IN MALAGA, Palacio Episcopal de Málaga

Painting After Postmodernism | Belgium-USA” presenta hasta el 2 de julio la obra de 8 artistas del entorno belga y 8 artistas estadounidenses en una muestra colectiva que ya se habían presentado anteriormente en Bruselas con el mismo nombre y con un formato distinto en el que se aglutinaban 16 exposiciones individuales bajo un mismo título. La que ahora se presenta en Málaga ofrece 2 obras de cada uno de los artistas. La singularidad de la muestra del Palacio Episcopal malagueño radica en que algunas de las obras que se exhiben fueron inéditas en aquella primera exposición, celebrada en Bruselas el pasado mes de octubre y que fue ampliamente elogiada por la prensa especializada internacional, como The Art Newspaper, Artforum o Art in América, entre otras muchas publicaciones. Esta colectiva puede visitarse de martes a domingo de 10.00 a 20.00 horas.

Los ocho artistas del entorno belga son Mil Ceulemans, Joris Ghekiere, Bernard Gilbert, Marc Maet, Werner Mannaers, Xavier Noiret-Thomé, Bart Vandevijvere y Jan Vanriet; y los ocho estadounidenses: Walter Darby Bannard, Karen Gunderson, Martín Kline, Melissa Kretschmer, Lois Lane, Paul Manes, Ed Moses y Larry Poons.

The Refuge, 2015, oil on canvas, 203 x 182 cm


Roberto Polo Gallery presenteert, in samenwerking met de Stad Brussel en Cinéma Galeries I The Underground, de tentoonstelling Painting After Postmodernism I Belgium – USA. Curator is de gerenommeerde Amerikaanse kunsthistorica Barbara Rose, die 256 schilderijen samenbrengt in 16 solopresentaties van 8 Amerikaanse en 8 Belgische prominente kunstenaars. Tezamen met de catalogus van 208 pagina’s, uitgegeven door Lannoo, is de tentoonstelling het manifest van een nieuwe benadering van de schilderkunst: ze bepleit een reconstructie – en niet de deconstructie – van de fundamenten van de schilderkunst en realiseert aldus verfrissend nieuwe syntheses, los van enig dogma of theoretische reductie.

De unieke, historische tentoonstelling Painting After Postmodernism I Belgium – USA vindt plaats in twee openbare ruimtes in Brussel: op de 6 verdiepingen van het iconische Vanderborght-gebouw (6000 m2) en in Cinéma Galeries I The Underground (1000 m2). De acht Amerikaanse kunstenaars zijn Walter Darby Bannard, Karen Gunderson, Martin Kline, Melissa Kretschmer, Lois Lane, Paul Manes, Ed Moses en Larry Poons; België wordt vertegenwoordigd door Mil Ceulemans, Joris Ghekiere, Bernard Gilbert, Marc Maet, Werner Mannaers, Xavier Noiret-Thomé, Bart Vandevijvere en Jan Vanriet.



The exhibition brings 30 paintings. The title refers to The Music Boy, a polyptych of four paintings depicting his grandmother and uncle – his mother’s twin brother – playing accordion as a boy before the war.


‘Memories touched by trauma are often fractured, disjunct, hard to distinguish from dreams or nightmares. They can also become confused with the sense impressions of the present, making the real world feel as though haunted by unquiet ghosts that cannot be laid to rest. The Music Boy, Grey is the sketchiest of all these paintings, almost like a pencil drawing executed with the brush. In another sense, it is the most actual of them all, because it is the most rooted in the world of the present-day. Behind the figures, against the skyline, are the faint silhouettes of tall, slim, chimneys, distantly breathing smoke into the sky. They evoke the oil refineries of modern Belgium: structures of steel laced by electric light, issuing fire and smoke, that are visible to anyone on the fringes of Antwerp looking towards the sea. So this is a painting of two things: a scene of modern industry, juxtaposed with the trace of a memory of a barge-hauler’s wife and her son taking a moment of rest. Might this be the painter’s way of implying that, for him, the world of then and the world of now can never be entirely disentangled?’

Excerpt from the essay by Andrew Graham-Dixon, Et in Arcadia Ego

Catalog 168 pages, with texts by Stephen Snoddy, Charlotte Mullins, Andrew Graham-Dixon and Martin Herbert

New Art Gallery Walsall

The Music Boy, Grey



A survey show with 52 paintings from the years 1986 – 2014. Until September 13.

Jan Vanriet’s art, like that of the old masters, deals with things that are part of life, and he is not afraid to address the big themes. His work has something to say: it is layered and carries an ideological charge. But Vanriet also knows his classics stylistically, and he builds on a long tradition of seeking out the right form and the appropriate technique for it. As he explores thelimits of art and illusion as an instrument, drawing in the beholder as he does so, he is therefore following in the footsteps of the old masters. No matter how sombre his message can be at times, the painter remains a playful type – a finder of forms, who expands his horizons in ways that can be surprisingly graceful, accomplished and light-hearted.

This is what the exhibition in Gdansk is about. The project is woven around the theme of destiny, which is a vein running through virtually Vanriet’s entire oeuvre. It offers a survey of his painted work in all its diversity: sometimes dark; sometimes cheerful and effervescent; sometimes oppressively tragic; sometimes idyllically poetic. Yet throughout, we are aware of a constant, familiar hand: the hand of a master who knows what painting means.

(Paul Huvenne)

Catalog 192 pages, Polish-English edition.
Texts by Adam Zagajewski, Paul Huvenne, Friedrich Hölderlin, Zofia Machnicka, Charlotte Mullins and Jan Vanriet