ABOUT THE FAIR

Booth E5 + Solo: Levi van Veluw

Tour & Taxis | Avenue du Port 86C, Brussels

Art Brussels is a contemporary art fair that takes place in Tour & Taxis in Brussels, Europe’s most upcoming and exciting art city.

  • Quality over quantity. The size of the fair will be reduced from 191 galleries to no more than 140 galleries to ensure better quality
  • Clear sections aligned with the profile of the fair: From Discovery to Rediscovery
  • Located in Tour & Taxis, a turn of the 20th century beautiful, industrial customs house
  • Expansion of its forces and network to attract the best Belgian and international collectors
  • A cutting-edge and surprising artistic programmation in a wonderful new scenography, curated by Katerina Gregos
  • The fair to make new discoveries.

HANS OP DE BEECK (BE, 1969) produces large 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. Op de Beeck is keen to stimulate the viewers’ senses, and invites them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection. At Art Brussels we will present work form his Vanitas series; sculptures based on a modern day “vanitas” staging. Op de Beeck lives and works in Brussels, Belgium. He has shown his work at GEM, The Hague, MUHKA, Antwerp, the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, Sammlung Goetz, Munich, La Biennale di Venezia, Shanghai Biennale, Tate Modern in London, and many more.

ISAAC JULIEN (UK, 1960) works and lives in London. At Art Brussels we will show photos from his latest series Stones Against Diamonds. Stones Against Diamonds was recently presented as a video installation at last years La Biennale di Venezia and Art Basel. The work draws inspiration from a letter written by Brazilian architect Lina Bo Bardi. Signature elements of Bo Bardi’s work have been incorporated into Julien’s work, creating an exhilarating combination of aesthetically images within the framework of modernist thinking. The work was filmed in the remote region of Iceland, using the breathtaking scenery of ice caves as a set for the film. The shoot took place over five days with the crew enduring sub-zero temperatures in the heart of glacial caves. Julien was nominated for the Turner Prize in 2001. His work was shown a.o. at the Whitney Museum in New York, Centre Pompidou in Paris, Moderna Museet in Stockholm, Serpentine Gallery in London, Museum of Modern Art in New York, Tate Modern, Guggenheim Collection and the Louis Vuitton Art Foundation.

RENIE SPOELSTRA (NL, 1974), strives for intentional apathy with her grand charcoal drawings; hours and days pass in a flash, every moment frozen in time and every moment the same. The last six months Spoelstra has worked on her new series Stretching Universe, part…, for which she connects cinematic characteristics with “authentic” landscapes of breathtaking nature. Stretching Universe refers to the scientific fact that our universe is expanding, while at the same time people on earth have become less tolerant towards each other and in this respect the world thus seems to be shrinking due to narrow-mindedness. Spoelstra’s work was a.o. shown at Boijmans van Beuningen in Rotterdam, Centre Pompidou in Paris, ARCO in Madrid, Louis Dreyfus Family Collection, Witte de With in Rotterdam and the Teylers Museum in Haarlem.

At Art Brussels we will also show works by the following artists: IVAN GRUBANOV (SRB,1976) paintings, INTI HERNANDEZ (CU, 1976) sculptures, MOHAU MODISAKENG (ZA, 1986) photography, RIK SMITS (NL, 1982) drawings and KONRAD WYREBEK (CZ, 1983) paintings.

SOLO BOOTH | LEVI VAN VELUW (NL, 1985) produces multi-disciplinary works that include photographs, videos, sculptures, installations and drawings. At Art Brussels Van Veluw will present his project The Collapse of Cohesion. Just like all his projects, The Collapse of Cohesion started with distinctive charcoal drawings, followed by a photo series based on these drawings, now replicated life-size in a wooden installation. The Collapse of Cohesion is about the effect of forces of nature on human structures and plays with our fascination for destruction. Van Veluw’s works where a.o. shown at The Bass Museum of Art in Miami, Centro Nacional de las Artes in Mexico City, Design Museum in London, Musée d’Art Contemporain de Montréal, The Phillips Collection in Washington D.C.

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ABOUT Inti Hernandez

Inti Hernandez lives and works in between Amsterdam (The Netherlands) and Havana (Cuba).

The work of Inti Hernandez is embedded in the philosophy wherein life is defined as a perpetual flow of energy. In his view the question is no longer, “What can I pick out of this flow of energy to my personal liking and benefit?” but, "What could I contribute to this flow of life that is still missing?" Hernandez believes that by finding answers to this question your ideas will always be welcome and will allow you something in return.

Hernandez sees art as a medium to create conversation and dialogue. The very nature of his work embodies collaboration. He explores meanings and triggers reflection through his artistic process and through the interaction with those who engage with his work. The more ideas are adopted as another’s subject, the more energy they gather and the more they connect to something fundamental. When ideas mange to create conversations they become something undeniable.

Architecture and Industrial design are both disciplines very much interconnected with daily life. In his work Hernandez plays with their language and with their multidisciplinary habits. By doing so he ensures a special flavour of common sense in his results. Through this process Hernandez obtains vital impute out of the dialogue with people, their dreams, ideas, necessities, priorities, spontaneity and initiative. He sees art as an established institution, which can be developed into business cases and showcases so that many other interests can participate with it- supporting it and being supported by it and thus gaining a benefit from it.

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ABOUT Ivan Grubanov

Ivan Grubanov (SRB, 1976) has enjoyed an intense training as an artist, starting out at the Belgrade Academy of Fine Arts, followed by training programs and residencies at the Rijksakademie van beeldende kunsten in Amsterdam, the Delfina Studios in London, Casa de Velazquez in Madrid and the Katholieke Universiteit Leuven. The artist is constantly trying to innovate the medium of painting. Being born himself in a country with such a turbulent past, he became intrigued by the articulation of historical memory against contemporary conditions. What does his heritage still means for him today? And in a broader sense how do past cultural values still exist in our current globalised society. His process-oriented painterly method evolves into a podium for knowledge production, persistently posing challenging questions about social and political realities. Ivan Grubanov has established his international career through numerous solo, group, and biennial exhibitions worldwide, as well as many artistic and scholarly awards.

Solo shows include Laboratorio 987 at MUSAC in Leon, Le Grand Cafe Centre d’Art Contemporain in St Nazaire, Gallery of the Belgrade Cultural Center and Salon of the Museum of Contemporary Art in Belgrade, Stroom Center for Contemporary Art in Den Haag, Nogueras Blanchard in Barcelona.
Participations in group shows include the Museum of Contemporary Art in Krakow, Witte de With in Rotterdam, Kiasma in Helsinki, the 3rd International Festival of Contemporary Art of Algiers, the 10th Istanbul Biennial, the 1st Thessaloniki Biennial, Stedelijk Museum CS, SMART Project Space and De Appel in Amsterdam, the Drawing Center and Apex Art in New York, City Gallery in Prague, the 50th Belgrade October Salon, the Spa Port Biennial in Banja Luka, the 3rd Bucharest Biennial of Young Artists, Moderna Galerija in Ljubljana, the 3rd Tirana Biennial, the 3rd Biennial of Quebec, Kunsthalle Bern, Office Baroque and Extra City Kunsthal in Antwerp, Aeroplastics in Brussels, South London Gallery, ARCOS Museum in Benevento, Museum De Beyerd in Breda, Henie Onstad Art Center in Oslo, National Museum of Contemporary Art in Athens, Museu Colecção Berardo in Lisbon, Iaspis in Stockholm.

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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 Mohau Modisakeng

Born in 1986 in Soweto, South Africa
Lives and works between Johannesburg and Cape Town.

Material, metaphor and the black body are the tools that Mohau Modisakeng uses to explore the influence of South Africa’s violent history that has been ignored in today’s society, on how we understand our cultural, political, and social roles as human beings in post-colonial Africa and in particular post-apartheid South Africa. Represented through film, large-scale photographic prints, installations and performances, his “work doesn’t start off with an attempt to portray violence but it becomes mesmerising because although we might recognise history as our past, the body is indifferent to social changes, so it remembers.”

Born in Soweto, an epicentre of black urbanity and cosmopolitan culture, the multi-award winning Mohau Modisakeng is a product of Cape Town’s Michaelis School of Fine Art. Mentored by Jane Alexander and predominantly working and training in sculpture, he completed his undergraduate degree in 2009 then completed his Masters degree at the same institution. He was awarded the SASOL New Signatures Award for 2011 and has exhibited at Armory Show, New York (2016); Saatchi Gallery, London (2012); Dak’Art Biennale, Dakar (2012); Focus 11 and Basel (2011). In 2013 Modisakeng produced an ambitious new video work in association with Samsung as a special project for the 2013 FNB Joburg Art Fair. His work is included in public collections such as the Johannesburg Art Gallery, IZIKO South African National Gallery, Cape Town and SAATCHI Gallery, London as well as significant private collections such as Zeitz MOCAA.

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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 Renie Spoelstra

 

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ABOUT Konrad Wyrebek

Konrad Wyrebek is a British-Polish artist and earned a degree in Fine Arts from London Metropolitan University in 2011, and previous to that, studied Fine Art Painting from Westminster University, London, and Art History and Technology of Fine Arts at the Academy of Fine Arts, Warsaw. Wyrebek represents and challenges contemporary life and culture through the use of television-, film- and social media-based images, creating abstract video paintings. Recent exhibitions include PUBLICPRIVATE, Armory Art Week, New York (2014),Painting in Relation, Solyanka Art Museum, Moscow (2014), Flesh Reality, Point Zero Project Space, London (2013), Question of Sport, Royal Academy and Museum of Contemporary Art, Clifford Chance Collection, London (2012), and CutOut, Sotheby's Institute of Art, London (2011). Wyrebek is the recipient of the 2011 Sir John Cass Sculpture Prize, along with both the John Burn Sponsorship Award for 3-D printing and the Metropolitan Works Sponsorship Award for rapid prototyping, both in 2011. He has recently exhibited works from his Data Error series at The C Collection, curated by Vittoria Broggini at MiArt Milan and at the Dallas Art Fair in Dallas, Texas. Wyrebek lives and works in London.

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