Yoann Van Parys

  • Leon Vranken

    One of the chief qualities of “The Traveling Riddle,” an excellent exhibition by the young Belgian sculptor Leon Vranken, was its sense of tempo. Of course, like a performance in the theater or on film, an exhibition always has a conventional temporal structure, with the installation of the work followed by an opening, then the show itself, followed by a deinstallation. But over the course of this process, who could really attest to a key moment, a precise duration, a model, a format, a definitive distribution of roles? One wanders through an exhibition at liberty, viewing the works in any order

  • Freek Wambacq

    This recent exhibition by the young Belgian artist Freek Wambacq brought together work produced since 2000, including eight pieces from 2008. The exhibition filled two distinct spaces at the Netwerk art center, in two separate wings of the building—an architectural division that the artist subtly took into account.

    The first space contained only two pieces, a surprising choice considering the great size of the room. One was a very large clay pot, Le Vase-entrepôt (Vase-Storehouse), 2008, which rose from the floor nearly to the ceiling. Meanwhile, in the back of the gallery, one could distinguish

  • “Curiosity”

    Curiosität” (Curiosity), a remarkable group show curated by the French artist François Curlet, was an examination of the curio—an object considered novel, rare, or bizarre. Entering the exhibition, one got to the heart of the matter right away, passing through a door whose frame was a large replica of a zipper. This was Michelle Naismith’s Portable Liberator, 2008, just one of the many oddities in store. In the initial room, in a display case to the right, appeared two works by two pairs of artists. The first, Patrice Gaillard & Claude’s Untitled, 2008, consisted of a simple disc of transparent

  • Pierre Gérard

    As soon as visitors walked into the former warehouse that the art center Les Brasseurs calls home, they were faced with an array of objects, from an installation of tables topped with various elements to an abstract wood and cardboard sculpture fastened to a wall; from a slide projection to a display of short videos playing simultaneously on small monitors. The pieces did not have clear-cut boundaries, nor did they have individual titles. The vocabulary developed in Pierre Gérard’s exhibition “Au mauvais endroit, au mauvais moment, où encore” (In the Wrong Place, at the Wrong Time, Where Next)

  • “Mimesis”

    Anselm Franke, one of the curators of this year’s Manifesta, has been the director of Extra City, a contemporary art center established in Antwerp in 2003, since 2006. In the exhibition guide for “Mimesis,” which he recently organized, Franke explains that the exhibition was intended as an alternative to the perhaps too-numerous recent shows that examine the reciprocal influences between art and theater. According to Franke, these are too often based on comparisons of a strictly formal order, with, for example, excessive attention brought to bear on the question of staging. He feels that what’s

  • Walter Swennen

    Walter Swennen, born in 1946, has been a presence in the Belgian art world for many years, and his work is admired by many in his native country. His renown, however, does not extend much beyond the borders of Belgium. The reasons for this have to do with the work itself, whose variety may seem puzzling to those who expect an artist to develop a singular style: Swennen’s art is always unpredictable, always in progress. Then there’s the way the artist has managed his career: He has resisted giving any one gallerist exclusive representation of his work, a stance that has always had a political