10.06 – 16.07.2022
Collecting the Alphabet: The Oracle’s Tongue
Kelly Schacht

Beige is excited to present Collecting the Alphabet: The Oracle’s Tongue, a new exhibition by Kelly Schacht (°1983, Roeselare, Belgium – Lives and works in Ghent, Belgium).

Opening: 09.06.2022, 17-20h

01.04 – 28.05.2022
Shot by Shot
Meggy Rustamova

Beige is delighted to present Shot by Shot, a new exhibition by Meggy Rustamova (b. 1985, Tbilisi, Georgia).

It will premiere the film Horaizon, an immersive and experimental film where sound and image have no hierarchy. The film addresses topics such as tourism, the human urge to visit landscapes and the ecological impact of this. Shot by Shot will showcase the bare bones of the filmic structure, as there are storyboards, the script and a film poster.

Opening: 31.03.2022, 17-20h

As the first exhibition of Beige’s 2022 program, Beige is pleased to present The Praise of Folly, a group exhibition with Maud Gourdon, Gaëlle Leenhardt and Jurgen Ots on view from January 28 to March 12, 2022.

The exhibition’s title is borrowed from the satirical writings ‘The Praise of Folly’ by Erasmus who resided once in the same borough of Brussels in the 16th century where all the artists in the show have a connection to. In this book, the author’s oblique attitude and his absurdly light-hearted expression led a critical mind to take a penetrating look at the world. The three artists here broadly represent this state of mind of the time in that they can probe into the prosaic minutiae of everyday life through their unique artistic process.

Often presented in minimal and precise arrangement, Maud Gourdon’s (b.1991, Beauvais, living and working in Brussels) installations are the result of intimate stories and objects wrapped up in a play of words, lines and multiple forms. Gourdon investigates history and traditions for possible connections – through analogy, homophony, homography, coincidence, slip of the pen or tongue – and brings materials together to create fictions of today.

Gaëlle Leenhardt (b.1987, Neuilly-sur-Seine, living and working in Brussels) builds a strong and intimate relationship with the context in which her works are created. Leenhardt’s sculptures are often made from materials from the construction sector, such as soil, concrete, rock or marble, which forces her works to remain non-permanent given their weight and size. In this respect, she uses photography as a tool to keep track of her work, but also as an essential part of her sculptures.

Jurgen Ots (b.1978, Dendermonde, living and working in Brussels) gives new life to used objects by turning them over, seeking them out and experimenting with them in assemblages, collages and animations. Crossing a fragile boundary between sculpture, installation and performance, Ots creates a singular visual language developed through repetitive gestures and extended ways of manipulation while exploring the possibilities of the image.

The reduced paintings and sculptures by Ute Müller take us to a timeless space where associations freely roam. Balancing on the edge of abstraction and figuration, form and anti-form, representation and presentation her works inhabit a curious space. Because of the share size of the works, the viewer not only mentally but also physically finds him- or herself immersed in the paintings or the architectural space created by the sculptures.

The colour palette is reduced by existing mainly out of blues and greys refers to dreamscapes. The shapes are reduced forms of daily objects that are then placed on top of the others to create their own language or story.  The works can be read as a modern ‘palimpsest’ or a visual kind of hard disk. The historically loaded technique of egg tempera brings about a translucent quality. The light breaks through layers of colours and lines.

Ute Müller is reducing the paintings to their bare essentials. She illustrates with one of her favourite quotes by the late Sol LeWitt: “Obviously a drawing of a person is not a real person but a drawing of a line is a real line”.

Ute Müller (b. 1978 in Graz, lives in Vienna) studied at the University of Applied Arts Vienna and at the Royal College of Art in London. She is a founding member of Black Pages: http://www.blackpages.at.

Exhibitions: Établissement d‘en face, Brussels; Kunsthalle Wien, Vienna; Galerie Max Hetzler, Berlin; Museum für angewandte Kunst Wien, Vienna; Tiroler Künstlerschaft – Kunstpavillon Innsbruck, Galerie Kunstbuero Wien (solo), Nomas Foundation Rom, Austrian Cultural Forum New York, Galerie Kamm Berlin, Künstlerhaus – Halle für Kunst & Medien Graz, Galleria Collicaligreggi Catania (solo), 21er Haus Wien, Pigna Project Space Rom, Kumho Museum Seoul, Galerie Dana Charkasi Wien (solo), Künstlerhaus Wien, Künstlerhaus Klagenfurt (solo), NJP Art Center Seoul.

 

BEIGE BRUSSELS is delighted to present its inaugural exhibition I Love Today, I Can’t Wait for Tomorrow. The exhibition showcases works by 4 artists: Laurie Charles, Chris Goennawein, Meggy Rustamova and Kato Six.

Laurie Charles’ (1987, Brussels) work draws on folklores, alternative medicine and histories with narrative and speculative fiction. Charles’ textile work Pharmakon, 2019, interprets a herstory of medicine. The symbols draw on mythological and historical stories of female health and healing: The moon represents the lunar cycle, which is closely linked to the menstrual cycle; the bowl with the snake refers to the pharmacy sign; the image of the hand with red-painted nails is linked to the healing power of the laying on of hands; ginger, spoons, scales, and herbs are all known as medical aiding instruments. They illustrate Charles’ interest for witchcraft, wellness, (female) health and illness.

The interdisciplinary oeuvre of Meggy Rustamova (1985, Tbilisi) consists of photographic works, videos, installations and performances. During her extensive travels Rustamova is often inspired by nature and the landscape in relation to the human presence, as one can tell from the photographic works Headlights and Rock Formation. Her work also offers a poetic look at the relationship between individual and collective memory, between language as communication and visual vocabulary. She searches for ways to translate contemporary social tendencies and issues into her own work, often by means of microhistories. Her latest film Babel shows the artist’s mother recalling Assyrian words. As she remembers some words, she is unable to cite everything. It talks about language and migration but also of memory or dementia, as she often explores the thin line between fact and fiction.

In her artistic research Kato Six (1986, Bruges) uses familiar material culture to reconfigure the ways we make ourselves at home in the world. She creates a poetic dialogue between a domestic space and a more formal environment. The sculpture Outer Hebrides, 2020, is based on a photograph the artist took while visiting one of Scotland’s outer islands. In resemblance to architectural practice she extracts the experience of landscape from its original form. In the Outer Hebrides / Dust, 2020, which relates to the sculpture, Six explores how far one can push a material until it goes beyond its conventional limits. Colored mdf plates are sanded and through static electricity fixed on the wall. The fragility of the work gives it a poetic status and raises questions about temporality, disintegration and decay.

The work of Chris Goennawein (1979, Heidelberg) is marked by a specific graphic precision. It is severe yet playful. A play on words is a recurrent theme throughout his oeuvre. The diptych Tabula Rasa Rasa Tabula, 2020, is a fine example of the interchangeability between words and images. He actives the viewer’s imagination while being economical with images. The neon illustrates a functional and alternative way to view the world around us.

BEIGE presents its two-part exhibition in separate venues: A Gust of Wind by Studio for Propositional Cinema, and RECORD: Redundant as eyelids in absence of light. by Hampus Lindwall & Studio for Propositional Cinema.

Studio for Propositional Cinema is known for their innovative exhibition formats and polemical poetics. Their work taps into the tradition of conceptual art and deals with the use of language as a means of creation, interpretation, and communication. This attitude often results in the exhibition space through text-based installations and audio works.

Hampus Lindwall is a Swedish organist and composer of contemporary experimental music. He frequently collaborates with artists like Cory Arcangel, Noriko Baba, Raphaël Cendo, John Duncan, Leif Elggren, and others.

The exhibition RECORD: Redundant as eyelids in absence of light consists of a libretto for a five-dimensional dystopian opera set in a society in which all forms of language and interpersonal communication have been mitigated or eliminated. It was realised in various formats: first as a concert, then as an exhibition at Kunst Halle Sankt Gallen and finally as a publication and vinyl record. The libretto was translated from English to Greek to an endangered Greek whistled language, then transcribed to musical notation. Each of the six songs of the libretto represents the desperate attempts of the protagonists to relearn various forms of communication.

 

BEIGE presents its two-parts exhibition in separate venues: A Gust of Wind by Studio for Propositional Cinema, and RECORD: Redundant as eyelids in absence of light. by Hampus Lindwall & Studio for Propositional Cinema.

Studio for Propositional Cinema is known for their innovative exhibition formats and polemic poetics. Their work taps into the tradition of conceptual art and deals with the use of language as a means of creation, interpretation and communication. This attitude results in the exhibition space as text installations and audio pieces. 

The exhibition A Gust of Wind is centred around a series of small publications produced in Naples between 2019 and 2021. The full series is shown together for the first time with hand-mixed silkscreens and framed at Beige. The series includes Ancient Knowledge Survival Kit (pub. Tanya Leighton), Fabulist Manifesto and The Storytellers’ Fountain [Frame Tale] (pub. Fondazione Morra Greco), Ancient Knowledge Survivalist Manifesto (pub. Jacob Lawrence Gallery), and Anatomy of a Disaster Film (pub. Beige). Anatomy of a Disaster Film is the fifth publication of A Gust of Wind, a publishing entity but also an archetypal fictional character who appeared in several past works by Studio for Propositional Cinema. It was hand-printed in a small linotype printing workshop in Naples, Italy, as part of an ongoing series of publications.

Studio for Propositional Cinema was founded in 2013 in Düsseldorf. Solo exhibitions and projects include Museum Abteiberg, Mönchengladbach (forthcoming), Fondazione Morra Greco, Naples (2019); Kestner Gesellschaft, Hannover (2017); Swiss Institute New York, New York (2017); Kunstverein Düsseldorf, Düsseldorf (2016); Taylor Macklin, Zurich (2016); Kunsthaus Bregenz, Bregenz (2016); Tanya Leighton, Berlin (2015); mumok, Vienna (2015). Performances: LISTE Performance Project, Basel (2018); Kunstsammlung NRW, Düsseldorf (2017); Kunsthal Bergen, Bergen (2016); Index, Stockholm (2016).