Piero Bisello

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  picks March 06, 2023

  W. Rossen

  In his first solo exhibition since his graduation from the Frankfurt Städelschule last year, the Amsterdam-based painter W. Rossen presents five new works. While compact, the show is rich with art historical references. “Ostend,” the exhibition’s title, can be taken to allude both to the name of the area in Frankfurt where he lived and to the hometown of one of his inspirations, James Ensor. Also namechecked in the show is Åsgårdstrand, a Norwegian city depicted by Edvard Munch in 1902. For Åsgårdstrand (all works 2022), Rossen copied the latter picture, adding two important twists: He

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  picks November 30, 2022

  Willem Oorebeek

  The exhibition “1, 2, 3 Pirelli” presents new and preexisting works by Willem Oorebeek, effectively encapsulating the artist’s long-standing interest in printing techniques, image circulation, and authority. Without Title, 2022, is a printed replica of a political poster mounted on aluminium. Oorebeek takes the image of a politician’s awkward smile to potential voters during a recent campaign in Belgium and covers it with semitransparent rubber dots, applied with a roller to form a relatively geometric pattern reminiscent of a halftone print. The circulation of political posters in Belgium is

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  picks June 29, 2022

  Wernier Cuvelier

  With this ambitious exhibition, Gallery Nadja Vilenne brings together six major bodies of work from the 1970s and ’80s by the Ghent-based Conceptual artist Werner Cuvelier. The show focuses on Cuvelier’s photography-based “Statistic Projects,” which often incorporate drawings and sketches that reveal the strict protocols he developed within his practice. Bruggen van Gent, 1981, documents every bridge in Ghent, without ever revealing the titular structures; instead, Cuvelier instructed a photographer friend to capture the views from the middle of each bridge. The artist later juxtaposed the

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  picks May 25, 2022

  Samuel Hindolo

  A gray patina has seemingly settled over several of the nine new paintings by Samuel Hindolo on view in this exhibition. This film, rendered through color and texture, ages the works, dating them to a time that is at once unrecognizable and specific, much like the venue: a former wellness spa in Galerie Porte Louise, a semi-abandoned upscale shopping mall a stone’s throw from Gladstone, the gallery that, along with 15 Orient, organized this show.

  The exhibition title, “parfum” (perfume), conjures the luxury goods on offer in the mall, where business never quite picked up. Despite this lack of