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tentoonstelling
© Willem van Genk

Sous le vent de l’art brut 2. Collection De Stadshof

Collection De Stadshof on show in Paris
17.09.14 - 04.01.15

De Stadshof Collection is the Halle Saint Pierre’s second exhibition devoted to international collections of Outsider Art.

It wasn’t until the end of the Second World War that Outsider Art received its first exhibition. Collected by Dubuffet who gave it scope and legitimacy, Outsider Art still would not have emerged from obscurity if it hadn’t been for a handful of enlightened enthusiasts determined on discovering, gathering and showing these works, which in Dubuffet’s words display a “spontaneous and deeply inventive nature, owing as little as possible to traditional art or cultural clichés, and whose authors are obscure, foreign to the professional artistic world.” The impetus of various initiatives and independent networks thrust Outsider Art into the traditional cultural arena. Museums around the world opened their doors, collections and exhibitions were multiplied, books, journals and fanzines were published, followed more recently by websites. Environments created by “roadside visionaries” and other “builders of dream worlds” were discovered and some salvaged from destruction. Today, Outsider Art has been the object of every undertaking of recognition and media coverage. Although it is neither a movement nor a school, it nevertheless has its own history. Eluding the orthodoxy of Dubuffet’s positions, Outsider Art has achieved its place as an unconfined heritage whose contours are constantly evolving. In its wake, a heterodox artistic world has thrived where artists fully uphold their place, while remaining at odds with the “asphyxiating culture.” Choosing the liberty of alternate pathways and the audacity of the fringes, artists with very different undertakings, designated interchangeably as singular, outsider, outside the norm or neuve invention, have made their work a genuine private stage, the backdrop of a profoundly personal story. Primitive or refined experimenters of a great art or folk art romantics, they constitute a complex and diverse tribe.

The work that has been carried out at the Halle Saint Pierre over the last twenty years bears witness to the existence of these worlds. From our first exhibition in 1995 entitled Art Brut et Compagnie, whose aim was to reveal “the dark side of contemporary art”, to HEY: Modern Art & Pop Culture and Raw Vision, we have strived to bring to life another world of art, and to apprehend the subtle relationships that propel it, disregarding the logics of hierarchy. It is deeply meaningful to include and connect the art of the explorers of archaic languages, the magicians of raw materials, the primitive and refined experimenters of a great art, and event professional artists who are willingly libertarian. This approach enriches the repertoire of styles and transports us to the heart of the creative process itself. The Dutch De Stadshof Collection belongs to the generation of collections that helped legitimate artistic categories that had long been considered marginal. With six thousand works by over four hundred artists from around the world, it comprises a body of experiences and expressions, with no mutilating compromises. Initiated by Liesbeth Reith in 1985, it was transferred to Zwolle in 1994, and since 2002 is located in the Dr. Guislain Museum in Gand. The collection has always welcomed those human and artistic adventures which, in unexpected places within our competitive and efficient society, defy all our certainties and create novel, inventive responses.

Starring Dutch outsider artists as Willem van Genk, Siebe Wiemer Glastra, Bertus Jonkers, Herman Bossert, Roy Wenzel, Aaltje Dammer, Truus Kardol, Jan Kervezee, Henk Veenvliet, Lies Hutting, Hans Scholze, Joseph Selhorst, Paula Sluiter, Johnson Weree, and from other countries A.C.M., Yassir Amazine, Philippe Azéma, Bonifaci Bros, François Burland, Johann Garber, Martha Grunenwaldt, Saï Kijima, Rosemarie Koczÿ, Davood Koochaki, Marc Lamy, Pavel Leonov, Marie-Rose Lortet, Bonaria Manca, Markus Meurer, Michel Nedjar, Bruno Montpied, Adam Nidzgorski, Donald Pass, Christine Sefolosha, Jon Serl, Sylvia, Karin Zalin, Anna Zemánková.
www.hallesaintpierre.org

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tentoonstelling
© Erwin Olaf

Dark Chambers

On melancholy and depression
18.10.14 - 31.05.15

The tormented and depressed soul has always provoked questions. What is the difference between a depressed genius and the madman haunted by melancholic temperaments? What is the influence of the different bodily fluids on a man’s state of mind? Was melancholy caused by an excess of black bile? In which way is man subject to the changing of the seasons and what is the mysterious role of the planet Saturn?

Dark Chambers shows different forms of this age-old melancholy, but also sheds light on its contemporary and pathological counterpart, depression. It shows that melancholy has not only affected many artists and researchers, but also has inspired them. Dark Chambers takes a closer look at this artistic fascination and confronts it with the psychological dimension.

A richly illustrated catalogue accompanies this exhibition (N/F/E, 144 p., Uitgeverij Hannibal).

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tentoonstelling
© Galerie Albus Lux

Patch Places

Youth Care Organizations between Romance and Trauma
22.11.14 - 15.02.15

A warm family for children to grow up in: it’s a romantic idea. But what if the family doesn’t live up to the expectations? What if it is the minor who’s causing trouble? To protect the child, the government intervenes. But what does it mean for the child? Is the placement in an institution, that acts as a substitute for family, a resting place, a patch place, or is it a life changing, sometimes traumatic experience?

Patch Places depicts the history of youth care: from the optimism of the institution as a pedagogical solution until the most recent sensitivity towards the painful practices. Youth institutions provide care and protection, but can also leave a mark. Are children brought up or held back? Patch Places takes part in a lively and current debate and wants to intensify the many questions concerning youth care.

Read more
tentoonstelling
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22.12.2014
tentoonstelling

Sous le vent de l’art brut 2. Collection De Stadshof

Collection De Stadshof on show in Paris
17.09.14 - 04.01.15

De Stadshof Collection is the Halle Saint Pierre’s second exhibition devoted to international collections of Outsider Art.

It wasn’t until the end of the Second World War that Outsider Art received its first exhibition. Collected by Dubuffet who gave it scope and legitimacy, Outsider Art still would not have emerged from obscurity if it hadn’t been for a handful of enlightened enthusiasts determined on discovering, gathering and showing these works, which in Dubuffet’s words display a “spontaneous and deeply inventive nature, owing as little as possible to traditional art or cultural clichés, and whose authors are obscure, foreign to the professional artistic world.” The impetus of various initiatives and independent networks thrust Outsider Art into the traditional cultural arena. Museums around the world opened their doors, collections and exhibitions were multiplied, books, journals and fanzines were published, followed more recently by websites. Environments created by “roadside visionaries” and other “builders of dream worlds” were discovered and some salvaged from destruction. Today, Outsider Art has been the object of every undertaking of recognition and media coverage. Although it is neither a movement nor a school, it nevertheless has its own history. Eluding the orthodoxy of Dubuffet’s positions, Outsider Art has achieved its place as an unconfined heritage whose contours are constantly evolving. In its wake, a heterodox artistic world has thrived where artists fully uphold their place, while remaining at odds with the “asphyxiating culture.” Choosing the liberty of alternate pathways and the audacity of the fringes, artists with very different undertakings, designated interchangeably as singular, outsider, outside the norm or neuve invention, have made their work a genuine private stage, the backdrop of a profoundly personal story. Primitive or refined experimenters of a great art or folk art romantics, they constitute a complex and diverse tribe.

The work that has been carried out at the Halle Saint Pierre over the last twenty years bears witness to the existence of these worlds. From our first exhibition in 1995 entitled Art Brut et Compagnie, whose aim was to reveal “the dark side of contemporary art”, to HEY: Modern Art & Pop Culture and Raw Vision, we have strived to bring to life another world of art, and to apprehend the subtle relationships that propel it, disregarding the logics of hierarchy. It is deeply meaningful to include and connect the art of the explorers of archaic languages, the magicians of raw materials, the primitive and refined experimenters of a great art, and event professional artists who are willingly libertarian. This approach enriches the repertoire of styles and transports us to the heart of the creative process itself. The Dutch De Stadshof Collection belongs to the generation of collections that helped legitimate artistic categories that had long been considered marginal. With six thousand works by over four hundred artists from around the world, it comprises a body of experiences and expressions, with no mutilating compromises. Initiated by Liesbeth Reith in 1985, it was transferred to Zwolle in 1994, and since 2002 is located in the Dr. Guislain Museum in Gand. The collection has always welcomed those human and artistic adventures which, in unexpected places within our competitive and efficient society, defy all our certainties and create novel, inventive responses.

Starring Dutch outsider artists as Willem van Genk, Siebe Wiemer Glastra, Bertus Jonkers, Herman Bossert, Roy Wenzel, Aaltje Dammer, Truus Kardol, Jan Kervezee, Henk Veenvliet, Lies Hutting, Hans Scholze, Joseph Selhorst, Paula Sluiter, Johnson Weree, and from other countries A.C.M., Yassir Amazine, Philippe Azéma, Bonifaci Bros, François Burland, Johann Garber, Martha Grunenwaldt, Saï Kijima, Rosemarie Koczÿ, Davood Koochaki, Marc Lamy, Pavel Leonov, Marie-Rose Lortet, Bonaria Manca, Markus Meurer, Michel Nedjar, Bruno Montpied, Adam Nidzgorski, Donald Pass, Christine Sefolosha, Jon Serl, Sylvia, Karin Zalin, Anna Zemánková.
www.hallesaintpierre.org

Read more
tentoonstelling

Dark Chambers

On melancholy and depression
18.10.14 - 31.05.15

The tormented and depressed soul has always provoked questions. What is the difference between a depressed genius and the madman haunted by melancholic temperaments? What is the influence of the different bodily fluids on a man’s state of mind? Was melancholy caused by an excess of black bile? In which way is man subject to the changing of the seasons and what is the mysterious role of the planet Saturn?

Dark Chambers shows different forms of this age-old melancholy, but also sheds light on its contemporary and pathological counterpart, depression. It shows that melancholy has not only affected many artists and researchers, but also has inspired them. Dark Chambers takes a closer look at this artistic fascination and confronts it with the psychological dimension.

A richly illustrated catalogue accompanies this exhibition (N/F/E, 144 p., Uitgeverij Hannibal).

Read more
tentoonstelling

Patch Places

Youth Care Organizations between Romance and Trauma
22.11.14 - 15.02.15

A warm family for children to grow up in: it’s a romantic idea. But what if the family doesn’t live up to the expectations? What if it is the minor who’s causing trouble? To protect the child, the government intervenes. But what does it mean for the child? Is the placement in an institution, that acts as a substitute for family, a resting place, a patch place, or is it a life changing, sometimes traumatic experience?

Patch Places depicts the history of youth care: from the optimism of the institution as a pedagogical solution until the most recent sensitivity towards the painful practices. Youth institutions provide care and protection, but can also leave a mark. Are children brought up or held back? Patch Places takes part in a lively and current debate and wants to intensify the many questions concerning youth care.

Read more