brussels

Ana Torfs, [ . . . ] STAIN [ . . . ] (detail), 2012, twenty framed ink-jet prints with mixed media, four tables, two speakers, sound. Installation view.

Ana Torfs

WIELS Contemporary Art Centre

Ana Torfs, [ . . . ] STAIN [ . . . ] (detail), 2012, twenty framed ink-jet prints with mixed media, four tables, two speakers, sound. Installation view.

Each year, Wiels devotes a museum-scale exhibition to a major Belgian artist, curated by the institution’s director and founder, Dirk Snauwaert. In contrast to the lush 2013 display of 124 paintings that spanned Walter Swennen’s three-decade-plus career, the pristine spaces of the former industrial brewery this fall boast a stern ensemble of just six works by Ana Torfs, all from the past five years. The show’s title, “Echolalia,” is a term denoting the either playful or neurotic reiteration of vocalizations made by another person. And in fact the exhibition gives a unique opportunity to encounter the latest results of Torfs’s diligent exploration of the semantic shifts that occur as words and images are borrowed, translated, reproduced, and recombined.

Torfs’s most recent, three-part installation, The Parrot & the Nightingale, a Phantasmagoria, 2014, takes off from the lost travel

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