Mark Dion

Mark Dion, Albeid Adelt, T-shirt, 2020
Mark Dion, Albeid Adelt, T-shirt, 2020 / 29 Euro
Mark Dion, Dinosaures Rule The Earth, T-shirt, 2020
Mark Dion, Dinosaures Rule The Earth, T-shirt, 2020 / 29 euro
Mark Dion, Arbeid Adelt, Rectangle, 2020

"The lockdown has shown me that I don’t need site visits, large budgets and institutional support to make new work. All I need is some ink and paper."

– Mark Dion​

Mark Dion, Dinosaures Rule The Earth, 2020, red and blue pencil on paper
Mark Dion, Dinosaures Rule The Earth, 2020, red and blue pencil on paper, Edition of 30
Mark Dion, Arbeid Adelt, ink on paper, 2020
Mark Dion, Arbeid Adelt, 2020, ink on paper, Unique

Documentations

First Look at Baby White Rhino
Disney’s Animal Kingdom.
1 November 2020.

more info

Extinction Series: Black Rhino with Head
1989
Wooden crates, stencilled lettering, colour photographs,
rhino head, wood chips, map of Africa
Dimensions variable

Group exhibition at Xavier Hufkens Gallery, 1989

Biography

Mark Dion
Mark Dion. Photo Jorge Colombo

Mark Dion
Born in 1961, United States.
Lives and works in Copake, New York.

Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences. The artist’s spectacular and often fantastical curiosity cabinets, modeled on Wunderkammen of the 16th Century, exalt atypical orderings of objects and specimens. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the authoritative role of the scientific voice in contemporary society.

Biography (pdf)

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Shows Past

John M Armleder

John M Armleder

Iso-cèle

28 September – 31 October 2020
at Hôtel Manos Premier, Brussels

Rectangle is pleased to announce a collaboration with the artist and co-founder of Ecart Group, John M Armleder. The show Iso-cèle is an initiative of Rectangle imagined in addition to the long awaited exhibition It Never Ends by John M Armleder at KANAL – Centre Pompidou (curated by Bernard Blistène and Yann Chateigné). 

Charivari
2015
Installation, Clear glasses
Variable dimensions

Iso-cèle
2020
pvc, 22 carats golden leaf
244 × 366 cm
(detail)

00
2020
Installation
Shovel, gold paint
125 × 25 × 15 cm

Les Volières, 2020, Installation, Mixed media, Variable dimensions

John M Armleder
Born in 1948, Switzerland.
Lives and works in New York and Geneva.

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Past Shows

Julien Saudubray & Nicolas Bourthoumieux

Nicolas Bourthoumieux, Fatalitas, 2020
Nicolas Bourthoumieux, Fatalitas, 2020

Julien Saudubray & Nicolas Bourthoumieux

Objectives

Wednesday 3 June – 15 June 2020
at Waldburger Wouters, Brussels

We are all literalists most or all of our lives. Presentness is grace.
Michael Fried, Art and Objecthood (1967)

Objectives is a title born from a pleasurable confusion of tongues that is so typical of Europe’s capital, but also doubles as an excuse for two artists (Julien Saudubray and Nicolas Bourthoumieux) to engage in an exhibitionary pas de deux. So perhaps – if we stay on track – there is no two but only one, or not one without the other, as in a dialogue or a dance. In fact, I believe their conversation has been going on for much longer and you just opened it up, dear visitor. So, do you see any common ground, except for the gallery floor you find yourself standing on? Well, let’s at least give it a shot.

Julien Saudubray approaches painting as a verb without a subject, a ceaseless activity, a mechanical process. His works are created through a delicate method of constant effacement – a writerly kind of painting sous rature or under erasure. Consistently combining layers of paint with turpentine, Saudubray constructs his images in an assiduous and laborious way. And since all good things take time, the resulting images are absolutely radiant. You will notice both large-scale oil paintings and smaller pastel drawings on view here, a va-et-vient between different mediums.

And then there’s Nicolas Bourthoumieux, whose minimal sculptures thoughtfully probe and occupy the space. His works seem to revisit the “other” of modernist painting, namely objecthood. What exactly are you looking at? Literal objects or a combination thereof, a gracious presence similar to what you see on the surrounding walls. And don’t be mistaken; Bourthoumieux’s materials (steel, wood, marble, glass, mirror, a meteorite,…) are not frozen in time but rather breathing at their own pace, as poetic fragments of history.

What you see here is what happens when the haphazard flow of things suddenly starts making sense. This is what we need artists for, to let us find pleasure in confusion and let us delight in getting lost. In other words, to let chance succeed. Or, with Samuel Beckett: Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.

Pieter Vermeulen

Let us find pleasure in confusion and
let us delight in getting lost

Portrait Julien Saudubray Nicolas Bourthoumieux

Julien Saudubray
Born in 1985, France.
Lives and works in Brussels.

Nicolas Bourthoumieux
Born in 1985, France.
Lives and works in Brussels.

Categories
Past Shows

Dome Wood

Opening Saturday 16 November 2019, 6-9 pm
19 November 2019 – 25 January 2020
Rectangle (Extended) at Waldburger Wouters, Brussels

Cᴏsᴍᴏʟᴏɢʏ ᴏғ Aɢᴘʀᴏɢɴᴏsɪsᴍ, lecture performance by Dome Wood
25 January 2019, 7-9 pm at Waldburger Wouters, Brussels

DOME WOODThe Campaign (Extended), 2019
Courtesy Rectangle and the Artist, Brussels
Categories
Shows Past

Sébastien Reuzé

Sebastien Reuzé - life II
Sebastien Reuzé - life II

Sébastien Reuzé

life chapitre 2

25 October – 2 November 2019
at Château Nour, Brussels
Sebastien Reuze Profile at Rectangle

Sébastien Reuzé
Born in 1970 in France.
Lives and works in Brussels.

https://sebastienreuze.net

Categories
Past Shows

Juan Pablo Plazas

Group show for a Gallery Weekend Opening
4 September – 8 September 2019
Château Nour, Brussels

JUAN PABLO PLAZAS, The Drunken Forest, 2019
Courtesy Rectangle and the Artist, Brussels
JUAN PABLO PLAZAS, The Drunken Forest, 2019
Courtesy Rectangle and the Artist, Brussels
Categories
Past Shows

Coraline Guilbeau

3rd Wandering Arts Biennial
Opening Thursday 22 November, 6pm – 10pm
23 November – 25 November 2018, 5pm – 8pm
Rectangle at Sagacity, Brussels

CORALINE GUILBEAU, Even days seem the same, Rectangle at Sagacity, Brussels, 2018
CORALINE GUILBEAU, Even days seem the same, Rectangle at Sagacity, Brussels, 2018
Categories
Shows Past

Yoel Pytowski

Yoel Pytowski, Backforward, 2018, Rectangle, Brussels
Yoel Pytowski, Backforward, 2018, Rectangle, Brussels

Yoel Pytowski

Backforward

20 April – 22 April 2018
at The Loft, 1030 Brussels

Rectangle has the pleasure to commission Yoel Pytowski for a special project on the initiative’s signature «billboard» structure now placed on the terrace of The Loft.
Shaped by two open plans, the billboard is both an architectural unit and display for artistic reflection.

Used to seize indoor spaces, sometimes enclosed or very confined, with this occasion Yoel Pytowski opens up his practice towards an outdoor experience, even pushing it off the wall.
In his works YP is blurring the line between the site-specific conditions and his gestures, melting the later to become a prolongation of the physical space. A subtle approach in order to add another layer, to store a drawing or a sculpture; sometimes intrinsically linked, sometimes drawn away.

With Backforward Yoel takes a step aside. Instead the usual modus operandi of instilling illusion and scenic space, for Rectangle he operates a shift by presenting the back-of-the-decorum. We could call it an elusive backdrop.
Here everything is fragmented, a “mise en abyme” of one of his former projects is revealed as the image on the billboard. Restaging common materials, like the OSB panels coated in an ultrathin layer of concrete, the artist displays them as an enigmatic wooden floor reminiscent of a bygone era. Nevertheless it seems to maintain the two parts connected by long wooden brackets, obscuring the perception in between the image shown and the support. By splitting the billboard in two parts YP leaves an empty part to reframe the urban landscape visible in the background.

True to the context of his Backforward intervention the artist reactivates some found elements. An old soccer ball is placed in echo with the homemade stud shoes, revealing the billboard as a football cage. Remaining in the metaphor, this invites us to reflect on the sculptural gesture as a shoot-out, the ultimate goal that ends an action, a strategy.
YP playfully weaves different references between the images, the billboard & the context. And this without unveiling one straight idea, but rather in a back and forth balancing act.

Rectangle invite l’artiste Yoel Pytowski à investir l’espace du billboard. Constitué de deux plans ouverts, il devient un élément architectural, un support autour et à proximité duquel se réfléchit l’exposition. Dans un mouvement similaire, YP, habitué à intervenir dans des espaces clos voire très confinés, ouvre cette fois sa pratique en tentant de la décloisonner.

D’espace tronqué en installation in situ, YP se joue de la limite entre le lieu existant et son intervention. Cette dernière se présente souvent comme la prolongation de l’espace physique. En se fondant en lui, YP ajoute une couche pour y entreposer dessin ou sculpture. Tantôt intrinsèquement lié tantôt détaché.
Pour le projet à Rectangle, YP effectue un pas de côté en nous proposant l’envers du décor. Ou presque. L’artiste nous habituait à des illusions, des espaces scéniques.

Ici, sa proposition se présente fragmentée, elle met en abyme un projet déjà réalisé dont on aperçoit le dos à l’image. Réutilisant des matériaux qui lui sont chers tels que panneaux OSB bétonnés, il nous les restitue tel un plancher énigmatique, vestige d’un passé révolu. Qui semble pourtant maintenir ou du moins est connecté aux panneaux de bois par de longs tasseaux, venant brouiller la lecture entre ce qui est montré et le support existant. A ce propos et à partir de la structure de Rectangle, YP laisse ajourée une partie proposant ainsi un cadre au décor environnant.

Fidèle au contexte de son intervention, YP réactive les éléments trouvés sur place. Il en est ainsi des ballons au sol qui résonnent étroitement avec les crampons homemade et nous révèlent le billboard comme une cage de football. Ceci – en restant dans la métaphore – nous invite à réfléchir au geste sculptural comme un tir au but, objectif ultime qui clôt une action, une stratégie.

C’est de manière ludique que YP tisse différentes références entre les images – le billboard – et le contexte. Et ce sans jamais définir une lecture claire, mais plutôt dans un va-et-vient d’équilibriste.

Rectangle heeft het genoegen om samen te werken met Yoel Pytowski aan een bijzonder project met de kenmerkende reclamebord-structuur van het initiatief, geplaatst op het dakterras van The Loft.
Gevormd door twee open plannen, wordt het reclamebord zowel een architecturale aanwezigheid als een monitor voor artistieke uitdrukking.

Pytowski, die gewend is aan het werken binnenshuis, soms in gesloten of zeer beperkte ruimtes, opent nu zijn praktijk naar een ervaring buitenshuis en duwt deze zelfs los van de muur.
Binnen zijn oeuvre vervaagt Pytowski de grens tussen de originele elementen van de omgeving in combinatie met zijn eigen creaties, door deze samen te voegen wordt het geheel een uitbreiding van de fysieke ruimte. Hij hanteert een subtiele manier van werken waardoor een andere laag wordt toegevoegd, om een tekening of sculptuur op te slaan; soms intrinsiek gekoppeld, soms van elkaar losgetrokken.

Met Backforward neemt Pytowski een stap opzij. In plaats van zijn gebruikelijke modus operandi om illusie en een landschappelijke ruimte te creëren, bedient hij voor Rectangle een verschuiving door de presentatie aan de achterkant van het decor. We zouden het een ongrijpbare achtergrond kunnen noemen.

Hier is alles gefragmenteerd, een “mise en abyme” van zijn vorige project wordt getoond op de afbeelding. Door het herverdelen van gangbare materialen, zoals de gelaagde OSB platen, bekleed met een ultradunne laag van beton, toont de kunstenaar deze als een mysterieuze houten vloer die doet denken aan een vervlogen tijd. Niettemin lijkt het erop dat de twee delen verbonden blijven door de lange houten balken, waardoor de perceptie van het beeld getoond wordt en de ondersteuning verduisterd. Door het reclamebord in twee delen te splitsen laat Pytowski een lege ruimte en wordt het stedelijke landschap dat zichtbaar is op de achtergrond opnieuw gekadreerd.

Pytowski weeft op speelse wijze verschillende referenties van de afbeeldingen, het reclamebord & de context. En dit zonder het ontrafelen van een onomwonden idee, maar eerder als het resultaat van een heen-en-weer balanceerspel.

Trouw aan de context van de Backforward interventie heractiveert de kunstenaar enkele gevonden elementen. Een oude voetbal is geplaatst in een echo van de handgemaakte gespijkerde schoenen, en onthuld het reclamebord als een voetbalkooi. Als we in dit metafoor blijven, nodigt dat gegeven ons uit om na te denken over het sculpturale gebaar als een shoot-out, het uiteindelijke doel dat een actie, een strategie beëindigt.

yoelpytowski.com

the homemade stud shoes

Yoel Pytowski Portrait Rectangle

Yoel Pytowski
Born in 1986 in France.
Lives and works in Brussels.

https://yoelpytowski.com