Galerie Dohyang Lee » Galerie Dohyang Lee

Protected: Marcos Avila Forero – Tambour

digibit — Wed, 19 Mar 2014 21:55:20 +0000

Arco Madrid 2014 photo

digibit — Wed, 19 Mar 2014 21:25:50 +0000

ARCO Madrid 2014

Protected: Marcos Avila Forero – Manati

digibit — Fri, 14 Mar 2014 22:12:48 +0000

Elisabeth S. Clark

digibit — Wed, 02 Oct 2013 16:14:15 +0000

Elisabeth S. Clark

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bio / text / works /press / publication

video

YIA ART FAIR – Paris

digibit — Thu, 01 Aug 2013 20:26:45 +0000

YIA ART FAIR #03 Paris
October 24 – 27, 2013
Espace Commines
17, rue Commines – Paris 3ème
Duo Marcos Avila Forero and Julien Creuzet
PICTURES | PRESS

Retroperspectief

digibit — Thu, 13 Jun 2013 14:23:09 +0000

RETROPERSPECTIEF

ALICE DE MONT

Opening: Saturday, June 22, 18h – 21h

June 22 – August 3, 2013
Curator of the exhibition : Florence Ostende

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There isn’t, so far, any convincing investigation nor specific definition of what an exhibition actually means. The field of exhibition-making remains a shaky ground on which artists have built their own roof of uncertainty against the frame of twentieth-century modernist dogma. A few months before the opening of her first solo show outside her native Belgium, Alice De Mont shot a film capturing the process of installing her own work at Dohyang Lee gallery. In this new commissioned film, two characters use a series of props such as a sculpture and floor plans to perform the act of display while navigating in the exhibition space. Pointing at the porous boundaries between the actualized montage of the film and the spatial sequences of the exhibition, Retroperspectief (2013) brings the idea of display closer to a theater rehearsal, a movie audition or a piano exercise. The viewer experience the exhibition in the present tense while retroactively watching the process preexisting his or her visit – hence the title ‘retroperspectief’.

Divided in three chapters, the film takes place in the gallery Dohyang Lee, in the artist studio in Ghent and inside a highly decorated home with wall paintings. In the gallery, a young man carries around Objet 1 (2010), a key work by Alice De Mont which unlike her other ‘film sculptures’ can be exhibited in the same physical space as the video. Playing the role of the ‘magician-archivist-curator’, the same boy wanders in the space holding the sculpture until he meets an old man looking for a way out with the gallery floor plan. The second part of the film shot in the artist studio reveals a cone-shaped sculpture on a table which keeps popping up in the frame until the young magician appears again with his white gloves. Then the same scene filmed from another angle shows the way the object has been moved around in front of a plaster made camera. In the living room, the young boy plays the role of the archivist as he slowly takes ceramic plates off a sculptural container.

Rather than looking at the act of display as a tedious translation of the work, De Mont treats the exhibition as a total work of art in which all the elements interact within an archival system constantly reactualised and partially revealed in a printed index. This document includes a map of images and a colour chart of the film Retroperspectief that allow the viewer to connect the exhibited works to the rest of her practice. In 2008, Alice De Mont created her first character Badpakman Straatkast which could be translated as ‘Swimsuit Man Cupboard Street’. A whimsical character, Badpakman looks like a black digital rectangle that appears on images taken with a webcan, often in dialogue with other objects at home. The white ceramic plates tell the story of this surrealist character which ended up being ‘archived’ in a series of individual panels like in the layout of a comic book page.

Although the rigorous discipline of the index doesn’t seem to match with the irrational surrealism of her characters, it is tempting to relate Alice De Mont’s work in the specific history of art in Belgium, rooted both in René Magritte’s surrealism and Joëlle Tuerlinckx’s conceptual practice (Tuerlinckx used to be her teacher in Brussels). In the film entitled 12poot (2012), the same protagonist carries a sculptural object which was made only for the purpose of the film. Moving quietly through the room, he handles the piece with extreme care until the ‘12 legs’ come apart on the table. Alice De Mont uses her sculptures as props to be handled by characters who perform in her films trying to find the right spot for the work in the space – the scale varies from a floor plan to the exhibition room to an underground archival storage facility. The basement functions like a black box recording data in which the physicality of her ‘film sculptures’ is replaced by almost invisible wall drawings. This exhibition focuses on the work itself as much as the space in between the work, meaning the architecture also plays the role of a magician.

Florence Ostende

Alice de Mont (b. 1985), lives and works in Ghent, Belgium. She graduated from the Higher Institute for Fine Arts (HISK) (Ghent), the École de Recherche Graphique (ERG) (Brussels) and from the Higher Institute Sint-Lukas (Brussels).

Exhibition view, Retroperspectief, Alice De Mont, Dohyang Lee Gallery, photo © Aurélien Mole

This object, or this table, should be considered more like a sculptural object, 2012, oak wood, metal, natural stone, unique piece

Object 1, 2010, plaster, unique piece

9 ceramics BPMSK, 2013, ceramic, image, limited edition

This object, or this table, should be considered more like a sculptural object, 2012, oak wood, metal, natural stone, unique piece

Retroperspectief, 2013, HD video, color, sound, 15′, 5 editions + 2 AP

Retroperspectief, 2013, vidéo HD, couleur, son, 15′, édition 5 + 2 AP

Affiche index retroperspectief, 2013, édition limitée

12poot, 2013, black pencil, serie of 5 mural drawings, variable dimensions

Le retroperspectief, 2013, black pencil, serie of 5 mural drawings, variable dimensions

Stockage d’images, 2013, black pencil, serie of 5 mural drawings, variable dimensions

Exhibition view, Retroperspectief, Alice De Mont, Dohyang Lee Gallery, photo © Aurélien Mole

12poot, 2012, HD video, color, sound, 12′, 5 editions + 2 AP

EXHIBITIONS UPCOMING

digibit — Thu, 03 Jan 2013 13:33:26 +0000

…

Déplis, trames et grilles

dohyang lee — Thu, 10 May 2012 10:14:28 +0000

déplis, trames et grilles

An exhibition of Marie-Jeanne HOFFNER
12th May – 13th July 2012

Double Game

Basing itself on actual spaces and territories and borrowing their systems of standardized representation such as maps, patterns and cartography, the often site-specific work of Marie-Jeanne Hoffner – including drawings, installations, videos, photographs, models, etc. – broadens these perspectives while maintaining subtle tensions between construction and deconstruction, folding and unfolding, surface and volume, fullness and emptiness.

We encounter photograms in which the overlapping of strips of graph paper evokes a chaotic urbanism and, through a negative saturation, creates disturbing zones of white light that capture our attention. We come across small pieces of balsa wood frontally presented on a wooden support that make up the fragments of a latent assembled structure. Elsewhere, we see elements like strips of wood drawn in marker that compose the frail skeletons of architectures yet to be. Or are they perhaps already reduced to a state of ruins? Meanwhile, the moving image of the video echoes the model, whose “modulations” allow us – through displacement, addition and subtraction – to view the setting from different angles.

Flirting with abstraction, constructivism or perhaps even a form of surrealism, the forms and games of (de)construction employed or suggested by Marie-Jeanne Hoffner project us into constructed – or yet to be constructed – spaces located in an in-between, an intermediate phase caught between assembling and disassembling. It’s this very interval, this other “game”, that gives these concrete spaces transcended by the artist their full scope all while renewing our perception of them. Within this sensitive and changing zone new configurations come about, unfurling and unfolding, to be read – and explored – between the lines.

Anne-Lou Vicente, april 2012
(translation : Alex Balgiu et Katie Dallinger)

Printable version

Screen tones #1, #2, #3, #4, #5, #6, 2012, drawing and collage on paper, 35 x 50 cm,
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Parpaings, 2012, inkjet print, edition of 3,
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Copy cut #1, #2, #3, collages of black and white laser photocopy pieces, 30 x 40 cm
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Plan-reliefs, 2011, balsa on plywood, 30 x 40 x 50 cm. Building grids, 2009, photogram on baryt paper, 24 x 32 cm,
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Modelo, 2012, balsa and wood, 30 x 45 x 25 cm,
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Red proun, 2012, 1”50′, edition of 3. Model maker, 2012, 1”30′, edition of 3,
exhibition view, déplis, trames et grilles, Dohyang Lee Gallery, photo © Aurélien Mole.

Kristina Solomoukha

dohyang lee — Sat, 17 Dec 2011 15:04:01 +0000

Kristina Solomoukha

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