REVIEWS

/ Brussels
Haseeb Ahmed’s “Wird”

HARLAN LEVEY PROJECTS, Brussels

View of Haseeb Ahmed's "Wird," Harlan Levey Projects, Brussels, 2016.
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Mihnea Mircan

The inauguration of the European Parliament building in Brussels was marred by a defect of architectural planning: visitors approaching it were blown over by currents of air inexpertly funneled around the construction. One imagines stacks of European bureaucracy sent into elegant airborne swirls by the gusts of wind. The front... continue reading
Brussels Roundup

VARIOUS LOCATIONS, Brussels

View of Le Salon at Independent, Brussels, 2016.
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Arielle Bier

Brussels, still reeling from the ISIS nail-bomb attacks at Zaventem Airport and Maalbeek metro station in March, was raw and rough around the edges when the time for its scheduled art fairs arrived—the more traditional Art Brussels and the progressive New York transplant Independent. Needless to say, cautionary sentiments preceded... continue reading
Manon de Boer, On a Warm Day in July, 2015.
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Maria Palacios Cruz

Manon de Boer’s minimalist cinema is at its most radical in her latest film On a Warm Day in July (2015), currently on view at Jan Mot, Brussels. Like a number of her films made over the past ten years, it features a performance—American Soprano Claron McFadden improvises on a... continue reading
David Panos’s “The Dark Pool”

ALBERT BARONIAN GALLERY, Brussels

David Panos, Aspic Ratio I, 2014.
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Mihnea Mircan

A “dark pool” is a form of high-speed trading whose machinations take place outside the reach, and modicum of control, of regular markets. But rather than indict a hypertensive and extra-judicial financial system, David Panos’s “The Dark Pool” is concerned with a different set of transactions, binding labor and the... continue reading
Ivan Argote’s “Reddish Blue”

D+T PROJECT GALLERY, Brussels

View of Ivan Argote, “Reddish Blue”, D+T Project Gallery, Brussels, 2015.
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ADAM KLEINMAN

The archive is dated; we now live in the age of footnoted fictions, as artists, writers, politicians, and technocrats each try to shape political reality through semi-plausible myths… each “based on a true story.” As such, it might be time to start weighing the techniques of Hito Steyerl, or Ben... continue reading
(Left) David Lamelas, Reading film from “Knots” by R. D. Laing, 1970. (Right) David Lamelas, Reading of an Extract from “Labyrinths” by J. L. Borges, 1970.
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Dessislava Dimova

On the way to David Lamelas’s latest show, which inaugurates Jan Mot’s new location in Brussels, I wondered how much of an artist’s practice is trapped in the discourses surrounding its inception. After all, aren’t artworks entangled with, if not contingent upon, the conditions that govern the time of their... continue reading

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ARTIST

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Carolina Nitsch
Art Newspaper
Friedrich Petzel
Spike
Tulips & Roses
Art Monthly
Aperture
Vitamin creative space
X-TRA
Camera Austria
Afterimage
Sprueth Magers
Anton Kern Gallery