ABOUT THE FAIR

Friday 24 April: Preview & Vernissage (invitation only)

Brussels Expo (Heysel), 1D-39

During Art Brussels 2015 Galerie Ron Mandos proudly presents:

Hans Op de Beeck (Turnhout, 1969) Brussels, BE
Op de Beeck has developed his career through international exhibitions over the past ten years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing. It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects.

Anthony Goicolea 
(Atlanta, 1971) New York, USA
Goicolea (1971) studied Sculpture and Photography at the Pratt Institute of Art, New York. He works in different disciplines including photography, drawing, painting and video. His work has been exhibited internationally and is held in public collections.

Katinka Lampe (Tilburg, 1963) Rotterdam, NL
Lampe paints portraits or at least, you can clearly recognize the representation of a person. Yet, this is not the main motive of the painting. The portrait merely serves as reason to make the painting. The portrait is the imagery concept. Her paintings greatly appeal to the beholders.

Rob Johannesma (Geleen, 1970) Amsterdam, NL
Johannesma is interested in images or, more specifically, the symbolic potential of images and the way this potential vacillates between historic and artistic spheres. During the last few years, Johannesma developed a complex methodology of collecting images, newspaper pages, footage and contrasting photographic icons and tropes from the global media. Video work by Johannesma is part of THE CINEMA, Hall 3. 
https://www.ronmandos.nl/news/rob-johannesma

Isaac Julien (London, 1960) London, UK
Internationally acclaimed installation artist and filmmaker Isaac Julien breaks down barriers between different artistic disciplines such as film, photography, installation, music, theatre and painting. Julien was nominated for the Turner Prize in 2001 and is represented in museums and private collections all over the world.

Renato Nicolodi (Brussels, 1980) Borchtlombeek, BE
The architectural work of Nicolodi is monumental. The artist is inspired by classical architecture, which he uniquely processes. It is only when the viewer steps into the work and inspects it from close range, that he can obtain a clearer understanding of the work, as if he is invited to take part in a visual and physical search within the architectonic forms he has created.

ABOUT Anthony Goicolea

Born in 1971 in Atlanta, Georgia, USA
Lives and works in New York

Anthony Goicolea (USA, 1971) is a first-generation Cuban American artist. He grew up in the Deep South of the United States of America, in the midst of the Cuban refugee crises, coupled with the advent of the AIDS crises, and the rise of the religious right. Goicolea was socially stigmatised for being Cuban, gay, and Catholic. These circumstances brought about a heightened awareness of social constructs, and the changing nature of identity in politics – a theme that continually influences his work. Goicolea explores themes ranging from personal history and identity, cultural tradition and heritage, to alienation and displacement.

His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, and narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture and video installations, and multi-layered drawings on Mylar. Best known for his powerful, and often unsettling, staged photographic and video works, Goicolea made his artistic debut in the late 1990s with a series of provocative multiple self-portrait images. These early works featured groups of young boys on the threshold of adolescence, acting out childhood fantasies and bizarre rituals of revelry and social taboo in highly staged domestic or institutional settings or dense, fairy-tale forests. Revealing a playful self-consciousness, they often consisted of complex composites of the artist himself, in all manner of poses and guises. Soon thereafter, Goicolea garnered international attention with his ambiguous, yet strangely compelling, landscapes, ranging from dream-like woodland environments to vast, unforgiving urban and industrial wastelands. The artist has created several series of digitally composited, and heretofore uncharted, topographies, often populated by bands of masked and uniformed figures.

In recent series, many of the images are devoid of humans, although the landscape reflects an anonymous and increasingly tenuous human presence. In these works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. Suggesting a world on the brink of obsolescence, these chilling images further cement the pervasive undercurrent of human alienation—from one another as well as the natural environment—that can be traced throughout the artist’s work.

Anthony Goicolea has exhibited widely, notably at the Museum of Contemporary Photography, Chicago, Illinois; the International Center of Photography, New York and Museo Reina Sofia, Madrid. Goicolea’s art is held in many public collections, including the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; The Guggenheim Museum of Art, New York, NY; The Brooklyn Museum of Art, Brooklyn, NY; Yale University Art Collection, Photography, CT; the Museum of Contemporary Art of Castile and Leon, Spain;  21c Museum, Louisville, KY, the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection, among others.

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ABOUT Hans Op de Beeck

Hans Op de Beeck was born in 1969 in Turnhout, BE
He lives and works in Brussels, BE

Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past twenty years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 600m2.

The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible.

Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about.

Hans Op de Beeck sometimes calls his works “proposals”; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

Multi-disciplinary artist Hans Op de Beeck creates interworlds. Suspended between past and future, fiction and reality, his works sound out a mirage-like contemporary universe and a sensory vertigo where the familiar rubs shoulders with the strange. From installation to sculpture, from video to animated film, from short stories to painting and drawing, from photography to sound material, the media he employs seem to converge on the definition of a topos: a mental theatre that projects the viewer into a reflexive social and cultural experience, the intimate thinking of the human condition. —Eva Prouteau

Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He has had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, BE (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014); Screen Space, Melbourne, AU (2015); Espace 104, Paris, FR (2016); Art Unlimited, Basel, CH (2016); Kunstraum Dornbirn, Dornbirn, AU (2017); Museum Morsbroich, Leverkusen, DE (2017); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Museo Pino Pascali, Polignano a Mare, IT (2017); His work is included in museum collections of the Centre Pompidou, Paris; the Royal Museum for Modern and Fine Arts, Brussels; Museum Voorlinden, Wassenaar; Museum Arnhem, Arnhem; the ING Art Collection, Amsterdam; the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection.

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ABOUT Isaac Julien

Filmmaker and installation artist, Isaac Julien CBE RA, was born in 1960 in London, where he currently lives and works. His multi-screen film installations and photographs incorporate different artistic disciplines to create a poetic and unique visual language. His 1989 documentary-drama exploring author Langston Hughes and the Harlem Renaissance titled Looking for Langston garnered Julien a cult following while his 1991 debut feature Young Soul Rebels won the Semaine de la Critique prize at the Cannes Film Festival.

Having recently worked on conserving and restoring Looking for Langston images from his extensive archive, he exhibited of photographic works at Victoria Miro Gallery, London (2017), Jessica Silverman Gallery, San Francisco (2016) and Ron Mandos Gallery, Amsterdam (2016) with a screening of the film in its original 16mm print at Tate Britain.

Julien’s solo exhibitions and presentations include Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), Cape Town (2017); Platform-L Contemporary Art Centre, Seoul (2017); The Royal Ontario Museum, Toronto (2017); Fondation Louis Vuitton, Paris (2016); MAC Niterói, Rio de Janeiro (2016); Museo Universitario Arte Contemporáneo (MUAC), Mexico City (2016); De Pont Museum, Netherlands (2015); Museum of Modern Art, New York (2013); Art Institute of Chicago, Chicago (2013); The Bass Museum, Miami (2010); Museum Brandhorst, Munich (2009); Museum of Modern Art, Dublin (2005); Centre Pompidou, Paris (2005) and Moderna Museet, Stockholm (2005). His latest work, Stones Against Diamonds, was shown in 2015 as part of the Rolls-Royce Art Programme at the Venice Biennale, at Art Basel and Art Basel Miami Beach.

Julien participated in the Venice Biennale at the inaugural Diaspora Pavilion at the 57th edition in 2017 with Western Union: Small Boats. Previously, he presented Kapital and directed Das Kapital Oratorio in the 56th edition of the Venice Biennale, curated by Okwui Enwezor, in 2015. His work has also been exhibited in the 7th Gwangju Biennial, South Korea (2008); Prospect 1, New Orleans (2008); Performa 07, New York (2007) and in documenta 11, Kassel (2002).

Julien’s work is held in collections that include: Tate, London; the Museum of Modern Art, New York; Centre Pompidou, Paris; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington DC; the Albright-Knox Art Gallery, Buffalo, New York; Fondation Louis Vuitton, Paris; the LUMA Foundation, Arles; the Kramlich Collection; the Zeitz Museum of Contemporary Art (Zeitz MOCAA), Cape Town. In 2016 the Towner Art Gallery Collection (Eastbourne, UK) acquired Ten Thousand Waves (2010) as part of a Moving Image Fund program. Ten Thousand Waves, a globally acclaimed multiple screen installation work, premiered at the 2010 Sydney Biennale and has gone on to be exhibited extensively - recently at Platform-L in Seoul (2017) and Fondation Louis Vuitton in Paris (2016) as well as the Museum of Modern Art, New York in 2013, with whom he also published a comprehensive monographic survey of his life and work, titled ‘Riot’.

Julien has taught extensively, holding posts such as Chair of Global Art at University of Arts London (2014-2016) and Professor of Media Art at Staatliche Hoscschule fur Gestaltung, Karlsruhe, Germany (2008 – 2016). He is the recipient of the James Robert Brudner ‘83 Memorial Prize and Lectures at Yale University (2016). Most recently he received the Charles Wollaston Award (2017), for most distinguished work at the Royal Academy Summer Exhibition and in 2018, he was made a Royal Academician. Julien was awarded the title Commander of the Most Excellent Order of the British Empire (CBE) in the Queen’s birthday honours, 2017.

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ABOUT Katinka Lampe

Katinka Lampe (1963, Tilburg, NL) traverses the realms of figurative, expressionist, and abstract painting in her soft, yet uncanny, portraits. Her works, though imbued with a sense of realism, are not meant to represent those that they depict. Resemblance is not the defining characteristic of these pieces. Instead, the artist sees the figures as visual impressions that, once transformed by her gaze, become representative of larger themes within society, rather than the individual. Lampe uses accessories loaded with connotation to provoke loose characterizations of theme and mood. The seemingly simple inclusion of wigs and false lashes, or the placement of a scarf, alter the interpretation of the children depicted and imply elevated symbolic and metaphorical status that requires deeper interpretation. The result creates a catalyst to provoke deeper and subjective meaning in the minds of the viewers. Through these juxtapositions the artist explores important societal themes relating aging, race, and the ever-growing dependence on media.

Katinka Lampe is an artist based out of The Netherlands. She received her degree from the Academy of Art and Design St. Joost in ‘s Hertogenbosch, The Netherlands. Her work has been widely exhibited internationally in a variety of galleries, museums, and prominent art fairs such as Museum Van Loon, Amsterdam, Gorcums Museum, Gorinchem, and Untitlled Art Fair, Miami Beach. Her work is included in the collections of Museum 21C, United States; Museum Arnhem, Arnhem; APMA, AmorePacific Museum of Art Seoul, Korea; Salon Dahlmann, Berlin; Museum van Loon, Amsterdam; C.N.A.P Centre National des Arts Plastique, Paris; Museum More, Gorssel; Schunck*, Heerlen; De Nederlandsche Bank, Amsterdam; Art Curial, Paris; Frisseras Museum Athens, Greece; and in many other prominent collections. Lampe’s work has been featured in numerous publications including ArtTravel Magazine, ELLE Décor, and Public Art Magazine, among others.

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ABOUT Renato Nicolodi

Renato Nicolodi was born in 1980, in Anderlecht, Belgium
He lives and works close to Brussels, Belgium.

The architectural work of Nicolodi is clearly monumental. The artist is inspired by classical architecture, which he uniquely processes. It is only when the viewer steps onto the work and inspects it from close range, that he can obtain a clearer understanding of the work, as if he is invited to take part in a visual and physical search within the architectonic forms he has created. Different vantage points and views reveal subtle games of light gradations with the constantly recurring subjective black space, that remains inaccessible for the viewer, coaxing one into reflection. Pure formalistic language is given an almost sacred priority.

Renato Nicolodi studied Audiovisual and Fine Arts at Sint-Lukas in Brussels, and is a laureate at the Higher Institute for Fine Arts (HISK) in Gent. His work can be found in the SFMOMA, San Francisco; Beelden aan Zee, Scheveningen; the collection of the province of Oost-Vlaanderen, Belgium; the province of Vlaams-Brabant, Belgium; the city of Genk, Genk; The city of Lokeren, Lokeren; Ekard Collection, Wassenaar; Achmea collection, Zeist; Houthoff Buruma, Amsterdam; Cobra to Contemporary/The Brown Family Collection, and many other international private collections.

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