Daniel Buren started his career in the 1960s, producing right from the beginning paintings that tended to abandon emotiveness and to display indifference for the narrative subject, radicalizing the work into a pure relationship between support and form. Daniel Buren’s iconic 8.7cm wide stripes are currently visible throughout the whole gallery space at foot level of this exhibition, changing color throughout the duration, and supporting Buren’s belief in the ability of his work to change the perception and use of a space through on-site interventions.
Daniel Buren born in 1938, Boulogne-Billancourt, Paris, where he lives and works at. Buren abandoned his studio in 1967, to favour work ‘in situ (on-site)’.
His “visual tool” is based on the use of alternating stripes, which let him reveal the significant details of the site where he is working, by employing them in specific, and at times complex, structures lying somewhere between painting, sculpture and architecture. In 1965, when he was painting pictures that combined rounded forms and stripes varying in sizes and colours, he chose to use an industrial fabric with fixed vertical 8.7 cm-wide stripes alternating white with another colour. Beginning from this extremely simple and banal visual register, Buren further impoverished it by repeating it systematically to reach the grade of zero painting. This reflection will cause the observer’s attention to shift from the work to the physical and social environment within which the artist intervenes. In 2007, Daniel Buren received the Praemium Imperiale, awarded by the Emperor of Japan, a recognition which is widely regarded as the “Nobel Prize” for the Visual Arts. Buren is one of the most active and acclaimed artists on the international art scene today.
Hans Op De Beeck regards man as a being who stages the world around him in a tragi-comic way. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection. Hans’s visual language is quiet and silent, sometimes serious and sometimes sarcastic, leaving no answer to the question. A Chinese proverb says an invisible thread connects those destined to meet, despite the time, the place, despite the circumstances. The thread can be tightened or tangled, but will never be broken. Departing from this metaphor, Hans created this short film that presents in this exhibition.
Hans Op de Beeck born in Turnhout, Belgium in 1969.He lives and works in Brussels, Belgium.
Hans Op de Beeck produces large-scale immersive installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. In 2018, Hans directed his first show “After Feast” for Schauspiel Frankfurt Theater, which he also writes and creates stage design for the play. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague for several times. Espace 104, Paris, FR (2016); Kunstmu- seum Wolfsburg, Wolfsburg, DE (2017); Fondazione Pino Pascali, Polignano a Mare, IT (2017); Kunstraum Dorn- birn, DE (2017); Museum Morsbroich, DE (2017); Les Moulins, Boissy-le-Châtel, FR (2018); Scheepvaart- museum Amsterdam, Amsterdam, NL (2018); Kuns- thalle Krems, Krems an der Donau, AT (2019).
Kader Attia born in Seine-Saint-Denis, France in 1970. He lives and works in Berlin and Algiers.
He grew up in both Algeria and the suburbs of Paris, and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that reflects on aesthetics and ethics of different cultures. He takes a poetic and symbolic approach to exploring the wide-ranging repercussions of Western modern cultural hegemony and colonialism on non-Western cultures, investigating identity politics of historical and colonial eras, from Tradition to Modernity, in the light of our globalized world, of which he creates a genealogy.
Throughout his works he has started exploring the historical past of different societies, especially with respect to experiences of loss, trauma and violence and how these facts have influenced nations and individuals. He participated the 50th Venice Biennale in 2003. Some of his works can be found at the Tate Modern in London, at the Centre Pompidou and at the ICA of Boston. He is the winner of 2017 Joan Miró Prize and in 2016 he won the Prix Marcel Duchamp.
Kader Attia’s work has a special, intimate place, historical and political, they are part of a contemporary dialogue and take part in the debate. In a slow vertical tracking shot of his video work ‘La Tour Robespierre’, it follows the facade of the Robespierre tower in Vitry- sur-Seine, near the MAC VAL. We are here in front of an architectural object with a fascinating, hypnotic, kinetic aesthetic, where the lines cross and repeat themselves as in a modern painting. Sublime work of art, remains of a utopian era where architecture promised material and aesthetic comfort, so as to almost forget the difficult everyday life in which we live.
Born in 1969, Zhangzhou, Fujian Province, China. Qiu Zhijie lives and works in Beijing, China.
Qiu Zhijie is known for his calligraphy and ink painting, photography, video, installation and performance works. His art is representational of a new kind of ex- perimental communication between the Chinese literati tradition and contemporary art, social participation and the power of self-liberation of art. He is the dean and professor of the School of Experimental Art at the Central Academy of Fine Arts, professor of the School of Intermedia Art at China Academy of Art. He was shortlisted for the Hugo Boss Prize administered by the Guggenheim Foundation due to his work of The Nanjing Yangtze River Bridge Project. His works are collected by major museums and institutions including: the Guggenheim Museum NYC, the Metropolitan Museum of Art, Asian Art Museum of San Fran- cisco, Fonda- tion Louis Vuitton, Foundation by Christian Dior, Ullens Foundation. Recent solo exhibitions include: “Qiu Zhijie: Mappa Mundi”, UCCA Center for Con tem-po- rary Art, Beijing (2019), “Living Writing”, 21st Century Museum of Contemporary Art, Kanazawa (2018), “Qiu’s Notes on the Colorful Lantern Scroll”, Minsheng Art Museum, Beijing (2018).
When Qiu Zhijie was traveling in Tibet and Xinjiang in the beginning of 1990’s as a curator, he was already fascinated with collecting and creating maps. Map- ping has provided Qiu with a method to bring together research, writing, imagination and action. The letters written on the maps are usually words and phrases, mostly nouns. In this series, words are replaced by sentences to form the map. They can be descriptive or exclamatory, as concise as proverbs or as informal as used in everyday life. Now, the work of making maps has developed into Mapping the World Project, just like each map embodies an individual world.