Recent entries
- BRAK 4: Thomas I’Anson and G.J. de Rook
- A spectacle of consequences
- Documentatie Brak
- BRAK 2.7: gerlach en koop and Martijn in ‘t Veld
- BRAK 3: ADA and Frédéric Sanchez
- BRAK 3: ADA | About Games and Being Serious
- BRAK 2.5: David Stamp ‘The Which, The Where, The When, The How’
- BRAK TALK 2: Beside Itself
- BRAK 2: Bas van den Hurk and Martijn Hendriks
- BRAK TALK 1: New Minimalism
BRAK
BRAK TALK 2: Beside Itself
Sunday March 11, 2011 at 2.30pm
Featuring Matthew Lutz-Kinoy, Lee Welch & Sjoerd Westbroek moderated by Edward Clydesdale Thomson
BRAK TALK is the discursive arm of the new Rotterdam exhibition platform BRAK. The second BRAK TALK, on Sunday March 6 at 2.30pm in Duende, brings together three diverse voices in a dialogue around some of the themes, questions and positions raised by our current exhibition of Martijn Hendriks’ and Bas van den Hurk’s work.
The BRAK TALK discussion will focus on three aspects present in the exhibition: an inquiry into mark making, how to negotiate with the canon, and the appropriation of divergent historic voices. Each speakers practice being defined by one of these aspects; the BRAK TALK discussion aims to open up the reading of the exhibition and promote a ‘looking again’ at the works, by examining them through the lens of parallel practices and discourses.
The exhibition ‘Beside Itself’ is a collaboration between Martijn Hendriks and Bas van den Hurk reflecting on contemporary relations to minimalism. The starting-point for their exhibition has been the article ‘Painting Beside Itself’ by David Joselit, in which he claims that within contemporary painting there is a way out of the cul-de-sac of fundamental artistic problems by conceiving painting in a broader sense and to include it in economic, media- and discursive networks.
Matthew Lutz-Kinoy will present an artist talk in which he negotiates his position to the death of expressionism within painting and its redemption for him through dance. Lutz-Kinoy’s performative method of dealing with specific schools or dogmas expresses the potential of a personal reworking of the canon; while his practice exemplifies painting in the expanded field, promoted by Joselit’s essay, and used as the departure point for the exhibition.
Tangible in the work of Bas van den Hurk is the physical act of mark making and the joy and struggle with which he delicately marks the canvas. The core of Sjoerd Westbroek’s practice is a rigorous exploration of mark making; in a playful, yet critical manor he systematically examines what it means to make a drawing, what to draw, and most importantly why to draw. His lecture on mark making stems from these reflections, but expands them into a more general field.
Lee Welch will give a number of short performances in which he speaks through the words, images and actions of others. This ventriloquist position adopted by Welch is clearly situated in the present but composed completely for fragments and voices from the past, yet it is not historicizing. His sources become letters, signs and symbols in a new language which traverses or shortcuts multiple histories, in a mode akin to that of the referentiality in Hendriks’ practice.
Made possible with the generous support of Gemeente Rotterdam, dienst Kunst en Cultuur.
