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Marcel Dzama (1974 Winnipeg, Canada. Lives and works in New York) has developed an immediately recognizable visual language that investigates human action and motivation, as well as the blurred relationship between the real and the subconscious. Drawing equally from folk vernacular as from art-historical and contemporary influences, Dzama?s work visualizes a universe of childhood fantasies and otherworldly fairy tales. Dzama?s image repertoire includes a wide range of art-historical quotations. One can recognize ballet costumes by Oskar Schlemmer or Francis Picabia, for example, and direct references to Francisco de Goya, Marcel Duchamp and Joseph Beuys. However, it?s not just elements from the past that spur Dzama?s creativity. The music enthusiast has collaborated with various colleagues from the beginning of his career, whether as part of the Royal Art Lodge in Winnipeg, which he co-founded, or in the form of collaborations with Arcade Fire, Bob Dylan, Beck, Kim Gordon (Sonic Youth), the filmmaker Spike Jonze, the actress Amy Sedaris, the ensemble of the New York City Ballet, or fellow artists like Raymond Pettibon and Jockum Nordström. In his work Beuys love a girl who plays guitar he brings together the artist Joseph Beuys with the country-singer Dolly Parton. For the exhibition at the Tim Van Laere Gallery he started a series of drawings with more hopeful themes, more serene. ?Because the Trump years were so traumatizing.? says Marcel Dzama. ?Also I usually either do political drawing or I go for this kind of vacation feeling. Almost idyllic. A lot of them are based on photographs taken of my son and wife on vacation. I am still playing with this.

7.07 --- Dzama, Marcel °1974 (°Winnipeg, Canada) --- Tentoonstellingscatalogi ; Antwerpen ; Tim Van Laere Gallery --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Exhibitions --- kunst --- tekenkunst --- 75.071 DZAMA --- 7.071 DZAMA --- schilderkunst --- beeldhouwkunst --- collages --- installaties --- twintigste eeuw --- eenentwintigste eeuw --- Canada --- Dzama Marcel --- Art --- sculpture [visual works] --- life masks --- dioramas --- drawing [image-making] --- video art --- narrative art --- Dzama, Marcel --- Sculpture, American --- Narrative art --- Video art --- Art galleries, Commercial --- Dzama, Marcel.

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This catalog was published on the occasion of Swim the Mountain Climb the Sea, a group exhibition showcasing new work by Bram Demunter, Isabella Ducrot, Adrian Ghenie, Anton Henning, Ben Sledsens, Ed Templeton, Dennis Tyfus and Rose Wylie alongside works by Jean-Michel Basquiat, James Ensor, Cameron Jamie, Pablo Picasso, Ceija Stojka and Franz West. This exhibition thus includes a selection of contemporary and modern artists who share the same pioneering spirit. The concept of a group exhibition, where the general public is invited to view new work by a collection of artists, is relatively recent in art history: it all started with the Paris Salon, first held in 1737. Those jury salons with pre-established rules lasted for about 130 years until the art world revolted. Since The Salon des Réfuses in 1863, a showcase of artworks rejected by the Paris Salon, a series of groundbreaking group exhibitions have followed, presenting works that changed not only art, but Western culture itself. Most of these pre-1960 group exhibitions, from the Impressionists? first exhibition in 1874 to the Gutai Art Association shows in Japan and London?s Independent Group in the late 1950s, were all organized by artists. In contrast, from roughly the 1960s onward, the groundbreaking group exhibitions were curated by professional exhibition makers, from galleries to biennials. This shift brought about a change in the dialogue, where previously only artists and the public came together, there is now also a third player present. This is also the case with this group exhibition. Curated by Tim Van Laere Gallery, this exhibition includes a selection of artists whose most pronounced characteristic is their idiosyncrasy. Each of these artists has idiosyncratically constructed their own universe with their own visual language, with which they started new conversations in art history by questioning and examining its foundations. Showing both works by modern and contemporary artists, this exhibition not only reveals the individual profiles of the artists, but also allows us to re-evaluate their unique position and concept. Pablo Picasso, James Ensor, Jean-Michel Basquiat, Franz West and Ceija Stojka have left behind a body of work that continues to inspirenew generations of artists to this day. Placing their work in dialogue with contemporary works not only reveals the influence of the modern artists on this generation, but also shows how their work has remained current over the years. In the opposite direction, this combination also illustrates the strength of the individual voices of this selection of contemporary artists, who can engage in conversation both with the work of each other and with the work of generations before them.

Art --- Contemporary [style of art] --- Picasso, Pablo --- Basquiat, Jean-Michel --- Ensor, James --- West, Franz --- Stojka, Ceija --- Demunter, Bram --- Ducrot, Isabella --- Tyfus, Dennis --- Templeton, Ed --- Wylie, Rose --- Sledsens, Ben --- Jamie, Cameron --- Henning, Anton --- Ghenie, Adrian --- Art, Modern --- Picasso, Pablo. --- Basquiat, Jean-Michel. --- Ensor, James. --- West, Franz. --- Stojka, Ceija. --- Demunter, Bram. --- Ducrot, Isabella. --- Tyfus, Dennis. --- Templeton, Ed. --- Wylie, Rose. --- Sledsens, Ben. --- Jamie, Cameron. --- Henning, Anton. --- Ghenie, Adrian.

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In de jaren 1909 tot 1914 ontwikkelde Fernand Léger zich tot een vooraanstaand kubist. Een belangrijke rol in die ontwikkeling speelde een serie schilderijen die hij in 1911-1912 maakte, de zogenaamde Fumées sur les toits (Rook boven de daken). Hij schilderde het uitzicht vanuit zijn atelier in Parijs, waar hij uitkeek over daken met daarboven rookpluimen. De combinatie van de zachte vormen van de rookwolken en de harde en hoekige massa’s van de architectuur greep hij aan om zich een weg te banen naar een

Léger, Fernand --- Parijs