Ellen de Bruijne Projects at Art Brussels 19 – 22 April 2012

Booth: 3A 15

Lara Almarcegui
gerlach en koop
Klaas Kloosterboer
Susan Philipsz
Evi Vingerling



At Art Brussels Ellen de Bruijne Projects will present two works by Lara Almarcegui. With her work she unravels what we otherwise fail to see in our hypersensitive (sub)urban surroundings.

Removing the outside wall of a ruined house, Taipei (2008) shows a neglected house in the city of Taipei, of which the outer wall has been taken down by the artist, previously separating the house from the city of Tai Pei. It is only one of the many examples of traditional houses that are threatened by city planners, to build more shopping malls. Not only is their value neglected, their presence is kept from sight by walls. By means of revealing sites that are hidden, the relations between environment and people are questioned – in past, present or future terms.

Removal of the wooden floor (2010) uncovers a quiet process that is concealed from the public. In fifty images Almarcegui takes the viewer through the entire process of taking the wooden pieces apart and relaying them, resulting in an almost identical floor. The artists question is not so much: what can I do to improve a certain place? But rather: what can I learn from it? What ultimately occurs is the documentation of a process with an almost invisible outcome. Although it has already come to a conclusion and is no longer accessible, it nonetheless remains present. The slide projection, showing two men at work, raises questions on the modern approach of progression, the environmental consequences of economical growth and the elapse from time and space

Lara Almarcegui was born in Zaragoza 1972, Spain and lives and works in Rotterdam. She studied Fine Arts at the University of Cuenca, and then at Ateliers 63 in Amsterdam. Her work has been shown internationally, including: Sala Rekalde, Bilbao (2008); Centre of Contemporary Art, Malaga (2007); FRAC Bourgogne, Dijon (2004); Group shows include: Taipei Biennale (2010); 3a Moscow Biennale of Contemporary Art (2009); 7a Gwangju Biennale (2008););Sharjah Art Biennial 8 (2007); 27a San Paulo Biennale (2006); Biacs2, 2a Seville Biennale (2006); Offentlig Handling (Public Ac)t, Lunds Konsthall, Lund (2005). Among her  recent solo shows are:
Secession, Vienna (2010); Ludlow38, New York
(2010); TENT, Rotterdam (2011)
This year her work will be included in Manifesta 9, Genk; TRACK, Gent and in a solo exhibition at Centro de Arte Dos de Mayo, Madrid.



He is asked to come to the police station and show this book. A friend tells him not to go, but he goes. The Inspector keeps him waiting outside his office. When he’s finally called in, the inspector seems to have forgotten all about the book. Almost disinterestedly he looks at the spine.
‘The Prince of Pickpockets’ by George Barrington. He flips through the pages. Upon finding a page showing some special tools the inspector opens his drawer, takes out a small pocket knife, opens it and hands it to him.
He steps back, examines the strangely curved blade with his thumb and then quickly draws a line across his heart, from left to right. As if to slice open his jacket. As if to slice open the skin underneath.
He looks up. The inspector is still reading. Small wonder, it’s his professional talent to make important moves go unnoticed.
He returns the knife.
And is given his book.
Awareness came after, in the hallway.
It was a trap.
And what was intended to be a provocative gesture was in fact driven by a certain premonition. Stupid. It’s an inspectors professional talent not to show what he already knows. They must be rummaging his apartment right now.
He rushes down the stairs of the police station and up the stairs to his apartment.
The door is open.
No one inside.*

gerlach en koop is a collective of two artists from the Netherlands who gave up the habit of writing their proper name with a capital letter in order to be able to merge into one collective artist. Their work is often described as minimal, but this minimalism is not achieved through a process of successive removal, it’s just that not very much is added. They are not confined to any medium, but use whatever is effective, or use its ineffectiveness to their benefit.

The objects and gestures of gerlach en koop possess a certain elegance and mysteriousness, but can be very plain as well. Their focus is directed towards the potential of objects to acquire meaning, a potential that can be exhausted, but also be deliberately blocked. As a result their titles can be very long and descriptive and sometimes annoyingly short and incomprehensible. The possibility to be mistaken, to digress or to fail is taken into account, and can be meaningful in itself. As long as it is unheroic. They know too well failure in art is somewhat overrated.

At the fair gerlach en koop will show an older work, a fairly recent work and possibly a new one.

gerlach en koop live and work in The Hague and Brussels. They have had solo exhibitions such as Kunstboeken (naast de kunst) in the library of the Van Abbemuseum, Eindhoven (2004); En gerlach en koop,1646, The Hague (2010) and Niet niet precies. Not not precise. Pas pas précis. Ellen de Bruijne Projects, Amsterdam (2010). In May a solo exhibition called Others’ Structures will open, as part of the ‘New Existentialism series’ curated by Alexandra Blättler at the Gebert Stiftung für Kultur, *KURATOR in Rapperswil-Jona, Switzerland. Their work was featured in various group exhibitions, such as ‘Lost Tongues Rediscovered’, Stroom Den Haag, The Netherlands; ‘the place to be’ at the Kröller-Müller Museum, Otterlo (2008); ‘Radical Autonomy, Le Grand Café, Saint-Nazaire, France (2009); ‘Faux Jumeaux’, S.M.A.K., Gent, Belgium, ‘For the blind man in the dark room looking for the black cat that isn’t there’ at de Appel, Amsterdam (2010); ‘Keep floors and passages clear’ at White Columns, New York (2011); ‘Radical Autonomy / nieuwe werelden van niks’ at Netwerk, Aalst, Belgium (2011); ‘Found in Translation, Chapter L’, at Casino Luxembourg and Autumn of Modernism, De Vleeshal, Middelburg (2012). Next groupshow  will be ‘Autumn of Modernism’ at Temporary Gallery Cologne, Germany, september 2012.



Whether it’s a painting, video or sculpture, the work of Klaas Kloosterboer derives from the same world of ideas, in which acted action and drama are central points of departure. With this more theatrical way of thinking, Kloosterboer expresses his opinion that for him making art is an act of making an action, resulting in an art piece, id est an acted art piece.

At Art Brussels 2012, Ellen de Bruijne Projects will present several works from the extensive oeuvre of Klaas Kloosterboer. In these works his above shortly mentioned views on art are lively visible. For instance the act of painting is like a ritual of occupation, in which one thing takes place so that another cannot.
The three-dimensional work 09162, consisting of three boxes and four newspaper pages, is above all a “covering-act” or ritual of occupation. Whether the paint is squirted over, thrown on, sprayed or ‘traditionally’ painted, it remains a specific irreversible act, after which all other possible acts are excluded.
Kloosterboers two-dimensional work is also an outcome of this same philosophy. Different terms, closely related to the keyword action, are made nearly recognizable or even invisible. The writing of these words can be interpreted as Kloosterboers first act of covering the canvas, followed by a second. These works also seem to illustrate another vision of the artist, namely the action being more important than the eventual product; “the work does not matter”.

But if the “work does not matter”, why are they so present? This is only one of the many conflicting or contradicting thoughts of Kloosterboer, which he uses to build on and at the same time questions the work, creating painterly sculptures and sculptural paintings.

Klaas Kloosterboer (NL, 1959) lives and works in Amsterdam after attending the Rijksakademie there. He had solo exhibitions at Badischer Kunstverein, Karlruhe (2003), and at Villa Roma, Florence (2010). As part of the Reykjavik Arts Festival (2009), he had a solo exhibition in Sudsvestur. He participated in ‘Bildraum Erweitert’ at Museum Dhondt-Dhaenens, Deurle (1997); The ‘Projection Project, Budapest episode’ at Kunsthalle, Budapest (2007) and ‘Dutch Connections’ at Hebel 121 in Basel (2010). His work can be found in private collections in Norway, Iceland, The Netherlands, Germany and Belgium. Public collections like the Schunck Museum, Heerlen; Museum Boijmans van Beuningen, Rotterdam; Centraal Museum, Utrecht and Stedelijk Museum, Amsterdam own his work. In 2009 Museum Boijmans van Beuningen presented work by Kloosterboer in two rooms during a group show with overview of part of their collection just like the Stedelijk Museum in the “Maurice van Valen Collection” exhibition in 2011.



At Art Brussels 2012 Ellen the Bruijne Projects will present The Two Sisters by Turner Prize winner Susan Philipsz. This remarkable work, specially made for the gallery, consists of a two channel sound installation with voice and a surround sound part with violins. The story of The Two Sisters touches on themes of repetition, loss and memory.

The ballad The Wind and the Rain has been around for hundreds of years and is still sung today. It has its origins in Scotland and Ireland and was published as The Twa Sisters in Jamieson’s Popular Ballads in 1656. The song has many versions but its essence remains the same. The story is one of sororicide, of one sister drowning her sibling in a jealous rage. The river carries her lifeless body until a fiddler discovers her remains. The founder constructs her bones and hair into a fiddle but the haunted instrument can only play one song, being The Wind and the Rain. In some extended versions of the song the fiddle incriminates the first sister; accusing her by reperforming the ballad.

The Two Sisters sound installation plays two versions of the song from two separate speakers simultaneously. While one version is sung in the third person the second version is sung in the first person, as if taking on the figure of the drowned sister. The two voices overlap, doubling the song in space. The second and fourth lines of each verse are identical so while the different versions merge and get lost in each other they come back together at the refrain. The song is accompanied by a violin piece as a surround installation. The notes of the violin are taken from the song, and function as an ongoing echo. After the songs are finished there is a short silence and the work starts again.

Susan Philipsz was born in Glasgow 1965, studied Fine Art at Duncan of Jordanstone, Dundee and completed her MA in Fine Art in Belfast. She now lives and works in Berlin. In 2010 she won the Turner Prize. She participated in Skulptur Projekte Münster (2007), Carnegie International and Sydney Biennial (2008) and the Sao Paolo Biennial (2009). She had solo exhibitions at the Ludwig Forum für Internationale Kunst, Aachen (2011) and at the Glasgow International (2010). This year her work will be included in the Sculpture Park of Frieze New York 2012, curated by Tom Eccles; dOCUMENTA (13) and at this moment her solo exhibition “It means nothing to me” is still running in Beijing.



At Art Brussels 2012 Ellen de Bruijne Projects will be presenting work by Evi Vingerling. Her paintings, on both canvas and wall, refer to the often overlooked visual system of the world around her. Taking objects and visual experiences from everyday life, she pulls them out of their context by wiping out all specific references. In this way Vingerling not only distills common visuals from her surroundings but reduces them to their fundamental characteristics.

Deliberately leaving her paintings in their prime stage, Vingerling appeals to the personal connotation of the viewer, without becoming overly sentimental. The sharp geometrical arrangements are product of combining her affinity for mathematical forms, the transcendentalism of philosopher Ralph Waldo Emerson and of course her own personal memories. With only minimal brush marks she manages to create a whole world of meanings, even though one –namely her own- prevails, being the indicator. Maybe it is this almost competitive interaction between the viewers’ connotation and the artists’ that gives Evi Vingerlings work its enchanting quality.

Evi Vingerling is born in 1979. She lives and works in Amsterdam and New York. She was educated at the Royal Academy for Visual Arts in The Hague (1998-2002) and at the Rijksakademie in Amsterdam (2005-2006). In 2006 she received the Buning Brongers prize for painting, in 2008 she was nominated for the Wolvecampprize. She has participated in many group shows around the world: 2011 “Pep” (Tada-projects, Post-Museum, Singapore), in 2010 “L’exposition continue” (CNEAI, Chatou, France) in 2009 “I Love the Benelux ” at the gallery Voldere Virgil (New York City, United Kingdom). At the moment her work is also included in “What’s up- The youngest painting practice in Holland” at Dordrechts Museum.


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