• Didier Vermeiren

    Galerie Ghislaine Hussenot

    The first thing one noticed, when looking at the four sculptures that make up this exhibition, was a radical modification of the regular gallery space: Didier Vermeiren chose to occupy only the ground level, leaving the mezzanine to function as a belvedere. It was, however, only a virtual modification, in that nothing was actually changed in the architecture of the place; the site took on the general disposition of the works—like chesspieces, they defined the area they occupied and continually submitted it to a new and specific perception. (The floor, for example, with its usually unnoticeable

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  • Jutta Koether, Laurent Joubert

    Galerie Laage-Solomon

    It would seem almost impossible—both conflictual and contradictory—to bring together two artists such as Jutta Koether and Laurent Joubert. Having said that, this exhibition, entitled “Lettres à Démocède” (Letters to Démocède), with its politically-correct alibi (a “peaceful art” of struggle against strategy), was permeated with an intuition about painting as social affect—as a language of the minority, a decentralized expression of self, marginal, a kind of savagery, or “wild parade” as Koether puts it.

    Joubert’s pieces, in the form of painted panels, are the result of the juxtaposition and

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