BRUSSELS APR 18 - MAY 5
RAVENSTEINSTRAAT 44 GRIMM
GRIMM is pleased to announce an exhibition in Brussels. In a gallery space across the street from BOZAR we will present a group exhibition with selected highlights from our gallery program. The opening will take place during the official Art Brussels Gallery Night on April 18th and the exhibition will be on view until May 5th.
Nick van Woert 1979, Reno, NV (US) Block #1 2015 Aluminum 38.5 x 31 x 28.5 cm 15 1/8 x 12 1/4 x 11 1/4 in
Block #2 2015 Aluminum 31 x 26 x 20,5 cm 12,2 x 10,3 x 8,1 in
Block #3 2015 Aluminum 31 x 26 x 20,5 cm 12 x 10,2 x 8,3 in
Matthias Weischer 1973, Elte (DE)
Matthias Weischer presents two new paintings that balance between reality and imagination. Secular painterly themes like the interior and the landscape are the key motifs in his oeuvre. Weischer is interested in the historical perspective of painting; both the medium as well as the classical system of representation. His investigation into the depiction of three-dimensional space is of great importance in his work. Collage-like painted elements build upon imagery that is as diverse as wallpaper motives, mosaic floors, windows sills, pieces of furniture, loose bricks or part walls, and the occasional reference to a figure or element in settings that range from desolate rooms to lush fields in the countryside.
Reflex 1 (detail)
Reflex 1 2018 Oil on canvas 50 x 65 cm | 19 3/4 x 25 5/8 in
Reflex 2 2018 Oil on canvas 50 x 65 cm | 19 3/4 x 25 5/8 in
Robert Fitzgerald Diggs (RZA/Bobby Digital), 1998 detail
Dana Lixenberg 1964, Amsterdam (NL)
Dana Lixenberg presents an iconic photograph from her extensive editorial practice. Working for publications such as The New Yorker, New York Times Magazine, Vibe and Newsweek in the ‘90s and ‘00s, Lixenberg explored the United States through her lens. The power of her work arises from the intimacy and the absence of social stereotyping.
“When we realized that her manner of capturing the most daring musicians in an unvarnished and uniquely powerful way, we assigned her cover and feature shoots with figures such as Tupac Shakur, The Notorious B.I.G., Prince, Eminem, and others. Her portraits of Tupac alone were the source of numerous murals worldwide, and to this day proliferate on T-shirts everywhere. And these were not overly slick images; they were true toward his depth and obvious vulnerability.” - George Pitts, Foudning Director, VIBE Magazine
Robert Fitzgerald Diggs (RZA/Bobby Digital), 1998 2018 Archival pigment print 125 x 160 cm | 49 1/4 x 63 in
Claudia MartĂnez Garay 1983, Ayacucho (PE)
Untitled (head)
Untitled (bird eating eye)
Untitled (pink arm)
2018 15 x 13 x 13 cm 5 7/8 x 5 1/8 x 5 1/8 in
2018 21 x 11 x 11 cm 8 1/4 x 4 3/8 x 4 3/8 in
2018 11 x 21 x 12 cm 4 3/8 x 8 1/4 x 4 3/4 in
Alex Dordoy 1985, Newcastle (UK)
Alex Dordoy explores a central characteristic of 21st-century visual culture: the restlessness of the image, and the instability of the surfaces on which it manifests. The painting Paris is based on a travel poster for Air France, by Guy Georget, from the late ‘50s. The image has been edited and simplified, with all signs of human habitation removed. Figuration breaks down into abstraction. Flat areas and fades jostle with fluid painterly marks. The past and the present exist in the same space. Romantic yet cold, the mechanically handled acrylic disintegrates into block color on closer viewing. It is an image of eternally deferred satisfaction.
Paris 2018 Acrylic on canvas 200 x 120 cm | 78 3/4 x 47 1/4 in
Alex van Warmerdam 1952, Amsterdam (NL) Man met bril 2017 Oil on canvas 59 x 50.5 cm | 23 1/4 x 19 7/8 in
Lucy Skaer 1975, Cambridge (UK)
Skaer’s interest lies in the transformation of matter and in objects that have lost connection to their original time and place. Her works often repurpose existing forms, from other artworks or from the shapes that raw material arrives in. The transformation of her found material into objects is an elaborate, often manual process. By using abstract forms and by enhancing the work with such materials as gold leaf, mother of pearl or silver, Skaer alters not only the meaning of the represented things but also their cultural and economic value. Skaer has been selected to participate in the 57th annual Carnegie International, opening October 2018.
Harlequin’s Ingots 2012 Edition 3/3 Copper, 24 parts Dimensions variable Each: 5 x 5 x 34-51 cm | 2 x 2 x 13 3/8-20 in
Eric White 1968, Ann Arbor (US) M.L.S.O. 2018 Oil on panel 15.2 x 30.5 cm | 6 x 12 in
Michael Raedecker 1963, Amsterdam (NL)
Bottles, a curtain, a potted plant and a candle: the objects depicted in Michael Raedecker’s painting dimension are familiar things. Mute witnesses of our daily lives - the countless hours we’ve forgotten, the split seconds we will remember forever - they have the quality of stage props in an unending domestic saga. We might imagine them absorbing time like a flower absorbs sunlight, or a rag absorbs a stain. “Curtains suggest the stage, but in Raedecker’s work they never open. All the drama we can expect is right here on the picture plane. It is more than enough.” -Tom Morton
dimension (detail)
dimension (opposite page) 2016 Acrylic, thread, collage on cotton 204 x 120 cm | 80 1/4 x 47 1/4 in
demo (monitor) 2018 Acrylic, laser printer pigment transfers, acrylic dispersions and thread on canvas 40 x 50 cm | 15 3/4 x 19 3/4 in
Caroline Walker 1982, Dunfermline (UK) Study for Pattern Cutting 2018 Oil on paper 44 x 63 cm | 17 3/8 x 24 3/4 in
Study for Cut & Finish 2018 Oil on paper 45 x 62 cm | 17 3/4 x 24 3/8 in
Letha Wilson Horizon Eyes, 2018
Installation view, GRIMM, NY
Letha Wilson 1976, Honolulu (US)
Letha Wilson has expanded boundaries between photography and sculpture by questioning how a photograph can be physically engaging. Wilson trades the traditional confines of a photographic image by merging them with monumental materials that complicate the duality between the natural landscape and our industrial, synthetic society. Using landscape photography as a source, Wilson’s balance of material and image speaks to our relationship with the landscape, using both intimate and vast details of nature as subject. Her solo exhibition is currently on view at GRIMM New York, showcasing a selection of new sculptural works that combine landscape photographs with industrial materials like aluminum, zinc, concrete and steel.
Nevada Rocks Concrete Ripple 2016 Emulsion transfer, cement, aluminum frame 71.8 x 61.6 x 0.2 cm | 28 1/4 x 24 1/4 x 1/8 in
Adam Helms 1974, Tuscon (US) Repression (detail)
Repression 2017 Aniline dye and graphite on paper Four parts, each: 88.9 x 86.4 cm | 35 x 34 1/8 in
Ciarรกn Murphy Plainsight, 2018 Installation view, GRIMM Keizersgracht, NL
Ciarรกn Murphy 1978, Mayo (IE)
5 Ideas 2014 Oil on canvas 40 x 50 cm | 15 3/4 x 19 3/4 in
William Monk 1977, Kingston Upon Thames (UK)
William Monk’s scenographic works tap into the rich tradition of painting. Monk paints enigmatic and vibrant works, using starkly divisional compositions. He investigates the application of various techniques and combines them on one canvas. His brushstrokes reminisce the style of ‘Les Nabis’, Pointillism and Symbolism. Monk often works in extensive series that gradually evolve over time. The canvases carry irregular intensities of detail, line, foreground and background, with are large abstracted color fields with only hints of figuration left on the surface.
Untitled 2016 Oil on canvas, artist frame 55 x 45 cm | 21 5/8 x 17 3/4 in
Willem Weismann 1977, Eindhoven (NL) Night Walk 2018 Oil on canvas 95 x 80 cm | 37 3/8 x 31 1/2 in
Charles Avery 1973, Oban (UK)
Untitled (all the sheep in Scotland are black) 2018 Bronze, steel, acrylic 76.5 x 35 x 17 cm | 30 1/8 x 13 3/4 x 6 3/4 in 177 x 40 x 40 cm | 69 3/4 x 15 3/4 x 15 3/4 in incl. plinth
opposite page
Untitled (Shaman Approaching Student) (detail) Untitled (Shaman Approaching Student) 2018 Acrylic, ink and pencil on paper mounted on linen 68.7 x 54.3 cm | 27 1/8 x 21 3/8 in unframed
Matthew Day Jackson 1974, Panorama City, (US)
In his sculptures, paintings, installations, prints and video works, Matthew Day Jackson investigates the fatal attraction of the frontier. His images of physical and mental stress stem from the edges of human experience in the age of technology. Addressing the myth of the American Dream, the artist explores the forces of creation, growth, transcendence and death in dramatic visions of a failed utopia. His art obsesses over specific objects and moments made totemic by their part in (American) history -whether military, Utopian, countercultural, scientific, artistic or automotive- and translates those same objects and moments into exquisitely crafted sculptures and wall-based works that play their own role in a private and tangled narrative. With American English from the series Gunshot Plywood Bronze Works he explores our ongoing capacity for destruction.
American English 2017 Bronze, unique 243.8 x 121.9 cm |96 x 48 in
August 6, 1945 2017 Scorched wood and lead on panel, stainless steel frame 146.4 x 207 cm | 57 5/8 x 81 1/2 in
History, science, landscape, and belief are some of the subjects commonly explored in Jackson’s work. In August 6, 1945, one of a series of eponymous works begun while the artist was in residence at MIT, it seems as though nearly all of these issues are addressed Associated with astronauts, cartographers and surveillance satellites, the aerial perspective employed by Jackson speaks to the power that vision and knowledge engender. Like many of Jackson’s works, the assemblage seen here addresses the weaponization of technology as well as the contradictory fruits of human progress. “..History suggests that the dropping of the atomic bomb was a singular event that has a boundary. My idea is that the use of nuclear weapons doesn’t have a boundary. It brought a moral wound to the entire globe. It was a sort of suicide whose act we live, perpetually reminded of the possibility of it happening again. This possibility lies directly beneath our feet.” -Matthew Day Jackson
Dave McDermott 1974, Santa Cruz (US)
An air of academia surrounds the latest works by Dave McDermott. The artist’s most recent paintings are born out of curiosity, diligently considered, and made uniquely his own. In Everybody Else (I & II), two keystone works in the Somewhere paintings, the figures are based off of a 1930 photograph titled The Bathers by George Hoyningen-Huene. While HoyninguenHuene abstracts the forms of the two people in the photo, McDermott aims to “undo” or humanize that abstraction by using drawn and painted line —to him the most personal form of image making. In the ongoing series of “idealised” portraits of women, including Sylvia’s Ordeal and Woman with Seaweeds, the artist continues to manipulate established imagery –this time not re-rendering from suggestion, rather starting with a classical form and then subverting and distorting away from the referenced picture.
Woman with Seaweeds 2018 Oil on mounted canvas, yarn on panel 63.5 x 53.3 x 3.2 cm | 25 x 21 x 1 1/4 in
Everybody Else I 2018 Oil stick, oil, 23k gold on panel 63.5 x 53.3 cm | 25 x 21 in
Everybody Else II 2018 Oil stick, 23k gold on panel 63.5 x 53.3 cm | 25 x 21 in
Desiree Dolron 1963, Haarlem (NL)
Over the past years Desiree Dolron has been working on a soon to be published series called Raven, documenting her daughter from birth to the teenager she currently is. This is the first photograph from this series, showing an intimate moment between mother and child. Dolron will continue to work on this project while her girl is gradually becoming a woman.
Amsterdam, 2008 2008 C-print, framed 23 x 17 cm | 9 1/8 x 6 3/4 in framed: 39.5 x 32.5 cm | 15 1/2 x 12 3/4 in
Volker Hüller 1976, Forccheim (DE) Untitled (mixed double) 2018 Mixed media on canvas 106.7 x 81.3 cm | 42 x 32 in
Adriano Amaral Skinny Goat, 2017 Installation view, MĂşrias Centeno, PT
Adriano Amaral 1982, RibeirĂŁo Preto (BR)
Adriano Amaral’s work is marked by a thourough examination into the nature of things that surround us. The relationship between the human body and architecture as closed and simultaneously porous entities form the basis of his artistic enquiry. In his work various materials and states of matter intermingle. Natural elements encounter artificial products in an intense exploration, resulting in a kind of alchemical turn.
Untitled 2017 Concrete, marble dust, LCD screens, silicone rubber 205 x 38 x 13 cm | 80 3/4 x 15 x 5 1/8 in
Untitled 2017 Acrylic rods, tree branch, mobile cameras, car hose, iron sulphide, silicone rubber 6 x 117 x 48 cm | 2 3/8 x 46 1/8 x 18 7/8 in
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