02 n°92 déc 19/jan-fév 2020
02 n°92 déc 19/jan-fév 2020
  • Prix facial : gratuit

  • Parution : n°92 de déc 19/jan-fév 2020

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 84

  • Taille du fichier PDF : 7,8 Mo

  • Dans ce numéro : Teresa Margolles, Peter Friedl et Corentin Canesson invités de ce numéro.

  • Prix de vente (PDF) : gratuit

Dans ce numéro...
< Pages précédentes
Pages : 68 - 69  |  Aller à la page   OK
Pages suivantes >
68 69
«Béatrice Balcou», M Museum, Leuven, 20.09.2019 – 26.01.2020 «De la Lenteur et de la Mesure», Bn Projects — Maison Grégoire, Brussels, 30.11. 2019 — 1.02.2020 1 Michel Leiris, Le sacré dans le quotidien, Allia, 2016, p.88, (our translation). 2 The exhibition is a kind of sequel to «L’économie des apostrophes» presented from 11.11.2018 to 10.02.2019 at La Ferme du Buisson in Noisiel. Its presentation in Belgium, where Béatrice Balcou lives and works, is made possible thanks to the support of the ADAGP’s Connexion grant. 3 Tôzai is a video produced during Béatrice Balcou’s residency at the Villa Kujoyama in Kyoto in 2018. She worked on it there in collaboration with Yuki Okumura, a Japanese artist she met in Brussels, with whom she has been working for several years. Yuki Okumura is the author of Canned Multiverse (2012), manipulated in Tôzai, made based on the work of Genpei Akasegawa — see footnote 8. 4 The non-haphazard appearance of this material calls to mind the artist’s current research, having been invited in 2019 to the CIRVA, Centre international de recherche sur le verre et les arts plastiques, in Marseille. 5 As was the case for Quatre cales pour D de Tscharner (2017) during its presentation at the Galerie Levy Delval. By common agreement, David de Tscharner and Béatrice Balcou decided to exhibit the assisted work and the assisting work separately. 6 The Playground Festival is a platformwhich annually, every November, presents a selection of artists whose work is situated at the crossroads between visual arts and performance. The festival is jointly produced by M Museum and STUK, House for Dance, Image and Sound, in Leuven. 6 Guest Béatrice Balcou 6 Béatrice Balcou — by Antoinette Jattiot «It is in the sacred that we are at once most ourselves and most outside ourselves. Because we thus put ourselves on the level of totality. Unusual spectacles that amaze us, disorient us, and transport us, and in front of which, nevertheless, we recognize ourselves more than ever». 1 At the M Museum in Leuven, 2 Béatrice Balcou’s works are on display in a single room, after passing through the Borman show, that dynasty of 16 th century sculptors, which is somewhat surprising for contemporary art lovers. The outdated confines of the exhibition of late Gothic statuary contrast with the spareness of a hanging garden, a timeless capsule devoid of artifices and offered for silent contemplation. As the opposite of a formof transcendental sacredness where aspects of reality are reproduced to exacerbate man’s reliance on a higher principle, Balcou’s sacredness exists per se. Wide open to the exterior, and haloed in light, the exhibition room is lined with large bay windows, offering a unique viewpoint over the nearby roofs. As soon as you walk into this room, the view towards the heights of the Belgian city draws your gaze towards a work made of transparent glassin which there appears, both near and far, anupside-down image of the Flemish city. This is the first time that Balcou is exhibiting the artist’s work which has inspired the «placebo» beside it. A «placebo» here is a wooden replica of a work by another artist which Balcou makes use of as a medium of rehearsal ahead of the Céremonies sans titre [Untitled Rituals], during which she manipulates the original work, inviting viewers to let their eye dwell on and contemplate it at greater length. In all modesty, the work is here disassembled, bowing out to its predecessor. The eye castupon the twosome—the original and the «placebo»—, immediately setsup the conditions for our visit. Through the work of AnnVeronica Janssens, Balcou invites a change of paradigm, and emphasizes the reconfiguration of the world challenged by her unusual approach to art, where the impermanence of matter reigns. The glass ball, not made by her, concentrates a scaled-down world, a discreet echo, too, of Genpei Akasegawa’s Canned Universe (1964), highlighted in the work of Yuki Okumura, which Béatrice Balcou manipulates in the video Tôzai on view a little further on. 3 This «floating world» (words calling to mind the style developed in the Edo period, associated with entertainment and prosperity), which is nevertheless dislocated in its wooden remake, is the signal of a warning against the hasty consideration of a work of art which has neither the formnor the status that is imposedupon it. Here the artist demonstrates not only the freedom she still has over the formula of her «placebo», which can be applied without systematism, and is undergoing profound changes, like the world roundabout, but she also shows the infinitely autonomous character of her sculpture which she asserts no longer as a tool but rather as a fully-fledged work,upsetting the traditional conception of a unique and original work, and any attempt to make comparisons with Janssens’s œuvre. Henceforth, the translucent fragility of the glass no longer contrasts with the opaqueness of the wood 4, whose delicate treatment, akin to that of Quatre épingles pour R. Heyvaert,upsets the idea of the presupposed density of the material. These barely perceptible and finely sculpted four pins formthe last of Balcou’s Pièces assistantes [Assistant Sculptures], endowing themselves with the function of supporting the work of René Hayvaert—an artist and architect, born in 1929, who died in 1984 in Ghent, and for whom the M Museum held a retrospective in 2018. The Pièces assistantes are wooden pieces which highlight the often invisible elements used to present artworks : in an inextricable ambivalence between dependence and autonomy, absence and presence, one does not exist without the other. Here Balcou pushes the formof the assistant work to the limit—at times deemedtoo visible in relation to the work it is assisting 5 —, a solitary and supportive crutch, whose effective sobriety also denotes the wit with which the issue of the status assigned to artworks is treated. The assistant piece reveals the beauty of the void, the memory of a formwhose hanging we imagine in space, as much as it questions the codes of the institution whose role has more to do with masking the kindliness of systems underpinning the appreciation of a work. The other placebo works—arranged further on directly on the floor or on grey pedestals conjuringup tatami formats—for their part call to mind the much broader protocol developed by the artist for the conception of the Cérémonies Sans Titre. From their procedures to their production, the «ceremonies» highlight a shared responsibility and subjectivity linked to the eye cast on the work. During the 2019 Playground Festival, 6 the slow hypnotic session including Susan Collis’s She Falls Down, 7 crimped with precious but barely perceptible materials, duplicated this issue of the value that we
6 Guest Béatrice Balcou 7 Béatrice Balcou, Transformer, 2018. Vue de l'exposition/View of the exhibition « L’Économie des Apostrophes », La Ferme du Buisson, Noisiel. /courtesy Béatrice Balcou. Photo  : Émile Ouroumov.



Autres parutions de ce magazine  voir tous les numéros


Liens vers cette page
Couverture seule :


Couverture avec texte parution au-dessus :


Couverture avec texte parution en dessous :


02 numéro 92 déc 19/jan-fév 2020 Page 102 numéro 92 déc 19/jan-fév 2020 Page 2-302 numéro 92 déc 19/jan-fév 2020 Page 4-502 numéro 92 déc 19/jan-fév 2020 Page 6-702 numéro 92 déc 19/jan-fév 2020 Page 8-902 numéro 92 déc 19/jan-fév 2020 Page 10-1102 numéro 92 déc 19/jan-fév 2020 Page 12-1302 numéro 92 déc 19/jan-fév 2020 Page 14-1502 numéro 92 déc 19/jan-fév 2020 Page 16-1702 numéro 92 déc 19/jan-fév 2020 Page 18-1902 numéro 92 déc 19/jan-fév 2020 Page 20-2102 numéro 92 déc 19/jan-fév 2020 Page 22-2302 numéro 92 déc 19/jan-fév 2020 Page 24-2502 numéro 92 déc 19/jan-fév 2020 Page 26-2702 numéro 92 déc 19/jan-fév 2020 Page 28-2902 numéro 92 déc 19/jan-fév 2020 Page 30-3102 numéro 92 déc 19/jan-fév 2020 Page 32-3302 numéro 92 déc 19/jan-fév 2020 Page 34-3502 numéro 92 déc 19/jan-fév 2020 Page 36-3702 numéro 92 déc 19/jan-fév 2020 Page 38-3902 numéro 92 déc 19/jan-fév 2020 Page 40-4102 numéro 92 déc 19/jan-fév 2020 Page 42-4302 numéro 92 déc 19/jan-fév 2020 Page 44-4502 numéro 92 déc 19/jan-fév 2020 Page 46-4702 numéro 92 déc 19/jan-fév 2020 Page 48-4902 numéro 92 déc 19/jan-fév 2020 Page 50-5102 numéro 92 déc 19/jan-fév 2020 Page 52-5302 numéro 92 déc 19/jan-fév 2020 Page 54-5502 numéro 92 déc 19/jan-fév 2020 Page 56-5702 numéro 92 déc 19/jan-fév 2020 Page 58-5902 numéro 92 déc 19/jan-fév 2020 Page 60-6102 numéro 92 déc 19/jan-fév 2020 Page 62-6302 numéro 92 déc 19/jan-fév 2020 Page 64-6502 numéro 92 déc 19/jan-fév 2020 Page 66-6702 numéro 92 déc 19/jan-fév 2020 Page 68-6902 numéro 92 déc 19/jan-fév 2020 Page 70-7102 numéro 92 déc 19/jan-fév 2020 Page 72-7302 numéro 92 déc 19/jan-fév 2020 Page 74-7502 numéro 92 déc 19/jan-fév 2020 Page 76-7702 numéro 92 déc 19/jan-fév 2020 Page 78-7902 numéro 92 déc 19/jan-fév 2020 Page 80-8102 numéro 92 déc 19/jan-fév 2020 Page 82-8302 numéro 92 déc 19/jan-fév 2020 Page 84