Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Using humour as a visual tool, Sammy Slabbinck choreographs compositions that meditate on the absurdity of popular consumerist culture, both past and present. His dynamic contemporary collages are reminiscent of the great surrealist Jacques Prevert. Often witty but at the same time foreboding and dark, Slabbinck's deft hand creates a unique signature that makes each collage unequivocally his own. Belgian surrealism has another heir. With cut-outs from vintage issues of Playboy and Paris Match, Sammy Slabbinck composes his absurd universes with poetical harmony. Mangled, contestable, reversible. His retro-futuro collages hang in galleries in London; they are used as album covers and digital prints, and have featured in 'The New Yorker'.

745.54 --- Collages ; decoupages ; 21ste eeuw --- Surrealisme ; invloeden --- Pop-Art ; invloeden --- Decoratieve kunstnijverheid ; knutseltechnieken ; papier --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A-Z --- photocollages [photographic compositions] --- Surrealist --- Slabbinck, Sammy --- PXL-Central Office 2018 --- fotografie --- surrealisme

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Re-itinerating the artist's projects from his early beginnings till today, this volume offers an exhaustive overview of 'the work of Tim Volckaert'. A hybrid between canonical cataloguing and artist-driven exhibiting. The work of Tim Volckaert translates a world vision where duality which characterises and dominates the history of Western thought is central. In his drawings, sculptures and actions the image of 'the landscape' is often the starting point. The landscape in the qualification of 'world space' that serves as a backdrop to comment on the struggle of man with his environment.

7.07 --- Volckaert, Tim (°1979; Kortrijk, België) --- 7.05 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Kunst ; het boek als kunstobject ; Kunstenaarsboeken, geïllustreerde boeken, boekbanden --- Art --- art [fine art] --- Volckaert, Tim --- art [discipline]

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Four years after his iconic mirror paintings catapulted him to international acclaim, Michelangelo Pistoletto took an abrupt left turn with his series, the 'Minus Objects'. Comprised of 28 disparate objects - an oversize cardboard rose; an industrial lamp casting green light; a minimalist iron sculpture - the Minus Objects break with the notion of a signature style and are symbolic of infinite creative possibilities. As an ensemble, it minimizes the role of authorship, permitting each enigmatic object to speak for itself as autonomous and self-sufficient. Pistoletto is one of Italy's most important and influential artists, and this book celebrates the creation of the 'Minus Objects' as a radical turning point in postwar sculpture and conceptual art. The installation is represented in double-page spreads and the entire volume is designed to appear as a discrete object itself. Along with Pistoletto's original artist statement and transcripts of conversations about his work, this volume brings together critical analyses from some of the leading voices of the contemporary art world. Together, the images and texts in this book serve to position the 'Minus Objects' as a work of stunning originality and historical significance.

Sculpture --- sculpture [visual works] --- Arte Povera --- installations [visual works] --- Pistoletto, Michelangelo --- Conceptual art --- 7.07 --- Pistoletto, Michelangelo °1933 (°Biella, Italië) --- Conceptuele kunst --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Pistoletto, Michelangelo, --- Exhibitions

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

During the spring of 2017, the Museum of Fine Arts Ghent (MSK) brought together two artists in the newly established Drawings Cabinet. The exhibition Eyewitness linked the social criticism of the Spanish artist Francisco Goya (1746-1828) to the social commitment of the Iranian artist Farideh Lashai (1944-2013), in a shared indictment against violence and oppression.

In 2015, the MSK acquired a copy of Los Desastres de la Guerra (The Disasters of War) by Francisco Goya. This series of engravings depicting the horrors of war was created between 1810 and 1820, during the Spanish War of Independence against the Napoleonic occupation. It was never shown by Goya during his lifetime. Working in an era of war and oppression, Goya explicitly broke away from the bombastic rhetoric of classical painting: instead of glorious heroes he depicted ordinary citizens struggling to survive during the war. The cycle is considered a universal indictment against all forms of violence.

The Iranian artist and writer Farideh Lashai also worked in a time of conflict and oppression. In her drawings and prints, she combined the picturesque landscapes of her homeland with the techniques of contemporary art. For her last work, When I Count, There Are Only You ... But When I Look, There Is Only a Shadow (2011-2013), Lashai united Goya’s Desastres with her own video projections. In her subtle but subversive video installations, she takes a critical look at the political situation and difficult living conditions in Iran. For this reason, her oeuvre remains of great contemporary relevance.

In Eyewitness, the MSK demonstrated how the past and present are intimately intertwined. Born almost exactly 200 years apart, Goya and Lashai were chroniclers of the conflicts in their respective countries. Both experienced radical social upheavals and were forced to work in periods of repression and censorship. They both used art, and even humour, to take their own unique stands against the injustices that they witnessed.

To do this, they employed a variety of techniques and visual languages. By placing their work in dialogue, the MSK aims to encouraged visitors to see the positive change in contemporary society through a better understanding of the past. Two centuries have elapsed since Los Desastres was created but the message remains internationally relevant, especially in the light of the numerous conflict situations that have arisen in recent years…

Goya, Francesco --- Lashai, Farideh --- Goya y Lucientes, de, Francisco José --- Goya y Lucientes, Francisco José de, --- Lashai, Farideh, --- 7.07 --- 76.07 --- Thema's in de kunst: oorlog, opstand, geweld, verdrukking, ooggetuigen --- Goya, Francisco 1746-1828 (°Fuendetodos, Saragossa, Spanje) --- Lashai, Farideh (1944-2013, °Rasht, Iran) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Grafische kunst ; grafische kunstenaars A-Z

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Demoen, Nikolaas --- 7.07 --- 75.07 --- 741.07 --- 77.092.07 --- Beeldende kunst ; schilderkunst ; 21ste eeuw ; N. Demoen --- Belgische kunstenaars --- Trefwoord --- Demoen, Nikolaas °1965 (°Gent, België) --- Performances --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Schilderkunst ; schilders --- Tekenkunst ; tekenkunstenaars A - Z --- Fotografen A - Z --- Exhibitions --- Gestalte