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Shows Past

Hearts and Minds

An-My Lê, Untitled, Ho Chi Minh City, 1995, Courtesy of Janice Guy
An-My Lê, Untitled, Ho Chi Minh City, 1995
Courtesy of Janice Guy

Group Show

Hearts and Minds

Opening Thursday 15 April 2021, 4–8pm
L.E.S. Gallery Evening

15 April – 27 June, 2021
at carriage trade, New York

Chantal Akerman
Harold Ancart
Jef Geys
Dan Graham
Bodys Isek Kingelez
Robert Lebeck
An-My Lê
Otobong Nkanga
Marina Pinsky
Claudia Peña Salinas
Adam Simon
Momoyo Torimitsu
Hil Ye

Rectangle is thrilled to present Hearts and Minds,
a joint project of carriage trade / Rectangle, Brussels.

Civilization and barbarism are never far apart. As the spoils from subjugating distant countries fill closets, living rooms, and dinner tables, citizens of the empire are encouraged to witness the “improvements” offered by their way of life bestowed upon the many invisible hands responsible for producing it. Employing the tools of public relations to invert standard meanings into their opposites (slavery = freedom, war = peace) the minds of those at home are massaged while villages abroad undergo “pacification”. 

"So we must be ready to fight in Vietnam, but the ultimate victory will depend upon the hearts and the minds of the people who actually live out there."
—Lyndon B. Johnson Remarks at a Dinner Meeting of the Texas Electric Cooperatives, Inc., May 4, 1965

Momoyo Torimitsu, Nanka Igokochi Waruinda (Somehow I don’t feel Comfortable), 2000, Polyurethane coated fabric and electric pumps, dimensions variable, Courtesy of the artist.
Momoyo Torimitsu, Nanka Igokochi Waruinda (Somehow I don’t feel Comfortable), 2000, Polyurethane coated fabric and electric pumps, dimensions variable
Courtesy of the artist.

In the later stages of empire, as exploration paves the way for tourism, far away cultures are promoted as exotic and unpredictable, introducing “otherness” as an affirmation of the ever-expanding necessity to civilize and control. As empires engage in hot and cold wars to extract and defend resources for domestic populations, patriotism and consumerism unite in common pursuits. While new technologies offer increasingly convincing dream worlds that divert the public’s consciousness, the brutal origins of their creation remain mostly behind the scenes.

The dreams of men, the seed of commonwealth, the germs of empires.
—Joseph Conrad, Heart of Darkness, 1899

Bodys Isek Kingelez, Sans Titre, 2001, Plastic Cardboard and Paper, 17.32 × 4.72 × 4.72” (44 × 12 × 12 cm), Courtesy of Ronald Guttman
Bodys Isek Kingelez, Sans Titre, 2001, Plastic Cardboard and Paper, 44 × 12 × 12 cm
Courtesy of Ronald Guttman. Photo Nicholas Knight

With consumerism suffering a pandemic-era blow and a diminishing faith in establishment politics haunting industrialized nations, the pursuit of hearts and minds, so critical to the narrative of empire, struggles to contain blowback from centuries of repressive measures. Filtered through social media feedback loops, governmental and corporate messaging engineered to sway popular opinion now feature distortions and fragmentation that sow confusion while veiling their source, fomenting widespread social unease and sporadic violence.

Living within a kind of informational breakdown, many are now questioning how we got here. Linking past to present through artwork and archival material that collectively address links between the diversions of consumerism and techniques of propaganda in the service of empire, Hearts and Minds, a joint project of carriage trade and Rectangle, Brussels, reflects on the inseparable rapport between public relations and social control both abroad and at home.

—Peter Scott

We’d like to thank all the artists and the following lenders for their loans of artwork for the exhibition:

Icarus Films (Chantal Akerman), Clearing Gallery, Brooklyn (Harold Ancart), Essex Street/Maxwell Graham (Jef Geys), Greene Naftali Gallery (Dan Graham), Ronald Guttman / Christine Martin, Frédéric de Goldschmidt / André Magnin (Bodys Isek Kingelez), Janice Guy (An-My Lê), Cordula Lebeck, Archiv Robert Lebeck (Robert Lebeck), Lumen Travo Gallery, Amsterdam (Otobong Nkanga), C L E A R I N G, Brussels (Marina Pinsky), and AfricaMuseum (Royal Museum for Central Africa).

A special thanks to Lawrence B. Benenson, LMCC, New York State Council on the Arts (NYSCA), Mr. Jacques Louise Vidal, WBI (Wallonie-Bruxelles International) and FWB (Fédération Wallonie-Bruxelles) for their generous support. Thanks also to gallery assistants Jervey Inglesby, Laura Li, Molly Miller, Hannah Park, Kristal Uribe, as well as Daylon Orr, for all their efforts on the exhibition.

With the gracious support of

Categories
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.

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Past Shows

Dome Wood

Dome Wood

The Campaign (Extended)

at Waldburger Wouters, Brussels

Rectangle Extended is a temporary billboard currently situated in Waldbuger Wouters Gallery’s backyard. With those iterations Rectangle aims to reactivate previous projects in a new and specific context, enabling their dissemination like afterimage.

The Campaign exhibition of Dome Wood represents his reflections about what reality is and how our mind perceives it. We are not living just in the three dimensions that we see but we are immersed in the fourth dimension. The Artificial Meditation Centre is a way to focus and encourage reflections on this condition and relate to our mind and spirit. This practice seeks to provide a way to find a balance and reach awareness of people’s own centre of autonomous power.

more info: http://artificialmeditationcentre.org/

The project is displayed alongside the opening of the group show at Waldbuger Wouters with Isabelle Andriessen & Isabelle Cornaro

 

Artificial Meditation Center Autonomous Power

Performance

The Campaign (Extended) at Waldburger Wouters, Brussels

Dome Wood, Portrait

Dome Wood
Born in 1974 Melbourne, Australia
Lives and works in Brussels.

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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

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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

the homemade stud shoes

Yoel Pytowski Portrait Rectangle

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

https://yoelpytowski.com