From Broodthaers to Braeckman on view at M HKA, Antwerp, Belgium

Added on by ROSEGALLERY.

Through representative examples From Broodthaers to Braeckman-- Photography in the Visual Arts in Belgium shows how the medium of photography entered the field of visual arts in Belgium and how it evolved into an independent artistic medium between 1960 and 1990.

Dirk Braeckman, C.O.-I.S.L.-94, 1994.  © Dirk Braeckman, Courtesy Zeno X Gallery, Antwerp 

Dirk Braeckman, C.O.-I.S.L.-94, 1994.  © Dirk Braeckman, Courtesy Zeno X Gallery, Antwerp 


"Its location between major artistic centers from London, Amsterdam, Dusseldorf and Paris, and the presence of important visionary collectors and gallery owners, turned Belgium into an important meeting place for the international art world in the 1960s and 1970s. A rising generation of Belgian artists comes into direct contact with international artistic trends like conceptual art, Fluxus and the Situationist International. Local artistic traditions as well influenced their practice. Especially striking is the legacy of the Brussels surrealists, in particular the work of René Magritte and Paul Nougé. Over more, the strong pictorial tradition of the Low Countries, and by extension Europe, turns out to have had a decisive influence on the work of the artists selected for this exhibition, All which is characterized by a constant attention to their surrounding reality."

Exhibition will be on view 6 October until 5 February 2017 featuring works by artists Marcel Broodthaers, Jacques Charlier, and Jef Geys, Jacques Lennep, Jacques Louis Nys t, Jacques Lizène, Philippe Van Snick, Danny Matthys, Lili Dujourie, Jan Vercruysse, Ria Pacquée, Liliane Vertessen and Dirk Braeckman.

About C.O.-I.S.L.-94:
"When we see photographs by the Belgian artist Dirk Braeckman installed in museums, we seem to be looking at photographs that aspire to the condition of painting. They are large — he likes them to be life-size. They are unglazed— he wants no interruption to the eye. They demand as slow an act of looking as any painting. They have the same richness and variety of tones of grey as works by Richter or Celmins. Indeed, Braeckman’s most famous photograph, C.O.-I.S.L.-94, was a photograph of a painting. Before printing he re-cropped it so we see nothing of the frame or surroundings. But this is no normal reproduction of a painting: the light catches the bumpiness of the painting, the lines made by the vertical stretcher bar. Every scratch or nail is as clear as a blemish or mole on a person’s face. A banal painting becomes a beautiful photograph, at once meditative and haunting."
Tony Godfrey, in: "Painting Today", Phaidon, London / New York, 2009

For more info on the exhibition, visit