Vacances Chez Boutemy
Vacances Chez Boutemy 31/01-23/02/2020
Rue Vanderkindere 378
1180 Uccle - Brussels
We are super happy to start this new year with an exhibition hosted by the renowned and talented floral artist Thierry Boutemy.
'Vacances Chez Boutemy' is a group exhibition that reflects a moment of celebration and conviviality - a holiday feeling : share a nice drink and a bite to eat with your favorite people, surrounded by authentic, handmade, soulful works of art.
Come and experience a suspended moment of warmth with this joyful invitation to relax, share and contemplate - a break in time that we all want and need.
With works by :
Alberto Vitellio (CL) Johan Destrumelle (FR)
Anton Reijnders (NL) Laurids Gallée (AU)
Camille Esnée (FR) Laurin Schaub (CH)
Cécile Bichon (FR) Lisa Allegra (ES)
Claire Lézier (FR) Mercury Bureau (CA)
Clémentine Dupré (FR) Mestiz (MX)
Coline Rosoux (BE) Paul Gallaud (FR)
Edvin Klasson (NO) RIES (AR)
Elena Gileva (RU) Rematelier (NL)
Elisa Uberti (FR) Rodrigo Bravo (CL)
Elisabeth Lincot (FR) Sarah Pschorn (DE)
Gert Wessels (NL) Studio Proba (US)
Hitencho (KR) Sòha / Denis Milovanov (RU)
Collectible Fair 05-08/03/2020
Rue de l’ Ecuyer 50 Schildknaapstraat
Our selection aims to recreate a sacred universe, most of the works have an archetypal ritual form and others relate to artificiality and illusion, some encompass both.
The idea is to compose an imaginary universal space. A temple interior, precious wall icons and a floral art installation terraforming this imagined land.
With works by :
ANTON REIJNDERS (NL)
Buket Kınalıkaya, Atorie Bu (TR)
BORIS DE BEIJER (NL)
CLÉMENTINE DUPRÉ (FR)
ELENA GILEVA (RU)
GERT WESSELS (NL)
JOHAN DESTRUMELLE (FR)
LAURIDS GALLÉE (AU)
MATHIEU FROSSARD (FR)
MILAN PEKAŘ (CZ)
THIRY FILLIATREAU (FR)
SARAH PSCHORN (DE)
STUDIO PROBA (US)
VEERLE MELIS (NL)
+ installation by THIERRY BOUTEMY
PHOTO Anthony Girardi
Claire Lézier & Coline Rosoux
Composed of Romain Coppin and Alexis Bondoux, Messgewand is an Amsterdam / Paris based french design team interested in the way object design can influence the relationship we have to aesthetic appreciation.
" We use object design as a medium in order to answer to professional
assignment as much as self-initiated projects with a critical approach toward modes of production and representation.
Our objects and experimentations are visualised using 3d, video, illustration, drawing, and sculpture. By doing so, we try to question the contemporary visual codes and rules used in the object design field.
We explore new aesthetic developments in order to take distance from formal conventions. Each project is an opportunity to experiment and precise our personal design language. All these projects put together are
determining a research area positioned on the borders of art and design. We see ourselves as designer/researcher, who tend to blur boundaries between disciplines, especially by using strange way to combine digital and physical pieces between “functional sculpture” and “sculptural object”.
We have a fascination for aesthetic ambiguity, our work is trying to be constantly in between, always oscillating between sacred and cheap, mass culture and avant-garde. We are really enthusiastic about the idea of creating a new object discipline located at the crossroads of many others. We question the usual product design process of creating and making by swapping the logical order of production (thinking by making, drawing at the end of the production loop…). However, the challenge is to display the result of our experimentations in some stages which are not the usual ones. Our objects can become an image, a painting, they can become the main props of a music video, a performance. By following this path, we can keep developing and circulate around our creative convictions.
We definitely think that our way to work gives us the ability to turn any negative context into a positive one, to enjoy the social, economic and political constraints. They give us the opportunity to counter or caricature these specific contexts."
Claire Lézier & 27/05-17/06/2017
Mr Patate à Miami Beach,
La Femme Fontaine Fait Des Économies
Claire Lézier and Coline Rosoux have been invited by FRACAS to team up for the first time and exhibit their work side by side. Their caustic ceramics draw the viewer into a world populated by narrative mythologies, mixing tragedy and humour.
Both Claire Lézier and Coline Rosoux are ceramic artists based in Brussels. Their installations drive deep into our retinas, piercing through to our brains in order to offer them a vitalising jolt! A spontaneous communication emanates from their pieces, bearing witness to an obvious artistic complicity.
Coline creates powerful characters with magical charisma, at times sad and worrying. Her sensitive work is built upon many layers of dreamlike fantasies which conjure up destabilising emotions.
Claire is faithful to her motto - "ceramic should be fun" - and draws upon ancestral art, projecting it into a modern urban society, playing upon imagery of contemporary folklore in order to create wildly energetic, colourful images.
Since 2014, the two artists have been sharing a studio and have recently created the M700k duo (minumum 700 kilos - of raw earth) for their four hand performances, which they have already staged at the Keramis centre in La Louvière (‘la terre paysage’ exhibition) and at Tourrines-la- grosse (‘Now, la céramique 50 ans après’ exhibition) amongst others.
Their artistic duo built itself around a commun love of figurative installation and sculpture, a raw sculpture based on simple modeling.
For this first communal exhibition, Claire and Coline have decided to confront their most intimate productions, offering their secret gardens to our gaze and drawing us into a fictional reality.
They are exporting the contents of their studio and organising their pieces in such a way as to create a playful system of communicating vases amongst their individual works. A friendly ‘battle’.
Julia Huteau 12/-28/10/2017
De l'Espace Entre Les Couleurs
"My motivation springs from my fundamental relationship to objects. They fascinate and irritate me in equal measure.
In order to alter this relationship, i search to inject life into shapes free from any recognisable references.
This process allows me to obtain entirely unique art works.
The volumes i create are forms and colours made up of ceramic materials.
I’m certainly most interested in Learning, whether in my work or in life in general. The complete aspect of ceramics is also fascinating to me, its historic, artistic and scientific dimensions and I constantly go back and forth between these facets and subjects depending on my wants and needs.
My artistic universe is made up of questions, research and multiple selections and choices which end up shaping my work. I’m strongly influenced by numerous subjects I love, physics, light, space.
Today, the spatial installation of the shapes I create has become primordial. I don’t necessarily work to make self-sufficing objects but towards considering the empty space around and animating them, from pure object to a form in a given space.
I deeply wish to carry on learning and discovering new dimensions of Art".
Boutemy Winter Window
DON'T SMASH THE DOOR!
Elena Gileva & Marie Schumann
Baptiste Sévin & Jaïna Ennequin
Baptiste Sévin & 24/01-09/02/2019
Stories Of The Island
Presented by Atelier Baptiste & Jaïna, the exhibition Stories of the Island is the result of two-year work on ceramics. It is a projection into a poetic world using insular volcanic imagery. Ceramics, the material of fire and earth, has naturally imposed itself. The different chapters presented in the exhibition involve reality and fantasy. The two designers become dreams sculptors who are in turn explorers, vulcanologists, geologists and archeologists. They used images and stories to draw objects that create daydreams and enlightened reading of the everyday environment.
The island is fertilized by the expulsion of the movements of the submarine volcanoes; this is how its fabulous story started. Years after years, millimeters after millimeters, the island is born from the patience of the sea and the fire, a cosmogonic alliance.
The different chapters are enrolled in abyssal depths, in the awakening of the volcanos, in the lava flows and the elapsed time. The resulting projects oscillate between autonomous sculptures and functional objects. They seem as hot as lava, smelling of sulfur or created by the rumble of volcanos. Like fossils that reappear from the bowels of the island to deliver their mysteries, the objects are crude, eroded, expelled,
mineralized, talkative or silent.
The exhibition questions our link to the primary elements. This odyssey allows to take a look at a land but it is also a trip to imaginary territories.
Sarah Pschorn 14-30/03/2019
For her first personal exhibition in Belgium, Sarah Pschorn (born in 1989, lives and works in Leipzig, Germany) presents a selection of works from 2015 to 2019.
After studying (ceramic, sculpture and photography) in Germany and Israel, she won the Grassi Prize from Carl & Anneliese Goerdeler in 2016 just as she was starting her professional career. Thanks to her talent and strong work ethic, she was quickly noticed and exhibited her work in the Fair Nomad, Design Miami, and in the Bornholm Art Museum (Denmark).
Fracas gives her a ‘carte blanche’ to invest the space and make it her own.
Sarah’s work is based on the idea of 3 dimensional collages, playfully interpreting well-known shapes from ceramic and decorative art histories.
Often using found objects as a starting point, she puts her vases together as a poetic archeology.
She uses multiple ceramic techniques combined with different materials such as porcelain, crystal, resin or clay fired at different temperatures. Doing so, she confronts styles, mixes periods, assembles differing messages, traces of the past and coincidences.
Led by her curitosity, every time Sarah masters one technique, she goes to another to keep a fresh perspective on her work.
In addition to their spontaneity, Sarah's pieces reflect a modern feminine identity.
" The vessels serve as receptacles for my ideas and thoughts and in particular remind the spectator of female bodies that have been dressed up. The colours highlight – in a favourable or unfavourable way – as well as hide, dissolve or round the shape of my works and thus resemble items of clothing that establish different and diverse relationships with the body they dress. "
'Chasing Waterfalls', the title of the exhibition, has different meanings but especially embodies a quest for the impossible as the work of Sarah pushes the ceramic materials to its limits. Taking the opposite of the song that rocked her childhood ( "Waterfalls" from the girls band TLC), she "go(es) chasing waterfalls", she doesn’t "stick to the rivers and the lakes that you're used to", she’s "moving too fast".
The word 'waterfalls' evokes a great show of nature, a symbol of the unknown, the oasis and paradise.
For Sarah, the unknown part in the practice of ceramics is always very important, as she can never know in advance the result of her work after firing. This loss of control in the manufacturing process is what makes her practice so exciting.
The image of the waterfall connects us with a hypnotic natural phenomenon, or in the traditional Chinese imagery, evokes nebulous landscapes marked by the unknown.
Sarah plays with these references and does not hesitate to produce unprecedented confrontations, putting together baroque and pop culture.
A fresh and mysterious waterfall is flowing at Fracas, let yourself be carried away!
Anton Reijnders 25/04-18/05/2019
`For his first solo show at Fracas, Anton Reijnders wants to offer opportunities for concentration and attention and as such providing an alternative to the visual language that is increasingly is subservient to propaganda and quick effects. He hopes his works evokes awareness of the automatism in which meaning is attributed and the conditioned way of perceiving. He does not want to impose a way of interpreting his work: his sculptures are a free meditative opportunity for reflection and concentration.
Throughout his career, Anton has built a very personal alphabet of shapes and symbols. His ever renewed way of playing and assembling these representations creates a process that explores the structure and patterns of mental constructions. The making itself echoes this idea where repetitive forms made from moulds can be associated with hand-sculpted clay directly embodying a human presence. The juxtaposition of thing that diverge sometimes triggers disarray or attraction. The soft with the hard, the rough and the smooth, the empty and the full question our perception and help to give it meaning.
His works are sometimes referred to as sculptural kōans. A poetic sensibility where the space left between objects is as important as the objects themselves can connect his work to oriental aesthetics. Anton refers to a Japanese painter called Sesshu as an important source of his inspiration. In these ‘’Haboku Landscape”, most of the paper is left blank and a few black ink strokes reveal a vast space and show an intense focus on the essence of landscape.
Anton Reijnders, born in Netherlands in 1955, has been active as a sculptor for more than 38 years. Besides participating in exhibitions throughout the world Anton Reijnders has contributed to conferences, symposia and workshops in Korea, China, Australia, USA and Europe.
His works of art have been selected to be part of public collection of :
Shiwan Ceramic Museum / Guangdong (CN), World Ceramic Center / Icheon (KR), Australian National University / Canberra (AU), KANEKO / Ohama (US),…
Anton has been visiting professor at the New York College of Ceramics at Alfred University, Alfred (US). He contributed to the creation of the European Ceramic Work Center (EKWC) in ’s-Hertogenbosch (NL). Anton Reijnders currently teaches at the Gerrit Rietveld Academy in Amsterdam (NL).
For its first institutional collaboration, Fracas is pleased to invite the Swiss label Republica Austral. This event is the opportunity for these two young galleries to present a group exhibition showcasing Latin American design, with 8 designers from 5 countries, ranging from latitude 32°N to 55°S, from Mexico to Chile.
The creations from these countries still don’t have a great visibility in Europe but are booming in their original countries, this is one of the starting points that led Republica Austral and Fracas to curate this exhibition: "We want to give visibility to this emerging scene, in the shadow of countries more culturally settled like Brazil ".
This exhibition highlights the values that the two galleries defend: craftsmanship, mastery of the gesture, quality of details, freedom of design and use of noble and durable materials. Each object is anchored in a specific geographical context, which determines its design, its manufacturing process and its materials while giving it a soul. The feelings and the personal stories of the designers are found in the objects and give them their own coloring.
Fracas and Republica Austral met after an article published by Anne-Lise Carlo in the newspaper Le Monde in February 2019. This exhibition is their first collaboration.
Elena Gileva & Marie Schumann 05/09-05/10/2019
To end this summer smoothly, Fracas offers you a new overview on contemporary crafts, art and design with a fresh exhibition putting together ceramics and textile from the young and creative European scene.
Interweaved is an art and design exhibition involving Elena Gileva, a Russian ceramic artist based in London, and Marie Schumann, a German textile designer based in Zürich. The works of these two artists meet in the space of Fracas to play a game of oppositions and correlations.
Marie Schumann exploits the delicacy and fineness of the textile through a singular look that focuses on space and architecture. Her finely woven pieces question the principles and considerations related to textiles. Suspended from metallic structures they become structural elements of the space in which they are located. Games of forms inspired by architectures, enter into dialogue with the textures, the materials and the colors of the chosen threads. The light, reveals the lightness and delicacy of the artworks, in an almost magical way.
The searches of material, texture, color and shapes connect these two artists.
We leave the cityscape to get immersed in the archeological universe of Elena Gileva. Fascinated by the historical and cultural aspects of objects, she tries to understand the formal aspects of artefacts and translates them in a contemporary way. She uses a rich and mysterious formal language, ignoring all minimalism in favor of the exploitation of ornamentation.
The woven threads and the braided clay meet each other, materials and shapes communicate, players of an interlacing game between the works of these two talented artists.
Marie Schumann (was born 1991 in Germany) studied Textile Design in Hamburg (BA) and Lucerne (MA). After stops in Copenhagen to dive into the Scandinavian colors and forms and a scholarship in Singapore, she started up her works in the field of Textiles and Space. Marie’s series of wall hangings and textile room objects is called Softspace and deals with the role of textiles in architecture. She now lives and works in Zurich, Switzerland.
Elena Gileva (was born 1992 in Russia) begins her artistic education in St-Petersburg. After two years of classical sculpture study, she decided to go to Paris where she obtained a BFA at the Parsons Paris School of Art and Design, and be Kristin McKirdy's student. After a residency in Japan in 2015, she decided to focus on ceramics. She got a Master at the Royal College of Art London in 2016. She now lives and works in London, United Kingdom.
DON'T SMASH THE DOOR! 05/09-05/10/2019
The final event in our current space will be a
group exhibition featuring all of our artists (38!), with new pieces and their conceptual, contemporary flair.
⬇︎ ĄɌƬỊⱾƮS ṠǶƠⱲCĄSĘƊ ⬇︎
Alison Thirion____________________________________________(FR) Anti Matter_______________________________________________(IS)
Boris de Beijer____________________________________________(NL)
BOUTEMY WINTER WINDOW 07/12/2019-19/01/2020
Welcomed by Thierry Boutemy, Fracas presents its winter showcase at Boutemy's workshop, rue Vanderkinder 378, Brussels (Uccle).
A warm staging of the works of 15 artists takes place during a winter break.
⬇︎ ĄɌƬỊⱾƮS ṠǶƠⱲCĄSĘƊ ⬇︎
Boris de Beijer____________________________________________(NL)
Ana Maria Gomez & Fanny Richard
AND ANTI MATTER (&AM) is an Icelandic creative studio founded by lovers and collaborators Þórey Björk Halldórsdóttir & Baldur Björnsson in the winter of 2016.
&AM explores the space between design and art through objects and experiences. They believe that places and people need more aesthetic usability and functional strangeness in their existence. They work on a project basis and therefore tap into all catagories of design, audio and visual art.
The founding lovers of &AM create their work by uniting their experiences and training in new forms. Þórey Björk is a designer and has worked in event management for Reykjavik city, creative direction and as a stylist, she also brews beers. Baldur is a visual artist and electronic musician, he has worked as a graphic designer and parking attendant as well as releasing books and music.
All of the works are handmade by the &AM team alongside local craftsmen and workshops, and are released in limited editions.
“A fresh start for the lovers of &AM, we wanted to look at ourselves in a new light so we made a blurry mirror and a new light, all the better to see ourselves with. We created a group of inbetween objects, blurry snapshots of the eternal “now” cloaked in coldness and vanity. Mutated heads and ill defined reflections, a place to sit and a cold light to sit by.
The collection is a reflection of our past work, a glimpse into our current thoughts and an idea of what the future will bring.”
Þórey & Baldur
Lucile Viaud 12-26/04/2018
Rewarded by L’Observeur du Design 2018, Lucile Viaud settles at Fracas for her first Belgian exhibition.
She presents her project “Ostraco”, design brand for home decoration for which she develops 100% natural materials derived from the fishery resources.
Thanks to different collaborations with craftsmen, she created her first collection of containers made with the sea glass “Glaz”.
“It’s essential today to control the impact of the objects we design. If they can not be recycled or reused, why create them? “
Ana Maria Gomez & 01-17/03/2018
FRACAS is inviting Ana Maria Gomez and Fanny Richard to come together and exhibit their artisanal artworks. The first is a textile designer, the second a ceramic artist.
Both artists have a unique personal approach to traditional craftsmanship techniques and create artworks that question our spatial relationships in an eminently positive and reassuring manner.
Their desire to create new spaces, in different scales, are odes to a certain ‘laissez-faire’, comforting and protective, which invites us to renew with a form of genuine serenity.
The poetic installations unravel and roll into each other, join together, unite and separate. These architectures invite us to explore an in-between space, a refuge that has been carefully built element by element.
Notwithstanding, the world’s violence filters through, whilst never compromising the possibilities of intimate growth and constructive relationships.
Ana Maria Gomez is a Colombian textile designer based in Brussels. After completing studies in Bogotà and Barcelona, she went on to study textile design at La Cambre, Brussels. Her work centres on the role of textile in relation to the body, language, ways of inhabiting spaces and it’s development in different cultures. She experiments with the graphic possibilities of 2D surfaces, the appearance of movement and of the rhythm associated with geometric surfaces.
Fanny Richard is a French ceramic artist based in Paris. After studying textile design at Duperré, Paris, she studied ceramics at La Cambre, Brussels. Her work forms a bridge between the object and nature, from where she derives her inspiration. Intuitively and simply, she creates gentle sculptures and everyday objects. A new piece can stem from one work or one image – either way, it is always directly derived from the observation of our daily environment.
Between Latin America and Europe, Ana Maria and Fanny inspire us with singular and poetic stories, bringing together nature, humans and craftsmanship.
Réjean Peytavin 03-19/05/2018
For his fisrt solo show at Fracas gallery, Réjean Peytavin (born in 1986) presents a collection of artworks in three chapters built around his study of monstrosities: TERATOLOGY.
Chapter 1: Trophées Trop Faits, 2016-2017 - apocalyptic ‘over-objects’
Chapter 2: Portraits Sanitaires, 2017 - embodied sanitary ceramic Chapter 3: Caryotype De Freaks, 2018 - monstrous glass
Prolific and polymath designer, working with a multitude of materials, Réjean Peytavin will exhibit glass works and ceramic works, made in partnership with the CIAV (Meisenthal, FR), ENSA Limoges (FR) and the company GEBERIT.
These study-works are like the experiments of Frankenstein who, from a cluster of pieces, recreates a well-rounded body. Réjean draws on overproduction to structure a decomposition, an explicit and ironic body of work.
TERATOLOGY. noun, Biology.
The science or study of monstrosities or abnormal formations in organisms. The term teratology stems from the Greek τέρας teras (genitive τέρατος teratos), meaning “monster” or “marvel”, and λόγος logos, meaning “the word” or, more loosely, “the study of”.