(advertentie) (david lamelas) · synchronizing their watches before the re-enactment of the...

Tonight is full moon,so i read news paperwith eyes closed

Today has been avery nice day, work-ing here and lookingout of window

-Newspaper Jan MotVerschijnt vijfmaal per jaar injanuari – maart – mei –augustus – oktoberNO. 47, mei 2005Erkenningsnummer P309573

Jaargang 9 NO. 47

No idea for this blindbox. Turn o the page,now.

Afgiftekantoor: 1000 Brussel 1V.U.: Jan Mot

Antoine Dansaertstraat 1901000 Brussel

Time re-enacted(David Lamelas)

On April the 16th, the last day of the showToday is just a copy of yesterday, DavidLamelas re-enacted his sole performancework, called Time, 35 years after the firstpresentation in Les Arcs (F). In the galle-ry 20 people participated by standing ona line, drawn by Lamelas by tape on thefloor.The artist started by saying the hour‘16h27’ and exactly one minute later hisneighbour would say the time.Then ano-ther minute later the next person wouldsay the time, each of them in their mothertongue. In this way the passing of timebecame visible, going from one person tothe next. Earlier that day David Lamelaswas interviewed in the gallery by Stefan

Roemer, a German filmmaker and artist,for his filmessay Conceptual Paradise.What follows are some excerpts from thisinterview.Stefan Roemer What do you consider thestrongest influence on your artistic practice?David Lamelas You mean now, at this verymoment, or a few years ago or when I wasa child?SR If you want to differentiate, you can dif-ferentiate. Maybe as you started workingwith art...DL As a child I was always very interestedin relationships... how relationships are pro-duced between me and my brother, my sis-ter, my mother, my father. > see page 2

BRUSSELS, APR. 16 Michel Assenmaker, Pierre Bal-Blanc and David Lamelas synchronizing their watches before the re-enactment of the Time-performance started. (photo: Stefan Roemer)

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Jan MotRue Antoine Dansaertstraat 190

B-1000 Brussel Bruxelles

newspaper_radim_new_cul.qxd 26-05-2005 14:52 Pagina 1

2 Newspaper Jan Mot -Question

> continued from page 1 That was veryearly, and then I became very, very earlyinterested in reproductions, in pictures, inphotographs, and the difference betweenpictures,... art or generally pictures; aboutpictures coming from Europe, fromArgentina, from the US, how different theywere. I was wondering why do they look sodifferent. How pictures are so different...Somehow I started to see a cultural diffe-rence through how people look and howphotographs are taken in different cultures.It was actually... my first memory of anyinterest in... visuals.SR Can you say something like, whichpractice in the history of art is your favou-rite?DL My favourite? All of them; I really likeall of them. I like to draw... My favouritepractice in art is thinking, the thinking-pro-cess... thinking about what kind of workshould I do, how shall I do it... The practicecomes later but the real fun is thinkingabout it. SR Can you say something like, what is theaim of your practice?DL What is the aim of my practice. I wouldsay... is to have an idea, to be able to repre-sent it through a photograph, a film, aninstallation. The medium doesn’t reallymatter to me. The important thing is to beable to represent a concept, to be able tocommunicate it to someone.SR Do you think that the conceputal para-digms are still in function, or is it important

to renew the paradigms?DL Oh well, no, they have to be renewedevery day. Every day you have to renew theconcept; it’s not a permanent thing.SR How you see the influences of theConceptual art on art in general in the last30 years?DL I think it has been very, very influen-tial and is very influential, and it’s notbecause I think about that all the time. Theway artists today are thinking, it comesfrom the Conceptual movement of thattime. But it’s not just today because wealways came from somewhere. Art hasalways been conceptual. If you look at apainting by Velazquez, e.g. Las Meninas,that is a highly conceputalized piece ofwork. Actually my first contact withConceptual art... has been through thatpainting of Velazquez. For the first time Isaw the connection between how the imageis produced and reproduced by the artist.That painting has threes layers: one of themis the eyes, the other one is the world he isrepresenting in front of him and the otherone is how the image is represented. I meanwhen I was a child, I didn’t get it this way;I kind of disovered that in a way throughthat painting. When I saw the original pain-ting of Velazquez it was... I knew that pain-ting through a reproduction, so I alwayswent from the reproduction to the original... to how ... what really isn’t real life. Iremember when I was seven years old Iwent from Argentina to Spain, and one of

the first things I wanted to do in Spain wasI wanted to go to the Prado museum becau-se I really wanted to see that painting. Andwhen I walked into that room has been pro-bably the most important moments in myart-memory,... first of all the dimensions ofthat painting; since I was a child it lookedgigantic to me. The first time I saw thatpainting I didn’t see the original becausethat painting at that time, the way it wasshown at the Prado – I think they changedit now – it was a small room and they had afull-lenght mirror almost as large as thepainting. So when you walked into the roomyou really didn’t see the painting, you sawan image of the painting. Then you turnedaround and then you saw the real painting.That was for me quite a discovery.SR When was your decision to become anartist?DL Since I remember I always felt diffe-rent to my other brothers and sisters. I wasborn a twin – my name is David and mybrother was called Victor – and I think thedecision was taken after his death... to dealwith the pain was to be able to go into myinside and do something with that inside, tobe able to get out of myself. Maybe that wasthe moment. It’s really the first time I saythis, but maybe that’s the case.

The film ‘Conceptual Paradise’ by StefanRoemer is funded by the Kulturstiftung desBundes, BRD.

Deimantas Narkevicius I started my artisticpractice at the point when the theories of artsymbolism were out of fashion. The notionof ‘symbol’ in my opinion is related to theinterpretation of a piece. I wouldn’t want toget involved in this. It’s no concern of mine.‘Symbol’ is a literary term signifying certainconventions. What is much more importantto me is the construction and the formal prin-ciples of a work. It is a distinct formationsystem which sometimes can be extremelycomplicated, including various strata of cul-tural activities and their interrelations. Inthese systems certain conventions are inevi-table, yet they invoke different logics. It israther the tradition of a certain activity or tobe more precise – the genesis, the continui-ty, based on the outlines or conceptual prin-ciples of certain artistic practices. I must, however, admit that despite thedemocratic principles underlying contem-porary art practices, the scene of art israther hermetic and its existence producescertain terms. In a way it is also a symbolicactivity. AA You are obviously inclined to emphasi-ze (at least a certain) neutrality towards the

SIAURES ATENAI, 8 JAN. –Alfonsas Andriukevicius Certain theoriesonce claimed that art in its nature is symbo-lic. Modernists didn’t ‘prohibit’ their piecesfrom being symbolic either. Nowadays,however, art avoids symbolism. Instead oflaying claim to a symbol, it is more subjectto reflect the life of symbols: their interrela-tionship (struggle in particular), disintegra-tion, and exchange of positions. I suspect youare also interested in the interaction of sym-bols. In your early films you would ‘coverone symbol with the another’(you have over-

layed the ideologically overloaded soviet filmIgnotas Is Returning Home with the Masstexts). Further, your interest is manifest inyour new project The Exhibition of TwoSculptures. In your film Kaimietis(Countryman) you depict the bust of an armygeneral while the author of the bust tellsabout the twists and turns involved with thecreation process of the sculpture. In the ano-ther film (Once in the XX Century) we seethe (re)dismounting of the Lenin monumentin Vilnius. Could you reflect on the circums-tances and reasons of this interest of yours?

Being Political Is a Formof Self-EducationAlfonsas Andriukeviciusinterviews Deimantas Narkevicius


3 Newspaper Jan Mot -Answer

symbols (their content) participating in yourproductions. For example in the filmKaimietis which is the part of the aforemen-tioned project you present the a sculptorapplying the principles of animation. Iunderstand it (although other interpretationsare as well possible) as both the artist’s(yours) wish to withdraw from what is saidin the film and the possibility for the spec-tator to stay aloof and cool. What is your opi-nion about engaging with art works, artistsand the very possibility of staying unenga-ged? DN Documentary qualities are an impor-tant aspect or attribute in all my film pro-ductions. Shooting scenes and recordingsounds, conversations or monologuesmeans a documentation of certain actionsand fixations of character’s thoughts.Putting it in my films I can’t lay a claim toa pure documentary, which is undoubtedly adifferent creative form. I present the docu-mentary matter in the way that I find mostdeliberate. However I always simultaneous-ly frame an open and definite method forreading the work. In the particular piece thatyou’ve just referred to there are apparentreferences to both cinema and to fine arts.Both these artistic media communicates andconveys information in their own specificways. I see this film as partaking of apsychological narrative or short story genre,yet the ‘real’ living characters are authenticand rather autonomous. (I respect the peo-ple who have agreed to cooperate in this aswell as my other film projects.) I am abso-lutely free in constructing the piece, howe-ver I always consider the individuality of mycharacters; perhaps this could be referred toas neutrality.AA Symbols usually lose their power notonly when they are ruined physically, butwhen they end up in the changed system andthe different context that does not ‘feed’them any more. And that is exactly what hashappened to the better part of Soviet sym-bols. The noted sculptures on the _aliasis til-tas bridge for instance. As symbols thesesculptures seem to me completely powerlessnow and therefore it’s an absolute nonsenseto fight them, i.e. to attempt on pulling themdown. What are your thoughts on these sub-jects, particularly on the subject of symbolsthat have fallen into different system? DN The objects of art of the Soviet periodand their aesthetic qualities that seem so dis-cordant today have neither become moreartistic nor more valuable. The architectureand public sculpture of the 1940s were theexpression of the values of the period. Thiscynical neoclassical style tempered with thedécor of primitive realism contains muchmore of the authentic information than mostof the politicised theoretical speculations on

the period. The endeavour to legitimate theartistic ‘value’ of Soviet art productions byattributing them to the different trends ofmodern art is completely vain. The visual artof the Stalinist period is still fascinating withits cynical forms of expression that once metthe requirements of the canon and wereutterly reduced in terms of individual crea-tivity. The art of this period is the record ofthe political terror, violation of humanismand the psychological pressure placed onindividual creativity. The issue, however,must not be confused: the object itself is nota crime. It is rather the object-witness of theperiod of guilt, the visual heritage of the eraand it has to be preserved and upheld, parti-cularly if we still have at least some concernabout what has been lost throughout the per-iod in terms of both individuals and creati-ve thought. AA There are currently several outstan-ding artists in Lithuania, who have sub-merged themselves into social questions:Evaldas Jansas, Arturas Raila, GintautasMakarevicius... You on the other hand aremore interested in the political and ideolo-gical aspects. Social (in the proper sense ofthe word) questions are, as far as I unders-tand, more ‘mobile’ and shifting. Whereaspolitical and ideological matters pertain to

longer cycles, to the change of regimes andsystems. Thus the one, interested in the poli-tical issues could well be standing on the‘higher hill’. It can result on the one hand ina certain monumentality of a piece (whichis true in you case). On the other hand it canas well get too abstract and speculative(which is not the case with you films). Well:how do you manage to ‘domesticate’ thestory inasmuch that despite the distance youremain both epic and yet fairly personal andsubtle? DN You have just answered the questionyourself. I could only add that being politi-cal is a form of self-education, permanentself-observation; it is the individual’s rela-tionship towards economical-political pro-cesses. We can’t stay disengaged, in liberalsociety everyone has to choose. It is both apleasure and a charge. The beginnings ofeven the latest political oscillations take rootin the recent past. Disregard for history isalso a political attitude that has been enun-ciated on numerous occasions during thelast decade. I consider this attitude unaccep-table and barren. The disregard for any his-torical period and denial of its outcomesmost often has political reasons. I do alsoadmit that summing-up of definite historicalperiods is a complicated and risky task,which raises an issue of ‘Why?’AA What problems concerning Lithuanianhistory and that remain relevant for ourconsciousness are not reflected sufficientlyin art or the other fields of our culture (likehistory studies for instance)? Why shouldthey be reflected upon?DN The reflections of history are indispen-sable for the society to purge itself of its his-torical complexes. The greater Europeancountries have experienced the same duringthe postwar period. The complexes of thecollective experience accelerate socialneuroses, and bear a destructive effect on theindividual of both the high social stratumand the remote provinces. > see page 4

Deimantas Narkevicius, EnergyLithuania, 2000 (film still)

Deimantas Narkevicius, Once in the XXCentury, 2004 (film still)

OPEN


B–1000 Brussel Bruxelles

During the months of July and August,the gallery is open by appointment only.

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> continues from page 3As the province dwellers have got less pos-sibilities for self-realisation, their experien-ce is more painful. I trust, however, that his-tory and social science will find the answersto the challenges of the times. AA Your films are definitely characterisedby the fairly modernist, clean and suggesti-ve form: the rhythm, picture composition,and the light (I can’t forget Legend comingTrue). I remember perfectly well (and I havealso written about it) the beautiful structurethat you have framed out of the verydemonstration of the films in your exhibi-tion in 2000: the screen pictures of a certainsize and outline, different equipment (likethe old-time apparatus)... What is you opi-nion about the indifference towards form,characteristic to certain contemporaryartists? Which formal aspects of your worksdo you self consider to be the most impor-tant?DN These questions are pushing me to gointo didactics. Yet public interview doesn’tseem to be the best way to do it. Masteringof the form of the piece of art is the basicassignment of studying art. Modernising thecurriculum of the Academy would probablybe a real help to the young people who studythere. Afterwards artist’s individual racesstart and no advice can be of much help tothem thereafter. The art scene is a favoura-ble place for an intercourse, creation andpublic presentation of one’s art can evokediscussions. Developing an artistic langua-ge, clarity, and constant perfect articulation,are the reason that influence the search forshifts in artistic language.

Translated by Edgaras Klivis

4 Newspaper Jan Mot -Various

The exhibition of recent works by JoachimKoester at Jan Mot is prolonged till June 18.

The gallery will participate for the first timein the Frieze Art Fair in London (21–24/10).Ian Wilson is invited by Polly Staple, thefair’s curator, for a discussion on Sunday, the23rd of October.

The MUSAC, which recently opened itsgrand new museum building in Léon (E),acquired the series from the French ForeignLegion by Rineke Dijkstra. The work willbe included in an exhibition in the fall.

The gallery’s newspaper, designed byDaniel van der Velden and MaureenMooren, will be part of the EuropeanDesign Show at the Design museum inLondon. (28/5 – 4/9).

In brief

“ …les travaux du cybernéticienHumberto Maturana et son fameux articleparu en 1959. Qu’est ce que l’œil de lagrenouille dit au cerveau de la grenouille?,fit l’effet d’une révolution et est devenu

Frog culte pour tous les experts de cyberné-tique, qui fétichisent encore la grenouillecomme prototype de ‘l’animal hallucina-toire’. Les conclusions d’une série d’ex-périences portant sur la perceptionvisuelle des batraciens établissaient quecette perception, loin de coller à la réalité,la subsume aux schémas intérieurs del’animal : le système visuel de la grenouillene représente pas la réalité, c’est sa rétinequi la construit en fonction de sesreprésentations intérieures. Bref : lagrenouille voit ce qui lui est utile, ce quiaide à sa survie. Il n’y a pas de ‘réalité’ deschoses vues, mais une construction solip-siste du sujet.” Dominique Babin, PH1,manuel d’usage et d’entretien du post-humain, Flammarion, Paris 2004.Frog souhaite proposer de nouveaux mod-èles critiques autour de la question de l’ex-position. Avec des analyses et compte ren-dus d’expositions, des entretiens, desséries d’images inédites, des chroniques etdes contributions de critiques et d’artistesinternationaux. Parution semestrielle, 210pages, graphisme M/M (Paris).

Frog est un projet de StéphanieMoisdon et Eric Troncy.

BRUSSELS, 14 AUG. – ‘Sylvia Kristel – Paris’(2003) by Manon de Boer was awarded theprestigious Prix Georges de Beauregard dur-ing the International Documentary FilmFestival of Marseilles (2-7 July). The presidentof the jury was Kutlug Ataman, the othermembers were Sirkka Moeller, NinaToussaint, Sohbi Al-Zobaidi and Roger M.Buergel. The film is also selected for theupcoming film festivals in Lyoirkka Moeller,Nina Toussaint, Sohbi Al-Zobaidi and RogerM. Buergel. The film is also selected for theupcoming film festivals in Lyon (6 - 9October), Montreal (14 - 24 October), Belfort(27 November - 5 December) and BuirkkaMoeller, Nina Toussaint, Sohbi Al-Zobaidiand Roger M. Buergel. The film is also select-ed for the upcoming film festivals in Lyon (6- 9 October), Montreal (14 - 24 October),Belfort (27 November - 5 December) andBun (6 - 9 October), Montreal (14 - 24October), Belfort (27 November - 5

SIAURES ATENAI, 8 JAN. –Alfonsas Andriukevicius Certain theoriesonce claimed that art in its nature is symbo-lic. Modernists didn’t ‘prohibit’ their piecesfrom being symbolic either. Nowadays,however, art avoids symbolism. Instead oflaying claim to a symbol, it is more subject toreflect the life of symbols: their interrela-tionship (struggle in particular), disintegra-tion, and exchange of positions. I suspect youare also interested in the interaction of sym-bols. In your early films you would ‘coverone symbol with the another’(you have over-layed the ideologically overloaded soviet filmIgnotas Is Returning Home with the Masstexts). Further, your interest is manifest inyour new project The Exhibition of TwoSculptures. In your film Kaimietis(Countryman) you depict the bust of an armygeneral while the author of the bust tells aboutthe twists and turns involved with the creationprocess of the sculpture. In the another film(Once in the XX Century) we see the (re)dis-mounting of the Lenin monument in Vilnius.Could you reflect on the circumstances andreasons of this interest of yours? Deimantas Narkevicius I started my artisticpractice at the point when the theories of artsymbolism were out of fashion. The notion


5 Newspaper Jan Mot -Inauguration

COPENHAGEN, MAY 11 – Joachim Koester hasover the last year worked on the film installationMessage from Andrée. Salomon August Andréewas a Swedish polar researcher and adventurerwho wished to cross the North Pole in a hot airballoon. Unfortunately, the balloon crashednorth of Spitsbergen on July 14, 1897, andAndrée with his crew, Nils Strindberg and K. H.F. Frænkel, started an exhausting trek across thepack-ice. Nils Strindberg was the expedition’sphotographer and took more than a hundredpictures during their 3 month journey. The neg-atives were found only 32 years later, when theremains of the expedition were discovered onWhite Island just off Spitsbergen. Koester has re-photographed these with a 16 mm film cam-era. The result is an animated film showing the

stains etched into Strindberg’s negatives duringtheir Arctic incubation. The film installationdoes not document what happened in a tradi-tional sense; rather it points to the twilight zoneof what can be told and what cannot be told,narrative and non-narrative, document and

error. A psychic reality suggested by immaterial“black snow” that appears on the film. In total five artists will be showing at the Danishpavillion : Eva Koch, Joachim Koester, PeterLand, Ann Lislegaard and Gitte Villesen. They allbelong to the younger generation of Danishartists and were a part of the internationalbreakthrough for Danish visual art during the1990s. They have been exhibiting internation-ally within the last 10 years. In their variousartistic practices, they are all preoccupied withthe representation of reality within or beyondthe real. The curators of the show at the Danishpavillion are Sanne Kofod Olsen and JacobFabricius.

THE QUEST

Joachim Koestershows new filminstallationin Venice

Joachim Koester, Message from Andrée,2005 (film still)

er at the Jeu de Paume in Paris and will thentravel to the Fotomuseum in Winterthur(March-May 2005) and La Caixa inBarcelona (June-August 2005). The fourthand last venue is the Stedelijk Museum inAmsterdam, at the end of next year. Theshow will consist of 70 photographs, a.o. theseries on the French Foreign Legion pro-duced by the gallery, and two video works.Schirmer & Mosel will publish a book withtexts by Hripsimé Visser and Urs Stahel andapproximately 50 images.

Tino Sehgal’s presentation at the Statementbooth of the gallery during Art Basel, enti-tled This is competition, was awarded theArt Baloise Prize. In addition to prizemoney for the artist, the prize involves theacquisition of a work by Sehgal by theBaloise Group which is donated to theHamburger Kunsthalle. The members of thejury were Christian Boros, PeterDoroshenko, Christoph Heinrich, MartinSchwander and Adam Szymczyck. Thepresentation was realised in collaborationwith Johnen & Schöttle Gallery in Cohich isdonated to the Hamburger Kunsthalle. Themembers of the jury were Christian Boro erat the Jeu de Paume in Paris and will thentravel to the Fotomuseum in Winterthur(March-May 2005) and La Caixa in

Honoré ∂'O. The Quest at the Belgian Pavillion, Venice (12/6-11/11).

A psychic reality suggested byimmaterial “black snow” that

appears on the film


6 Newspaper Jan Mot -Spot the difference

BANANISTAN, 2005 – of the space is. Sothe question most often asked then is ‘Is thisplace for rent?’

Although the old and new spaces are inthe same street, the difference between thetwo parts is amazing. Being between fashionstores before was something I didn’t partic-ularly appreciate, but it was never a problemeither. The new neighbourhood is certainly

very pleasant and lively, almost exotic butsometimes a bit depressing, the life of animmigrant is certainly not very enviable. Butthere is a great mix of all kinds of people inthe part of the street where I am now, that’sgreat, also to have a great bar opposite of thegallery is a considerable advantage.

When I take a break during the day, I sel-dom look at the show in the gallery. I most-

ly stand behind the windows and look out-side, at the people sitting at the terrace of theWalvis, the bar, or at people just passing by.Recently I made someone I vaguely knewenter, he seemed quite shy and had neverwhat the function of the space is. So thequestion most often asked then is ‘Is thisplace for rent?’

Although the old and new spaces are in

Spot the difference

Installation view Joachim Koester. Recent Works at Jan Mot.The exhibition is prolonged till June 18. (Drawings by Erwin de Muer)


7 Newspaper Jan Mot -Spot the difference

the same street, the difference between thetwo parts is amazing. Being between fashionstores before was something I didn’t partic-ularly appreciate, but it was never a problemeither. The new neighbourhood is certainlyvery pleasant and lively, almost exotic butsometimes a bit depressing, the life of animmigrant is certainly not very enviable. Butthere is a great mix of all kinds of people in

the part of the street where I am now, that’sgreat, also to have a great bar opposite of thegallery is a considerable advantage.

When I take a break during the day, I sel-dom look at the show in the gallery. I most-ly stand behind the windows and look out-side, at the people sitting at the terrace of theWalvis, the bar, or at people just passing by.Recently I made someone I vaguely knew

enter, he seemed quite shy and had neveremeither. The new neighbourhood is certainlyvery pleasant and lively, almost exotic butsometimes a bit depressing, the life of animmigrant is certainly not very enviable. Butthere is a great mix of all kinds of people inthe part of the street where I am now, that’sgreat, also to have a great bar opposite of thegallery is a considerable advantage.

Installation view Joachim Koester. Recent Works at Jan Mot.The exhibition is prolonged till June 18. (Drawings by Erwin de Muer)

Spot the difference


New PublicationsHonoré ∂'O'Tant Pis', 800 p. – 1000 ill., 16,5 x 22,5 cm,Ludion, isbn 90-5544-547-9, Chinese-English edition

Pierre BismuthPierre Bismuth, Tout ce qui n'est pas interditest obligatoire. Kunstmuseum Thun, 2005(hard cover - 16 x 20 cm - 79 pages) Pierre Bismuth, Art Gallery of YorkUniversity, Toronto, 2004 (hard cover - 16,5 x23,3 cm - 96 pages)

Dora GarciaFOREVER (2004-2005), in collaborationwith Frac Lorraine and published by CRU,Figueres, Girona, Spain.

Colophon

Publisher: Jan Mot, BrusselsDesign: Maureen Mooren & Daniel van derVelden, AmsterdamPrinting: Cultura, Wetteren

8 Newspaper Jan Mot -Agenda

1–3 november 2001novembre 1–3, 2001

AgendaSven AugustijnenIn This Colony, Fort Vijfhuizen, Amsterdam7/5-26/6, (cat); IDYL as to answer that pic-ture, Middelheim Openlucht Museum,29/05-25/09 (cat)

Pierre BismuthTout ce qui n’est pas interdit est obligatoire,Kunstmuseum, Thun, till 19/6 (solo/cat.);Points de vue, Ville de Nancy, till Dec (solo);Art Unlimited, Basel (Galerie E.Hécey); Justdo it! The subversion of signs from MarcelDuchamp to Prada Meinhof, Lentos ArtMuseum, Linz, till 19/6; Einfach komplex.Bildbäume und Baumbilder in derWissenschaft, Museum für Gestaltung,Zürich, till 4/9

Manon de BoerBiografilm Festival, Bologna, 1-5/6; 10thSplit Film Festival, Split, Croatia, 3-10/6;Artist in focus 13e Curtas Vila do Condefilmfestival, Solar Galerie, Vila do Conde (P),2/7-28/8 (solo); Contour, Mechelen (B),17/9-20/12; A Certain Tendency inRepresentation, Thomas Dane Gallery,London, 19 -27/9

Rineke DijkstraLa Caixa, Barcelona, 7/6 – 21/8 (solo); Oldand new dreams, Prince Charles Cinema,London, 22/6, 6h30

Honoré ∂'OThe Quest, Belgian Pavilion, VeniceBiennale, 12/6 – 11/11 (solo)

Dora GarciaArt Basel, Juana de Aizpuru Gallery, 13-18/6; The Art Film Program, KunsthalleBasel, 13-18/6; PosthumousChoreographies, White Box Gallery, N.Y.2/6-3/7; Le Génie du Lieu, Musée des BeauxArts, Dijon, (F) (cat.) 17/6-30/9; Libros deArtista, ProjectSD, Barcelona, 22/6 – 15/9;Le Dire et Le Faire, Mac’s Grand Hornu,26/8-30/10

Mario Garcia TorresThe fragile show, Analix Forever, Geneva,19/5 – 16/7; Misunderstanding, Galeria deArte Mexicano, Mexico City, till 22/6;Shipping and Receiving, Armory Center forthe Arts, Los Angeles, 12/6-24/7; Supersonic,LA Design Center, Los Angeles; 25/6 – 16/7;Life Is Habit, Stenersen Museum, Oslo, from19/8

Dominique Gonzalez-FoersterTropical Abstraction, Stedelijk MuseumBureau, Amsterdam, 9/7-21/8

JAN MOT

rue Antoine Dansaertstraat 190B–1000 Brussel Bruxelles

tel.: +32 2 514 10 10fax: +32 2 514 14 [email protected]

www.galeriejanmot.com

donderdag–vrijdag–zaterdag 14–18.30 ujeudi–vendredi–samedi 14–18.30 h

en op afspraak / et sur rendez-vous

Douglas GordonThe Vanity of Allegory, DeutscheGuggenheim, Berlin, 16/7-9/10, (curated byDouglas Gordon)

Joachim KoesterNew Works, Jan Mot, Brussels, 5/5-18/6(solo); Danish Pavilion, Venice Biennale,12/6 – 11/11 (cat.); Woods, KunsthausMuerzzuschlag (A), 29/4-31/8; The Shadow,Vestsjællands Kunstmuseum (DK), 28/5-20/8

Sharon LockhartAn Aside, The Fruitmarket Gallery,Edinburgh, from 21/5 – 31/7; UniversalExperience. Art, Life and the Tourist's Eye,Museum of Contemporary Art, Chicago till5/6; Gio Marconi, Milan, from 7/6 (solo)

Deimantas NarkeviciusWe are the artists, International Biennale ofContemporary Art, National Gallery, Prague,14/6-9/11; In the frame of Re: Modern,Austrian Film Museum, Vienna, 5/6 (screen-ing 15h)

Tino SehgalGerman Pavilion, Venice Biennale, 12/6 –11/11 (with T. Scheibitz); The theatre of art.Master pieces from the collection of theLudwig Museum, Cologne, Villa Manin,Passariano – Codroipo (I), 9/6 – 6/11;Collection Pierre Huber, Musée des Beaux-Arts, Lausanne, 12/6-11/9 (cat.)

Ian WilsonIan Wilson, Galerie Meyer-Riegger,Karlsruhe, 6/5 – 18/6 (solo); Discussion,Frieze Art Fair, London, October 23;Discussion, MNAM, Centre GeorgesPompidou, Paris

OPEN

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B–1000 Brussel Bruxelles

-During the months of July and August,the gallery is open by appointment only.

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(advertentie) (david lamelas) · synchronizing their watches before the re-enactment of the...

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