Closed because of the goings-on

Closed because of the goings-on
A selection by Narcisse Tordoir of Rijksakademie residents and alumni:
Olga Balema, Michiel Ceulers, Jean-Charles de Quillacq, Rubén Grilo, Annaik Lou Pitteloud

May 12 - June 16, 2012
Opening: May 12, 2012 / 6-9 pm 

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galerie dukan hourdequin is pleased to present Closed because of the goings-on (12 May – 16 June 2012) curated by Narcisse Tordoir (Belgian artist represented by the gallery and advisor at Rijksakademie van beeldende kunsten in Amsterdam for 25 years).
Narcisse Tordoir has chosen for this exhibition to gather five artists in residence at Rijksakademie between 2010 and 2012: Olga Balema, Michiel Ceulers, Jean-Charles de Quillacq, Rubén Grilo and Annaïk Lou Pitteloud.

Olga Balema (Born in 1984)
Embarrassingly soft and tender, perverse encounters that corrupt our feelings and lead us away from truth and instead of hiding just replace, instead of covering just dissolve. The boundaries between us and images, static and moving, are slowly fading, we merge. We don’t know how to feel anymore. But we know that we can glide from one mood to another. Melt from one feeling to another. I melt into you and you melt into that golden satin fold in the background. Meanwhile I really do get it, what the flower is doing to me. Your self becomes animated and glides from point to point, absorbing appearances; you are the gloss in her hair and the smooth plastic swirl of shampoo encircling the structure of her follicles. Sentimental love is flat, easy to fold, so we discover that reality is plastic and within ourselves, and just be what you can be! 

Michiel Ceulers (Born in 1986)
Michiel Ceulers’ paintings investigate the medium of paint. At first these inconvenient, difficult to read, uncompromising and very diverse paintings are hard to grasp but on a second and third inspection these small, rather dirty painting are very precise and sharply handled, referencing previous historical styles. The dirty marks, thumb-prints, ripped and badly stretched canvases are integral to the work: he is not interested in beautiful or representational pictures, he is simply analyzing shapes in colours, brushstrokes and light. Once the paintings have left the confines of his studio they cease to be in a constant state of flux and the finally become.

Jean-Charles de Quillacq (Born in 1979)
Jean Charles de Quillacq plays combinatory games by forcing different shapes and materials to make contacts, often in a unnatural promiscuity without anything ever merging. This idea of closeness is coupled with resemblance, as in a family resemblences, because de Quillacq often roughly reproduces or imitates his previous works for generating new ones, mimicking the lineage of a fake genetic family. Sexual reproduction is not the only organic process that the Quillacq’s works recall, since many of his shapes refer to the digestion and its converted substances. Moreover, his sculptures are hardly fixed and seem to result from simple and daily gestures.

Rubén Grilo (Born in 1981)
Using a diverse variety of media, such as PowerPoint presentation, archive material, found objects or laser projected animation. Ruben Grilo explores the notion of art as pure information. The main point of departure is the tradition of conceptual art, but stripped of nostalgia. His work often takes the form of installations whereby complexity and the non-communicative use of language are as important as the narrative involved.Grilo’s installations commonly ask the viewer for a primary definition of «context», diverting elements both from inside and outside, mirroring cultural values and challenging its own objectivity.

Annaïk Lou Pitteloud (Born in 1980)
Through a variety of media the work of Annaïk Lou Pitteloud articulates critical reflections on cultural and social problematics. By using minimal forms to suggest a narrative, it refers to the art historical context as a flexible grid in which these reflections can be invested. Consequently this nonlinear practise allows the work to leave an empty centre that can be freely filled in by the viewers. The correlation of pieces exhibited during the RijksakademieOPEN 2011 mainly comments on the parameters of art production, the use of idleness and the means of content distribution.