Luc Tuymans

  • Luc Tuymans, untitled, 2020, gouache on paper, 17 3⁄4 × 17 3⁄4". From the series “Numbers,” 2020.

    Luc Tuymans

    THESE IMAGES, based on stills from films I made in the 1980s, are a set of studies for future paintings. They also relate to my 1992 series “Der diagnostische Blick” (The Diagnostic View), and to the painting Bloodstains, 1993.

    In the past, I would cut out numbers and glue them to the surfaces of my paintings, enumerating the canvases from one to ten before starting over again. I saw these numbers as a reality that contrasted with the fictional character of what the painting itself depicted. During these days of pandemic, numbers have taken on a different meaning: On one hand, they portray the

  • Jan Hoet at Documenta 9, 1992. Photo: Stefan Dewickere.
    passages April 16, 2014

    Jan Hoet (1936–2014)

    JAN BOUGHT my very first painting, The Spirit of Saint Louis, 1988, even before my very first gallery show. He was extremely decisive from the beginning of my art career, as he was for numerous other artists.

    In retrospect, his 1992 Documenta 9 was a Documenta for the artists. Just to name a few of them: Stan Douglas, Matthew Barney, Mike Kelley, David Hammons . . . In this Documenta, the visual was the concept.

    With the loss of Jan, we are also losing an era—one that was once instigated by people like Harald Szeemann, and which still persists in the figures of Kaspar König and Rudi Fuchs—that

  • Raoul De Keyser, No Title (8 Verticals/6), 2010, oil on canvas mounted on wood, 11 x 8".

    Raoul De Keyser

    THE WORK OF RAOUL DE KEYSER, although informal and abstract, comes across to me as extremely personal, highly specific, and fully based on Raoul’s own interiorized visual experience of the reality around him. In this sense, Raoul, for me, resonates as the painter for painters that Albert Marquet once was.

    Luc Tuymans is an artist living in Belgium.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions were, in their eyes, the very best of 2006.


    “Edvard Munch: The Modern Life of the Soul” (Museum of Modern Art, New York) In a rather cynical mode, I trudged uptown one day last spring to see the Munch show at MoMA for what I thought would be a cliché-ridden overview of Nordic gloom-goth. What I got instead was a hard punch to the gut: powerful color, radical ideas about the depiction of memory as space, paintings with emotional vanishing points rather than rational optical


    THE ARTIST-CURATED EXHIBITION is an inherently enticing proposition, but in practice such shows usually prove a bore. Far too often artists are drawn to secondhand versions of the sort of work they make themselves. Luc Tuymans has already dodged that bullet once: Two years ago, when he cocurated “Trouble Spot: Painting” with fellow artist Narcisse Tordoir, at the MUHKA, Antwerp, Tuymans resisted sheer epigonism. That stab at summarizing contemporary painting was perhaps too generous to ultimately convince, but it was a commendable attempt by an artist to track obsessions that go far beyond