CCNOA

COLORIFIC

2012-01-26T11:06:00Z

http://www.rtbf.be/video/v_50-degre...

http://www.tvcom.be/index.php/info/... colorific reportage starts after ca 33 min

École des Arts de Braine-l'Alleud 47, Rue du Château, B-1420 Braine-l'Alleud tél : 0032 (0)2 384 61 03 ecoledesarts@braine-lalleud.be, http://ecole-des-arts.braine-lalleud.be

opening hours Tuesday - Friday 14.00 – 19.00, Saturday 10.00 – 14.00

closed 21/02/2012 – 25/02/2012, 23/03/2012, 03/04/2012 – 14/04/2012, 01/05/2012

artists Greet Billet (BE), Marc Chevalier (FR), Cedric Christie (UK), Krysten Cunningham (US), Cheryl Donegan (US), Javier Fernandez (ES), Kyle Jenkins (AU), localStyle (US), Pieter Laurens Mol (NL), Roland Orépük (FR), Paul Raguenes (FR), Benjamin Rivière (FR), Gerwald Rockenschaub (AT), Léopoldine Roux (FR), Ingrid Maria Sinibaldi (FR), Tilman (DE), Jan Maarten Voskuil (NL), Dan Walsh (US)

curator Petra Bungert

.......................................................................

Even though artists, architects and artisans have aimed to enchant us with their use and application of color(s) almost since the dawn of time, the world is still divided into those who love and those who loathe color. And there are also most likely those who simply don't care.

From Aristotle to Newton, Goethe, Kant, Baudelaire, Wittgenstein, Kandinsky and Albers – to name just a few – the universe of colors has enflamed the passions of philosophers, scientists, theorists and artists alike. Brilliant and not so brilliant minds have written and discussed the form, function, validity and purpose of color in countless books, essays and other texts. “Every theory argues its own presuppositions and with these paints the world.” (Manlio Brusatin. A History of Colors. Shambhala, 1991) Notions and perceptions of color range from praise to condemnation, depreciation and downgrading of color as trivial, decadent, low, deceptive, superficial, misleading, dangerous and so forth. Strong stuff, no?

So what's the root of this negative reaction? As David Batchelor argues brilliantly in his book Chromophobia, a fear of corruption or contamination through color, has lurked within Western culture since ancient times: “Chromophobia manifests itself in the many and varied attempts to purge colour from culture, to devalue colour, to diminish its significance, to deny its complexity. More specifically: this purging of colour is usually accomplished in one of two ways. In the first, colour is made out to be the property of some ‘foreign' body – usually the feminine, the oriental, the primitive, the infantile, the vulgar, the queer or the pathological. In the second, colour is relegated to the realm of the superficial, the supplementary, the inessential or the cosmetic. In one, colour is regarded as alien and therefore dangerous; in the other, it is perceived merely as a secondary quality of experience, and thus unworthy of serious consideration. Colour is dangerous, or it is trivial or both … Either way, colour is routinely excluded from the higher concerns of the Mind. It is other to the higher values of Western culture. Or perhaps culture is other to the higher values of colour. Or colour is the corruption of culture.” (David Batchelor. Chromophobia. Reaktion Books, 2000)

In any event, given the omnipresence and importance of color(s) in all aspects of existence, the phenomenon of chromophobia is even more surprising. Or maybe nobody asked regular people, only the intelligentsia? Either way – provided our visual faculties remain intact and nobody messes with the big bulb, from the age of around four months (until then we actually do see in B/W), we are and will be surrounded, affected and even conditioned by color 24/24 throughout our lives until death does us part. Our sensory perception of color might be fleeting and often subconscious, but the fact is that almost everything we see, breathe, smell, touch, taste, consume has color – even our dreams; or at least mine do.

Colors continue to be attributed to and utilized for any kind of purpose ranging from ceremonial, to national, religious, political, seasonal, and gender- and health-related. They are used to adorn, to decorate, to empower or weaken, to cover or camouflage, to highlight or mark, to attract, to seduce or repel, to calm or invigorate, to tease and to test, to communicate (to alarm, to signal, to structure, to regulate: traffic, maps, flags, electric circuits, etc.). Colors are capable of triggering hunger and thirst and memories. Color and color terms feature prominently in literature as well as in our daily vocabulary. We got ourselves color classifications, codes and theories, color therapies, and so on. No matter what form/shape color takes (physical, physiological, natural, artificial, industrial, chemical, symbolic, moral, natural, surface, permeating, inherent, relational, coating, immaterial, dependant, autonomous), almost nothing escapes it – not even shadow. And that's only the tip of the iceberg. In short, color can be found in every possible nook and cranny of existence and appears almost as essential a constituent as the very air we breathe.

So given all the above, colorific's central theme is clearly not new to any practice. Within the visual arts recent group exhibitions like Color Fields (Deutsche Guggenheim, Berlin, 2010–2011), La couleur en avant (Musée d'Art Moderne et d'Art Contemporain, Nice, 2011), and Color Chart: Reinventing Color, 1950 to Today (MoMA, New York, 2008), as well as monographic exhibitions like Color Moves: Art and Fashion by Sonia Delaunay (Cooper Hewitt, National Design Museum, New York City, 2011) and Kurt Schwitters: Color and Collage (BAM Berkeley Art Museum and Pacific Film Archive, UC Berkeley, 2011) – just to name a few – continue to explore this splendid yet controversial attribute/quality as do artists, art historians, researchers and many others.

So what then distinguishes colorific from previous curatorial investigations of this topic?

For one, colorific features exclusively international contemporary, artists (in total 18). Although these artists belong to different generations, are at various stages of their careers and do not belong to one group, but rather pursue individual investigations of primarily reductive art, architecture and media, their work and artistic practice is nevertheless based on certain common denominators: for one, all are deeply rooted in the ‘here and now' – taking their cue from the constituents of our everyday life and environment; all share the mutual aim to use their work to enhance the understanding of culture and daily life; and all attach a special significance to the retinal, the sensuality of perception, and the relationship between viewer, architecture, and art object. However, given the scope of the topic as well as the enormous spectrum of positions within the field, the selection of featured artists is by no means representative but rather a point of departure – a glimpse into the hot-tub.

For two, instead of presenting existing works and/or a didactic parcours through the vast country of color, colorific will facilitate the creation and development of new physical and intellectual color-related manifestations in the form of large and medium-size indoor and outdoor site-specific installations and media works. As in most of the group exhibitions previoiusly organized in Belgium and abroad cooperation between the respective artists and their propositions will be encouraged as will a strong dialogue with the students of Braine-L'Alleud (who will assist in facilitating the works in question), the participants in the planned conferences and the public. This in turn aims to generate a broad range of meaningful exchanges and the substantive production of new connotations, insights and perspectives within the contemporary discourse about color.

Taking Pieter Laurens Mol's work entitled New Amsterdam Modernist Rays (Mondriaan's Red Thread of 1944) as a cue and point of departure, colorific addresses and challenges our primary sensual and sensory faculties and sensibilities. It invites us on a journey in which everyone can participate.

colorific aims to create a dynamic real-time and real-place experience. It demands our mental, intellectual and physical collaboration – but in return offers us complete freedom to see for ourselves, to educate our eyes and to develop our senses thus giving viewers an excellent opportunity to shift from passive spectatorship to ‘spectator-authorship' and in the process not only review and re-evaluate the function, potential, relevance and validity of color for their own lives but also discover a fresh perspective on the reciprocal transfers between the material realities of art and life today. After all: “Seeing is a creative act. He who only looks doesn't see. Seeing means reflecting, perceiving, and being aware. He who only looks doesn't know. Seeing involves binding in all the senses … creating sense.” (Gottfried Honegger. Aphorismen. Zurich: Offizien Verlag, 2006)

In addition, Braine-L'Alleud will organize a series of conferences with international color specialists, color theorists and artists who will further investigate present-day conditions and realities in this field.

All in all, colorific will be an excellent opportunity to discover, explore and experience one's true colors! Trust me, there is nothing more refreshing than immersion in a sea of colors. So let's take the plunge then, shall we?

Petra Bungert, 2011

30/30 _ List of Works

CCNOA — 2011-02-08T23:00:00Z

- 30/30 Image archive project

30/30 IMAGE ARCHIVE PROJECT 2 : A collective collection

2010-11-07T15:53:00Z

Leidsekade 60 NL-1016 CX Amsterdam T: +31(0)20 6209303 E:

www.psprojectspace.nl

OPENING
07/11/2010, 14.00 – 17.00

EXHIBITION
07/11/2010 – 21/11/2010

HOURS
First Sunday of the month from 14.00 - 17.00 hours & by appointment

CONCEPT
TILMAN (DE/BE/US)

ARTISTS

GREET BILLET (BE) http://www.greetbillet.be
FRANCISCO DA MATA (PT/CH) http://www.francisco-da-mata.com
COLOMBE MARCASIANO (US/FR) http://www.marcasiano.com
GUILLAUME MILLET (FR) http://www.galeriebernardjordan.com
ROSE NOLAN (AU) http://www.hamishmckaygallery.com
PERRY ROBERTS (UK/BE) http://www.perryroberts.co.uk
INGRID MARIA SINIBALDI (FR)
CÉDRIC TEISSEIRE (FR) http://www.cedricteisseire.net
PIETER VERMEERSCH (BE) http://www.pietervermeersch.be
SEBASTIAN WICKEROTH (DE) http://www.wickeroth.de
CARRIE YAMAOKA (US) http://yamaoka.aeroplastics.net

Despite the closure of its exhibition space at the end of last year due to circumstances beyond its control CCNOA is determined to continue its activities as an international, multidisciplinary platform for contemporary ‘reductive' art and to this end is currently focusing on developing new concepts and different ways of communicating its aims and aspirations.

30/30 is one of these new concepts and – along with the continuation of our touring group exhibitions – forms the core of our activities, at least for the time being. The concept for 30/30 was developed by German artist, curator and artistic director of CCNOA Tilman.

The first edition of 30/30 was presented in April 2010 at Minus Space, New York (www.minusspace.com); the second edition will open on 7 November 2010 at PS, Amsterdam (www.psprojectspace.nl). Other venues are currently at the planning stage.

But beware, 30/30 is not your usual exhibition scenario but a continually growing collective collection of unique small-scale artworks by artists we have cooperated with over the last twelve years as well as newly invited artists from around the globe. So yes, definitely a divergence from the modus operandi of the past but a mission which nonetheless remains faithful to the same underlying objective: to showcase the excitingly wide range and high quality of contemporary artistic production in the realm of reductive art at international level.

Since its title contains terms that may equally well refer to a variety of other subjects, we decided to examine them a bit more closely in relation to our intentions and to share our findings with you. You are free to add on. Just send your comments to HYPERLINK "mailto:info@ccnoa.org" info@ccnoa.org. After all, this is a collective enterprise as well as a work in progress, based on cooperation not only between the artists and us but also between us and YOU, the end user.

First let's look at the term 30/30.

30/30 simply refers to the exact size of the commissioned artworks, which is set at 30 x 30 cm with a maximum depth of 5 cm. Since the works don't have to take the format of a square – they can be triangular or circular – we inserted a slash instead of a times sign between the numbers. Just when everybody else is continuing to go bigger (despite the recession) or at least hang on to the status quo, we have decided to go smaller.

Why did we choose this precise format?

Firstly, choosing this size will enable us to travel 30/30 cost-effectively – all the works fit neatly into one suitcase (at least for now – and it will allow us to store the collection easily. Of course it wasn't us who came up with the idea of a “portable museum”. Marcel Duchamp did that In the 1930s with his Boîte-en-valise, a suitcase containing miniature reproductions of his work. This, writes T.J. Demos, and his readymade constructions and installations for surrealist exhibitions in Paris and New York, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France, during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness, with the "portable museum" representing a complex meditation – both critical and joyful – on modern art's tendency toward itinerancy.

Even though none of us currently lives in exile and thus doesn't necessarily experience the “anguish of displacement”, we very much identify with Demos' interpretation of Duchamp's “portable museum”. It not only reflects our philosophical standpoint and itinerant/nomadic demarche but also allows us to address how artistic concepts and practices travel, and are communicated and shared at supranational level. After all, moving is leaving and moving light makes leaving easier. Secondly, this format poses an unusual challenge to both the artists and the public:

Since most of the artists participating in 30/30 usually work in large – or larger –formats, the stipulated size as well as the fact that each artist is represented by one work only, definitely gets them thinking. Needless to say, they continue to come up with the most ingenious, daring and surprising solutions while staying faithful to the constituents of their respective practices. In time, we will conduct a survey and publish their thoughts on the subject, initially on our website and eventually in a printed publication, which will expand with the project and will be financed and published collectively by the artists and CCNOA.

30/30 challenges the common perception, prevalent not only in the art world, that bigger is always better. It offers the public a unique opportunity to experience a broad spectrum of contemporary artworks on an intimate, concentrated scale creating the perfect context to explore and focus on microcosms in relation to each other as well as to the overall concept.

Thirdly, since 30/30 is designed to grow exponentially, it will provide an almost infinite number of possible work constellations allowing us to create exhibitions in any size of venue as well as to cooperate with and/or integrate into already existing private or public collections around the world on an extremely modest budget. These constellations will automatically generate multiple readings, interpretations and new points of departure as well as an in-depth dialogue on the issues relating to reductive art.

So, how about the term image?

There are many definitions of the term image (from the Latin imago). In the context of reductive art the definition of image as “a tangible or visible representation of an abstract concept or mental conception” perhaps comes closest to our use of the term. And while on the term image we would like to add that 30/30 was also born of our discontent with the photographic images documenting our activities over the past twelve years. No matter how good they are, they will always remain secondary source material, failing to reflect the range or complexity of our activities or to give rise to any experience as such. Hence our decision to set the record straight and to establish an archival collection of primary source material in the form of real images. This brings us to the next term in the title, the term archive. An archive is usually defined as a collection of public records or historical documents, as well as the place in which they are stored. Even though archives can take many different forms, they generally contain primary source documents that have accumulated over the course of an individual's or organization's lifetime and have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical or evidential value. Archival records are normally unpublished and almost always unique. Even though, given its aim, accessibility, usage, ownership and portability, 30/30 diverges from the usual definition of archive, it could in some ways be compared to an archival collection of the type often found within libraries – like, for example, the New York Public Library with its exquisite collection of prints and artists' books – or even historical societies or religious entities.

On to the remaining term project. A project is usually defined as a specific, collaborative enterprise involving research or design that is carefully planned to achieve a particular aim. To stay within the realm of art projects, we have the exquisite corpse, a method by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence, either by being allowed to see the end of what the previous person contributed or by following a rule – in our case the rules applied are a specific size and genre. Since we only started 30/30 at the beginning of the year, we have so far not asked the artists to consider their plans for their respective works in relation to the current constituents of 30/30. However, from now on we will encourage them to do so, giving the project a nice twist – an exquisite IAP.

Now, if you look at the origins of the word project, things get a bit tricky. It comes from the Latin noun projectum and the Latin verb proicere, "to throw something forwards", comprising the prefix pro-, which denotes something that precedes in time the action of the next part of the word and iacere, "to throw". The word "project" thus originally meant "something that comes before anything else happens". Initially in English it meant a plan of something, not the act of actually carrying this plan out. Something performed in accordance with a project became known as an "object". So, since we have already produced two editions of 30/30, it has actually evolved from a project into an object. Are we stuck? Not really! 30/30 is constantly evolving and is therefore more or less a work in progress – a project – voila!

Well, that's enough of splitting hairs, right? We are sure you get the picture! So now go ahead, see for yourselves, educate your eyes and develop your senses: After all, seeing is a creative act. He who only looks doesn't see. Seeing means reflecting, perceiving, and being aware. He who only looks doesn't know. Seeing involves binding in all the senses … creating sense.

©Team CCNOA, November 2010
Our touring group exhibitions since 2003 include: Composite Visions, Centre d`art, Neuchâtel (CH), 2010; My Eyes Keep Me in Trouble, La Station, Nice (FR), 2010, as well as Australia, New Zealand and The Netherlands; With Your Eyes Only, Kunstverein Medienturm Graz (AT), 2009 & YUM, Brussels (BE), 2010; and minimalpop, New York, Paris & Brussels. In July 2010 CCNOA also organized Le Beau, Le Bien, Le Vrai at N.O.S., Tulette (FR), which was on view until September.

The Exiles of Marcel Duchamp, The MIT Press, 2007.
Gottfried Honegger, Aphorismen, Verlag Victor Hotz, 2006.

PS project space

2010-11-07T14:54:00Z

Leidsekade 60, NL-1016 CX Amsterdam http://www.psprojectspace.nl

CONCEPT

TILMAN

PRODUCTION

CCNOA center for contemporary non-objective art, Brussels (BE)

ARTISTS

GREET BILLET (BE), FRANCISCO DA MATA (PT/CH), COLOMBE MARCASIANO (US/FR), GUILLAUME MILLET (FR), ROSE NOLAN (AU), PERRY ROBERTS (UK), INGRID MARIA SINIBALDI (FR), CÉDRIC TEISSEIRE (FR), PIETER VERMEERSCH (BE), SEBASTIAN WICKEROTH (DE), CARRIE YAMAOKA (US)

EXHIBITION

07/11/2010 - 21/11/2010

MINUS SPACE project space

2010-09-18T14:20:57Z

98 4th Street . Unit 204 . Buzzer #28 USA - Brooklyn NY 11231

CONCEPT

Tilman

ARTISTS

Delphine Deguislage . Camila Oliveira Fairclough Clemens Hollerer . Andrew Huston . Atsuo Hukuda Ingrid Maria Sinibaldi . Emmanuel Van der Meulen Jan Maarten Voskuil . Lars Wolter

OPENING

26/06/2010 . 3 - 6 PM

EXHIBITION

27/06/2010 - 31/07/2010

HOURS

Fridays & Saturdays . 12 - 6PM & by appointment

MINUS SPACE is delighted to present the first installment of the Brussels, Belgium-based Center for Contemporary Non-Objective Art's (CCNOA) most recent initiative 30/30 – Image Archive Project (IAP).

Conceived by artist and CCNOA Chief Curator/Artistic Director Tilman, the exhibition will feature a diverse group of small works by 9 international artists, including Delphine Deguislage (Belgium), Clemens Hollerer (Austria), Atsuo Hukuda (Japan), Andrew Huston (USA), Camila Oliveira-Fairclough (Brazil/United Kingdom), Ingrid Maria Sinibaldi (France), Emmanuel Van der Meulen (France), Jan Maarten Voskuil (The Netherlands), and Lars Wolter (Germany).

With 30/30-IAP, CCNOA seeks to establish a collective collection that will showcase the mesmerizing breadth and depth of approaches reductive artists are currently pursuing on the international level. The project's title refers to the size restriction for all works to be included in CCNOA's emerging registry, which is set at 30 x 30 cm with a maximum depth of 5 cm. This will enable CCNOA to easily travel the project worldwide (museum in a suitcase).

30/30-IAP is administered by CCNOA in a joint effort with artists CCNOA has collaborated with over the past 12 years, as well as newly invited artists from around the globe. CCNOA is currently planning forthcoming 30/30-IAP exhibitions at artist-run venues in Australia, Europe, Japan, New Zealand, and the United States.

30/30 – Image Archive Project

2010-06-27T18:30:00Z

with:

DELPHINE DEGUISLAGE (BE)
CLEMENS HOLLERER (A)
ANDREW HUSTON (USA)
ATSUO HUKUDA (JP)
CAMILA OLIVEIRA FAIRCLOUGH (BR/UK)
INGRID MARIA SINIBALDI (FR)
EMMANUEL VAN DER MEULEN (FR)
JAN MAARTEN VOSKUIL (NL)
LARS WOLTER (D)

CONCEPT: TILMAN
ORGANISATION: CCNOA, Brussels (BE)

Due to the fact that our art organization CCNOA was forced to close its doors in Brussels at the end of last year, we have decided to focus – at least for now – on the circulation of our touring group exhibitions while developing new concepts and ways to communicate our aims and goals and continue our activities as an international, multidisciplinary platform for contemporary ‘reductive' art.

Minusspace in cooperation with CCNOA is proud to present to the public our most recent project, the first edition of 30/30 – IMAGE ARCHIVE PROJECT (IAP).

30/30-IAP's basic idea is to slowly establish a collective collection, which will introduce the mesmerizing range of artistic approaches pursued in a pictorial dialogue and create an ever-increasing overview of contemporary artistic production in the realm of ‘reductive' art on an international level. 30/30-IAP will be administered by CCNOA in a joint effort with a selection of those artists CCNOA has cooperated with over the last 12 years as well as with newly invited artists from around the globe.

The project's title simply refers to the artwork's exact size, which is set at 30 x 30 cm with a maximum depth of 5 cm. Choosing this size will also enable us to travel this project cost effectively and it will allow us to store it easily (Museum in a suitcase).

Since this collective collection is an international open call to artists interested in participating, the continuous growth of 30/30-IAP will allow us to create exhibitions in varying configurations and size.

CCNOA is currently scheduling forthcoming presentations of 30/30-IAP in smaller artist-run spaces in Australia, Europe, Japan, New Zeeland and the USA.

With your Eyes Only @ Yum, Brussels

2010-05-21T15:57:00Z

Artists Greet Billet (BE), Kjell Bjørgeengen (NO), Delphine Deguislage (BE), Alexandra Dementieva (RU/BE), Ward Denys (BE), Clemens Hollerer (AT), Simon Ingram (NZ), Aernoudt Jacobs (BE), Esther Stocker (IT/AT), Tilman (DE/BE), Pieter Vermeersch (BE), Dan Walsh (US), Carrie Yamaoka (US)

Concept Tilman

Duration 28/05/2010 - 09/07/2010 Opening Hours Wednesday - Sunday, 12.00 - 19.00 Location YUM, Avenue Van Volxemlaan 295, B-1190 Brussels

CCNOA is pleased to announce the second edition of its ninth touring group exhibition WITH YOUR EYES ONLY, which is scheduled to open at YUM, Brussels (directly across from the WIELS Contemporary Art Centre) on 27 May 2010 and will remain on view through 9 July 2010.

The first edition of WITH YOUR EYES ONLY was organized by CCNOA at the Kunstverein Medienturm, Graz (www.medienturm.at) where it premiered successfully on 11 December.

Given the size of the Brussels venue (1200 m2) and its unusual architecture, the second edition of WITH YOUR EYES ONLY will not only be the most daring project we have realized to date but will also present completely new site-specific works by all the participating artists on a scale commensurate with the location.

The exhibition will be accompanied by a 48-page full-color catalogue encompassing both editions of WITH YOUR EYES ONLY (publication date: July 2010).

We would like to extend our very special gratitude to Galila. Without her generosity, this exhibition would not have been possible.

WITH YOUR EYES ONLY can be seen as the culmination of CCNOA's international pioneering activities over the past decade, which have aimed above all to open and sensitize eyes, ears and minds, to enhance the understanding of art as an integral and enriching part of our existence and as a social commitment, and to contribute to the reinstatement of the continuity between aesthetic experience and the processes of daily life.

Addressing and challenging our primary sensual and sensory faculties and sensibilities WITH YOUR EYES ONLY offers a real-time and real-place experience providing us with an opportunity to consciously and actively participate in exploring and expanding our perceptual awareness of the here and now. It invites us to drop the ubiquitous need for identification, categorization and explanation, and to embrace the artwork's openness to multiple interpretations. It demands our mental, intellectual and physical collaboration in defining and redefining our intellectual and physical standpoints, in literally sensing 'awry'.

In return it offers us complete freedom to see for ourselves, to educate and develop our senses, and, in the process, to discover a fresh perspective on reality. After all: “Seeing is a creative act. He who only looks does not see. Seeing means reflecting, perceiving and being aware. He who only looks does not know. Seeing involves binding in all the senses … creating sense. ” (Gottfried Honegger, 2006) The scene will be set by a large spatial intervention / architectural structure - created by Belgian artist Ward Denys and German artist and curator Tilman - which will function as a platform, a maze, a metaphorical setting for experiential interaction within the givens of pictorial language. Eleven artists from Belgium and abroad will then join them in Brussels for a one-week stay to investigate the project's central topic in relation to the given site and the basic sensory information inherent in their respective artistic practices. In the course of the week, they will communally develop and interactively create site-specific works in response to this structure as well as to one another - generating a sensor-round 'arena / environment for perception'.

Tilman, who created the concept for this project, comments: “The concept for WITH YOUR EYES ONLY is basically driven by personal curiosity. It is also a journey revisited; a journey that I can only describe as one of wonderment at artistic development, the discovery of one's personal world and the world of cognitive perception.

“We are, consciously and subconsciously, exposed to intangible associations and simultaneous occurrences, to multifarious phenomena and to perceptual space. What catches our retinal perception? How do we read or decipher the information given by a complex work of art? Do we perceive the artwork as a whole or are we seduced by one of its constituent parts? How do we qualify different characteristics of one and the same thing and yet arrive at differing results and emotions?

“Just as an object can trigger multiple perceptions so it may equally well fail to trigger any perception at all. If there is no grounding in personal experience, there may literally be no perception. When objects are viewed without understanding, the mind will try to reach for something that it already recognizes in order to process what it is viewing. For the viewer exposed to an artwork and for the artist creating it, the final object is the result of an interplay between past experiences, knowledge and interpretation.

“Perception per se, the process of attaining awareness or understanding of sensory information, is I believe crucial, especially in reductive work. Although some artists involved in the language of 'concrete' art might argue against it, the abstracted level of commentary in their own work also focuses on intricacies concerning themselves and their own world of thought. With this in mind and taking it as a point of departure for the exhibition project, I opted to invite a selection of artists whose works address and investigate different aspects of the issue to co-operate with me and create a multilayered perceptual experience rather then present their own point of view.”

SUPPORT

VLAAMSE OVERHEID BELGIUM, VLAAMSE GEMEENSCHAPSCOMMISSIE BRUSSEL, GILLIS PRINTING BRUSSELS, LEVIS BELGIUM, SCA PACKAGING, BELGIUM, SINT LUKAS BRUSSELS, VIDISQUARE BELGIUM, YUM, KULTUR STEIERMARK AUSTRIA, ÖSTERREICHISCHES KULTURFORUM BRUSSELS, OCA OFFICE FOR CONTEMPORARY ART NORWAY, UNIVERSITY OF AUCKLAND, NEW ZEALAND

ABOUT THE ARTISTS

GREET BILLET

* 1973 IN LEUVEN (BE) / LIVES AND WORKS IN BRUSSELS (BE) / WWW.GREETBILLET.BE

In her research project The development of the monochrome in its digital and analogue/graphical form of apparition Greet Billet intends to create a link between the digital and the graphical/analogue. This link could originate by transferring the purest abstraction of the 256 digital color values of one single color (grey, green, red and blue) from a digital carrier to an analogue one and vice versa. Next to this she also asks herself if it would be possible to conceive a box or book containing all the parts of the analogue/graphical monochrome or a film containing all he parts of the digital monochrome. At the core of this thought process we always find the tension between the analogue and the digital monochrome; in fact the tension between objective quantizing and subjective valuing. This way Billet attempts, in her recent work, to explore the possibilities of communication in the field of meaning transference. For an individual an object or an event can have an unequivocal meaning, or at least be unambiguous at a specific moment in time. However, the communication about this object or this event each time shows the impossibility to share this unequivocal meaning. Those involved in the communication create their own interpretations of the object or the event. This way communications manifests itself as the fundamental impossibility to share or communicate meanings. Thus, in 2007 she printed words on mirrors, causing their seemingly unequivocal meaning to be reflected towards the viewer, who was confronted with the purely subjective meaning of what seems to happen objectively when we see a word. Simultaneously the viewer saw his own subjectivity in another space, his mirror image, confronting him with the impossibility to objectify his self. The impossibility to give meaning to our world and us and to communicate this meaning seems to be resolved when using objective quantifiable values going beyond the subjective interpreted evaluation. This research is one about the tension between the digital (objective, numerical) values of colors and their analogue (subjective, equivocal) evaluation. That which manifests itself here is another impossibility: reality cannot be captured into objectively delimited categories or numerical variables. There are no colors as such in the physical reality. All there is a continuum of frequencies of light reflection and absorption. In reality we can clearly separate one object from another, but we cannot do that with color. A color such as “red” is not a mere subjective evaluation of a specific, though not strictly fathomable spectral range. It is once again an evaluation that cannot be communicated. What I see as “red” could very well be “green” to someone else. By convention we agree to name this frequency “red”, but its subjective appreciation can fundamentally differ. People who are colorblind can live their lives without ever realizing that they are colorblind. They say “red” when it is red, but what exactly do they see? The only objective experience seems to be the most subjective.

KJELL BJØRGEENGEN

* 1951 IN OSLO (NO) / LIVES AND WORKS IN OSLO / WWW.KJELLBJORGENGEN.COM

Most of Kjell Bjorgeengen's works deal with a combination of representation, the artists' subject, and the letting go of subjective control by automated processing from sound. Video is structured through what could be called 'post-Cageian' methods of productions; to retain the artist's subject of expression and at the same time undermine this subjectivity through the structuring of images from automated processes of sound and music mediated through technology. This technology is in itself often modified in co-operation with hardware and software designers. The installations and video works are based on non-representational references. The pursuit is not to accept the given, be it perceptual prejudices imbedded in language or the dominant economic/political structure. "Kjell Bjorgeengen's idealistic pursuit of purity and blankness through an amalgamation of sound waves, moving images and lights is like receiving transmissions from the other side. Grainy, ghostly images constantly vibrate and peel off, to reveal hidden forms that build up then disintegrate. Like thousands of abstract and calligraphic messages they are undecipherable. Stimulation of senses arouses inner reaction, as visual and acoustic syntheses attempt to reach the unattainable level of nothingness. Bjorgeengen's colliding visions and sounds are metaphoric of shifting voids in parallel worlds." ('Paradise Regained' by Apinan Poshyananda).

DELPHINE DEGUISLAGE

* 1980 IN NAMUR (BE) / LIVES AND WORKS IN ANTWERP (BE) / WWW.DELPHINEDEGUISLAGE.COM

From Wiels to the Galerie melanieRio the young Belgian artist Delphine Deguislage renders colour weightless and defies the laws of space, creating a precise and playful mise-en-abime oscillating between the surreal world of Alice in Wonderland and the psycho-analytical sets of David Lynch. Delphine is constantly experimenting, looking into where our field of vision starts and where it stops. Her toned personality evokes a well-placed comma, punctuation just where it should be, exact. Her works revolve around volume in space or space around matter. Each medium used incorporates a given movement, line or colour, always just right. In ”IT'S UP TO YOU” three-dimensional sculptures, installations, silkscreen prints and drawings ask one and the same question: what do we see? And it is here that the spectator comes on stage, a genuine partner in the visual play. Delphine differentiates between the term 'user' and the term 'spectator'. For her the observer becomes active and the work only exists if he or she makes use of it. This kinetic work immediately calls to mind François Morellet, the forerunner of minimalist art, with his uninterrupted research into space and geometry. The work of Delphine Deguislage belongs to a post-modernist tradition that is not confined to a single medium. The pieces she creates are all part of a questioning visual process around colour, taking us on a journey of exploration, an exploration of the third dimension. (Corinne Bardoux, October 2009)

ALEXANDRA DEMENTIEVA

* 1960 IN MOSCOW (RU) / LIVES AND WORKS IN BRUSSELS (BE) / WWW.ALEXDEMENTIEVA.ORG

Alexandra Dementieva studied journalism and fine arts in Moscow and Brussels. Her main interests focus on social psychology and perception and their application in multimedia interactive installations. Her videowork integrates different elements including behavioral psychology, developing narrative using a 'subjective camera'. Her interactive installation projects attempt to widen the mind's potential for perception using different production materials: computers, video projections, soundtracks, slides, photography, etc. By making certain historical, cultural and political allusions, her exhibition locations create the frame within which the idea develops. The projects explore the spectator's depths of perceptual experience and the interaction of the individual spectator with the exhibition as well as with other visitors. The subject of an installation or its production method becomes less important to her than the mind of the user. Thus the latter becomes the center of the project or the main actor in the performance.

WARD DENYS

* 1975 IN IZEGEM (BE) / LIVES AND WORKS IN GENT (BE) / WWW.WARDDENYS.BE

Through the cross-sectioning of visual arts and architecture, Ward Denys transcends the boundaries of the functional and the dysfunctional, of the inside and outside, of surface and depth. His installations, posited in a minimalist rigor, respond to architectural givens, in compliance and vis-à-vis; they create as much rhythm as counter- rhythm, producing physical disorientation through their mirroring effects. Denys' works then, built out of plywood and cardboard, manifest themselves as unsettling fragments of architecture, simultaneously taking the status of propositions towards further execution and integration, and remnants, parts of the construction process that were never fully realized. The art of Ward Denys adheres explicitly to this position in the past and in the future - making his work an issue to be dealt with in the present. In recent years, the artist has explored this logic through the singularity of each of his installation works. Emblematic of the artist's recent preoccupations, the installation works signal a turn from his earlier more sculpture- and object-oriented work. But it seems little more than a formal break: as his early series of rescaled houses and generic landscapes hover between abstraction and functionalism, they have laid out the basic scheme for Denys' whole body of work. A body of work in which responses become residual and fragments are suitable to be built upon.

CLEMENS HOLLERER

* 1975 IN BRUCK-MUR (AT) / LIVES AND WORKS IN GRAZ (AT) / WWW.CLEMENSHOLLERER.COM

Mapping the space. Leaving a trace. These are the adventures of an identity in search for its proper place. Clemens Hollerer is interested in the folds of subjectivity, but also in the layers of representation. He follows ordinary forms, found geometries, denoting their life and functioning. He reacts to space, by either responding to it, supporting or questioning it, using his own language of shapes and colors. He takes away the idea of what he is looking at and sees it as a shape or as areas relating to each other. The results are site-specific wall paintings as well as installations and painted objects. His hyper-attention and constant search for aesthetic compositions build up a tension, which prompts his search for perfection in expression and provides his works with a rhythmic quality.

SIMON INGRAM

* 1971 IN WELLINGTON (NZ) / LIVES AND WORKS IN AUCKLAND (NZ) / WWW.HUMANITIESRESEARCH.NET

Mixed among the paint tubes and brushes in Simon Ingram's studio are plastic Lego blocks, metal rods and clamps, wires and yellow boxes with rudimentary controls. These are the "consumer grade" robotics kits Ingram uses to construct self-painting artworks. Both his machines and his works draw on computer science theories of artificial life. An example is Langton's Ant, a program written in the 1980s. The ant starts out on a grid containing black and white cells. If it is on a black square, it turns right 90 degrees and moves forward one unit. If the ant is on a white square, it turns left 90 degrees and moves forward one unit. When the ant leaves a square, it inverts the color. Ingram says by appropriating such rules, he turns himself into a sort of painting machine.

AERNOUDT JACOBS

* 1968 IN WILRIJK (BE) / LIVES AND WORKS IN BRUSSELS (BE) / WWW.TMRX.ORG

Arnaud Jacobs studied architecture. After his studies it did not take long, however, before he chose sound. Today he has released sound works under several aliases: MarkMancha, missfit, tmrx. From 2004, under the name Aernoudt Jacobs, he has focused on installations and performances. His work has been exhibited internationally and he has released two albums on critically acclaimed labels as Staalplaat (NL) and Selektion (D). Generally Jacobs sets out from a fascination for sound, in any form. This explains how he takes his raw material from reality: with a microphone and recorder as field recordings. His works are the result of a research of the different aspects of field recordings and how to assimilate this material to new forms, new contexts. For him the actual resulting field recordings are only a registration. The act, the memory, the context of the recording are even more interesting and complementary motives for his research. The output of his work hovers as some kind of an interaction between micro and macro, inside and outside, fieldwork and studio, reality and fictionalization. In his installation work he investigates mostly correlations between sound, matter, space/location, perception and psychoacoustics. Perception is an important aspect in his work. Perceiving music, sound, harmonies is an activity that is always linked to memories. This association is an ongoing preoccupation that is visible in most of his work. With the aid of psychoacoustic theories, he explores how perception can be influenced and how to express sound physically, spatially and emotionally.

ESTHER STOCKER

* 1975 IN SILANDRO (IT) / LIVES AND WORKS IN VIENNA (AT) / WWW.ESTHERSTOCKER.NET

The paintings, murals and installations of Esther Stocker, based on grid structures and on the colors black, white and gray, consistently manifest entanglements, interconnections, interpenetrations, both semantically and formally, for which the variably deployed grid motif functions as a metaphorical logo. Stocker consistently breaks with one-dimensional notions of order, space, and painting as contextual and relational factors and concepts. When an artist so persistently preoccupied with spatial structures and spatial experience, simultaneously calls attention to the fact that „we know nothing about space“ (Stocker), then her stance would seem to testify to a productive skepticism which arises from unremitting and methodical attempts at understanding, and from insight into their-in principle-interminability. (Excerpt from Systematically Broken Systems, Rainer Fuchs)

TILMAN

* 1959 IN MUNICH (DE) / LIVES AND WORKS IN BRUSSELS (BE) & NEW YORK (US) / WWW.LOOKAWRY.COM

At first sight we detect in Tilman's works a language shaped and haunted by the ghosts of minimalism and concrete art. But we are soon overwhelmed by a multitude of information giving us the opportunity to read the various components of this oeuvre from a personal angle. The works emanate from a careful approach to subjects other than art-inherent; they refuse to dominate the dialogue but rather try to open up and invite the viewer to take part in a visual and mental journey. The formal information we read seems to function as a method for luring us into the process of seeing and to form an overture for a bigger event. The superimposition of the language of form and color inherent in the preoccupation with reductive painting on to a strong connection to a real visual world leads us to a complex construct of opportunities to participate in an experiential process. Objects seen and found in the context of everyday life, functioning together with discarded objects disconnected from their intrinsic context of production and use, find their way into the artist's mind and language, mediating for higher claims but also highlighting the visual poetry within. Is it a mere projection of the creative mind or are those things talking for themselves, providing information about their existence? The memory of objects experienced in Tilman's work leads us to a possible dialogue broader than that of a formal discourse about painting, although exposing notions of it or at most partially appropriating the language to serve his personal universe. The work is concerned with the basic act of seeing and perception as a constructive approach towards reading one's surroundings, mentally and physically, digesting information from subjective and objective matters at the same time and place. We are entering a world of possibilities, angles, openings, spaces, sensualities and intimacies; traces of thoughts in memory and presence come to mind. We are invited to look, to search, to discover and satisfy our curiosity, given the fact of sharing our own presence with the presence of these objects, in their seductive and physical qualities.

PIETER VERMEERSCH

* 1973 IN KORTRIJK (BE) / LIVES AND WORKS IN BRUSSELS (BE) / WWW.PIETERVERMEERSCH.BE

There are images that become abstract and there are abstractions that become images. Pieter Vermeersch is not an abstract painter as such but rather an image maker; those mental images he finds in reality by photographic means. There is no such thing as pure abstraction. Everything is connected to some part of reality. The image of different degrees of luminosity or the image of the colour of the rainbow's prism for instance, they fascinate Pieter Vermeersch by their capacity to represent a recognisable image, both identifiable and abstract, while emphasizing the process of image apparition, this "meta-image" in which time progression and space definition take place. Painting "non-spaces", dead angles, forgotten spaces from our daily perception (whether it is the Paintings 1999 series, the monumental installation at the MuHKA in 2006, its sequel 10 Untitled paintings of 2007 or the work realized at the Palais des Beaux Arts during the Jeune Peinture 2007 contest exhibition in 2007); it is not about abstract images, autonomous as such, but a representation or a physical projection of an immaterial space related to painting. The Works in Progress I, II, III series, like a lot of Pieter Vermeersch' installations, give the impression of a purely abstract work. They are large monochrome surfaces painted on the glass of display windows or a pavilion, with a daily changing tonality and creating inside the space a colour emanation by changing ephemeral essence according to daylight. In the end the artist's attention was drawn to this tension between the objectivity of these monochrome, rectangular abstract forms seen from outside and this more subjective and fading interior "light and colour painting". Out of the Work in Progress I, II, III series various image-paintings were born that were derived from numerous photographs made by Pieter Vermeersch. The union of the abstract with reality gave birth to a child, sublime, androgynous born out of Apollonian and Dionysian reconciliation. But beware, Pieter Vermeersch is not aiming for the sublime, he revolves around it to better catch it. And we barely let ourselves be seduced and he bounces us back to our reality. All this is nothing but painting... (excerpt from 'Non Space The Image of absence', Lilou Vidal, July 2008 )

DAN WALSH

* 1960 IN PHILADELPHIA (US) / LIVES AND WORKS IN NEW YORK (US)

Dan Walsh became known in the early 90s through a group of abstract paintings which followed a path different from that of the "appropriationist" work of the precedent generation. In essence, Dan Walsh considered painting a tool to bring back into play the mechanisms of perception, and not as a simple instrument of criticism. In the first of these works he proposed, through black and yellow lines executed in freehand, basic frames of perception. Over the years, these were succeeded by colored surfaces connected to each other by continual or broken lines. From then on the painting evolved into a potential exhibition space, with different possible pictures mises en abyme: it was left to the viewer to sort out a complex situation of perception, where a painting can be a wall, or a wall a painting. This crossover is most evident in the books that the artist produced starting in 1998. He is of course aware that, from the '60s on, printed work presented one of the possible forms an exhibition could take. For Dan Walsh, publication, usually of a small hand-crafted edition, provides a field for experimentation, a laboratory of ideas, where past and future paintings can converse, free from the constraints of chronology. (chch)

CARRIE YAMAOKA

* 1958 IN THE UNITED STATES / LIVES AND WORKS IN NEW YORK (US)

For nearly a decade, Carrie Yamaoka has made reflective and optically disturbing paintings of mylar encapsulated in resin. The artist pours resin onto a reflective ground that is empty of content but full of incident. (…) Air bubbles, liquid sluices and other artifacts of production reveal a layered archaeology of process while forming loci for an otherwise shifting and fluid gaze. The mirrored surfaces of these works, which are usually made of resin on wood, range from nearly machine-made perfection to the random, bubbly roughness of fired glaze; from small to rather large; from silver to deep blue or green. Some hang on the wall like paintings; others are tucked in corners or on the floor. No two are alike. None are exactly as simple or as uniform as you first assume. Like Robert Ryman's work, Ms. Yamaoka's is a reverent dissection of the modernist monochrome, but she also partakes of a more parodistic approach, exemplified by Robert Rauschenberg's ''White Paintings'' from the early 1950's, in which the viewer's shadow becomes part of the work. Yet its seeming embrace of accident can be connected to the much older tradition of Japanese ceramics. However you parse them, her efforts intimate a rejuvenation of Minimalism, spurred by new materials, more refined techniques and fresh ideas. (Roberta Smith, Carrie Yamaoka: 'World Hotel,' New York Times June 25, 2004)

My eyes keep me in trouble

2010-04-30T15:56:00Z

MY EYES KEEP ME IN TROUBLE

MY EYES KEEP ME IN TROUBLE is the seventh touring group exhibition organized by CCNOA Brussels, Belgium since 2001. The exhibition premiered in April 2007 at Nieuwe Vide, Haarlem (www.nieuwevide.nl), and subsequently traveled during the Sydney Biennial 2008 to the Sydney College of the Arts Gallery, Sydney (www.usyd.edu.au; June 2008) and afterwards to The Physics Room, Christchurch, New Zealand (www.physicsroom.org.nz; August 2008). The exhibition is curated by the German artist & curator Tilman and features in general the work of +/- 30 international artists.

As gesture to the guest country and the exhibition venue MY EYES KEEP ME IN TROUBLE is revised for each venue and will include - along with international artists - a wider selection of national artists – in this case Argentinean artists. This not only provides an insight into the artists' different artistic approaches and practices and contextualizes their positions at an international level; it also strengthens cultural exchange between the cultural communities involved and enriches the supranational dialogue and discourse on contemporary abstract art.

MY EYES KEEP ME IN TROUBLE includes site-specific installation(s), wall paintings, paintings, objects, and videos. In view of the varying sizes of prospective venues, however, not all artists will be necessarily always included in all venues. The curator will revise the final selection of artists for each venue

MY EYES KEEP ME IN TROUBLE is the title of a song with lyrics and music by blues legend R.L. Burnside. The seemingly innocent yet conscious title of this blues song triggered the idea to form or formulate a dialogue between the different positions and concerns of a number of artists whose practice revolves around the idea of non-representational, reductive or concrete art as the essential approach towards art-making.

The thoughts of Josef Albers on the 'reductive' – 'to open the eyes' or 'the eye is thinking' – immediately came to mind. These ideas, deeply grounded in the history of non-representational art or more precisely of reductive art, and their ongoing influence on artists today, the crossovers with other art movements and even the resurgence of the idea of the 'concrete' are the givens for this exhibition project.

MY EYES KEEP ME IN TROUBLE can be seen as the bass line of the visual artist's very own song. The artist today may no longer be caught by the inner mysteries of life or the metaphysical subjects or theories and –isms, which developed in their wake as an almost logical response.

The artist today lives in a totally visual world and reacts to it, is drawn into it, without this undermining his/her intimate outlook on the world, and often creates a close relationship with the objects/subjects of daily life.

The resulting works of art would seem to convey the idea of being environmental property in which the distinction between the personal universe and mass culture starts to blur but the discrete and the intimate remain.

This exhibition can be perceived as a compilation, a gathering of information, thought, content and context relating to today's artistic practice in the realm of reductive art. The key underlying message may be no more than the message of possibility and a reinstatement of phenomenology, the act of self-seeing. It is the personal eye, which is fascinated by what it discovers. Anything which catches the artist's eye can be appropriated and used to create a personal language, filtered into the intimate language of art-making spurned by the received ideas and philosophical tenets surrounding the subject of the 'reductive'. At the same time the forgotten language of visual environmental sensation resurfaces and the value of individual properties is reinstated. With the application of different means and media the artist has a great variety of options for expressing his/her involvement with the personalized subjects that are now part of the aesthetic of art making. The end result is a personal journey in which everyone can participate.

This curatorial project is not just intended as yet another interpretation by yet another curator. No one artist is being promoted; no one artists' group is being presented. The artworks themselves are not to be seen as props underlining a curatorial idea or as commodities launching a new fashion. They speak for themselves as individual œuvres or as staging posts in the visual journey on offer, triggering and encouraging the actual act of seeing. There will be no explanation or theoretical discourse on the content of the exhibition. The viewer entering the space will be given the opportunity to 'see', to explore the different artworks, their poetry and language, their social space and specificity. (Team CCNOA 2007)

Composite Visions @ CAN centre d'art de Neuchâtel

2010-02-13T16:29:00Z

CURATORS: TILMAN & PETRA BUNGERT

OPENING HOURS: Wednesday - Sunday: 14.00 –18.00; Thursday: 14.00 – 20.00; The CAN is also open on holidays.

GUIDED TOURS: Thursday February 25th at 6 pm / Saturday March 13th at 4.30 pm

EXHIBITION SUPPORT: Flemish Authorities Belgium / Ministry of Culture, the Flemish Community Commission of the Brussels -Capital Region, OCA-Office for Contemporary Art Norway.

CAN ANNUAL SUPPORT: Ville et Canton de Neuchâtel, Loterie Romande, Fondation de Famille Sandoz, Pour-cent culturel Migros.

CAN MEDIA PARTNERS: ch-arts, daté, le Courrier.

After 2step, minimalpop, Painted Objects, Double Exposure, A Bit O' White, My Eyes Keep Me In Trouble, Yo, Mo' Modernism and With Your Eyes Only, COMPOSITE VISIONS is the ninth touring group exhibition organized by CCNOA Brussels, Belgium (www.ccnoa.org) and an exchange with the CAN who organized the last exhibition, entitled HYPERCONCRET in our previous space exhibition in Brussels.

Since its last theoretical stance as a sublime yet powerful art form, creating a new -ism and ironically also stating the end not only of painting but possibly also of visual art in general, and of its intellectual process, the idea of the ‘reductive' itself has made an impressive return. Traces of the idea of the ‘reductive' and similar approaches to art-making can be found in many artistic oeuvres which have come into the limelight since the overpowering postmodern related statements by artists and critics in the late 80's, and the aesthetics of the ‘reductive', nonobjective and concrete are now a subject of reflection in contemporary art practices, re-emerging from an imposed quasi non-existence.

In this state of relative non-recognition within the discourse and debate around art and culture in general, the subject of the ‘reductive' as a possible antithesis to the overpowering reintroduction of representational painting and at the same time to the emergence of the focus on new media, technology and photography, has regained considerable strength over the last decade within an international frame of cultural production and commerce, as well as through the firmly held lone positions of artists like Mosset, Charlton, Armleder, Morellet, Palermo and others throughout the 80's and 90's.

Having seemingly recovered from the harsh critical overtones after almost being eliminated from contemporary discourse, in which a retroactive and purely commercial tone took over, the ideas and strategies of the ‘reductive' and ‘essential' have slowly found their way back into artistic language and practice. Yet, due to the visual superimpositions of present times, artists have started to shy away from the rigid limitations of -isms related to the ‘non-objective' or ‘reductive' and have embedded existing ideas, confluence of styles and approaches into the contemporary world, the here and now, mingling with popular culture as well as branching out of the studio practice inherent in painting as we know it and as the majority still likes to understand it.

Crossovers with other forms of art, like pop art, installation, and new media, play a major role in this new understanding of art-making in the realm of the ‘reductive' and in its breaking out of its claimed territory with excursions into new planes of understanding, confronting the remarkable stakes which are on offer within the perimeter of ‘reductive' art production today.

COMPOSITE VISIONS is triggered by the multitude of influences entering the thinking, thought process and practices of an array of like-minded contemporary artists from around the globe working within the fascinating and resilient discourse surrounding the historical, formal and contemporary explorations within the field of the ‘reductive' in general and ‘reductive' painting in particular.

COMPOSITE VISIONS comprises the work of 16 international artists and aims to give a modest inside overview of the possibilities within this broad approach. This type of exhibition is never able to display the entire palette of diversity; CCNOA's objective is simply to document some of the thinking around this subject.

Tilman & Petra Bungert CCNOA Brussels

With your Eyes Only @ Kunstverein Medienturm, Graz (AT)

2009-12-12T12:28:00Z

Kunstenaars: Kjell Bjørgeengen (NO), Alexandra Dementieva (RU/BE) & Aernoud Jacobs (BE), Ward Denys (BE), Clemens Hollerer (AT), Simon Ingram (NZ), Léopoldine Roux (FR), Esther Stocker (IT/AT), Tilman (DE), Pieter Vermeersch (BE), Dan Walsh (US), Carrie Yamaoka (US)