February 10, 2006 - BOZAR Centre for Fine Arts - A4 & FreeSpace Series
February 10, 2006

A4 & FreeSpace Series

A4 & FreeSpace Serie

Centre for Fine Arts (Palais des Beaux-Arts | Paleis voor Schone Kunsten)
23 rue Ravensteinstraat
1000 Brussels www.bozar.be
32 (0)2 507 82 00
A4 & FreeSpace Series

Now showing: in the FreeSpace series
Christian Noirfalise, LANDscapePORtraitSTILLlife
Stefaan Dheedene, HI STORY
11.01 > 19.02.2006

Upcoming exhibitions: in the A4 series
Annick Lizein, Swing
Aline Bouvy & John Gillis, Acid on My Sphinx
08.03 > 23.04.2006
Karine Marenne
26.06 > 20.08.2006
FreeSpace & A4 in the Centre for Fine Arts
The Centre for Fine Arts, in collaboration with the NICC and B.P.S.22, provides an exhibition platform for young artists: the FreeSpace & A4 series. At the invitation of the NICC or B.P.S. 22, visual artists regularly intervene at a variety of locations within the Centre for Fine Arts.
The series continues throughout the year.

Christian Noirfalise
11.01 > 19.02.2006
“The basic idea of this project is to create a landscape, taking as the starting point descriptions by different people. I ask a number of professionals such as mechanics, teachers, cooks, vets, etc. to describe a landscape that has a particular significance for them. These are all people doing jobs that are linked to a specific space. What we do is undertake a search together for places where we are not situated. This quest refers to an experience linked with a place (a dream image, a childhood memory, a place that people remember with nostalgia, or just a field where people situate holiday anecdotes). The goal of the work is to create a synergy between their way of seeing things and my interpretation of it. I try to make visible what is basically invisible by arranging something irrational in the same way as a number of natural elements. In this way an illusion comes into being of a certain reality, a portrait of our unconscious, the still life that is to be found inside us.”
A co-production with NICC
Stefaan Dheedene
11.01 > 19.02.2006
Because the disjointedness of fragments is preferable to the order that distorts. Stefaan Dheedene’s most important activity and artistic development of the last year was the editing and completion of video documentaries using material he had filmed during two years spent in Cameroon. Recently Dheedene has started to rework photographic material from that period in three-dimensional interpretations and reconstructions. Dheedene investigates the “playing field” where information is gathered and the local effects that this generates, rather than the relationship between the (dis)information and its consumer. In doing so he plays with the conventions of the documentary genre. Stefaan Dheedene’s video documentaries focus mainly on educational, productive, and scientific activities and effects. They frequently resemble a delusion of educational anthropological or nature documentaries. But the veracity of their content is at once affirmed and refuted by the omission or inclusion of expressive sounds, text, and images that draw the subject matter out of its isolation.

Dheedene’s interest in the documentary genre is not subordinate to any impulse to transfer knowledge. This “documentary mode” offers, rather, an “opportunity to make mistakes”. The documentary genre is, in any case, fundamentally paradoxical: the moving image and its referent in reality are put under pressure by the logic of representation. So the documentary approach, resting on photography, develops into a delusion of likeness.
The documentary genre is in fact driven by the ambition to get closer to reality than do other visual genres. It is initially deeply coloured by the love of truth or knowledge that is at the heart of the documented production of knowledge, which is easily reconciled with the disbelief and uncertainty aroused by the images.

A co-production with NICC
Annick Lizein, Swing
Aline Bouvy / John Gillis, Acid on My Sphinx
08.03 > 23.04.2006
In her paintings Annick Lizein approaches landscape as a dreamlike universe devoid of reference points in either space or time, apart from a few details of vegetation or architecture, which operate as traces of the absent body. Aline Bouvy / John Gillis present a sophisticated lounge with melancholic pictures, deadly sculptures and electric furniture.

Curator: Sonia Dermience
A co-production with B.P.S.22

BOZAR Centre for Fine Arts
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