{"id":16262,"date":"2019-05-11T07:20:00","date_gmt":"2019-05-11T07:20:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=16262"},"modified":"2023-11-29T08:23:27","modified_gmt":"2023-11-29T08:23:27","slug":"the-twenty-eight-percent-art-brussels-2019","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/the-twenty-eight-percent-art-brussels-2019\/","title":{"rendered":"THE TWENTY-EIGHT PERCENT \u2013 Art Brussels 2019"},"content":{"rendered":"\n

THE TWENTY-EIGHT PERCENT
by Sara Kramer<\/strong><\/p>\n\n\n\n

At this year\u2019s Art Brussels press conference, it was announced as a positive development that 28 % of the participating artists at this year\u2019s fair were women. To be fair, it is in fact an improvement in comparison to last year where it was only 21 %.<\/p>\n\n\n\n

Despite the  broader movement in past years to re-evaluate the role of women artists in the contemporary art world, there is still more than enough reason to question these kind of statements. \u2013 Or said in another way, for some the glass might be half full but for others it is still, well, 22 % too empty.<\/p>\n\n\n\n

The Berlin Gallery Weekend, another significant art-world event, took place simultaneously to Art Brussels and it was interesting to learn that before and during Gallery Weekend an anonymous campaign had been hanging up posters and stickers throughout Berlin, criticizing that 75 % of the participants were male, and that out of the 45 galleries participating in the Gallery Weekend, 38 galleries showed works by men.<\/p>\n\n\n\n

I personally don\u2019t find the term \u201cWomen Artists\u201d very appealing and to some extent even rather \u201cghettoizing\u201d, but despite the complexities of defining a minority-issue without stigmatizing at the same time, I have chosen to focus this report on the so-called \u201c28 %\u201d as a comment on the dubious statistics at this year\u2019s Art Brussels.<\/p>\n\n\n\n

JULIE FAVREAU
House of Egorn (Berlin)<\/strong>
Julie Favreau\u2019s video work \u2019Will Deliquesce\u2019 (video, 4K, 8 minutes 28 seconds, 2018) invited the viewer into an intriguing voyeuristic world, exploring the sense of touch and sensory stimulation. A curious camera moves around calmly in a small Berlin-loft apartment. It\u2019s raining outside, which makes you, as a spectator, want to \u201cstay inside\u201d. After a little while you see a group of performers, that are all either naked or lightly dressed, performing intimate choreographic gestures and interactions with one another. At first glance, not a lot happens in Favreau\u2019s erotic and aesthetic video-work, but in all its simplicity it\u2019s a brilliant depiction of existence in its sheer and undiluted materiality.<\/p>\n\n\n\n

\"credit<\/a>
Veeeeerrrrrmmmmmeeeeerrrrr, inkjet print, 46,66 x 70 cm, 2018 (edition of 4)
Still from \u2018Will Deliquesce\u2019, video, 4K, 8 minutes 28 seconds, 2018
Photo credit: Joseph Devitt Tramblay<\/figcaption><\/figure>\n\n\n\n
\"\"
Installation-view: Gallery booth of House of Egorn with work by\u00a0Julie Favreau
Photo credit: Renato Ghiazza<\/figcaption><\/figure>\n\n\n\n
\"\"
Comfort, inkjet print, 45,7 x 68,55 cm, 2017 (edition of 4 +1AP)
Still from \u2018Will Deliquesce\u2019, video, 4K, 8 minutes 28 seconds, 2018
Photo credit: Joseph Devitt Tramblay<\/figcaption><\/figure>\n\n\n\n

MERVE ISERI
Ballon Rouge Collective (Brussels)<\/strong>
One of the artists showing work at the gallery was the Turkish-born artist Merve Iseri (based in London). A series of Iseri\u2019s paintings were on display which depicted figurative motives of lush and sensuous gardens and surreal abstract dreamscapes.
The newly opened nomadic gallery \u2018Ballon Rouge Collective\u2019, which has organized exhibitions in London, Istanbul, Los Angeles, Sao Paolo, Paris and New York has recently settled down in Brussels with a permanent gallery space. The B.R Collective\u2019s booth was in the \u2018Invited\u2019 section at Art Brussels, which is a new section at the fair that includes younger galleries that haven\u2019t previously been invited to Art Brussels and encourages alternate formats to the traditional gallery model.<\/p>\n\n\n\n

\"_DSC6310<\/a><\/figure>\n\n\n\n
\"_DSC6342<\/a>
Work by Merve Iseri.
Photo credit: Courtesy of Ballon Rouge Collective and Photographer David Plas<\/figcaption><\/figure>\n\n\n\n

RACHEL MONOSOV
Catinca Tabacaru (New York)<\/strong>
Monosov\u2019s interdisciplinary practice involves video, photography, sculpture and performance and evolves around various socio political concepts. During the fair a performer was activating Monosovs piece \u2018The Space in Between\u2019 (2019), which, in a stylized manner, limited the movement of the performers hand. I was told that the imposition of limitations and restraints on the human-body is a recurring aspect of Monosov\u2019s work.<\/p>\n\n\n\n

\"Art<\/a><\/figure>\n\n\n\n

ANNE ROCHAT
Counter Space (Zurich)<\/strong>
At Counter Space the intriguing live performance \u201cObsidian\u201d by Swiss artist Anne Rochat, attracted a large group of visitors at the opening of Art Brussels. During the performance Rochat\u2019s nude body embraced a large block of ice generating a bodily imprint that became deeper in the course of the performance. Her gesture, both fascinating and disturbing, seemed to be a dramatic maneuver hinting at how our physical actions are generating climate-changes and hence causing ice glaciers to melt\u2026<\/p>\n\n\n\n

\"Art<\/a><\/figure>\n\n\n\n
\"\"
Anne Rochat performaning \u2018Obsidian\u2019 at Counter Space,\u00a0Art-Brussels 2019
Photo credit: David Plas<\/figcaption><\/figure>\n\n\n\n

ANICKA YI
Gladstone Gallery (Brussels & New York)<\/strong>
Simultaneously with Art Brussels, South Korean Artist Anicka Yi (based in New York) had her first exhibition at Gladstone Gallery, called \u2018We Have Never Been Individual\u2019. One of the series of work in the show were \u2018aquascapes\u2019 hanging from the wall which resembled paintings (in the broadest definition of the word) and intimate extraterrestrial landscapes. Containing fluid matter, microalgae and cyanobacteria they seemed to hint at a utopian future where humans will learn how to better use the planet\u2019s aquatic resources and the relation between humans and microorganisms will become one that is more symbiotic. Anicka Yi is also represented at this year\u2019s Venice Bienniale.<\/p>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"AY021_m\"<\/a>
Anicka Yi, \u201915 Hissing Cockroaches\u2019, 2019
Acrylic, UV Prints, LEDS, glass, resin and tubing
50 x 40 x 5 inches (127 x 101.6 x 12.7 cm)
Photo credit: David Regen and Gladstone Gallery<\/figcaption><\/figure>\n\n\n\n
\"\"
Anicka Yi, \u2018Living and Dying In The Bacteriacene\u2019, 2019
Powder coated steel with inset acrylic vitrine, water, 3-D printed epoxy plastic and filamentous algae
33 x 25 x 5 1\/2 inches (83.8 x 63.5 x 14 cm)
Photo credit: David Regen and Gladstone Gallery<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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