Terre a Terre : A.P.T. Gallery

London - Brussels Exchange :

Terre à Terre

A.P.T. Gallery
6, Creekside
London SE8
+44 (0)20 8692 1427

From Deptford Creek Terre a Terre : Private View

A r t i s t s :

B é n é d i c t e H e n d e r i c k e
Originally on the bare ground, then fixed on the wall, today the works of Bénédicte Henderick rest on a base. They do not lose solemnity but rather appear liberated. Her first works often represented fertility in an organic way. The recent structures of Bénédicte Henderick are like the foundations of a choreographic enactment.
In performances without actions, offering even more pleasure, they give rhythm to fictive residues of a traumatic scene. Pegs, tenons and mortises become crosspieces and out-jutting suspensions out of which, suddenly, a piece of red wool flows; a terrifying tear of blood that petrifies us. Elsewhere, other structures borrow their shape from a table or bed, remaining patiently bare, and seem naked after the sight of the previous structures.
Ambivalent and introspective, the works of Bénédicte Henderick encourage us to create our own interpretations. Each piece contains a promise that only the observer will be able to hold or not; by our presence, we are so much intimately linked to the uncoiling of the mechanical and suspended ballet through which the work reveals itself. No one knows, the artist or ourselves, who will get out unharmed from this battlefield.

Ar m a u d L e s t a r d
Une ville sur la frontière nord-est de la France Les trois frontières: Luxembourg, Belgique, France Le bassin sidérurgique de Longwy. 1980: les friches industrielles remplaçent les usines. Un "No Man's Land".
1998/1999 on enterre mes grands-parents. Leur maison est à vendre.
Un moi après, je décide d'y aller. J'ai pris un camescope. Dans le train qui m'ennéne à Longwy, je fais une liste; Un Inventaire de la maison.
les Maisons d'ouvriers.l963 Le Lotissement, chapelets de maisons le long des fils électriques Toutes sent construites sur la même base: Un parallélogramme rectangle surmonté d'un toit à deux pents
A l'intéieur, rien n'a bougé,tout eat en place:
-la timbale en fer blanc retournée à coté de l'évier
-l'odeur du paprika dens l'placard de le cuisine
-la toile cirée
-l’ allume gaz fenêtre horizontale qui eblouie dans la buanderie
-le frottement des mules quand j' marche sur la chape de ciment
-le zinzin du frigo
-la photo de famille des 40 ans de mariages
-le Clint Eastnood dans l'fond de tiroir de la table de chevet
-les couteaux aw manches perçés
-le bruit de la cuillère à soupe sur le tuyaux d'chauffage pour réveiller 1'Henri.
Des brides de mémoire recenscées sur ma liste Au grenier je retrouve le poste radio st décide de le descendre dans la cuisine Je l'allume et tombe juste sur la messe en allemand. La maison est vide , un drôle de sentiment m'envahie, je commence à filmer. Inventaire avant liquidation.

English Translation
House for sale
A city on the north-eastern border of France three borders: Luxembourg, Belgium, France. The iron and steel basin of Longwy. 1980: Industrial waste lands replace the factories. " No Man' s Land ".
1998/1999 My grandparents are buried. Their house is to be sold.
I decide to go there. I took a video camera. In the train in which I travel to Longwy I make a list. An inventory of the house.
The rows of working class houses built in 1963 with allotments, chains along an electric wire. All built in the same style: a surmounted right-angled parallelogram of two sloping roofs.
The inteior - nothing moved - all in its place:
- the white metal drinking cup turned over in the sink
- the smell of paprika in the kitchen wall cupboard.
- the oil-cloth covered table
- the dazzling horizontal light coming through the wash house window
- the sound of the slippers when I walk over the cement floor
- the zinzin of the refrigerator
- the photograph of 40 year old family of marriages
- Clint Eastwood picture in the drawer of the bedside table
- the sharp knives with their handles
- the noise of the spoon in my soup
- the sound of the heating pipes when I awake.
I add memories to my inventory list.
In the attic I find a radio and decide to take it down into the kitchen. I turn it on and it’s on a German station playing mass. The house is empty, a funny feeling of being invaded by me.
I start to film.
Inventory before liquidation.

C h a n t a l M a e s
Since 1997 my photographic work has been based on and in international airports. I am interested in peoples’ behaviour in this particular social environment where the employees, who work in the public areas, are constrained to permanently represent the public face of a business corporation. This means that their possibilities of intimacy become practically non-existent.
Parallel to the external activity each one carries out, each travels in her interior world - an individual alone and solitary. The professional role obliges the person to reduce her intimate dialogue to nothing. She remains indestructible in an interior silence. It is in this state, where the individual finds the heart of herself and the interior emerges that I make my artistic work.
The large size of my photographs underscores these attitudes of absence from the world which surrounds and makes demands on them. This format reaffirms with force the existence of the individual. It is my manner of re-registering them in the world.

T a d z i o K o e l b
Tadzio Martin Koelb studied painting in Paris and Barcelona and hold a Master's degree from the Winchester School of Art.
Tadzio was in residence at the Maison d'Art Actuel des Chartreux (MAAC) from May 1997 until January 2000, recipient of a studio and a European travel grant; in 1999 the Echevin des Beaux-Arts acquired his painting Blue Face for the City of Brussels.
His artwork has been exhibited at the Cubitt Gallery in London, MAAC and the Moving Art Studios in Brussels, and Panorama Gallery, Can Felipe Cultural Centre, and the annual juried Tallers Oberts in Barcelona. It has also been reproduced in the publications Whatever, Bizára, and Downtown. In 1994 he was joint recipient of a New York Foundation for the Arts (NYFA) Exhibition Grant.
Tadzio's writing on art appeared in both the arts and features sections of a national Belgian newsweekly for almost three years, and accompanied exhibitions at the MAAC, Moving Art Studios and Hanse-office galleries in Brussels. He is also author of a novel, Fate's Lieutenant.

S c o t t M e l l e n

C h r i s t i a n M e y n e n

Exhibition opens :
4.10.2000 to 21.10.2000
Thursday to Sunday : 12 - 6 p.m.
Private View :
3.10.2000 from 6.30 - 8.30 p.m.

Terre à Terre
A.P.T. Gallery 6, Creekside London SE8 +44 (0)20 8692 1427
	From Deptford Creek	Terre a Terre : Private View

A r t i s t s :
B é n é d i c t e H e n d e r i c k e Originally on the bare ground, then fixed on the wall, today the works of Bénédicte Henderick rest on a base. They do not lose solemnity but rather appear liberated. Her first works often represented fertility in an organic way. The recent structures of Bénédicte Henderick are like the foundations of a choreographic enactment. In performances without actions, offering even more pleasure, they give rhythm to fictive residues of a traumatic scene. Pegs, tenons and mortises become crosspieces and out-jutting suspensions out of which, suddenly, a piece of red wool flows; a terrifying tear of blood that petrifies us. Elsewhere, other structures borrow their shape from a table or bed, remaining patiently bare, and seem naked after the sight of the previous structures. Ambivalent and introspective, the works of Bénédicte Henderick encourage us to create our own interpretations. Each piece contains a promise that only the observer will be able to hold or not; by our presence, we are so much intimately linked to the uncoiling of the mechanical and suspended ballet through which the work reveals itself. No one knows, the artist or ourselves, who will get out unharmed from this battlefield.
	Ar m a u d L e s t a r d Une ville sur la frontière nord-est de la France Les trois frontières: Luxembourg, Belgique, France Le bassin sidérurgique de Longwy. 1980: les friches industrielles remplaçent les usines. Un "No Man's Land". 1998/1999 on enterre mes grands-parents. Leur maison est à vendre. Un moi après, je décide d'y aller. J'ai pris un camescope. Dans le train qui m'ennéne à Longwy, je fais une liste; Un Inventaire de la maison. les Maisons d'ouvriers.l963 Le Lotissement, chapelets de maisons le long des fils électriques Toutes sent construites sur la même base: Un parallélogramme rectangle surmonté d'un toit à deux pents A l'intéieur, rien n'a bougé,tout eat en place: -la timbale en fer blanc retournée à coté de l'évier -l'odeur du paprika dens l'placard de le cuisine -la toile cirée -l’ allume gaz fenêtre horizontale qui eblouie dans la buanderie -le frottement des mules quand j' marche sur la chape de ciment -le zinzin du frigo -la photo de famille des 40 ans de mariages -le Clint Eastnood dans l'fond de tiroir de la table de chevet -les couteaux aw manches perçés -le bruit de la cuillère à soupe sur le tuyaux d'chauffage pour réveiller 1'Henri. Des brides de mémoire recenscées sur ma liste Au grenier je retrouve le poste radio st décide de le descendre dans la cuisine Je l'allume et tombe juste sur la messe en allemand. La maison est vide , un drôle de sentiment m'envahie, je commence à filmer. Inventaire avant liquidation. English Translation House for sale A city on the north-eastern border of France three borders: Luxembourg, Belgium, France. The iron and steel basin of Longwy. 1980: Industrial waste lands replace the factories. " No Man' s Land ". 1998/1999 My grandparents are buried. Their house is to be sold. I decide to go there. I took a video camera. In the train in which I travel to Longwy I make a list. An inventory of the house. The rows of working class houses built in 1963 with allotments, chains along an electric wire. All built in the same style: a surmounted right-angled parallelogram of two sloping roofs. The inteior - nothing moved - all in its place: - the white metal drinking cup turned over in the sink - the smell of paprika in the kitchen wall cupboard. - the oil-cloth covered table - the dazzling horizontal light coming through the wash house window - the sound of the slippers when I walk over the cement floor - the zinzin of the refrigerator - the photograph of 40 year old family of marriages - Clint Eastwood picture in the drawer of the bedside table - the sharp knives with their handles - the noise of the spoon in my soup - the sound of the heating pipes when I awake. I add memories to my inventory list. In the attic I find a radio and decide to take it down into the kitchen. I turn it on and it’s on a German station playing mass. The house is empty, a funny feeling of being invaded by me. I start to film. Inventory before liquidation.
C h a n t a l M a e s Since 1997 my photographic work has been based on and in international airports. I am interested in peoples’ behaviour in this particular social environment where the employees, who work in the public areas, are constrained to permanently represent the public face of a business corporation. This means that their possibilities of intimacy become practically non-existent. Parallel to the external activity each one carries out, each travels in her interior world - an individual alone and solitary. The professional role obliges the person to reduce her intimate dialogue to nothing. She remains indestructible in an interior silence. It is in this state, where the individual finds the heart of herself and the interior emerges that I make my artistic work. The large size of my photographs underscores these attitudes of absence from the world which surrounds and makes demands on them. This format reaffirms with force the existence of the individual. It is my manner of re-registering them in the world.
	T a d z i o K o e l b Tadzio Martin Koelb studied painting in Paris and Barcelona and hold a Master's degree from the Winchester School of Art. Tadzio was in residence at the Maison d'Art Actuel des Chartreux (MAAC) from May 1997 until January 2000, recipient of a studio and a European travel grant; in 1999 the Echevin des Beaux-Arts acquired his painting Blue Face for the City of Brussels. His artwork has been exhibited at the Cubitt Gallery in London, MAAC and the Moving Art Studios in Brussels, and Panorama Gallery, Can Felipe Cultural Centre, and the annual juried Tallers Oberts in Barcelona. It has also been reproduced in the publications Whatever, Bizára, and Downtown. In 1994 he was joint recipient of a New York Foundation for the Arts (NYFA) Exhibition Grant. Tadzio's writing on art appeared in both the arts and features sections of a national Belgian newsweekly for almost three years, and accompanied exhibitions at the MAAC, Moving Art Studios and Hanse-office galleries in Brussels. He is also author of a novel, Fate's Lieutenant.
S c o t t M e l l e n
	C h r i s t i a n M e y n e n