Anne Pontégnie

  • picks May 24, 2001

    Lara Almarcegui takes apart the gallery

    Lara Almarcegui takes apart the gallery

    Lara Almarcegui is a young Spanish artist who explores the relationship between architecture and urbanism. Over the course of six weeks, she intends to progressively fill the exhibition space and the buildings across from it with the materials—wood, glass, cement, steel, and concrete—that were used in their construction. While there’s an aestheticizing tendency here that endangers the radical nature of the project, Almarcegui’s gesture—simultaneously absurd, critical, humorous, and historical—manages to raise pertinent questions about a space that so many others have dissected before her.

  • picks May 07, 2001

    Catherine Sullivan

    Catherine Sullivan and the Les Paul Gibson

    Catherine Sullivan's new video installation stages the encounter of different artistic universes: dance, theater, music, performance, and plastic arts. While several actors dramatize a text about the now-mythical guitar, the Les Paul Gibson, several guitar players work out improvisations on that very instrument. A compact, precise montage alternates between the actors and the musicians, comparing their rhythms and their codes. Sullivan’s video captures the passion—as comical as it is tragic—with which these diverse players invest their roles.

  • picks April 09, 2001

    Tam Ochiai

    Ochiai's limpid moods in Brussels

    Japanese artist Tam Ochiai explores the psychic landscape and charms of the prolonged adolescence that has become increasingly the norm for contemporary popular culture. In “Installation 8,” however, he also offers a formal gambit, and aims to extend painting beyond its traditional frame and support. The results of this gesture are somewhat artificial, but the paintings themselves succeed in establishing a great deal of atmosphere. They impose a universe that is limpid and melancholy, and allow Ochiai’s acute sense of color to shine. At center, a large canvas taken from the collection of the

  • Dominique Gonzalez-Foerster

    In Japan there are several agencies that design cartoon characters for use by publishing houses specializing in manga. The most complex of these characters are best able to become protagonists and therefore survive, but they can be prohibitively expensive for the publishers. Other characters are sold at more moderate prices because they’re unlikely to survive, to keep their place in the narrative, for more than a few pages. French artists Philippe Parreno and Pierre Huyghe bought the rights to one of these characters destined to disappear in an instant. She became the basis for their project,

  • Tadashi Kawamata

    The Middelheim sculpture park on the outskirts of Antwerp is devoted to modern as well as contemporary work; it shares its name and the no-man’s-land that it occupies with the large modernist hospital that looms over it. Often, the invited artists delve into the depths of the park. Tadashi Kawamata, by contrast, deliberately avoided such sites in order to tackle the park’s peripheral status. He constructed a bridge above the road that separates the park's contemporary section from its modern section and a trench that plunges into the ground where the earth had been freshly turned up from a recent

  • Patrick Vanden Eynde

    PATRICK VANDEN EYNDE'S WORK incorporates time as well as space—a fictional and experiential universe that only emerges bit by bit. Each of his exhibitions has allowed him to replay his work, to push the evocative power of its images a little further. While painting and drawing have been his primary instruments, this time around the artist has chosen to work with collage. The images, which may be enlarged or drawn over, are scanned and then laser printed onto self-adhesive film. Each features one of four dominant aspects: evocation of sound; play with space; the technique of stitching or

  • “Memórias Intímas Marcas”

    The fourth installment of a series that saw the light of day in 1997 in Cape Town, “Memórias Intímas Marcas” is an exhibition that continues to evolve, with each incarnation offering different works, artists, and modes of presentation. Starting with concepts such as amnesia and autopsy, the project as a whole aims to analyze the artistic responses to the war and violence linked to the history of South Africa, but also to similar events in Africa and elsewhere. The outcome of a dialogue among artists, the exhibition is at once marked by the violence of lived experiences—tombs, deformed bodies,

  • Jacques Charlier

    “The ever-shifting course of an extraordinary artist,” proclaims Jacques Charlier ironically on the cover of a magazine, a parody of Paris Match, which serves as his catalogue on the occasion of the “recap” (the artist doesn’t like the word retrospective) organized at the Casino-Luxembourg. The historical division of the exhibition—the ground floor covering primarily the years 1965–75, the first floor the period from 1975 to the present—corresponds to the generally admitted distinction between two Charliers: a first, “good” Charlier, the conceptualist, agitator, and caricaturist, and then the

  • Borderline

    Paul Vandenbroeck, curator at the Royal Museum of Fine Arts in Antwerp, presents 120 carpets woven by Berber women and 100 palimpsests “woven” by the psychiatrist and artist Bracha Lichtenberg-Ettinger in an exhibition designed by international star architect Zaha Hadid. The splendor of the abstract fabrics should not, however, detract from the contentious (and problematical) thematics of the show, which raises issues about the “originality” of modern Western abstraction while appropriating the creative labor of Berber women in the name of art-historical inquiry. The show’s three companion

  • Ann Veronica Janssens

    Invited by curator Moritz Küng to participate in Utrecht’s fourteenth annual Festival a/d Werf celebrating art, music, and theater, Ann Veronica Janssens took the opportunity to elaborate her notion of “superspace.” Comprising twelve works scattered throughout the city, “Superspace,” 1999, established a network of experiences through which the artist, the viewer, and the city could connect.

    On paying for a general-admission pass to the festival, viewers received a packet that included a map delineating the locations of Janssens’s interventions and a telephone card that provided a 900 number that