Robert Devriendt Unsolved Cases
Robert Devriendt Un s o lv e d C a s e s
Š Dominique Libert
29 October - 23 November 2014
Robert Devriendt Un so lv ed Cases
A new book on Robert Devriendt’s work Broken Stories, published by Ludion, Antwerp 2014, will be launched at the private view.
Marlborough Fine Art, 6 Albemarle Street, London W1S 4BY +44 (0) 20 7629 5161 • mmiller@marlboroughfineart.com www.marlboroughfineart.com
IN-BET WEEN
Robert Devriendt’s work is linked with both very early and much more recent developments in modern culture. In their sense of detail, rendering of texture and their power to model with light and shadow, his paintings are reminiscent of one of the heydays of the artistic past of the Low Countries.
Text by Frank Maes, translated by Dirk Verbiest
The art of Jan van Eyck, Rogier Van der Weyden or the Master of Flemalle, arose of course from the tradition of illuminated manuscripts. At that time – the time of the fifteenth-century, early Renaissance – the painted image gradually detached itself from the context of the book or architecture, and started to become a world in itself. People started to attribute truth to what they saw with their own eyes and made the world the object of their glance and their reason. Sharp observation was turned into the equally precise, rich creation of an own world, which was condensed into one single image. It was by displaying the world (things, people, the surroundings) in front of them and thus turning this world into the object of the glance and reason, that early modern human beings also turned themselves into a subject. In addition to modelling with light and shadows, the linear and colour perspective provided powerful tools with which the individual could appropriate the image visually. I would define the term “subject” in this context as the instance that is able to grasp the world – i.e. to capture it with images, concepts or ideas – and as a result, is also able to intervene in the world. Modernity is a culture that attributes to individual people or to a small group of individuals the ability to make a difference in the world and to create something new – and in doing so, become a creator on a par with God. The early modern visual artist became a creator by placing himself outside the world of the representation, in particular by placing a window between himself and the world. It was the Italian architect, painter and humanist Leon Battista Alberti, who was the first to define the painting as a
“window” in his book De Pictura (1435). Thus a one-to-one relation results between the individual and the world. It was therefore necessary that the image – that which is situated at the other side of the window and is observed by the eye of the artist or the viewer – represents a coherent world. The time and space of the image must be homogeneous, subject to the laws of a single logic: the logic of the eye, which is governed by reason, and which is situated on this side of the window. And it was equally essential that the world of the work of art, this universe created by the artist, would be a world in itself, an organic, autonomous whole, which should be unambiguously distinct from its surroundings. In the course of modernity, due to this homogenization, the painted image has also tried to rid itself of its narrative content, evolving from the autonomous landscape or still life to the ultimate abstraction. Some creators (or their patrons) thought that they could indulge their lust for power in the creation of a world that exposed itself in its entirety to the glance or to reason. But in course of modernity, there has also been a great number of artists who, though they lent great power to the perspectival glance, also undermined or at least relativized it, by hiding important motifs within the space of the image from our sight (for example Jan van Eyck and Pieter Bruegel the Elder), by showing only that which is explicitly fragmentary or ephemeral within the image (Jan van Goyen, Frans Hals, John Constable, Claude Monet), by filling the space with an unbridled multitude and heterogeneity (Bruegel, Albrecht Altdorfer, James Ensor, Henri Matisse), or with characters that pay no attention to the public and are simply absorbed
by the activity they are engaged in (Bruegel, Johannes Vermeer, Jean-Baptiste Siméon Chardin). Yet all that time, no one really questioned the one‑to-one relation between the individual spectator and the image, which was unique, destined for eternity and distinct from its surroundings. Robert Devriendt’s work owes a lot to the art of early modern times, yet it is also unmistakably contemporary. The small, serially presented paintings have a photographic and cinematographic quality. The status of photographs and film images is for that matter different from the status of a painted image. Often, the former show only a fragment or an aspect of the whole, precisely because they are part of a sequence or they are complemented by text. The framing of photographs and film images is therefore of particular importance. From that point of view, it could be argued that since the birth of photography and even more so, since that of film, the image is much more embedded in a context and derives meaning from its presentation within this particular context – in fact, like the premodern image was embedded in the medieval book or the architecture of the palace and cathedral. In the early twentieth century, the Russian director Lev Kuleshov showed to what extent the interpretation of film images is steered by their editing (the so-called “Kuleshov effect”). Likewise, Walter Benjamin notes in his famous essay The Work of Art in the Age of Mechanical Reproduction (1935) that by cutting and pasting, the actor acquires the status of a stage prop and the prop the status of an actor. It is precisely this sort of equal treatment of different motifs that also characterizes Devriendt’s work. Fragments of human beings, things or
landscapes have been cut from their original context and have been pasted in the new context of a sequence of images that has been compiled by the artist. The question arises what the consequences are of this change in the status of the image – i.e. of the object of our glance – for the role, the position and the status of the subject of this glance: the artist and the spectator. Devriendt’s sequentially presented small paintings seem to be in a permanent state of “suspension”, a sort of “in-between” stage. As painted images, they require an individual, focused, contemplative glance – a requirement that is further intensified by their small scale and meticulous detail. The presentation of this sort of work calls for isolation and visual rest. But already in 1935 Benjamin noted that this sort of glance is an anachronism in the mass society, in which the large museum and the blockbuster exhibition do not allow a prolonged focus on or the contemplation of a single image, simply because each individual spectator is pushed along by a stream of visitors. Film, on the other hand, is an art for the masses, because it is experienced collectively. And in the cinema a contemplative or concentrated focus on a single image is inappropriate. Each viewer has to let himself or herself be carried away, not by the stream of visitors, but by the movement of the reel, which spins around at a speed of twenty-four images per second. Because of that, Benjamin writes, it is possible that the cinemagoer is distracted and critical at the same time. According to Benjamin, in this kind of perception the tactile element prevails over the visual element. He continues to explain his claim by contrasting the aesthetic,
contemplative, purely visual perception of a tourist visiting a city, with that of the distracted, essentially tactile perception of the city’s inhabitants in his or her everyday life. Both types of perception are essentially different because of their different position: the tourist keeps a certain distance with regard to the city he or she observes, whereas the inhabitant is part of that world. Devriendt’s works seem to be in a permanent state of suspension, because willing or otherwise, they put the spectator in an ambiguous position: between concentration on each separate image and an observation that is scattered over a series of images. Of great importance are the interstices between the canvasses – like the spaces between words. These white spaces function as the intertitles in a silent film from which the text has been deleted. These openings in the sequence of fragmentary, suggestive images invite and challenge the spectator to fill in the gaps. Thus the artist no longer claims the exclusivity of creation or authorship, which are now shared with the spectator. Through his sequential presentation, Devriendt introduces a narrative dimension in his work, but in this he deliberately chooses to play the role of someone who merely provides the elements. He simply provides suggestions, and leaves it to the spectator to use them to construct a story – or do nothing with them. As a visual artist he respects the modern commandment of medium specificity – thou shalt not write stories – but at the same time he uses every possible means to tempt the spectator into transgressing this commandment. Moreover Devriendt’s work urges us to commit a second sort of transgression that is far more serious.
It was in his fierce plea Art and Objecthood (1967), aimed at what he called “literal art” (a collective term comprising Minimalism, Conceptualism, Land Art and the Installation Art of the 1960s), that the American art critic Michael Fried pointed out the main characteristic of a powerful modern work of art: an infinitely accurate spectator would be able to grasp it in its entirety in one single instant. Fried emphasized that this one-to-one relation between the spectator and the world of the work of art can only continue if the relation is solely visual. Fried obviously wanted to maintain at all cost the absolute divide between the space of the image and the space of the spectator – in other words, he stuck to Alberti’s definition: the painting functions as a window that guards the absolute autonomy of the space of the image, and as such of its creator. “Literal art”, in his view, precisely breaks down this barrier. It refuses to refer to a “different” world, which throws back the spectator to his own resources. From now on, the space and time of a work of art will coincide with the private space and time of the spectator. Unlike the heralds of the literal art, Devriendt does not give up fiction. Each individual canvas meets the demands of the modern work of art: time and space of the representation constitute a coherent whole; they present a specific moment; despite their fragmentary character, their suggestive power and visual intensity
can transport the spectator to a different, imaginary place. But through the interstices, the wall on which the series of paintings are presented and, hence, the concrete exhibition space, also become part of the work of art, and thus of the concrete exhibition space. The relation between the spectator and the work of art can no longer be simply visual. The spectator cannot reduce himself or herself to a contemplative eye that plunges integrally into the virtual space and time of the image, but to some extent he or she remains a body that is a part of the particular spatiality and temporality in which it is concretely situated. In this way Devriendt places the spectator – and himself – in a tense area between the possible, different positions with regard to the world and creates different ways to relate to the world. He brings about an interaction between on the one hand the (pure) image, the fictional story (which both function as vehicles that can carry us off, away from the existing world), and on the other hand the existing, private world we are inevitably part of. He causes the spectator – and himself – to commute incessantly between the various positions, in a shared space no one can ever master entirely, because no one can position himself or herself entirely outside of it. A synthesis? There is none. We are the commuting. The interstices between the canvases are the origin of our shortage and our freedom.
Sources: Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction and other essays. The author has used the Dutch translation by Henk Hoeks, SUN, Nijmegen, 1985, pp. 7–45. Michael Fried, Art and Objecthood, 1967, in: Charles Harrison & Paul Wood (red.), Art in Theory, 1900–1990. An Anthology of Changing Ideas, Oxford UK/ Cambridge USA, 1992, pp. 822–834.
lis t of works
The scene with the exploding Aston Martin and the egomaniac girl, 2013 Oil on canvas, 6 parts All measurements in cm 10 x 21.3; 9 x 10.5; 10 x 17.1; 16 x 23.5; 12.5 x 20; 10 x 18 Overall length 100.8 Unsolved Case 1, 2014 Oil on canvas, 8 parts All measurements in cm 8.8 x 19; 10.4 x 20.7; 10 x 21; 10 x 21; 10 x 13.9; 12.8 x 16.5; 10 x 16.2; 10 x 28.3 Overall length 190 Unsolved Case 2, 2013–14 Oil on canvas, 5 parts All measurements in cm 15 x 20; 14 x 20.8; 12 x 20; 11 x 17.4; 13.2 x 20.6 Overall length 120
Unsolved Case 3, 2013–14 Oil on canvas, 4 parts All measurements in cm 10 x 17; 12.8 x 17.5; 17.8 x 24; 11.5 x 11.5 Overall length 79 Unsolved Case 4, 2014 Oil on canvas, 10 parts All measurements in cm 8.4 x 10.8; 9.3 x 10.9; 9.6 x 14; 10 x 19.8; 10.7 x 17; 12.4 x 17.6; 10 x 16.5; 10.7 x 11; 9.8 x 13; 9.3 x 12.5 Overall length 123 Unsolved Case 5, 2014 Oil on canvas, 3 parts All measurements in cm 8.6 x 10.6; 11.8 x 16.8; 10 x 17.3 Overall length 44.7
Unsolved Case 6, 2014 Oil on canvas, 8 parts All measurements in cm 8.3 x 12.5; 11.6 x 14; 11.5 x 18; 11.3 x 18; 16.5 x 24; 12 x 15.6; 13.8 x 17.7; 12 x 17.9 Overall length 116.2 Unsolved Case 7, 2014 Oil on canvas, 3 parts All measurements in cm 9.8 x 15; 9.7 x 13.2; 9.5 x 12.9 Overall length 47.1 Unsolved Case 8, 2014 Oil on canvas, 5 parts All measurements in cm 9.4 x 12.5; 10.2 x 11.5; 10.9 x 28.7; 11.2 x 12.3 Overall length 59.5 Unsolved Case 9, 2013–2014 Oil on canvas, 2 parts All measurements in cm 10 x 28; 10.3 x 28 Overall length 60
The scene with the exploding As ton Martin and the egomaniac girl
The scene with the exploding Aston Martin and the egomaniac girl, 2013 Oil on canvas, 6 parts
  Enlarged images to follow
The scene with the exploding Aston Martin and the egomaniac girl, Part 3
The scene with the exploding Aston Martin and the egomaniac girl, Part 5
Unsolved Case 1
Unsolved Case 1, 2014 Oil on canvas, 8 parts
  Enlarged images to follow
Unsolved Case 1, Part 1
Unsolved Case 1, Part 5
Unsolved Case 2
Unsolved Case 2, 2013–14 Oil on canvas, 5 parts
Unsolved Case 2, Part 2
Unsolved Case 2, Part 3
Unsolved Case 2, Part 5
Unsolved Case 3
Unsolved Case 3, 2013–14 Oil on canvas, 4 parts
Unsolved Case 3, Part 1
Unsolved Case 4
Unsolved Case 4, 2014 Oil on canvas, 10 parts
  Enlarged images to follow
Unsolved Case 4, Part 2
Unsolved Case 4, Part 6
Unsolved Case 4, Part 9
Unsolved Case 4, Part 10
Unsolved Case 5
Unsolved Case 5, 2014 Oil on canvas, 3 parts
Unsolved Case 5, Part 1
Unsolved Case 6
Unsolved Case 6, 2014 Oil on canvas, 8 parts
  Enlarged images to follow
Unsolved Case 6, Part 6
Unsolved Case 6, Part 8
Unsolved Case 7
Unsolved Case 7, 2014 Oil on canvas, 3 parts
Unsolved Case 7, Part 1
Unsolved Case 8
Unsolved Case 8, 2014 Oil on canvas, 4 parts
Unsolved Case 8, Part 1
Unsolved Case 8, Part 2
Unsolved Case 8, Part 3
Unsolved Case 9
Unsolved Case 9, 2013–2014 Oil on canvas, 2 parts
biography
Born in 1955 in Belgium. Lives and works in Zwevezele and Bruges.
2007 Heidegger ’s Forest, Galerie Baronian-Francey, Brussels Les Amants de la Forêt, Galerie Loevenbruck, Paris 2008 Die Geschichte eines Jägers, MARTa Herford
SOLO EXHIBITIONS 1987 Robert Devriendt, Internationaal Cultureel Centrum (ICC), Antwerp 1989 Robert Devriendt, Vereniging voor het Museum van Hedendaagse Kunst, Ghent 1991 Robert Devriendt, Galerie Joost Declercq, Ghent 1993 Robert Devriendt, Galerie C. De Ketelaere, Tielt 1994 Jan Mot & Oscar van den Boogaard, Brussels Galerie C. De Ketelaere, Tielt 1996 Stichting Ultima Thule, Amsterdam 1998 Vereniging Museum van Hedendaagse Kunst, Ghent Gallery Corridor, Reykjavik 1999 About Nature, About Painting, Nicole Klagsbrun Gallery, New York 2000 Petits mouvements/Kleine bewegingen, Hyper Space, Brussels Mise en Scène, Nicole Klagsbrun Gallery, New York 2001 Illusion of Illusion, Gallery Side 2, Tokyo Robert Devriendt, Presentation book, ‘Schilderen’ and paintings, Stedelijk Museum voor Aktuele Kunst (SMAK), Ghent 2004 Metaview, Nicole Klagsbrun Gallery, New York 2005 Contes Intimes, Galerie Nadja Vilenne, Liège Explosion et Sensualité, Air de Paris Essai Intime, Château d’Oiron, Oiron 2006 Passion & Crime, museumgouda, Gouda Séquences, Ravenstein-galleries/Galerie Nadja Vilenne, Brussels
2009 Peintures et scenarios, Museum DhondtDhaenens, Deurle Peintures et scenarios, Musée des Beaux Arts, Tourcoing 2010 Victimes de la passion, M – Museum, Leuven 2011 Le Chasseur de Fétiches, Mario Mauroner Contemporary Art Vienna The woods of love and horror, Galerie BaronianFrancey, Brussels 2012 A Voyeur’s Devotion, Galerie Loevenbruck, Paris Le Chasseur de Fétiches, De Buren, Brussels 2014 Unsolved Cases, Marlborough Fine Art, London GROUP EXHIBITIONS 1991 Galerie van Krimpen, Amsterdam Galerie Joost Declercq, Ghent Museum Mücsarnok, Budapest Europaprijs voor de Schilderkunst, Provinciaal Museum voor Moderne Kunst (PMMK), Ostend 1992 Modernism in Painting, Provinciaal Museum voor Moderne Kunst, Ostend 1993 Landschappen-Verwantschappen, Museum DhondtDhaenens, Deurle Self-Portrait, Jan Mot & Oscar van de Boogaard, Brussels 1994 Aankopen van de Vlaamse Gemeenschap, Museum van Hedendaagse Kunst (MuHKA), Antwerp 1995 Introducé, Stedelijk Museum, Het Domein, Sittard De Voorstelling, galerie Jan Mot & Oscar van den Boogaard, Exposorium Vrije Universiteit, Amsterdam
1996 Galerie des Beaux-Arts, Das Belgische Haus, Keulen M. P. Broodthaers, Brussels Galerie des Beaux-Arts, L’ACADEMIE 1, Brussels 1997 Art Brussels, Galerie des Beaux-Arts, Brussels 1998 Gallery Ingolfstrati, Reykjavik Salon Vache, Art Store, Brussels Nicole Klagsbrun Gallery, New York 2000 The Corridor: 20 Years, The Reykjavik Art Museum Mouvements, Museum voor Schone Kunsten, Antwerp Another Dimension, b.space.be, Brussels 2001 Mangistan, Oud-Amelisweerd, Utrecht Nicole Klagsbrun Gallery, New York Retouche, Ghent Yellow, Geel Still/life, Rockoxmuseum, Antwerp Between Earth and Heaven, Provinciaal Museum voor Moderne Kunst (PMMK), Ostend 2002 Onderstromen-Bovenstromen, NICC-project, Bruges Octopus, Bruges Ik of een ander, Self-portrait Belgian Artists, Brussels 2003 Gelijk Het Leven Is, Belgische kunst uit de collectie van het Stedelijk, Stedelijk Museum Voor Actuele Kunst (SMAK), Ghent-stat.ic, TENT, Rotterdam A Prior Benefit, Museum van Hedendaagse Kunst, Antwerp Bestuifbegeerte, Z33, Hasselt 2004 Love is in the Air, Marie-Puck Broodthaers, Brussels Amicalement vôtre, Musée des Beaux Arts, Tourcoing Once Upon a Time, Museum van Hedendaagse Kunst Antwerp (MuHKA) 2005 La Belgique Visionnaire, Paleis voor schone kunsten, Brussels
Slow Art, Museum Kunst Palast, Düsseldorf Pijn, Guislain Dr. Museum, Ghent Soul, Corpus, Bruges Chemins, Galerie Nadja Vilenne, Luik Galerie Nadja Vilenne, FIAC, Paris Galerie Nadja Vilenne, KunstRAI Amsterdam Ravenstein-gallery, Galerie Nadja Vilenne Le jeune, le bel, le vivace aujourd’hui, Centre d’art Mira Phalaina, Montreuil 2006 L’amateur d ’estampes, Musée des Beaux-Arts de Tourcoing Watou, été de la poésie, Extiem, Watou Summertime, Galerie Nadja Vilenne, Luik La Touche, Roger Raveel Museum, Machelen-Zulte Voorbij Goed en Kwaad, Museum Dr. Guislain, Ghent 2007 Silent Revolutions, Botanische tuin en cultureel centrum Tweebronnen, Leuven Birdwatching, Tanya Rumpff gallery, Haarlem 2008 Honorons Honoré, De Garage, Mechelen Found, Voorkamer, Lier Indian Winter, Galerie Baronian, Francey, Brussels Salon du dessin, Paris Comme des bêtes, Musée cantonal des Beaux-Arts, Lausanne 2009 The state of things, Paleis voor schone kunsten, Brussels Pittoresk, MARTa, Herford Exposition Collectieve, Galerie Loevenbrück, Paris Sammlung MARTa Herford 02, Herford Voltashow, Galerie Loevenbruck, Basel Beyond the Picturesque, SMAK, Ghent Armory Show New York, Galerie Baronian-Francey, New York Salon Du Dessin Contemporain 2009, Galerie Loevenbruck, Paris
35 Jaar Galerie Baronian Francey, Brussels Fading, Museum van Elsene Uit het geheugen, Museum Dr. Guislain, Ghent 2010 Idiolect, G.Gezellemuseum en verschillende locaties, Bruges The state of things, National Art Museum of China, Beijing Art Basel, Galerie Baronian-Francey, Basel Disturbed silence, Campus Psychiatrisch Centrum Duffel Exposition d’Inauguration Galerie Loevenbruck, Paris Vlaggenproject en PPP Paintings, MuZEE, Ostende FIAC, Foire International d’Art Contemporain, Paris 7 new installations in Troubleyn Laboratorium, Antwerp Benefit auction, Centrum Wiels, Brussels 2011 Kasteel van Gaasbeek, Gaasbeek Flanders House, New York Art Basel, Galerie Baronian-Francey, Basel Family Plot, Galerie Baronian Francey. Brussels 2012 Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna Biënnale van de Schilderkunst: De Mens in Beeld, Museum Dhondt-Dhaenens, Deurle Mario Mauroner Contemporary Art, Salzburg Hypersensitief, Zwijgershoek, Sint-Niklaas Art Basel, Galerie Baronian-Francey, Basel Art Rotterdam, Galerie Baronian-Francey, Rotterdam Brussels Art Fair, Galerie Baronian-Francey, Brussels 2013 Museum to scale 1/7, Koninklijke Musea voor Schone Kunsten, Brussels Art Brussels, Galerie Marlborough Fine Art, Brussels Art Brussels, Galerie Baronian, Brussels Dinges, Museum M, Leuven
2014 Passions secrètes, collections privées Flamandes, Tripostal, Lille Art Basel 2014, Marlborough Stand, Basel Een Onvervalste Leugen, Emergent, Veurne Crime in ART, Museum MOCAK, Krakow Art Brussels, Marlborough booth, Brussels TEFAF, Marlborough booth, Maastricht El Hotel Eléctrico, M HKA, Antwerp Episode 5: In the beginning, Kunstraum Insitut, Berlin Bande à part, CAB Art Center, Brussels Résonance (s), Maison Particulière, Brussels Conversation Piece, Art Genève, Geneva
COLLECTIONS
Sheringa Museum of Realist Art Collection, Spanbroek 21C Museum, Louisville Stedelijk Museum Voor Actuele Kunst (SMAK), Ghent Provinciaal Museum voor Moderne Kunst (PMMK), Ostend National Bank of Belgium City Bruges: Dexia Finance, Cera, ING Bank BOOKS Robert Devriendt, Schilderen, Merz/Luc Derycke & Co., Ghent, 2001 Between Text and Image, A prior en R. Devriendt, 2002 Essai Intime, Chateau d’Orion, Centre des Monuments, 2005 Zwischen den Bildern, Marta Herford, 2008 Peintures & Scénarios, Musée des Beaux-Arts Tourcoing, 2009 Scènes, MER. Paper Kunsthalle, 2013 Broken Stories, Ludion Publishers, 2014
marlborough
London Marlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 mfa@marlboroughfineart.com info@marlboroughgraphics.com www.marlboroughfineart.com Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 info@marlboroughcontemporary.com www.marlboroughcontemporary.com New York Marlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1-212-541 4900 Telefax: +1-212-541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com
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Design: Shine Design, London Print: Impress Print Services Ltd. Photography: Joost Huysman ISBN 978-1-909707-13-9 Catalogue no. 640 Š 2014 Marlborough