Inspired by yesterdays blog on Niek Kemps, this one is about Jan Vercruysse, who , together with Kemps, were presenting their art on the Venice Biennale in 1993. The Belgian conceptual art scene lost one of his most important members in 2018 when Vercruysse died unexpectedly. He refused to participate in the DOCUMENTA IX, because he had completely different ideas how art should be presented. Art was made into a spectacle by Jan Hoet and vercruysse thought different about presenting his art.
He was the complete the opposite of Jan Hoet, who thought art was a spectacle, where Vercruysse stood for a much more contemplative form of art. This is reflected in his art which dooes not impress by its colors or forms , but intrigues and makes you study the setting and objects. Both the catalogues http://www.FTN-books.com has available show this in an excellent way.
This blog on Cortier is long due. I love Cortier and because his publications are scarce I almost forgot about him, but now that I have found the most important Cortier publication on his abstract works it is time to devote a blog to Amédée Cortier. The book is on his abstract works and even contains a chapter on Cortier written by one of all times best curators …Jan Hoet.
From 1936 to 1942, Amédée Cortier enjoys his training at the Royal Academy of Fine Arts in Ghent. On the one hand, his oeuvre consists of paintings that he makes in various media (acrylic, oil, gouache, aquarelle, India ink or bistre, among others) on panel, paper or cardboard. On the other hand, he makes pen drawings, reliefs and models. Around 1950, influenced by the exhibition Le Cercle Artistique (Ghent, 1949), he applies himself to a short-lived geometric-abstract experiment, but decides after this to return to embrace his figurative visual language. He begins with painting rural scenes (1940), still lives and portraits of women (1950), and evolves towards a stark, simplified figurative language in schematic compositions. André Lothe (1885 – 1962) exerts an important influence on him with his Traité de la figure (1950) and Traité du paysage (1939). Around 1964 Cortier begins to paint resolute abstract and from 1966 – 1967 he favours colour over the relations between the forms. The transition to acrylic paint is to be understood in the same context. This medium helps him to heighten the intensity of his colours. His stark works are witness to a sense of natural law, but also leave room for intuition. Ultimately Cortier changes over to monochrome, by which he creates mutually coherent ensembles in the form of diptychs and triptychs. With his reliefs (1968), he evolves from the traditional painting to painting as object. Beginning in the 1970’s his work is completely dominated by colour, built up around a stark composition and a unity between colour and form. He gains public recognition with these works.
Cortier sees his own oeuvre confirmed in the work by the artist Ellsworth Kelly (1923 – 2015). Under the impulse of Peter Struycken (1939) he meets Kelly in 1976. As a member of Het Antenneke, his fascination grows for the Golden Ratio, an important compositional rule in his oeuvre. His friendship with Yves De Smet (1946 – 2004) is of crucial importance for his artistic career. He is not only a like-minded artist friend, but is also an important promoter and organiser of exhibitions dedicated to Cortier, such as Horizonnen & horizontalen (Horizons & horizontals) (1976). Cortier becomes a member of the Ghent group organised by De Smet called Plus-Groep, a collective of Ghent constructivists that are seeking the unity between form and colour. Via Plus-Kern – Centre for Constructive Design, established by De Smet and others in 1969, Cortier is actively promoted. This occurs through the medium of publications such as Plus-Nieuws, though also through participation in international exhibitions. In 1973 he is internationally recognised with the Sikken Prize.
The first Guillaume Bijl installation/exhibition i visited was the Guillaume bIjl installation he had made for the Witte de With venue in Rotterdam. It was the opening exhibition in 1990 for which Bijl had made . It was Für Garderobe keine Haftung .
In light of the newly created exhibition space at Witte de With, Bijl’s show could be seen as a critique of the spectacular and inflationary nature of fine art production as well as an ironical poke at the profusion of exhibitions and exhibition spaces. Guillaume Bijl’s exhibition at Witte de With presented a survey of his installations and objects from the eighties, in the form of a shopping mall.
Guillaume Bijl (1946) has been testing the relationship between art and consumer society since 1979, when he made his Art Liquidation Project. This work took the form of a mock government commissioned report in which he concluded that, in light of the proven uselessness of art, all areas devoted to the arts should be made suitable for more practical purposes. Since then, Bijl has been transforming museums and art galleries into fitness centers, lamp shops, carpet stores, travel agencies, driving schools, and so on. His imitations of spaces not traditionally associated with the arts are caught up in a perplexing interplay between fiction and reality. Even more confusion is caused by Bijl’s imitations of art spaces, such as his fictive exhibition Four American Artists (1987), or his fictive commercial fair installed at the art fair of Lyon in 1986, which also included an art store selling his paintings.
Bijl ironically points out the connection between the display of goods in shop windows and showrooms and the exhibition of objects in museums and galleries. In his installations, consumer items and museum objects seem interchangeable. Bijl’s logic assumes the complete abolition of real differences in the commercial rhetoric of consumer society.
It has been already almost 3 years that Jan Hoet died, but since his death no one has taken his place. He was truly innovative with his exhibitions and next to Rudi Fuchs , they probably were the best from their generation of curators of Contemporary Art.
His international reputation was first established by “Chambres d’Amis,” an innovative exhibition he organized in Ghent in 1986. In that show, about 50 American and European artists were invited to create works for 50 private homes in Ghent, which were then opened to the public for several weeks. Followed a few years later by Open Mind and his Documenta IX in which he performed as a boxer established his name as one of the very best in his field. His last great project was over the edges. 4 giant exhibitions spread over 2 decades made him one of the absolute best.
The Museum in Gent , his long lasting love SMAK, which he served as a curator and director from 1975 until 2003 was his laboratory for the greater projects he organized outside this Museum rooms. http://www.ftn-books.com is fortunate to have some very nice titles of his exhibitions. including the Chambres d’Amis which is getting scarce these days.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20