ARTISTS represented by the Gallery
35 SYNONYMS FOR 'HAMMERED INTO', A FAMILY PACK OF YOKES, ONE PUDDLE, ONE DRINK, AND A FIRM PROMISE OF FUTURE SCHEMES
DURING ART ROTTERDAM THE GALLERY IS CLOSED UNTIL 5 JULY. VISITING THE EXHIBITION ONLY BY RENDEZ - VOUS.
The new exhibition at the gallery is the conclusion and relocation of a previous show that was loaned out to its visitors for a year.
The previous show in Yuri G. Gallery in Antwerp displayed a total of 29 hammers in varying combinations of lengths, weights, heads and handles, and arranged in 9 wooden frames. Additionally, a total of 9 yokes in three variations, were displayed together on a stand.
The hammers and the yokes were loaned out to those who visited the show, resulting in an exhibition of empty frames and gaps. They served as a promise to meet at a future date, when the hammers would be returned.
During the opening of this exhibition the loan ended and each hammer or yoke was returned to its original frame or stand.
The current show includes one puddle, one drink and a firm promise of future schemes.
A publication is available as a report of the loan.
Guy Van Bossche
Philippe Van Snick
Wesley Meuris’s most recent works focus on space and more specifically the way in which the machines that humankind sends into space – satellites, probes – live there. Through volumes, graphic works and seemingly abstract panels, the artist introduces a new perspective on the thousands of spacecraft that currently populate the cosmos.
Wesley Meuris’s latest works – sculptures and graphic works – do not conform to these stereotypes; his representations are both more synthetic and, although he denies doing science, undoubtedly more analytical and therefore scientific. In his previous works the artist questioned the institutional architectures that surrounded us, presenting fictitious reproductions of them based on existing typologies and systems. He thus casts a critical and somewhat ironic gaze at the phenomena of standardization at work in these architectures, and in doing so he (almost) always relied on a frontal approach. Here the deconstruction is less about the elements themselves – which retain their opacity – than about their representation in science and the imagination. For Meuris, it is a matter of shifting the gaze, of moving from a frontal gaze to a vertical gaze in the context of a fusion between humankind, the environment, nature and technology. This gaze would no longer position humankind at the centre of the representation, but would question the place it occupies in its immediate and distant environment.
Extract: Between Imagination and Reality: The Conquest of a New Space by Colette Dubois