Michaël Borremans: Eating The Beard. Taidehalli / Kunsthalle, Helsinki, 20 August - 9 October, 2011. Helsinki Festival Opening, 19 Aug 2011.
Official introduction: "The Belgian Michaël Borremans (b. 1963) is one of the most fascinating and sought-after artists today. Described as a sceptical romanticist, Borremans’ works contain a mysterious, even frightening tension. A virtuoso painter and draughtsman, Michaël Borremans conjures up strange scenes and mysterious figures that stay unsettlingly in the subconscious mind. The exhibition is the first major review of the artist’s work in Finland."
"In his art, Michaël Borremans’ investigates the individual’s identity, choices and potential for freedom. He also draws attention to conflicts between the individual and society, order and chaos, the moral and the forbidden. His works are studies as well as evidence of humanity. Borremans has said: ”My greatest fear? That people are not aware, and that is frightening.”"
My first encounter with Michaël Borremans' work. His paintings are figurative and representational, but they belong to no pastiche or photorealistic current. There is no post-modernist meta-dimension or self-reflectivity. Borremans reaches the level of the great figurative masters, but his visions are oneiric, and more precisely, nightmarish. I see Borremans as a surrealist. (I'm aware that artists hate labels but we critics need them). In the cinema I see affinities with David Lynch, Jan Švankmajer, and the Quay brothers.
In one word the exhibition is about death. La Mort en ce jardin. On the Beach (the Finnish title: Viimeisellä rannalla = "On the Last Beach"). Rigor mortis. Rue Morgue. Divina Commedia, Cantica I: Inferno. The Swan of Tuonela.
But this is no Orphic descent into the underworld, the land of Hades, producing art with messages from beyond that the whole living nature can listen. Instead, Borremans' works resemble death masks. The message seems to be that it's too late now.
The hanging of the paintings has done with great sensitivity and understanding, and Borremans thanked the Taidehalli staff emphatically. There is breathing space for the paintings, some of which are small in size but very forceful. The lighting at the Taidehalli exhibition is not especially bright. On the Taidehalli website the paintings seem brighter, and one can see details more clearly.
Worth watching even if you have visited the exhibition: Taidehalli @ Flickr.
A list of the paintings on the Taidehalli website is beyond the jump break:
Michaël Borremans, Red Hand, Green Hand, 2010. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, A2, 2004. Courtesy of Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, Dragonplant, 2003. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, Eating The Beard, 2010. Courtesy of Zeno X Gallery, Antwerp. Photo: Peter Peter Cox
Michaël Borremans, Sleeper, 2007–2008. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Case, 2009. Courtesy Zeno X Gallery, Antwerp. Photo Jürgen Doom
Michaël Borremans, The House of Opportunity: Voodoo!, 2004–2005. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Neck, 2006. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Villain, 2003. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Waiting Room (The Fingerwoman), 2007–2008. Courtesy Zeno X Gallery, Antwerp
Official introduction: "The Belgian Michaël Borremans (b. 1963) is one of the most fascinating and sought-after artists today. Described as a sceptical romanticist, Borremans’ works contain a mysterious, even frightening tension. A virtuoso painter and draughtsman, Michaël Borremans conjures up strange scenes and mysterious figures that stay unsettlingly in the subconscious mind. The exhibition is the first major review of the artist’s work in Finland."
"In his art, Michaël Borremans’ investigates the individual’s identity, choices and potential for freedom. He also draws attention to conflicts between the individual and society, order and chaos, the moral and the forbidden. His works are studies as well as evidence of humanity. Borremans has said: ”My greatest fear? That people are not aware, and that is frightening.”"
My first encounter with Michaël Borremans' work. His paintings are figurative and representational, but they belong to no pastiche or photorealistic current. There is no post-modernist meta-dimension or self-reflectivity. Borremans reaches the level of the great figurative masters, but his visions are oneiric, and more precisely, nightmarish. I see Borremans as a surrealist. (I'm aware that artists hate labels but we critics need them). In the cinema I see affinities with David Lynch, Jan Švankmajer, and the Quay brothers.
In one word the exhibition is about death. La Mort en ce jardin. On the Beach (the Finnish title: Viimeisellä rannalla = "On the Last Beach"). Rigor mortis. Rue Morgue. Divina Commedia, Cantica I: Inferno. The Swan of Tuonela.
But this is no Orphic descent into the underworld, the land of Hades, producing art with messages from beyond that the whole living nature can listen. Instead, Borremans' works resemble death masks. The message seems to be that it's too late now.
The hanging of the paintings has done with great sensitivity and understanding, and Borremans thanked the Taidehalli staff emphatically. There is breathing space for the paintings, some of which are small in size but very forceful. The lighting at the Taidehalli exhibition is not especially bright. On the Taidehalli website the paintings seem brighter, and one can see details more clearly.
Worth watching even if you have visited the exhibition: Taidehalli @ Flickr.
A list of the paintings on the Taidehalli website is beyond the jump break:
Michaël Borremans, Red Hand, Green Hand, 2010. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, A2, 2004. Courtesy of Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, Dragonplant, 2003. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, Eating The Beard, 2010. Courtesy of Zeno X Gallery, Antwerp. Photo: Peter Peter Cox
Michaël Borremans, Sleeper, 2007–2008. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Case, 2009. Courtesy Zeno X Gallery, Antwerp. Photo Jürgen Doom
Michaël Borremans, The House of Opportunity: Voodoo!, 2004–2005. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Neck, 2006. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Villain, 2003. Courtesy Zeno X Gallery, Antwerp. Photo Peter Cox
Michaël Borremans, The Waiting Room (The Fingerwoman), 2007–2008. Courtesy Zeno X Gallery, Antwerp
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