Penthouse Art Residency

NH Brussels Bloom x Harlan Levey Projects present a residency program for Belgian and international artists, curators, critics and theorists in the historical penthouse.

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Penthouse Art Residency Packs Up (for now)

In 2014, Harlan Levey created the Penthouse Art Residency at the (former) Hotel Bloom in Brussels, Belgium.

This was a philanthropic project, which re-activated unused space in the hotel and was of service to over 50 artists and curators.

Over the course of 5 years, artists from around the world came to Brussels to engage with the city and research, reflect, write, edit, and produce works in various media.

Earlier this year, the hotel was sold to the NH Brand, and the Penthouse Art Residency is no longer possible in its current location.

It is now closed until a new location is found. No applications will be accepted until future notice. Please contact the Penthouse Residency Curator Gatien Du Bois with questions.

We would like to thank the artists who participated to this project throughout the 6 years of its activity, especially the artists who stayed in residence: Petr Davydtchenko & Astrid Gnosis, Serena Vestrucci & Francesco Maluta, Esther de Graaf, Nathan Baker, Radek Szlaga, Sergio Bromberg, Daniel Baird, Max Rippon, TR Ericsson, The Holls Collective, Manoel Quitério & Gamze Yalcın, Will Barras, Pierre d’Alancaisez, Brad Feueehelm, Steven Schepens, Rokko Miyoshi, Maria Montesi, Inigo Moller Martinez, Mike Ballard, Abner Preis, Crystal Palmer & Isaac Pool, Willehad Eilers, Sandra Demetrescu, Wim Janssens, Roopa Vasudevan, Irina Bujor, Benjamin Verhoeven, Avenir Institute, Sina Hensel, Emeline Depas, METASITU, Jason Gringler, GVN908, Renato Custodio, Alex Bunn, Patrick Carpentier, Niamh McCann, Nicolai Bosko, Adam Chamandy, Ludovic Beillard & Martin Lukáč, Mano Penalva, Brice Bischoff, Josephine de Weck, Béla Pablo Janssen, Kunstcapades, Pierre-Alain Poirier, Cécile Angelini, Daniel Stubenvoll, David Hanes, Hyun Cho, Scott Wiliam Raby, Exploredinary, Esteban Donoso & Thiago Antunes, Cat Kron, and William Sarradet.

Below, a selection of visuals from the last two years artists in residence:

#patrickcarpentier

#niamhmccann

#nicolaibosko

#alexbunn

#martinlukac

#manopenalva

#kunstcapades

#danielstubenvoll

#josephinedeweck

#bricebischoff

#hyuncho

#belapablojanssen

#davidhanes

#adamchamandy

#thiagoantunesandestebandonoso

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US special: September & October residents

Cat Kron is a writer and editor based between Los Angeles and New York. Her work focuses primarily on feminist art and culture produced between the 1970s and the present, with an emphasis on experimental film, video, and performance. She contributes to Art Review, Artforum, ARTnews, CARLA, Cultured, and Modern Painters, among others.

> Cat Kron is staying at the Penthouse Art Residency in September 2019

William Sarradet is a native North Texan and graduate of the University of Texas Arlington with a BFA in printmaking. Sarradet lives in Dallas, Texas, where he works as an online editor for Glasstire, as well as a registrar for Conduit Gallery. He has lectured for audiences at the CUNY Graduate School of Journalism in New York, the Association for Community Design, The University of North Texas, and the California Institute of the Arts. He has covered numerous subjects across the country, including the current state of the arts at Pilchuck Glass School in Standwood, Washington, the growing art fair market in North Texas, and various local and regional artist profiles. His motivations for writing nonfiction pertain to an interest in revealing the impending developments in information technologies, and the opacity of design within those systems.

> William Sarradet is staying at the Penthouse Art Residency in October 2019

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Look at me baby, I'm yours!

OPENING: 04/09 - 6-10pm

EXPO: every Saturday & Sunday of September, 3-6pm

Group exhibition with works by Aurélie Bayad (FR), Aurore Dal Mas (IT/BE), Marijke De Roover (BE), Julie Favreau (CA), Jean-Samuel N'Sengi (RDC/BE), Calvin Trezise (US) and Stef Van Looveren (BE)Curated by Gatien Du Bois

//ABOUT

Look at me baby, I'm yours! starts from a reflection on our tireless attempts to get the others noticing us. What are the strategies, the body movements and sounds we produce to attracts others attention? Exchange of glance, lust for look, my face, my body is a call, a signal, an emitting source looking for receivers. I present myself, I fake myself; things visible and unspoken affairs. What do I submit (also in a submissive way) to the eyes of the other as an offering? Who am I? Who is this other I desperately want to seduce? Blurred boundaries, ambiguities. With the desire to fill the gap of otherness, I try to get closer: I want to rub my body against the other and against its soul. Look at me baby, I'm yours.

With a selection of videos, photographs and installations by a wide range of artists, some of whom have never been exhibited before in Brussels, this group show intends not to present answers but rather to shape a dialogue, a form that signifies openness to the "surprise of otherness". This dialogue opens space for recognition of the other as well as one's own inner plurality and desires; our gaze shifting constantly between distance and involvement, between our estrangement from the attitudes exhibited and our identification with them.

//PRACTICAL INFO

Penthouse Art Residency (NH Brussels Bloom x Harlan Levey Projects)250 Rue Royale, 1210 Brussels

Tram 92/93 & metro 2/6 stop Botanique

The exhibition space is located on the 9th floor, ask for your access card at the hotel reception desk.

The opening is sponsored by VEDETT

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Extimacies

Currently in residence at the Penthouse Art Residency Thiago Antunes and Esteban Donoso open up the process of intersecting their artistic practices. During the last three weeks, they have been devising guided visits, one-on-one sessions and gathering traces of their experiments. By delving into the visitors’ own embodied experience of this penthouse space they also want to explore the voices behind the scores they are developing. Where do these instructions come from? Why do they lure us in this particular way?

Please join the artists on Wednesday August 21st from 6-9pm for a performance. On this occasion, you will also be able to  to look at traces of the process, try out scores and meet them.

--- PENTHOUSE ART RESIDENCY(NH Brussels Bloom x Harlan Levey Projects)250, rue Royale, 1210 Brussels - 9th floor>> ask your access card at the reception desk>> tram 92 & 93 and metro 2 and 6 (stop: Botanique)

This event is sponsored by VEDETT

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Thiago Antunes & Esteban Donoso

In the coming weeks, Thiago Antunes and Esteban Donoso will be connecting their artistic practices at the Penthouse Art Residency. In both, there is an interest in creating instructions for audience members, through scores, audio-guides, and games. They like to see all these practices as choreography, a set of guidelines that prescribes the bodies actions and frames their experience in a determined space. Sharing the experience of migrating from South America to Europe, Thiago and Esteban want to look into how they have choreographed themselves in order to interact and create a sense of belonging in Europe. Where does this choreography come from? Does it stem from a colonial voice? 

 Bios:

 Esteban Donoso, born in Quito, Ecuador, currently lives in Brussels. He studied Clinical Psychology in Quito and an MFA in Dance at U of Illinois. In 2015 he joined the artistic research program at APASS (Advanced Performance and Scenography Studies) in Brussels. Esteban’s work explores the inter-connections of place, memory, and perception by disassembling the apparent cohesiveness of our experience of going through a place. For the last year, he has been developing an audio-guide that goes through domestic spaces. In 2014 he collaborated with Fabian Barba (Be) in the performance/installation slug’s garden, performed in kunstenfestivaldesarts in Brussels, 2017. Esteban is currently pursuing his PhD in Performance Studies at York University, Toronto, Ca. currently a visiting scholar at KU Leuven, Be.

 Thiago Antunes is a Brazilian artist, based between Brussels and Amsterdam. He studied film, holds a Master diploma in Theatre Studies in Sao Paulo (Unesp 2012), and did the post-master program A.PASS in Brussels (2015-16). With a background in theatre and contemporary dance, he collaborated with several collectives in Sao Paulo, as performer, coach, and assistant. His current practice delves into bureaucracy, autofiction, and game mechanics. In search of a performativity of the immigrant, he investigates how to integrate into a foreign land, by repetition and exhaustion of gestures. His performance-game Inburgering in has been presented in the festivals ENTER (April – 2018), BANG! (November – 2018), Bewogen (February – 2019), all in Brussels,  and is programmed for the festival Share = Care, that will take place in the Schouwburg of Kortrijk in May 2019. 

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The Veridencies

"The Veridencies" is a lecture in rhymed verse on the history of verdant corpses and the use of "verdaccio" color in paintings dealing with religious death, erotic abnegation, and mystic ascesis. This green may also be evidence of the lingering powers of serpent and earth wisdom breaking through the cracks in the Christian worldview. Joe Milutis will be delivering this discussion-poem of paintings of Duccio di Buoninsegna, Domenico Veneziano, Giambattista Tiepolo, Melchior de la Mars, Mattia Preti, Fernand Cormon, John Steuart Curry, Paul Delvaux, Jean Delville, Remedios Varo, Andres Serrano, Filippino Lippi, Guido Reni, Jusepe de Ribera, and others. To be followed by poem-discussion. Joe Milutis is an interdisciplinary artist, writer, and Associate Professor of Interdisciplinary Arts and Sciences at the University of Washington-Bothell. He is the author of "Failure, A Writer’s Life" and "Ether, The Nothing that Connects Everything". His practice encompasses both academic and creative work in a variety of media and distribution modes, including experiments in narrative and poetics; sound and radio; video; new media; performance and various media/literature hybrids.  www.joemilutis.com

/ / / practical information Penthouse Art Residency (Harlan Levey Projects x NH Brussels Bloom) 250 rue Royale, 1210 Brussels / meeting room 8th floor -> ask hotel reception for access card

language of the event: English event sponsored by VEDETT

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The Doubtful Host

Dear guest,

We invite you at the Penthouse Art Residency this April for a discursive salon reflecting on “guest-host relations” (or the semi-professional, semi-friendships that seem to be status quo in contemporary art), arising between artists, curators, and institutions, and others.

What is it that curators seek to repair when they say that “hosting” and “care” is part of their practice? Can relationship modes exist that are non-transactional, that promote the autonomy of all parties, or anti-oppressive frameworks? Riding on the footnotes of thinkers who have previously dealt with this topic, and the contributions of artists and curators, we open the Penthouse Art Residency as a site to expand on these questions. Incidentally, the Penthouse Art Residency is both a guest of the hotel NH Brussels Bloom, and a host to a changing roster of international artists and curators.

Please join us on April 27 from 9-12h for a live event series on your way to Art Brussels 2019. We have listed details of this salon below. Breakfast to be offered by the NH Brussels Bloom.

Your hosts,

Gatien Du Bois Meghana Karnik

//Live Program

9h – Chart Reading by Haunted Cerebral (screening)

Haunted Cerebral is a project developed by former Penthouse Art Residency artist in residence David Hanes et Felicia Kozak. This translocal project (London-Berlin) mixes Tarot reading, astrology and psychic practice.

www.hauntedcerebral.com

9h15 – Ariane Loze - Art Therapy #1 (screening + post-discussion with Niamh McCann)

Invited by the Curatorial Program of De Appel Art Center (Amsterdam) to collaborate on a contribution to the symposium named ‘You are such a curator!’ Belgian artist Ariane Loze created a work using texts compiled by the Curatorial Program participants 2016-17. These texts are all quotes from people who passed by and worked in De Appel Art Center since its creation.

Ariane Loze studied theatre direction at the RITCS Brussels, and took part in a.pass (Advanced Performance And Scenography Studies) in Antwerp. She is laureate of the HISK (Higher Institute for Fine Arts) Ghent 2016-17.

http://www.arianeloze.com/

Niamh McCann is an Irish artist based in Dublin; she stayed at the Penthouse Art Residency in January 2017. Her work explores the dynamic relationship between the audience, the object and its mode of display. It is an exploration of the position of the viewer when confronted with the act of looking at, and relating to, objects within specific contexts. She is the recipient of various Arts Council of Ireland awards, and residencies at Cemeti Arthouse, Indonesia; HIAP, International Artists’ Residency, Cable Factory, Helsinki, Finland; URRA Artist Residency, Argentina; Leitrim Sculpture Centre, Ireland; and of Perspective and EV+A exhibition awards.

http://www.niamhmccann.com/

10h – Pauline Lavogez & Théo Médina - De la douceur (performance + post-discussion)

This choreographic piece created in 2019 by Pauline Lagovez in partnership with Théo Médina sets up an intimate situation between two people, here a woman and a man, where the audience is an active witness. Bodies come together in mutual dominance and decomposition, taking the form of grips, gestures, and glances, unfolding a toxic and ambiguous relationship.

Pauline Lavogez, is a French visual artist, trained in Jean-Luc Vilmouth's studio at the Ecole Nationale des Beaux Arts in Paris, where she developed a multidisciplinary practice. It is through performance, video and installation that she creates her visceral language. The collision of desires, feelings and contradictory notions, is at the heart of her practice.

http://paulinelavogez.com/

Théo Medina lives and works in Paris. He was trained in the same studio as Pauline Lavogez at the Ecole Nationale des Beaux Arts in Paris. His practice intertwines video installations, performances and drawings. Engaged in creative writing, he develops fictions where the story is built between text, drawing and sound. He is a member of the artistic collective Yours.

https://www.instagram.com/medina_theo/

Installed at the Penthouse Art Residency – Internalised Hospitality by Maja Ćirić

For ‘The Doubtful Host’, Maja Ćirić has revisited a list of propositions for curators who seek to practice a non-abusive, internalised hospitality. The original version can be found in “The (Un)Spoken Abuse: Curatorial Hospitality Through the Lens of Criticality”, from Cultures of the Curatorial 3. Hospitality: Hosting Relations in Exhibitions, pp. 210-11 (edited by Beatrice von Bismarck and Benjamin Meyer-Krahmer, Sternberg Press, 2016).

Maja Ćirić is an independent curator and art critic. She is a citizen of both Belgrade, Serbia and the transnationalrepublic.org. Maja Ćirić is a recipient of the Lazar Trifunović Award for Art Criticism (Belgrade), the CEC ArtsLink Independent Projects Award (New York), the ISCP Curator Award (New York) and Curatorial Research Award awarded by the Dedalus Foundation (New York). She was the curator of the Serbian Pavilion at 52nd International Art Exhibition La Biennale di Venezia and the Commissioner of the Serbian Pavilion at the 55th International Art Exhibition La Biennale di Venezia.

Since at least as far as 2011 and her exhibition ‘The Power to Host’ at ISCP (New York), then her participation to the conference ‘Cultures of the Curatorial’ at the Academy of Visual Arts Leipzig, and more recently her participation to the mini-symposium organized by Gastatelier Leo XIII (Tilburg), hospitality and ethics of curating are part of her reflections and research in the curatorial field.

//About your Hosts

Penthouse Art Residency

NH Brussels Bloom and Harlan Levey Projects gallery cooperate on an artistic residency program that is occupying the 9th floor of the hotel. During the 1970’s and 80’s, this penthouse space was a presidential suite hired by celebrity clientele, such as Michael Jackson, Prince or President Ronald Reagan.

Since 2014, the Penthouse Art Residency offers artists, curators, critics, writers and theorists a place to live and work. Residents host open studios, exhibitions, artist talks and performances to engage with other guests as well as with the public from across the city/country.

Gatien Du Bois

Gatien Du Bois is an independent curator, writer, critic and researcher currently based in Brussels. He is an associate curator of Harlan Levey Projects and manages the Penthouse Art Residency in Brussels.

Meghana Karnik

Meghana Karnik is a a visiting curator and a ‘guest’ team member of Harlan Levey Projects. She is Associate Director of EFA Project Space Program at The Elizabeth Foundation for the Arts in New York City.

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Hyun Cho artist in residence for March

Hyun Cho - Midnight (2017) the LED signage repetitively plays her poem “Crucial Babe No.1.”

The Penthouse Art Residency is pleased to welcome Hyun Cho during the month of March.

BIO

Hyun Cho (b.South Korea) uses sculpture, language, light and kinetic objects to create artworks. Cho questions the apparent original meaning of everyday objects that surround us. Using also technology and visual stimulations, LED sign and colored light, She explores expanded perceptions of an artwork.

Hyun Cho has completed a Bachelor of Fine Arts from the University of Sydney in Australia and a Master of Fine Arts from Parsons The New School for Design in New York.

Cho’s solo exhibitions include; Smoking Channel, Edicola Radetzky, Milano, CODE Is wATER, DISPLAY, Parma in 2018, “Midnight Deli”, Open Space Baltimore, MD in 2016, “YAYAYA”, Conduits Arts, Melbourne, Australia in 2014, and “Rocking On Empty”, Fowler Project Space, NY in 2013. She participated in group exhibitions at Lastik, Istanbul, Sleep Center, New York NY, The Gateway Project, Newark NJ, 127 Halsey St, Newark NJ, Skunkworks Art Space, Sydney Australia, APT16 Artspace, Newark NJ and Calico, Brooklyn NY.

Hyun Cho - Blank Pills (2019)

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Aperçues

Aperçues

Eglantine Chaumont - Annick Lizein

  L'observateur (…) est un moi insatiable du non-moi

qui à chaque instant,

le rend et l'exprime en images plus vivantes que la vie elle-même,

toujours instable et fugitive.

Charles Baudelaire, Le peintre de la vie moderne, 1863

  FR

«Choses vues, non, pas même vues jusqu’au bout. Choses simplement entrevues (…) Créatures ou simples formes qui surgissent ou qui tombent.» Aperçues donc. Comme le titre d'un récent recueil de Georges Didi-Huberman; point d'approche à défaut de point d'accroche de cette exposition.

Une affaire de regard. Annick Lizein et Eglantine Chaumont ont perçu immédiatement le Penthouse Art Residency comme un lieu propice à pointer le regard dans plusieurs directions. Point d'observation de trajectoires fugitives, belvédère ouvert à des horizons multiples, le lieu renferme également une histoire passée qui affleure à certains endroits pour qui sait être attentif aux couches de sédiments mémoriels qui s'y accumulent, réels ou rêvés. A cet égard, les sujets des peintures d'Annick Lizein sont issus d’un registre fantasmé où seuls certains signes ont résisté à la représentation, exprimant la persistance de la mémoire. Or, "fantasme" vient du grec ancien "phasma" qui peut se traduire par forme, apparition, fantôme. Visions en bribes de choses, de formes ou d'êtres qui, à peine apparus, disparaissent déjà, laissant dans leur sillage la traine d'une question, d'une mémoire ou d'un désir. Image-sillage. Persistances lumineuses comme les queues des comètes.

Une affaire de spectres. "Spectrum" en latin désigne l'image projetée, le simulacre émis par les objets qui renvoie à notre propre regard. «Rendre raison des fantômes c'est notamment rendre raison du regard de celui qui les voit, ou qui ne les voit pas» note Marie Capel. «Ce que nous voyons et ce qui nous regarde» (Georges Didi-Huberman) s'insère dans des jeux de miroir et de déplacements où la répétition du semblable provoque un sentiment d' "inquiétante étrangeté" (suivant le concept freudien). Cette traversée, cette exploration à bas bruit est une réflexion sur notre présence. Comme ces objets autonomes dont le corps, progressivement, s'absente. Comme ces reflets réels qui viennent se superposer à un reflet différé. Des œuvres qui présentent une dimension temporelle, un caractère éphémère et fugitif et qui relèvent également de la volonté d'Eglantine Chaumont de troubler la perception de l'espace.

Les Aperçues sont une sorte d'appel, des «réénonciations vives» selon l'expression de Serge Martin; un «moment de la fêlure et du cri entendu» comme dirait Bataille. Un moment autant qu'un mouvement ouvert aux transparences, aux contaminations et aux déchirures. Des spectres titubants qui se jouent de la figuration et de l’abstraction. Comme ces grands formats d'Annick Lizein où la couleur et le geste se confondent et qui font remonter tout à coup les «vieilles images», chères à Beckett, que la lumière saisit à l’improviste.

Gatien Du Bois, curateur

Vernissage: 23 février 2019, entre 15h et 20h

Exposition visible le dimanche 24/02/19 et le weekend du 02-03/03/19, de 15h à 18h, et sur rendez-vous jusqu'au 03/03/19

¨¨¨¨

 EN

"Things seen, actually not even seen to the end. Things simply glimpsed (...) Creatures or simple forms that have arisen or fallen." Aperçues is the word in Fench. Like the title of a recent book by Georges Didi-Huberman as an onset, in default of a fixing point for this exhibition.

A matter of looking. Annick Lizein and Eglantine Chaumont immediately perceived the Penthouse Art Residency as a place to look in several directions. Point of observation for fugitive trajectories, belvedere open to multiple horizons, the place also encloses a past history which is outcropping in certain rooms for who knows to be aware of the layers of memory sediments which pile up there, real or dreamed. In this respect, the subjects of Annick Lizein's paintings come from a fantasy range where only certain signs resisted the representation, expressing the persistence of memory. However, "fantasy" comes from the ancient Greek "phasma" which can be translated by form, appearance or ghost. Snippets of things seen, shapes or beings that, just as they appeared, disappear already, leaving in their wake the trail of a question, a memory or a desire. Image-aftermath. Luminous persistence like comets tails.

A matter of spectres. "Spectrum" in Latin refers to the projected image, the simulacrum emitted by objects, which refers at the end to our own eyes. "To give reason to ghosts is, among other things, to acknowledge the eye of the person who sees them or doesn't", says Marie Capel. "What we see and what looks back at us" (Georges Didi-Huberman) fits into mirror games and displacements where the repetition of the like causes a feeling of the "uncanny" (following the Freudian concept). This traverse, this humble and quiet exploration is a reflection on our presence. Like these autonomous objects whose body is, progressively, absent. Like these real reflections that come to be superimposed on a deferred one. Works that have a temporal dimension, an ephemeral and fugitive specificity and that are also part of Eglantine Chaumont's desire to disturb the perception of space.

The Aperçues are a kind of call, "lively re-utterances" according to Serge Martin; a "moment of crack and cry heard" as Bataille would say. A moment as much as a movement open to transparencies, contaminations and splits. Lurching spectres that play with figuration and abstraction. Like Annick Lizein's large formats where colour and gesture merge, bringing suddenly to the surface the "old images" dear to Beckett, seized by the light unexpectedly.

Gatien Du Bois, curator

Opening: 23rd of February 2019, from 3-8 PM

Exhibition visible on Sunday 24/02/19 and on 02-03/03/19, from 3-6 PM, and by appointment until 03/03/19

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David Hanes: Haunted Cerebral (an artist talk)

Join us on Saturday 16/02 (from 4-5pm) for an talk by artist in residence David Hanes. David will discuss the direction his work is taking and his overall conceptual process/methodology for working.

ABOUT THE ARTIST

David Hanes (Canadian/American, born 1987, Toronto) lives and works in Berlin, Germany. Exhibiting in both online and offline communities that recently include; 'The Tomorrow That Never Was', Open Forum (Berlin), 'The Matter of Horror', 6. Moscow Biennale for Young Art (Moscow), ‘Lossless’, Pylon Lab (Dresden), ‘Sophia’, Ultrastudio (Pescara, IT), ‘Nonlocality’, Sawtoothers (Online/Tasmania), ‘David Hanes, Marius Glauer’, Heit (Berlin), ‘Record Material’, Passatge Studio (Barcelona), ‘Softshare’, Birch Contemporary (Toronto), ‘Open Source’, Ying Colosseum Email (Online), “TenderPixels.CorruptedFiles”, Birch Contemporary (Toronto), “psycho.gif”, Cosmos Carl (Online), “In a Good Shape”, Schwarzwaldallee (Basel) and “Are We Friends Yet?”, Intimate (Berlin). Other recent projects include; artist residency at Penthouse Art Residency (Brussels) and the group show "ENTKUNSTUNG | VERKUNSTUNG", Austrian Cultural Forum Berlin. David is the founder of the curatorial project @francisverein since 2017 in Berlin.

PRACTICAL INFO

16/02/19 - 4-5PMPenthouse Art Residency (NH Brussels Bloom x Harlan Levey Projects): 250 Rue Royale 250/9th floor, 1210 BrusselsMetro 2-6 & tram 92-93, stop BOTANIQUE

This event is sponsored by VEDETT

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DRIFTING

DRIFTING

Daniel Stubenvoll / Laurie Charles / Matthias Esch

curated by Gatien Du Bois

 In the movie Tokyo Drifter (1966) by Seijun Suzuki, "Phoenix" Tetsu is a yakuza member who, when his gang is disbanded, remains loyal to his boss and attempts to go straight. This is no easy task, however, as the yakuza are determined to get him back into the life - or kill him if he refuses. The pressure soon forces Tetsu to go on the road, becoming a drifter, a wandering nomad.

Drifting is a group show presenting new works by Penthouse Art Residency artist in residence Daniel Stubenvoll alongside with works by Laurie Charles and Matthias Esch.

 opening: 25/01 from 6-10pm

exhibition: 26-27/01 from 3-6pm & by appointment until 30/01

BIOS

 Laurie Charles was born in 1987 in Belgium; she lives and works in Brussels. She graduated from the School of Fine Arts in Bordeaux. She makes videos in which she invites her friends to play: there she mixes folklores, humanities and histories (and narratives of history). She also writes and paints – fictions and on canvases – speculative narratives.

 Matthias Esch was born 1988 in Andernach (Germany); he lives and works in Berlin. He holds a Master of Letters from the Glasgow School of Art and studied in 20016 with Friederike Feldmann at Weißensee Kunsthochschule Berlin. From 2009-2015 he studied Fine Art in Kassel, Antwerp and Berlin and also received an education as winemaker (2003-2006). His work is about the human condition of “distance”, or “the gap.” Starting from an interest about the relation between images and words, how they cannot merge or how a title can change our perception, and therefore basically changing the image, the artist creates free floating signifiers for this "gap" condition.

 Daniel Stubenvoll lives and works in Frankfurt (Germany). He studied at the School of Arts and Design in Kassel with brief changes of scenery at HFBK Hamburg and LUCA School of Arts in Gent where he did his Erasmus in 2011. Among the artists he studied with we can list: Bernhard Prinz, Bjørn Melhus and Florian Slotawa. His works revolve around questions of content production, burdensome tasks, re-presentation and working in networks. In this context, the role of architecture and urban dynamics are always an important aspect.

This exhibition is sponsored by VEDETT

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echoes on ring road / artist talk by Daniel Stubenvoll

Daniel Stubenvoll is the January artist in residence at the Penthouse Art Residency. On Sunday 13/01 at 5pm, come listen to him developing on his art practice and themes at stake in his oeuvre.

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Daniel Stubenvoll

The Penthouse Art Residency is pleased to welcome German artist Daniel Stubenvoll as its first artist in residence in 2019.

Daniel Stubenvoll studied at the School of Arts and Design in Kassel with brief changes of scenery at HFBK Hamburg and LUCA School of Arts in Gent. His works revolve around questions of content production, burdensome tasks, re-presentation and working in networks. In this context, the role of architecture and urban dynamics are always an important aspect.

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We are very proud to welcoming Cécile Angelini in residency to close this year.

Cécile Angelini est docteure en esthétique et philosophie de l’art. Sa thèse, soutenue à l’Université Catholique de Louvain le 30 mars 2018, s’attache à (re)penser la question du jugement en art en faisant dialoguer, d’une part, l’esthétique kantienne avec l’esthétique contemporaine française et en confrontant, d’autre part, les théories étudiées aux pratiques artistiques actuelles. Elle a notamment publié un livre intitulé « Écho de l'art conceptuel dans l'esthétique analytique » (Paris, L'Harmattan, 2013). Ses recherches actuelles portent sur les enjeux philosophiques soulevés par les modes d'expression inédits de l'art contemporain.

https://uclep.academia.edu/C%C3%A9cileAngelini

[penthouseartresidency]

Ekphrasis

Pascale Barret Sergio Beercock Louise Bellamy Céline Cuvelier Lieven De Boeck Hannah De Corte & Alice van den Berg David Delruelle Josephine de Weck Bernard Gigounon Régis Gonzalez Elsa Guénot Ann Veronica Janssens Aurelio Mattern Selçuk Mutlu Bill Noir Fabienne Radi Évariste Richer Gianni U’rss e Gió Cialone Ysemetrics (Stephan Balleux & Yvan Vankeer) Commissariat : Cécile Angelini Scénographie : Sergio Mazzoni Avec la complicité de John Baldessari et le soutien de Laurent De Meyer Parrainage : Vedett Le critique d’art belge Roger Pierre Turine parvient à relever un pari difficile : celui d’exemplifier, sous sa plume, un ensemble hors pair de mythes liés à la figure de l’artiste. C’est pour saluer ce talent inédit – révélateur d’un certain type de critique d’art et d’une certaine manière d’interpréter les œuvres – que nous avons fait de ses textes le matériau primaire de cette exposition. Roger Pierre Turine jauge l’art des autres : c’est son propre art de l’ekphrasis qu’il s’agit ici de soumettre en miroir à l’appréciation des artistes. Vingt-neuf extraits de textes de l’auteur parus dans le cahier « Arts » de La Libre Belgique au fil des ans ont été regroupés par thèmes – thèmes caractéristiques, selon nous, d’une conception de l’art passablement datée, empreinte de connotations « romantiques » et, paradoxalement, toujours prégnante aujourd’hui dans un certain « monde de l’art ». Ces thèmes sont autant de topiques de la figure de l’artiste, présentant ce dernier comme un artisan au service de la forme et de la matière (1) ; un créateur authentique (2) ; un solitaire « éclairé » (3) obsédé par sa « mission » artistique (4) ; un être ultrasensible capable de dévoiler et d’exprimer l’intime comme le caché (5). Chaque artiste présent dans l’exposition a donc été invité à choisir un ou plusieurs extraits de la prose turinienne et à interpréter cette dernière à sa guise, face caméra, pendant une minute environ. La forme « chantée » nous a parue la plus adéquate pour rendre hommage au lyrisme inspiré du critique belge – clin d’œil également à l’artiste conceptuel californien John Baldessari qui avait fredonné en 1972, face caméra, les célèbres Paragraphs on Conceptual Art (1967) de son homologue du Nord-Est des États-Unis, Sol LeWitt. Dans la présente exposition, ce sont 19 artistes ou collectifs contemporains qui interprètent – en chantant, psalmodiant, récitant ou empruntant d’autres voix que la leur – les (presque) aussi fameux paragraphes du critique d’art Roger Pierre Turine. Roger Pierre Turine manages to take up a difficult challenge: that of exemplifying, with his words, a huge amount of myths related to the figure of the artist. It is to salute this new talent – illustrative of a certain type of art critic and a certain way of interpreting works of art – that we chose his texts as the primary material of this exhibition. Roger Pierre Turine gauges the art of others: it is his own art of ekphrasis that is now submitted to the artists for appreciation. 29 excerpts from the author's texts published in the "Arts" section of the Belgian newspaper La Libre Belgique throughout the years have been grouped under themes echoing, in our opinion, the current conception of art, marked with "romantic" connotations. These themes are moreover topics about the artist, presenting him as a craftsman at the service of shapes and materials (1); an authentic creator (2); an "enlightened" solitary wolf (3) obsessed with his artistic "mission" (4); an ultra-sensitive being able to reveal and express the intimate and the hidden (5). Singing seemed to us to be the most appropriate form to pay tribute to the lyricism inspired by the Belgian critic. In 1972, Californian conceptual artist John Baldessari sang the famous "Paragraphs on conceptual art" of his counterpart in the Northeast of the United States, Sol LeWitt; in this exhibition, 19 contemporary artists or collectives will interpret the (almost) equally famous paragraphs of art critic Roger Pierre Turine. Penthouse Art Residency Hôtel NH Brussels Bloom & Harlan Levey Projects 250 rue Royale, 9e étage 1210, Bruxelles Accès Entrée gratuite, demander à la réception de l’hôtel NH Brussels Bloom une carte pour monter au Penthouse. Horaires du 6 au 16 décembre, du lundi au vendredi sur rendez-vous et les samedi et dimanche de 11h à 18h

[penthouseartresidency]

Permanent vacation

Pierre-Alain Poirier

(curated by Gatien Du Bois)

FR

Voilà,

seul dans cet entre-deux qu’est cette enfilade de pièces fatiguées, je me laisse aller à la fatigue.

Il fait nuit,

je prend un selfie idiot dans le reflet de la fenêtre. Le flash fait un soleil  brouillé à la surface de la vitre, je disparais. Et du même coup est révélée derrière elle, la Tour des Finances avec ses lumières bleues mauves et jaunes, sur laquelle défile bleu mauve jaune le mot "finance" dans la nuit.

"Finance" c’est un mot que je n’avais pas prévu ici. Il flotte irréel dans la nuit noire, autant que le chat de Schrödinger dans sa boite noire. Il s’est révélé après coup sur l’écran d’ailleurs, comme une apparition maline.

Avec l’application du hasard ?

Je me dis que ces messages énormes qui défilent sont vivants et morts à la fois, renvoyés dans une nuit qui n’a rien à voir avec la mienne, une nuit révolue, une nuit américaine depuis longtemps dépassée.

Ce devait être une photo pour une énième story débile (ce que j’ai fait d’ailleurs).

Mais j’ai une propension narcissique à l’ennui et au drame et j’y vois des fantômes dans une nuit fantôme. 

  Bio

Pierre-Alain Poirier est né à Pontoise (France) en 1988. Artiste diplômé de l’Ecole Nationale Supérieure des Arts Décoratifs de Paris ainsi que de la Villa Arson (Nice), il poursuit aujourd’hui son travail entre Bruxelles et Paris après avoir vécu plusieurs années à Berlin.

 Infos pratiques:

vernissage le 23/11/18, de 18h à 21h

exposition visible les 24 et 25 novembre de 15h à 18h et du 26 au 30 novembre sur rendez-vous

 Avec le soutien de VEDETT

EN

 Here, alone in this in-betweenness, this row of tired rooms, I let myself go to fatigue. It's dark outside, I take an idiotic selfie in the reflection of the window. The flash light makes a blurred sun on the surface of the glass, I disappear. At the same time the Finance Tower reveals itself behind the glass, with its blue and purple and yellow lights, on which scrolls in blue purple yellow the word "finance" in the night. "Finance" is a word that I was not expecting here. It floats unreal in the dark night, as much as Schrödinger's cat in its black box. Actually this word peeped out afterwards on the screen, like a mischievous appearance. With the diligence of fate? I think those gigantic messages that keep scrolling are alive and dead at the same time, sent back into a night that has nothing to do with mine, a night gone, an American night long passed. It should have been a picture for another stupid social media story (which it was anyway). But I have a narcissistic tendency for boredom and drama, and I see ghosts in a spectral night.

  Bio

Pierre-Alain Poirier was born in Pontoise (France) in 1988. He is graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris and from Villa Arson (Nice). The artist is currently working between Brussels and Paris, after having lived several years in Berlin.

 Practical info:

opening:  23/11/18, from 6-9pm

exhibition visible on 24-25/11 from 3-6pm, and between 26-30/11 by appointment

 Sponsored by VEDETT

[penthouseartresidency]

KunstCapades episode 82 is out now!

In a staple-ridden aerie overlooking Le Botanique, KunstCapades presents their first live show en Belgique. Featuring a trio of special guests: art dealer/Super Dakota founder Damîen Bertelle-Rogier, research-based artist Haseeb Ahmed, and collector Frédéric de Goldschmidt. Topics covered: Brussels vs. Paris, vulture stench, penthouse deals, Bansky’s shredder stunt, haunted Napoleon offerings, Flemish hooch served in cuberdon shot glasses, and much, much more. It’s KunstCapades episode 82! Listen via iTunes, Podcasts app, SoundCloud : https://soundcloud.com/kunstcapades/kc-episode-82