Please note: To comply with the regulations only four individual visitors can be welcomed at the gallery at the same time. Wearing of a face mask and keeping a distance of min. 1,5 m are obligatory.
From Saturday 27/03 onwards visits are only possible by appointment. Please contact us at email@example.com.
On April 6th, 2021 the gallery will participate in a special online publication event by Antinomian Press dedicated to Ian Wilson: Ben Kinmont. Project Series: Ian Wilson. The publication is an interview between Ben Kinmont and Ian Wilson that took place on the 19th of October, 1997, in Kinmont’s home in NYC and was never published before.
Occurring simultaneously in nine different cities, this printing event will be streamed live from Los Angeles, Vancouver, Sebastopol (CA), Toronto, New York City, London, Brussels, Paris, and Berlin. There will also be a conversation between MoMA curator Christophe Cherix and Ben Kinmont discussing the publication, the work of Ian Wilson, and the Antinomian Press.
The event will take place at 6 pm (CET) and in order to follow live, please register here.
Jan Mot is participating in Art Basel Online Viewing Room: Pioneers with the presentation Seth Siegelaub: How is Art History Made? focusing on works by trailblazing artists who have been part of Seth Siegelaub’s projects: Carl Andre, Robert Barry, Rosemarie Castoro, Hanne Darboven, Douglas Huebler, Robert Huot, Joseph Kosuth, David Lamelas, Lawrence Weiner and Ian Wilson. The VIP opening starts on 24/03 at 2pm (CET) and will be followed by public days 25/03-27/03.
Image above: Joseph Kosuth, Titled (A.A.I.A.I.) (white), 1967.
Simultaneously with his show at the gallery, Joachim Koester's solo exhibition at Museum Dr Guislain opens on Saturday 20/03. The exhibition titled Altered States brings work together that investigate unknown territories, both geographical and mental. An ‘altered state of consciousness’ refers to a temporary change in the mental state. The cause is often external, such as a drug or a ritual, but also internal, such as a psychosis or simply a daydream. Koester shares his fascination with the effect of intoxicants with shamans and hippies, but also with psychiatrists. The latter recognised the therapeutic possibilities, but they were also confronted with the destructive power. Joachim Koester’s work delves into the historic context in which drugs were grown, traded and used, and draws parallels with the contemporary situation. Big and small stories impartially reveal our relationship with intoxication.
Mario García Torres’ survey exhibition entitled The Poetics of Returning which analyses the work that the artist has developed over the last two decades, opens tomorrow at the Museo de Arte Contemporáneo de Monterrey (MX).
Installation view of the exhibition: Mario Garcia Torres, You Are An Essential Part Of Something Beautiful, n.d.
In early December 2020 the gallery launched a public campaign to save a major public work by David Lamelas, Quand le ciel bas et lourd (1992) situated in the park of the Royal Museum of Fine Arts in Antwerp. Due to a mistake in the planning of a new entrance for the museum that is currently under renovation, it had become unavoidable to move the work. Last summer the Flemish authorities regrettably withdrew their initial support to rebuild the piece on the same site and the existence of the work is now seriously threatened. Demolition of the piece is scheduled for March 22.
A first letter by Lamelas from September 2020 sent to Jan Jambon, Flemish minister of Culture, asking him to revert his decision remained unanswered. Therefor the gallery decided to launch a campaign asking people to co-sign the artist’s letter. By the time the letter was resent to the minister (December 16) 840 artists, curators, museum directors, critics, gallerists and art lovers from Belgium and all over the world had signed it.
Please click here to read the letter to Jan Jambon, the list of co-signatories, the reaction from Bart De Baere, director of the M HKA who owns the piece, the reaction from the gallery and artist to De Baere’s response as well as a growing list of press articles and general information on the work.
If you wish to show your support we still invite you to sign and your name will be added to the list. We will continue to update our website with any new developments.
Watch Practicing Sustainability, a conversation between Tino Sehgal, Marcela Sabino & Caitlin Southwick organised by Next Museum on Feb. 25th, 2021. Thinking about the museum of the future, sustainability certainly plays a big part. The awareness is present, but what can museums actually do to act sustainably? Should the quality of art be evaluated according to the criterion of environmental compatibility? What are the risks and chances of using emerging technologies in arts and culture with regard to climate change?
Frans Masereel Centrum in Kasterlee (BE) will be launching a brand new edition by Tris Vonna-Michell entitled No more racing in circles – just pacing within lines of a rectangle, produced as part of the ongoing project Solitude during Printed Matter' Virtual Art Book Fair starting Feb. 24th. This audiotape box set is both a reflection on the impact of performing several narrations during a concentrated timespan and a selective representation and interpretation of the sound aspects in Tris Vonna-Michell’s artistic practice. The edition is conceived as a numbered box set with 4 audiotapes and liner notes by Jan Verwoert. Commissioned by Frans Masereel Centrum, in collaboration with Mount Analogue.
On this occasion besides the world premiere of the new edition, a new video work by Tris Vonna-Michell contextualising his participation in Solitude, as well as individual practice, will be launched on YouTube.
Today, February 18th, 2021 at 5pm (CET) Rineke Dijkstra will receive the Johannes Vermeer Award 2020, the Dutch state prize for the arts. The ceremony will be live-streamed on youtube. According to the jury chaired by Andrée van Es, Rineke Dijkstra makes a major contribution to the international prestige of Dutch visual arts with her work. The jury calls her portrait photographs and video installations unique in the world. In its summary, the jury says the following: “This work is for eternity. Few artists have been given the talent to create these types of images.”
(image: Rineke Dijkstra, Arden and Miran, London, February 16, 2020, 2020, inkjet print, 135 x 103,5 cm (image), 159 x 127 cm (frame), edition of 10)
Zürcher Kunstgesellschaft acquired Manon de Boer's work Presto, Perfect Sound (2006). The film depicts composer and violinist, George Van Dam, performing Béla Bartok's sonata for violin solo, Presto. Manon de Boer filmed George van Dam six times playing the whole piece while at the same time recording the sound. In order to achieve the ‘perfect’ soundtrack, she gave George van Dam the six sound recordings and asked him to reconstruct the Bartok piece into a perfect sound piece. Afterwards de Boer synchronized the filmed image to this soundtrack. The jump-cuts in the image visualize the cuts in the sound, while the sound sounds continuous. In allowing the audio sequence to dictate the image on screen, de Boer inverts the traditional dominance of image over sound in cinema. The film is a meditation on the relationship between sound and image and offers an intense reflection on a moment of creative concentration.
The film by Manon de Boer An Experiment in Leisure (2016 - 2019) is available for online viewing in the context of the inauguration of Artica Writings 2021, which is a curated series of texts aiming to influence critical thinking around our oceans and the urgent issues related to ocean health, knowledge and policy. In An Experiment in Leisure excerpts of texts by psychoanalyst Marion Milner (1900-1998) on themes such as concentration, the body, repetition and daydreaming are combined with meditative shots of artists' working spaces and Norwegian coast.
Printed Matter, Inc. is organising a conversation on the book Seth Siegelaub Better Read Than Dead. Writings and Interviews 1964–2013 with co-editors Lauren van Haaften-Schick, Marja Bloem and Jo Melvin, along with artist James Hoff. This event will take place online on January 15th, at 5pm EST. Registration via the Printed Matter, Inc. website required.
You can follow in real time the performance on youtube via this link:
It will start at 11:45 pm KST (Seoul), 3:45 pm CET (Paris), 9:45 am EST (NYC).
The film Sandlines, the Story of History (2018-2020) by Francis Alÿs was awarded with the “Best Feature Documentary Award” by the Olympia International Film Festival for Children and Young People.
Visit the festival's page to read more. See the trailer of the film on Francis Alÿs' website.
Over 800 people co-signed David Lamelas' letter to the Flemish Minister of Culture Jan Jambon regarding the removal of the work Quand le ciel bas et lourd. The letter including the list of all co-signatories was resent to Jan Jambon today, asking him for a positive reconsideration of this dossier.
Click here to learn more about this initiative as well as to read the open letter by the director of M HKA Bart De Baere published on December 11th in reaction to our appeal as well as our reply to it (both to be found after the list of the co-signatories).
Jan Mot announces participation in Galleries Curate: RHE
In the first days of the Covid-19 pandemic, an informal group of contemporary galleries from around the world came together to discuss how to navigate through the new challenges of the global crisis as it affected our artists, staff and businesses. As an expression of this unity we initiated GALLERIES CURATE.
GALLERIES CURATE: RHE (RHE from Greek for that which flows) is the first chapter of this collaboration, an exhibition and website themed around a universal and, we hope, unifying subject: water. RHE’s first project will launch on January 4th, 2021, with an online presentation of works by Francis Alÿs, Giovanni Anselmo, and Latifa Echakhch, extending the exhibition A buoy if not a beacon. Continuing in stages through May 2021, additional projects will be added by participating galleries each month.
Following the inaugural exhibition GALLERIES CURATE plan to invite new participants and add further curated chapters to a global conversation of thematic relationships between galleries, artists, and their audiences.
The exhibition Beethoven moves at the Kunsthistorisches Museum in Vienna for which Tino Sehgal created a new work entitled This joy reopened to the public on December 7th.
Due to the ongoing renovation of the KMSK involving a new access to the museum, plans had been developed to move it slightly to the corner of the park surrounding the museum. Unfortunately the Flemish government withdrew its initial proposal that was accepted by the artist and now no longer wants to rebuild the work. A letter by Lamelas asking Jan Jambon, Flemish minister of Culture, to reconsider his decision has remained unanswered. We are therefor launching a public campaign inviting everyone to co-sign the original letter with the artist in the hope the work can be saved from destruction. Please click here.
Jan Mot is delighted to announce the representation of Andrea Büttner.
Andrea Büttner (°1972 in Stuttgart, lives and works in Berlin) connects art history with social or ethical issues, exploring broad-ranging topics such as poverty, labour, community, Catholicism, music, botany, and philosophy. Her work is based on thorough research into specific areas or situations, and she often appropriates or references other artists and thinkers including HAP Grieshaber, Corita Kent, Immanuel Kant, Gwen John, Andy Warhol, Dieter Roth and Simone Weil. Her diverse practice is articulated through formats encompassing print, sculpture, weaving, but also photography, video, instruction pieces, and works with live moss and wet clay.
Büttner was first celebrated for her bold use of what is often seen as unfashionable media, namely woodcut and glass painting. Ideas of shame, vulnerability, poverty and embarrassment run throughout her work, countering the romantic and heroic nature associated with much artistic practice. Martin Herbert writes “Büttner’s art can be read as a form of empathy – an exemplary outstretched hand, not from above but from across.” (Artforum March 2015).
Büttner studied at the Royal College of Art in London, Humboldt University of Berlin, and Berlin University of the Arts. She was a nominee of the 2017 Turner Prize and is a winner of the 2009 Max Mara Art Prize for Women. Exhibitions include documenta 13 (2012), Sao Paulo Biennial (2010 and 2018) and solo exhibitions at Museum Ludwig Cologne (2014), Walker Art Center (2014), Kunst Halle Sankt Gallen (2017), Kunsthalle Wien (2016) and Hammer Museum Los Angeles (2017).
Photo: July Zimmermann
On December 2nd at 8pm Andrea Büttner and Mason Leaver-Yap (KW Berlin) will have an online conversation on Büttner's newly published book Shame (Koening Books, 2020).
From shaming and shamefulness to shame-avoidance and shamelessness, the experience of shame influences our social behaviours, decision-making abilities, and desires. Shame determines what we show and what we hide. And yet, as an emotion that begs for its own concealment, what is the structure and appearance of shame? How does shame interact with the realm of the visible, and where does it surface in visual culture?
Registration required via firstname.lastname@example.org.
In celebration of the new book Seth Siegelaub. Better Read than Dead: Writings and Interviews 1964–2013, the Kunstverein in Amsterdam transforms part of its space into Seth’s Books Bookshop and for the coming month will be selling books exclusively by International General (the imprint of Seth Siegelaub) and about Seth Siegelaub.
Tris Vonna-Michell participates in Solitude, an initiative of the Frans Masereel Centrum that commissions six new artistic projects, based on an alternative politics of experiencing art. Deliberately offline, each individual project offers an inspiring context to rethink the connection between art, the bodily and the social, and our mental faculties. Learning from the first half of 2020, and acknowledging our insatiable intellectual hunger, six artists are invited to develop a new work, which people can acquire physically and experience at home – as opposite to from home. In doing so, Solitude strengthens existing artistic practices that ask themselves where to for art, while providing at the same time multiple opportunities to cope with the enduring (self)confinement, without flattening out art. What space is left if seclusion – whether or not chosen by ourselves – is the only option? Other participating artists are Andrea Éva Győri, Taus Makhacheva, Amy Sillman, Nora Turato and Patrick Van Caeckenbergh.
The gallery became member of the Gallery Climate Coalition (GCC). The GCC is a non-profit organisation founded by a voluntary group of London-based gallerists and professionals working in the arts as an attempt to develop a meaningful and industry-specific response to the growing climate crisis and to facilitate a greener and more sustainable commercial art world. The aim is to provide guidelines and the necessary resources so that we can collectively reduce our carbon footprint by 50% over the next ten years (in line with the Paris agreement), as well as promoting near zero-waste practices.
The book Joachim Koester. Bringing Something Back (2019) was awarded the Årets vakreste Bøker / The Year’s Most Beautiful Books of 2020 by Grafill, the Norwegian Organisation For Visual Communication.
The book which was produced on the occasion of Joachim Koester's solo exhibitions at the Camden Arts Center and Bergen Kunsthall centres on a series of “meditation tapes”. The “tapes” explored the various twilight zones between waking and sleeping, and what can be brought back from such semi-darkened mental states in an exhibition context.
A visual essay, compiled by art historian, writer and curator Yann Chateigné, runs through the book and combines Koester’s own works with a selection of archival pictures that visually extends the discourse of the “tapes”, texts and artworks. Furthermore it features an interview with an interview between Yann Chateigné and Joachim Koester.
Authors: Yann Chateigné, Joachim Koester, Jelena Martinovic, David Toop
Editors: Mai Lahn-Johannessen, Steinar Sekkingstad
Design: Petri Henriksson / Blank Blank
Publisher: Walther Koenig
Softback, 166 pages, illustrated in colour and b&w, 200mm x 125mm
As a consequence of the new lockdown measures in Belgium, the gallery will be closed from 2 November till 14 December. Today you can still visit the exhibition 'A buoy if not a beacon' with works by Francis Alÿs, Giovanni Anselmo and Latifa Echakhch.
The exhibition will be extended till 16 January.
Sandlines, the story of history directed by Francis Alÿs has been selected for the International Competition of the 7th Porto/Post/Doc: Film & Media Festival, that will take place from November 20th to 29th, 2020.
We are pleased to welcome you on our new gallery website, which is designed by Marc Hollenstein and programmed by web3000.net.
David Lamelas' site specific installation Corner Piece (1966) will be presented as part of the show Collection 1940s–1970s at MoMA New York starting on October 24th. The work will be on view for approximately three years. (Image: Corner Piece at Jan Mot, 2006)
Saturday, October 3, 2020, from 7pm to 2am, Nuit Blanche is organised by the city of Paris, a contemporary creation in all its forms in public spaces, prestigious monuments and buildings that are little known or inaccessible in normal times. On this occasion, Dominique Gonzalez-Foerster will take over the peristyle of the Palais Galliera with a sound installation entitled Promenade. The installation invades the peristyle of the Palais Galliera and offers the spectator a very special immersion, in a sound jungle, under a tropical rain. This ephemeral work is part of the Nuit Blanche's Right Bank journey that weaves its way from the Petit Palais - Musée des Beaux-Arts de la Ville de Paris to the Musée d'Art Moderne de Paris, crossing the sound limbo, virtual wasps and temples of love in the gardens of the Champs-Élysées or New France, to the Palais Galliera and the esplanade and basin of the Palais de Tokyo.
The newly published book Seth Siegelaub. Better Read than Dead. Writings and Interviews 1964-2013 gathers selected writings, interviews, extended bibliography and chronology filling the historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Seth Siegelaub’s life’s work. Siegelaub chose the title Better Read than Dead for an anthology of his own writings — one of the projects for which he never found the time. The book was edited by Marja Bloem, Lauren van Haaften-Schick, Sara Martinetti and Jo Melvin and published by Koenig Books, London and Stichting Egress Foundation Amsterdam.
Coming Soon is a fast-paced compilation of the closing seconds of film trailers. It is a familiar final visual in trailers when the alluding, though vague, words ‘coming soon’ are blasted across cinema screens. Bismuth’s compilation is made up of motion pictures by many of the large American film studios and production companies, discernable by the logos that accompany the phrase. Where it is possible to decipher what film is being referred to they are all major motion pictures released around 2002-03, including Johnny English, the original Jackass: The Movie, and the only ‘coming soon’ that is accompanied by moving image; Secretary with Maggie Gyllenhaal.
Multiple works by David Lamelas selected by Adam Szymczyk are included in the program of the 22nd edition of experimental film and video festival Videoex 2020 in Zürich. On Friday 18/09 at 7:30 pm: Argentina II: Time as Activity - David Lamelas and on Sunday 20/09 at 4 pm: Argentina III: Movies and Television: David Lamelas and at 5:45 pm: Argentina IV: In Our Time - David Lamelas.
Johannes Vermeer Award 2020 goes to Rineke Dijkstra
The Johannes Vermeer Award 2020, the Dutch state prize for the arts, is awarded to photographer Rineke Dijkstra by Ingrid van Engelshoven, Minister of Education, Culture and Science.
The Johannes Vermeer Award consists of the sum of 100,000 euros, which the winner may use to fund a special project in his or her specific field. The Dutch government established the award in 2009, its aim being to honour and encourage exceptional artistic talent. The award is intended for artists working in the Netherlands and across all disciplines. Previous laureates are opera director Pierre Audi, filmmaker and writer Alex van Warmerdam, photographer Erwin Olaf, visual artist Marlene Dumas, architect Rem Koolhaas, graphic designer Irma Boom, composer and director Michel van der Aa, film director visual artist Steve McQueen, fashion designer Iris van Herpen, and violinist Janine Jansen.
photo © Dana Lixenberg
The gallery participates in the upcoming edition of Brussels Gallery Weekend and will be open on Thursday 03/09 from 11 am till 9pm; and from Friday 04/09 till Sunday 06/09 from 11 am till 7pm.
Curator Hilde Teerlinck and Francis Alÿs are selected to represent Flanders within the Belgian Pavilion for the 2022 edition of La Biennale di Venezia.
“Do We Live Because We Narrate?”, developed by Hilde Teerlinck and Francis Alÿs for the Belgian Pavilion will question the role of the artist and the relevance of art in situations of conflict and crisis.
“It is not a case of war journalism, but a chronicle of the tactics of living developed when the systems social / economic / governmental / you name it – are not operative anymore, circumstances where you find a moment of creation, of need and of tension. It is a chronicle of the way in which people develop strategies of survival in and after a situation of conflict.”
Francis Alÿs, Beirut, March 2009