More news
- Koen Van Mechelen receives the 'Nica Award' in Linz for his Cosmopolitan Chicken Project
- Johan Creten in The New York Times
- Sven 't Jolle in the group exhibition 'To Have and Have Not' in HALLE 14, Leipzig (DE)
- Luc Tuymans: Graphic Works 1989-2012
- Manon de Boer: Encounters
- Joëlle Tuerlinckx: WORLD[K] IN PROGRESS?
- L’Internationale: a new European museum confederation takes shape
- Lara Dhondt: Memento
- Belgian artists on the 55th Venice Biennale
- Sven Augustijnen: Spectres
- Ann Veronica Janssens: Chapelle Saint-Vincent
- Paul Hendrikse, bolwerK, Damien De Lepeleire and Lieven Segers: Password Printmaking
- Vermeir & Heiremans: Art House Index
- New publication: Brussels Art Guide
- Maarten Vanden Eynde, Tinka Pittoors, Vermeir & Heiremans: INGREDIENTS
- Jan De Cock: Everything for you , Mexico-City
- Brussels is getting ready for the 31st edition of Art Brussels
- David Claerbout: solo exhibition in Kunsthalle Mainz
- Koenraad Dedobbeleer: You Export Reality to Where It Is You Get Your Money From
- Francis Alÿs, Michael Borremans and Panamarenko: Visions, an Atmosphere of Change
Germany - Bonn - Bonner Kunstverein - Matthieu Ronsse - The Spirit Moves Me
02/09/2010
September 18 – October 31, 2010
The Bonner Kunstverein presents the The Spirit Moves Me, Matthieu Ronsse's first institutional single exhibition outside of Belgium.
Two very different aspects of Ronsse's art have attrackted attention at most. One is the quality of his painting: Ronsse's almost disparate iconography entails interiors, everyday still lifes, snap-shots of hardcore concerts, pin-up girls and recurrent adaptations of art history: Da Vinci, Watteau, Goya, Manet, Fragonard and repeatedly, downright excessively, Velázquez; but also younger masters such as Dan Flavin and Joseph Kosuth. Ronsse translates these antetypes with a technical finesse only achieved by very few these days.
The other one is the elaborate and unfashionable narrative in which RONSSE embeds the aforementioned works. Ronsse's exhibitions consist of installations, performances and interventions that are more than an accompanying framework for his painted works. Ronsse typically brings (often huge) architectural structures from the studio to the exhibition space (ASYL, 2007) and fills it with everyday objects like a refrigerator, a basketball and a rifle. These elements noticeably shift the concept of his exhibitions away from merely looking at autonomous images to a more open form.
More information:
www.bonnerkunstverein.de
Image: Matthieu Ronsse, The End (of a couple of versions to move the home sick), 2007,
Galerie Luis Campaña, Cologne, Germany. Photo by Alistair Overbrück. Courtesy of Galerie Luis Campaña
