Joëlle Tuerlinckx
Table-Paysage (Landschatstafel) 'Berlin', 2011
board, wood, acrylic pigment, tape, painted table, brickstone found in Berlin
78 x 55 x 77 cm

"When men die, they enter history. When statues die, they enter art. This botany of death is what we call culture". So begins the documentary film realised by Alain Resnais and Chris Marker in 1953, Les Statues Meurent Aussi. The film is dedicated to the process of degradation and repression of African art and craft lead by the European colonisation. What follows, abstracting the film's most immediate political consequences, is a kind of existential poetics of both art and history: an object dies when the living glance trained upon it disappears. In the same way, whether through film, sculpture, drawing or painting, the work of the artists grouped together in Les Statues Meurent Aussi is an investigation into the mutability, contingency and evolution of forms. Their attitudes deal with the history of certain elements, giving them a new form and function. Whether reinvesting mundane materials such as glass or photocopied texts with a new aesthetic life, or exploring the structural language of painting, these artists conceptually and emotionally invest simple materials with a newfound poetic meaning, while offering a thoughtful meditation on the fragility of our lives and the objects that make up the world around us.

Nicholas Byrne, installation view


The young British painter Nicholas Byrne, through scratches and brush strokes creates sinuous lines that intersect in a kaleidoscope of abstract shapes, from which human figures emerge. The subject of his paintings seems to be the multiciplity of the art movements that inspired him, from the Baroque to Surrealism.

Nicholas Byrne (1979, Oldham, UK) lives and works in London.
Selected solo exhibitions: 2011 Faces, Nora Schultz / Nicholas Byrne, dépendance, Brussels; 2010 A Catholic Episode, Vilma Gold, London; 2008 Divider, Studio Voltaire, London
Selected group exhibitions: 2011 Nobody Can Tell The Why Of It, 1857, Oslo; 2010 Newspeak: British Art Now, Saatchi Gallery, London; Owl Stretching Time, Nordenhake, Berlin; 2009 The Dark Monarch, Tate St Ives, St Ives; 2008 Past-Forward, 176, London; 2007 Seven Metals Seven Planets Seven Days of the Week, Vilma Gold, London; Tales Of Songs, Marc Foxx Gallery, Los Angeles, CA

Nicholas Byrne
Sailor, 2011
oil on linen
110 x 60 x 1 cm

Nicholas Byrne
Scored Double, 2011
oil on linen
110 x 60 x 1 cm

Nicholas Byrne
Weave, 2011
oil on linen
50 x 35 x 1 cm


Elias Hansen uses glass as the main element of his sculptures, which evoke the still life tradition or the alchemical reports. The American artist uses glass blown by himself or variously modified, seeking in the transparency of the material a lightness that he relates to the miracle of the "chemical" transformation with all its derivations and ambiguities.

Elias Hansen (1979, Washington DC) lives and works in Upstate New York.
Selected solo exhibitions: 2011 You know we're nowhere near there, right?, Jonathan Viner Gallery, London; Next time, they'll know it's us, The Company, Los Angeles, CA; 2010 This is the Last Place I Could Hide, Maccarone, New York, NY; We Used To Get So High, Lawrimore Project, Seattle, WA; Predicting the Present, The Company, Los Angeles, CA; 2008 Kodiak (with Oscar Tuazon), Seattle Art Museum, Seattle, WA
Selected group exhibitions: 2010 Dynasty, Palais De Tokyo, Paris; Shadow, The Company, Los Angeles, CA; 2009 Spite House, Lawrimore Project, Seattle, WA; 2008 Sack of Bones, Peres Projects, Los Angeles, CA

Elias Hansen
I haven't been back there since, 2011
glass, LED light, steel, stone, vynil, wood
30 x 27 cm

Elias Hansen
I think I got off at the wrong stop, 2011
aluminium, stone, glass, wire
48 x 24,7 cm


In the sculptures of Danish artist Marie Lund it is not immediately clear whether a form has been left unfinished or been worn down, in a state of potential or nostalgia. Her purpose is to leave the interpretation open, in order to allude to an existing mechanism or to disclose it, as to invite the observer to shape his own view.

Marie Lund (1976, Copenhagen) lives and works in London.
Selected solo exhibitions: 2011 Two Ways to Fall, Proyectos Monclova, Mexico City; Turtles, Laura Bartlett Gallery, London. With Nina Beier: 2010 The Object Lessons, Mudam, Luxembourg; The Testimony, Contemporary Art Museum St. Louis, St. Louis, MO; 2009 Permanent Collection, Croy Nielsen, Berlin; 2008 All The Best, David Roberts Art Foundation, London
Selected group exhibitions: 2011 Inauguration show, Croy Nielsen, Berlin; Paysages avec Objets Absents, Kunsthalle Freiburg, Freiburg; Under Destruction, The Swiss Institute, New York, NY; 2010 Best Laid Plans, Drawing Room, London; Under Destruction, Museum Tinguely, Basel; Performative Strategies, Kunsthaus Glarus, Glarus; 2009 Audio, Video, Disco, Kunsthalle Zürich, Zurich; Getting Even - Oppositions and Dialogues, Kunstverein Hannover, Hannover; 2008 Nought To Sixty, ICA, London; Eurasia, MART, Rovereto; Laughing In A Foreign Language, Hayward Gallery, London; 2007 Actions & Interruptions, Tate Modern, London; The Difference Between Humans & Walls and The Division, Tate Britain, London

Marie Lund
The Very White Marbles, 2010
alabaster
23 x 25 x 12,5 cm
25 x 18 x 20 cm


The conceptual works by Belgian artist Joëlle Tuerlinckx offer a reflection on reproduction in art: true or false copies, experiments with pieces of paper or stone which generate landscapes in relation to light and time. The relationship between the exhibition support and the object on display is overturned, through a shift in the sense that enhances our sense of the world.

Joëlle Tuerlinckx (1958, Brussels) lives and works in Brussels.
Selected solo exhibitions: 2011 Musee De La Memoire-®Propriete Universelle, Cransac; 2009 Crystal Times - Reflexiones sin sol / Proyecciones sin objetos, Museo Reina Sofia, Madrid; 2007 64 Expositions-Minute, MAMCO, Geneva; 2006 After architecture after, deSingel, Antwerp; Drawing Inventory, Drawing Center, New York, NY; 2005 Le visiteur parfait, Ausstellungshalle Münster, Münster; 2003 _stat.ic, the TENT, Rotterdam; 2002 In Real Time, South London Gallery, London; 2000 Audio And Visual Days - journal de jours, argos, Brussels; 1994 pas d'histoire pas d'histoire, Witte de With, Rotterdam; 1991 27 mai 1991, ...(la date du j sour), Espais d'Art Contemporain, Lausanne
Selected group exhibitions: 2011 The Fifth Column/Die Fünfte Saüle, Secession, Vienna; 2010 La chambre de l’éloge: Marcel Broodthaers und heute, Kunstverein und Kunsthalle Düsseldorf, Dusseldorf; 2 ½ Dimensional: Film Featuring Architecture, deSingel, Antwerp; 2009 The State of Things, Palais des Beaux-Arts, Brussels / National Art Museum of China, Bejing; 2006 The Secret Theory Of Drawing, The Drawing Room, London; 2003 Once Upon a Time… A look at art in Belgium in the Nineties, MuHKA, Antwerp; 2002 Sculpture/Triple Base, Henry Moore Foundation, Leeds; 2000 Manifesta 3, Ljubljana; 1996 Inside the Visible, ICA, Boston / Whitechapel Art Gallery, London; 1987 Une architecture qui s'expose, Centre Georges Pompidou, Paris