Anne Pontégnie

  • 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