Brussels Cologne Contemporaries

Heidi Ballet, former BCC curator, is mentioned among the 20 most influential young curators in Europe, on Artsy.

The 20 Most Influential Young Curators in Europe The canons of art history are fluid and changing. And it’s the role of curators to come in, make sense of it all, and present a picture of where art will head next. They act as stewards, activate ideas, draw connections, bring attention to lesser-known artists and overlooked regions, and highlight t…

January 17, 2015

Sam Steverlynck on BCC (hart-magazine) ENGLISH

Gezien: BRUSSELS COLOGNE CONTEMPORARIES (BCC) H ART is een tijdschrift dat elke drie weken verschijnt. H ART bericht op een alerte, kwaliteitsvolle en toegankelijke wijze over de hedendaagse kunst.

AND THE BCC AWARD 2015 GOES TO

VAAST COLSON

CONGRATS!!

Many thanks to the committee members:

Lorenzo Benedetti (director De Appel, Amsterdam), Nav Haq (curator M HKA, Antwerp), Laura Herman (independent curator, Brussels/New York), Frédéric de Goldschmidt (collector, Brussels), Carine Fol (director la Centrale for Contemporary Art, Brussels), Hans-Jürgen Hafner (director Kunstverein Düsseldorf) and Heidi Ballet (curator BCC 2015)

SPEND on bcc

Mateus West on BCC (DeMorgen.City)

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Sam Steverlynck on BCC (AGENDA magazine)

Donderen op Brussels Cologne Contemporaries | AGENDA magazine blog (© Habima Fuchs)Brussel mag zich dan wel – misschien al te vaak – spiegelen aan Parijs, er zijn in de wereld nog andere invloedssferen en modellen. Zoals Duitsland bijvoorbeeld. Een stad als Keulen was in de jaren 1970 het epicentrum van de...

This Friday at BCC:

WARHUS RITTERHAUS

HABIMA FUCHS born 1977 in Ostrov (CZ), lives and works in Berlin and Prague.

For several years now Habima Fuchs has been living as a nomad. Her art tells about her paths, and functions as an object of utility, a souvenir and an artefact. She integrates natural, cultural and spiritual identities, as well as everyday life and environment into her work with the consequence that things are not just objects of observation in a white cube, but they are staged in the exhibition space as if somebody is living together with them. The presentation of object collections as a coherent artistic installation addresses the transition of findings and everyday objects to art only through the artist’s will and with this a reconception of value in terms of price.

This Friday at BCC:

WALDBURGER WOUTERS

FILIP VAN DINGENEN, born 1975 in Diest (BE) and lives and works in Brussels.

‘The Belgian frank cries’, wrote Dutch newspaper De Telegraaf on December 7, 2001 as the news spread that Filip Van Dingenen stamped every banknote that passed through his hands with a tear. Over 500 stamps were distributed as an invitation to participate in adding a tear on banknotes that were covered with cultural heroes such as Magritte, Ensor, Permeke and Horta. Van Dingenen’s goal was to set up a rhizome of notes questioning and provoking the value and speculation of ‘signed’ or ‘non-signed’ notes in public space, a few months before they would leave circulation, when the Euro got introduced. After more then a decade of common currency the Euro still divides people, and nostalgic dreams about returning to national currencies are recurrent. Public Tears questions accurately those public emotions. Collective memory and human-animal relations are central in the oeuvre of Van Dingenen. Previous and ongoing works are Zoonation, Copito de Nieve, and Ecole Mondiale (currently on show at the gallery), in which Van Dingenen critically rethink a planned but never built school by former King Leopold II, by setting up field stations worldwide.

This Friday at BCC:

TRAMPOLINE

VAAST COLSON born 1977 in Kapellen (BE), lives and works in Antwerp.

Vaast Colson’s Refund Paintings consists of a number of rectangular and square fields of silver foil tape and coins applied directly on the booth walls, mimicking the standard presentation strategy for an art fair accrochage. The temporary and improvised quality of the monochromes questions the sustainability of value and challenges the aestheticization and recuperability of abstract painting. Fortunately the surface hides a generous compensation for the ones who decide to take the leap.

This Friday at BCC:

SCHMIDT & HANDRUP

TIMO SEBER, born 1984 in Cologne, lives and works in Berlin.

In Timo Seber’s tailor doll sculptures wear black capes with silk-screened Mahajara portraits and brass plates swathed by a single panel of a meters long hand-loomed original sari fabric. Seber examines the peculiarities of fame and its representations. He identifies different symptoms and motifs of contemporary fan culture and the adoration of historical and public figures. Conceptual practices, an ambiguous materiality and a self-reflective, personal impetus meet in mutual cross-references to create new narratives. Timo Seber has been studied at the Kunsthochschule für Medien K.ln under Prof. Marcel Odenbach und Prof. Johannes Wohnseifer. He was recently granted the Columbus Fellowship for Contemporary Art and the Award of the State of North Rhine Westphalia for emerging artists.