Current and upcoming
Jan Mot, Brussels
Exhibitions at Jan Mot
Pierre Bismuth, Mario Garcia Torres, Dominique Gonzalez-Foerster, Will Holder, David Lamelas, Jonathan Monk, Ian Wilson
Dominique Gonzalez-Foerster, David Lamelas, Jan Mancuska
Eija-Liisa Ahtila, Sven Augustijnen, Richard Billingham, Pierre Bismuth, Manon de Boer, Rineke Dijkstra, Honoré ∂'O, Dora García, Dominique Gonzalez-Foerster, Douglas Gordon, Joachim Koester, Sharon Lockhart, Deimantas Narkevičius, Uri Tzaig, Ian Wilson
New Space Opening Show
Ann Lee in Anzen Zone
Variante de la cure type
Une chambre en ville
Pierre Bismuth, Maria Blondeel, Manon de Boer,
Rebecca Bournigault, Adam Chodzko, Michael Curran,
Tracey Emin, Dora García, Dominique Gonzalez-Foerster,
Douglas Gordon, Joseph Grigely, Pierre Huyghe,
Renée Kool, David Lamelas, Kobe Matthys,
Wouter van Riessen, Ian Wilson, Zapp magazine
Dominique Gonzalez-Foerster, Douglas Gordon, Pierre Huyghe, Renée Kool
Other exhibitions (selection)
Opéra Monde. La quête d'un art total
Opéra National de Paris and Centre Pompidou-Metz
Martian Dreams Ensemble
Galerie für Zeitgenössische Kunst, Leipzig
Ballard Garden, 2014
deSingel, International Arts Campus, Antwerp (BE)
Photograph © Jan Kempenaers
Riyo was shot in Kyoto, on the banks of the Kamo River between Shijo Bridge and Sanjo Bridge. A telephone conversation between a young couple transforms an anonymous urban backdrop at sunset into a biographical site of encounter and flirting. A totally different city seems to emerge beyond what can be seen of it: emotional, fleeting, immature and open.
See video excerpt here.
In many of J.G. Ballard's novels, the characters are left to wonder if they should stay or leave: 'Are you going to stay on here?' asks one of them. When you're immersed in the overwhelming and intense environments of The Crystal World (1966), The Drowned World (1962) or The Burning World (1964) - or even that of an extreme high-rise, an abandoned highway or a decaying leisure area - whether to stay or leave becomes a very important question. All the more so when the environment itself slowly produces a new psycho-geographic condition that seemingly contaminates all thoughts, dreams and desires. The same questions arise in certain aesthetic experiences. How do we digest and metabolize intense perceptions, uncomfortable visions and disorienting situations?
That was the opening of a short tribute to Ballard's influence that I wrote in 2009, while preparing the Ballard Garden project for the arts centre deSingel, in Antwerp. The day after J.G. Ballard left (for ever), I visited the site in preparation for a large outdoor project to accompany the new architectural extension. The abandoned concrete blocks, the empty pond and pervasive post-industrial mood of the site were such powerful reminders and interpretations of Ballard's aesthetics and literary landscapes that I thought the best thing to do was to turn the whole place into a Ballard Garden that would remain as a permanent life-size tribute.
The impact of Ballard's writings on what I visualize and accept as art is endless. If the Kafkaesque perfectly describes many of the disorienting and absurd experiences of the 20th century, our times now often seem Ballardian. Not many writers can be credited with regenerating aesthetics so deeply, and we will live in a Ballardian world for a very long time to come, especially now that intense climatic changes will turn architecture, playgrounds, amusement parks, highways and high-rise buildings into more organic, experimental and radical places.
© Oliver Ottenschlaeger
For her exhibition VOLCANIC EXCURSION (A VISION) at Secession in Vienna, Dominique Gonzalez-Foerster presents a monumental pictorial collage representing 235 life-size figures from past and present times. The artist describes this condensed environment as a "fictional transfeminist and antiracist excursion" gathering "inspiring friends, non-binary, trans, queer, fluid, hybrid, lesbian, gay, pan, humans and non-humans". The piece was inspired by the contrast she observed between the lock-down isolation and the many crowded protests, demonstrations and marches that took place recently in Paris. Through this 24 meters-wide and 5 meters-tall panoramic tableau, she refers, among others, to Gustave Klimt's iconography as well as Diego Rivera's mural Sueño de una tarde dominical en la Alameda Central (Dream of a Sunday Afternoon in the Alameda Central, 1946–47). On view till September 5th, the installation performs as an engaging, optimistic stage for the visitor's active engagement.
Works by Dominique Gonzalez-Foerster and Tino Sehgal are part of the inaugural exhibition at the Parc des Ateliers, home of the LUMA Foundation in Arles (FR). The foundation aims to collapse the boundaries between art, culture, human rights and environmental issues. This Element by Sehgal was commissioned for the space, while Dominique Gonzalez-Foerster is presenting Endodrome, a virtual reality environment, shown at the Venice Biennale in 2019. The Library on Fire which is a new commission by Gonzalez-Foerster and Charles Arsène-Henry will be inaugurated in September. (Photo Adrian Deweerdt)
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.