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Exhibitions 2017

Spring 2017

PIERRE ET GILLES. Clair-obscur
16.02.2017 > 14.05.2017

Pierre et Gilles embody a highly sophisticated art of the portrait, somewhere between photography and painting. They infuse a touch of humanity to the artificial beauty of celebrity, glorify ordinary people and enchant the world with superheroes plucked from mythology, the Bible and fairy tales. Nourished by art, film and all forms of popular culture, these painted images fit perfectly into the contemporary world.

Curator of the exhibition: Sophie Duplaix, Centre Pompidou

PIERRE ET GILLES, Interview Extract

C.G. Don’t you do castings?
G. No, not at all. We don’t call the agencies, we don’t do castings. I believe that generally it’s the model who reveals to us the picture and the subject. We construct the idea around the model.
P. Sometimes we do have certain ideas we’d like to do. Then it drags on and on, until we find the model.
G. We put it away in a corner and then, all of a sudden, we say to ourselves “He’s the one to do it, or she’s the one.” But it’s never a latter of “We’ve got this idea, so let’s look right away for someone to do it.” That’s not how it happens.

C.G. Progressively, you have used more and more elaborate décors.
G. At first, the settings were quite sober, painted backgrounds with motifs, very Pop. Later, the decor developed, but by bit.
P. We’ve always worked at home, so when we got a bit bigger place, the decors got bigger, too. It’s all very homemade, we do everything ourselves.
G. Very “homemade”, and that’s the way we want it. In our opinion, creativity comes in at all levels, from the beginning of the décor to the end. Sometimes, we call on hairdressers, make-up or costume people. But in general, it’s not the case, we do it only when we’re forced to.

C.G. Your studio looks a little like a Hollywood set?
P. Oh, it looks more like a Georges Meliès set-up! It’s very DIY, a bit like a theatre set. Everything is built just for the objective.
G. Pierre does not move within the decor with his camera. The camera is placed on a tripod. There is one focal point from which we look and everything is made to suit that point.

C.G. After that, you retouch the picture?
G. The picture is repainted, yes, The painting work is considerable. That takes time. I do the painting and Pierre shoots the photo. We are very complementary. We each have our role.

Extract from the interview with Pierre et Gilles and Catherine Grenier first published in Héros, cat. expo., interview with Pierre et Gilles with Catherine Grenier, text by Pierre Noual, Paris,  Daniel Templon Gallery/Communic’Art, 2014, reprinted in Pierre et Gilles. Chiaroscuro, cat. expo., Sophie Duplaix (dir.), text by Marc Donnadieu, Sophie Duplaix, Michel Poivert, interviews with Pierre et Gilles with Catherine Grenier, Michel Nuridsany and Jérôme Sans, Brussels, Racine/Museum of Ixelles/Le Havre, MuMa – Museum of Modern Art, André Malraux, 2017, pp. 242-244.

Pierre et Gilles at the Museum of Ixelles is also a bilingual catalogue (French and English), directed by Sophie Duplaix, includes essays by specialists in contemporary art (Sophie Duplaix, Michel Poivert, Marc Donnadieu), contains interviews with Michel Nuridsany (1994), Jérôme Sans (2001) and Catherine Grenier (2014) as well as many quality colour illustrations. It is published to commemorate the occasion of the exhibition.


DELPHINE. Never give up
16.02 > 14.05.2017

Delphine has made her place in the world of European art as a nonconformist and colourist artist.  She is known for producing multimedia work full of colour, texture and humour with a universal appeal.  From painting to neon to sculpture, her work is dynamic, playful and offbeat.  With affection, Delphine tries to inspire the dispossessed and bring the most powerful and proud back to reality.  Her preferred subjects are those that question identity, power and justice.

Delphine describes her work as an allergic reaction to the power of scandal, rumour and gossip in general! Using words and phrases make Delphine’s message incredibly simple and direct, whilst her use of colour and composition allow room for fantasy and irony.

At the Museum of Ixelles, Delphine presents a retrospective of work from 1989 to 2016. The pieces chosen hold enormous significance for her.  They have become her means of expression in social and political circumstances beyond her control.

In parallel to the exhibition, is the release of the book :

Never give up
Ana Finel Honigman (preface by Claire Leblanc and Yves de Jonghe d’Ardoye)
Bilingual edition French-English
96 pages
Marque Belge Editions, 22€


16.02 > 14.05.2017

In this exhibition, Jean Boghossian offers us a brief overview of his latest and most recent aesthetic research. For the most part, it concerns four mediums: paper, canvas, the artist's workbook and wood. For several years, he integrated these materials with fire. He often uses smoke, but sometimes mixes it with pigments.

Exhibition Curator : Bruno Corà (Burri Foundation)

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