In Montpellier The MO.CO.  Change the skin, literally, thinly, with the Berlinde de Bruyckere exhibition!

In Montpellier The MO.CO. Change the skin, literally, thinly, with the Berlinde de Bruyckere exhibition!

A prominent figure on the international scene, Flemish visual artist Berlinde de Bruyckere is the subject of a major monograph exhibition from June 18 at MO.CO. , Center for Contemporary Art in Montpellier, with which it announces a radical change of approach. . Aesthetic shock of overwhelming visceral strength!

We know that actions, like objects and places, require respect. Berlinde de Bruyckere does not impose, it creates. And what you create is not just volumes, but silence as well. His work produces silence. Like the invisible wave of the jammer that silences the dopamine sound of our mobile service, its action spreads around it a clear and powerful signal, which shuts down all our systems, whether we call it acknowledgment or alarm, whether we call it knowledge or prejudices. We are here naked feelings. More than ever hear the deafening silence than in the first stage upstairs at MO.CO.

Berlinde de Bruyckere’s work results in silence

The exposed space to the max reveals an impressive surface haunted by a series ofArchangelos, including a trio created specifically for Montpellier. Long human silhouettes on tiptoe The upper part of her body appears stooped and worn out under the weight of the canvas covering it. We are approaching. The feet barely touch the ground, not knowing whether they will land on them or move away from them. There is grace in their frozen movement, and if their color was pale, it also turned out to be soft, as if alive. silence. We dare to search. It is not a sheet that hides its skin from us, but the skin of an animal, if only angelic wings of cloth and leather? On the walls, large figures, belong to the series Peony and others It could have been a lily To the artist, adding to the mystical atmosphere: deep, massive, it represents for some, open tombs on bones, entrails or the remains of forgotten gods, perhaps the great ancient Greats, and Lovecraftians.

Berlinde de Bruyckere’s work results in silence. It causes inspiration. “It deals with great parables, foundational myths work, it fits in the long run and does not hesitate to quote the history of art, if not plunder it. But at the same time it raises very contemporary questions, about hybridity, the feminine, nature, the relationship to the animal world… “, comments the director of MO.CO. , Noma Hampursen. Created in close collaboration with the artist (his most important personal exhibition to date, in his own words), this stunning solo exhibition brings together 55 works produced between 1999 and 2022, including six produced specifically for MO.CO. “We wanted to reflect the complexity and diversity of his work, without limiting it to one topic or another.”

Works that talk about animal suffering

Thus, before this great void, we will already have seen amazing sculptures and installations where the art of hybridization of techniques (castings, collage, paintings, etc.) as materials (wax, resin, wood, fabric, leather, iron…) are exploding like shapes (Vegetable, animal, human…). Without saying anything of his knowledge in colors and layers. We will see a tree trunk serving as a Titanic bone, horse collars from a Venustic vagina, anatomical twists of Kronenberg’s sensory fascicles … and indeed these sculptures of horses that we will then find on the ground floor are sure to impress the visitor. Berlinde de Bruyckere does not act as a taxidermy or taxidermist, she starts from the skins of horses (which died naturally) and scrolls through molds to produce works that speak of the suffering of animals, question our eyes and disturb their human certainty…

And what of the vault itself, more than ever, six feet underground, which compels us to go down to think of heaps of wax molds of leather and other molds drying here and there, remaining silent before this avatar of consumer society: it overflows Self-evidence of the animal and open to an unspeakable abyss. We know the actions, like objects and places, that force … to go back there. Even if we basically don’t.

From June 18 to October 2. Berlinde de Bruyckere at MO.CO. , 13 rue de la République, in Montpellier. Open Tuesday through Sunday, 11am to 7pm 04 99 58 28 00.

Director of MO.CO. Numa Hampursen puts there moldings and bottom

place : “The gallery dedicated to Berlind de Bruecker, which was also designed to allow us to take a fresh look at the place, and we would be better acquainted with its almost infinite possibilities, its sheer scale, and its grandiose plateaus,” No other word, the group exhibitions dictated the division of spaces, because they showed different artists They can be compared but a little similar, at least separate.”

Exhibition : “Because this is a solo exhibition, the natural symmetry of the work makes it possible to open up the spaces. So the arrangement was minimal scenography, and the absence of picture bars, to set the place up to its fullest. It would have been the day after its creation before any comment. We started from This premise is to build her gallery with the Berlinde de Bruyckere. For the residents of Montpellier, without saying anything about this artist’s work, this will be an opportunity to rediscover from a place and awareness of the instrument in their possession; a wonderful instrument!”

Establishment : “Form must resonate with substance; what applies to the work applies to the exhibition, from a certain point of view, and to the general philosophy of the institution. My philosophy with MO.CO. is, as far as possible, remove the intermediaries between the work and the visitor. I want to end the proliferation of mediums. who are, to me, like many walls or picture bars in a place. This is the idea of ​​direct contact. This will not always be the case, but in this case it was necessary to keep this relationship in its purity. With Berlinde de Bruyckere, you will see “The works think in a way that imposes a physical relationship on the viewer. In addition to his work he talks about the body, the skin, our relationship to art, the history of art, and our relationship to transcendence. He raises questions about current events and the great foundational myths. In fact, it all comes together.”

tactic: “Not everyone appreciates it, but personally, I like the idea of ​​the ‘cool’ effect when you enter a room, also because it questions contemporary art: a part of the audience, perhaps because it is ill-informed or so caught up in ideas received, does not imagine that contemporary art can produce This effect, and that it can give off works that are formally insane, pleasant or disturbing, which do not require us to pass through the filter of discourse.You know the phrase from Kant who said “beautiful is that which pleases the world without a concept.” To proponents of deconstruction, this is incomprehensible because without A concept that is no universal, in their opinion. But very modestly, in the face of certain works, we can say that it is beautiful—or ugly, for that matter—far from any knowledge of contemporary art.”

philosophy: “I know my predecessor Nicholas Bureaud liked Picasso’s phrase that ‘Contemporary art, like the Chinese, can be learned.’ That is also true, basically. But, in this case, I think that without learning or knowledge, it can be touched and perhaps dazzled. What I call it” Experience the sublime, the moment when words are not enough to express the lived experience, which we say, for there is nothing better, and although it does not mean much in itself, “it is beautiful.” I think this is how we can Entering contemporary art, and my life’s mission is to help with that. Not necessarily natural for everyone. Nikola Bureaud was more into the idea of ​​”understanding contemporary art”: understanding what is valid, how it deals with current issues, how it responds to society’s questions, etc. It was It’s less about reconciling a large audience with today’s creativity. A completely different game of chess for the same subject, basically.”

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