| Terre à Terre | ||
| Maison de l'Art Actuel des Chartreux
26-28, rue des Chartreux
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| A r t i s t s : | P a u l M a l o n e | S t e r e o I n s t a l l a t i o n | more |
| N i c o l a R a e | E a r t h L a y e r s | more | |
| M i c k e y D e l l | P r i n t s | more |
| Exhibition opens :
1.11.2000 to 25.11.2000
Opening hours :
Heures d'ouvertures :
Open op woensdag, dinsdag en vrijdag van 11 tot 18u. Zaterdag van 13 tot 18u.
Vernissage :
31.10.2000 from 6.00 - 9.00 p.m. |
We are here |  |
About Maison de l'Art Actuel des Chartreux
The Maison de l'Art Actuel is located in the centre of Brussels next to the Bourse and in the old part of the city. The gallery consists of a shop frontage with addition showing space in the courtyard to the rear, which used to be a print works and is now a listed building. The Maison is committed to supporting the work of young artists and receives funds from the City of Brussels for this purpose. Above the gallery is a suite of studios where young artists from Belgium and other nationalities can take up residency for a period of 2 years. The Maison has been involved in numerous collaborations with other cultural organisations, in particular with artists from Eastern Europe.
| Private view night : | Left to right : Paul Malone, Nicola Rae, Marie-Claire Hürner, Mickey Dell and Andrea Addison from the British Council. |
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| Right : Artists and directors from the two Brussels venues |  |
Review of Terre à Terre in ‘La Libre Culture’ 22nd November 2000 by Claude Lorent. Translation from the French by Elizabeth Malone
“Reciprocity : As part of an exchange, five British visual artists were
showing at two premises in Brussels.
During the month of October, 6 visual artists from Brussels, four of whom
were Belgian, had been invited to London as part of an exchange program with
'La maison de l'art actuel des Charteux'. Therefore, this gallery and
another in Brussels received some artistes from the UK in return. It was an
occasion to discover the plastic propositions from the British artists, who
without having an internationally renowned reputation already possess great
credentials. This is an example of how 'Terre ŕ Terre establishes it's
contacts.
Nicola Rae took the theme of the exhibition to the letter as she collected many
various coloured soils in the course of her travels and turned them into
eventful and subtle pictures, which were constituted of strata, as if acting close to a core sample.
Mickey Dell, when she is not putting trees top to bottom, asks the visitors to discover the three-dimensional effect of a foreign countryside.
Paul Malone asks us to wear the blue and red glasses in visiting an underground world, from where rises up simple and also bizarre forms of occasionally erected sculptures. The popular fantasy of which does not save us at all from his cut up transparent Plexiglas forms, his blue galaxies and bursts of mercury.
At the 'Abel Joseph Gallery' Chris Marshall mounts on the wall, in densely
packed alignments, tubes of glass filled with red wine, forming, in relief, a
fragile translucency on which shadows and lights act as fleeting ephemeral
elements. California wine has never looked so good !
As for Liz Harrison, she presents wooden buildings with windows. Inside each of these is a little video screen showing rabbits. These are indeed good rabbit hutches, though the architecture and the dimensions do not really correspond - behind a window is a staircase. On the wall, is a colour photograph, taken somewhere in London, of the entrance to a block of council flats. The
question is why is this metaphor for uncomfortable-ness presented on such a
grey / gloomy bed? Could it be in treatment for some nondescript illness? Perhaps mental?
This is a typical disturbing piece of work. Between the images, imaginary and questioning, these English artists, some of them conceptual, travel between dreams and reality.”