Hilde Van Gelder

  • View of “Jorge Ribalta,” 2016
    picks January 17, 2016

    Jorge Ribalta

    A sequence of 166 framed black-and-white photographs, presented as eight clustered grids over two adjacent rooms, is the outcome of artist Jorge Ribalta's recent travels throughout the French Borinage, a former coal-mining region all too slowly recovering from depression via a postindustrial service economy. On display in these scenes are subtle traces of a more illustrious past as well as straightforward shots of former mining sites converted by the government into monuments. Thus, Ribalta's images track the region's unfolding capitalism, which he speaks of as a “material enigma” with a “long

  • View of “Joris Ghekiere,” 2015.
    picks April 17, 2015

    Joris Ghekiere

    “For the sheer pleasure of it.” Joris Ghekiere replies bluntly when asked why, for some thirty years now, he has kept a steadfast focus on researching the extreme possibilities of the painted surface. The artist’s passionate indulgence in his medium surely comes across to the viewers of this strict selection of works from 2007 until today, curated by Ulrich Loock. The specificity of Ghekiere’s quasisurgical technique consists in fixing either a blank or an already underpainted surface on a horizontal turning table. After setting the canvas into rapid motion around the table’s axis, he sprays

  • Ariella Azoulay, Civil Alliance, Palestine, 1947–48, 2012, still from a color video, 48 minutes.
    picks May 16, 2012

    Ariella Azoulay, Aïm Deüelle Lüski, Eitan Efrat and Sirah Foighel Brutmann

    This exhibition gathers work by four Israeli artists who engage with the photographic image as a tool for critical reflection. The show’s centerpiece is Ariella Azoulay’s Civil Alliance, Palestine, 1947–48, 2012, a video making its world premiere here, which portrays people of mixed Palestinian and Jewish background dressed in mid-twentieth-century clothing. Gathering around a circular table, the group recites short stories in Arabic and Hebrew about civil contracts and agreements achieved between January 1947 and May 1948 in Mandatory Palestine. These narrated fragments testify to a joint

  • View of “After Images,” 2011. From left: Roe Ethridge, Moon, 2003–2008; Roe Ethridge, Red Diamondback, 2006; Roe Ethridge, Sunset #3, 2008. Center: Uri Aran, All This Is Yours, 2010.
    picks July 26, 2011

    “After Images”

    This vast exhibition gathers a selection of work by thirty-four contemporary artists; many of the pieces are loaned from private Belgian collections. Curated by Fionn Meade and set in the rear of the museum’s complex, in a building that was occupied by the German Wehrmacht during World War II, the show opens up questions regarding the overload of visual representations in contemporary culture. Important works by a now historical generation of artists such as Sherrie Levine, and precursors including John Baldessari, are aptly included.

    At times, the subtler works––such as those by Tom Burr and

  • Christodoulos Panayiotou, 2008, 2008, shredded money, 20’ diameter.
    picks July 21, 2011

    “The End of Money”

    Christodoulos Panayiotou’s topical work 2008 makes a grand and confrontational opening installation in this exhibition. On first glance it appears to be a huge pile of cut grass, but on closer inspection, the clippings turn out to be the Central Bank of Cyprus’s shredded pounds, which the artist acquired from the institution after the country’s shift to the euro.

    Dedicated to the relation between time and value, this show initiates a profound reflection on both the historical relativity of exchange systems and lessons to be learned today from those programs. This line of thought is sharply pursued

  • Jeff Wall, Boy Falls from Tree, 2010, color photograph, 120 x 89”.
    picks June 23, 2011

    “The Crooked Path”

    Jeff Wall’s latest exhibition borrows its title from the first photograph on view in the show: a 1991 picture that depicts a walking path winding through a vacant lot near an urban industrial zone. (The artist has also said that the “crooked path” evokes his artistic undertaking as a whole.) In close dialogue with curator Joël Benzakin, Wall has composed a careful selection of his works from the past three decades and has moreover provided a privileged insight into his early artistic influences––including Marcel Duchamp, Ian Wallace, and Frank Stella (works by all are present). The exhibition