Ensemble: Catastrophe and The Relevance of Art
Catastrophe and The Relevance of Art (with a reflection by Nikita Kadan)
Art transcends the moment and situationalism. It has a proper autonomy, not in an abstract, detached sense but through its capacities of connection to reality. As in the video work of Oleksiy Say, it may sometimes allow to directly deal with the catastrophe. Art, however, always moves beyond the moment it initially addressed. It suggests ways to come to terms with experiences.
Jan de Lauré (Belgium, 1978), Marlene Dumas (South Africa, 1953), Jan Fabre (Belgium, 1958), Andriy Sagaidakovskiy (Ukraine, 1957), Oksana Shachko (Ukraine, 1987-2018), Luc Tuymans (Belgium, 1958)
Works
>Jan Fabre, Ik, aan het dromen [Me, Dreaming], 1978.Sculpture, mannequin, plaster, clothes, smoked meat, table, chair, microscope, nails, thumbnails, table; 70x 50 x 80 cm, chair; 140 x 50 x 40 cm; figure; 160 x 50 x 100 cm, microscope; 20 x 10 x 10 cm.
>Luc Tuymans, La Correspondance [The Correspondence], 1985.Painting, oil on canvas, 140 x 100 cm.
>Андрій Сагайдаковський / Andriy Sagaydakovskyi , ...чоловік сильно устав і хоче сильно спати/ A Man Is Weary And Wants To Sleep, 1990.Painting, oil on canvas.
>Marlene Dumas, Sacrifice, 1993.Painting, oil, canvas, 70 x 90 cm.
>Jan De Lauré, Untitled, 2015.Painting, oil on paper, 156.1 x 106 cm.
> Oksana Shachko / Оксана Шачко, Untitled (Crucified Virgin from Iconoclast series) / Без назви (Розіп’ята Діва з серії «Іконоборство»), 2016.Painting, tempera, egg yolk, gold leaf, wood, 33 x 24 cm.
> Oksana Shachko / Оксана Шачко, Untitled (Crucified Jesus with the Erection from Iconoclast series) / Без назви (Розіп’ятий Ісус з ерекцією з серії «Іконоборство»), 2016.Painting, tempera, egg yolk, gold leaf, wood, 33 x 23.5 cm.
>Sergey Bratkov / Сергій Братков, Lost, 2022.Print, digital print, acrylic, synthetic fabric, 214 x 144 cm.