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Up Next: Brussels Gallery Weekend 2017

This year marks the tenth anniversary of the event, which celebrates the wide range of proposals from contemporary art galleries in the Belgian capital

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Text by Noëlle Gardener

Things have changed since the era of Brussels Art Days: now known as Brussels Gallery Weekend, the tenth anual iteration of the event is celebrating the opening of the new art season with 41 galleries and a dozen institutions, as well as artist spaces.

For four days, from September 7-10, visitors will be able to discover the work of emerging talents from Europe and beyond, as well as new pieces from established names. Here are some highlights from this year’s selection.

The British artist will be presenting the self-exploration The Memory of Your Touch at the Xavier Hufkens Gallery. With close to ninety works in a wide range of media —including paintings, new bronze sculptures, works on paper, neon texts and a video— the exhibition reveals the most recent developments in Emin’s intensely personal yet profoundly universal oeuvre.

South-African born Geers is doing a double exhibition at Rodolphe Janssen and Didier Claes’ galleries, based on the impact of African art on the European avant-garde. You can read more about AfroPunk in our upcoming interview with the artist.

The Slovakian artist is presenting a selection of new and recent works in Chronosophia at Spazio Nobile. The standouts? The red edition of his Honeycomb Vase, made with the help of bees, and the Brancusi-inspired Endless Column. Read more about the show in our interview with Libertíny here.

Speaking of Brancusi, the work of the late Romanian icon is on display at Vedovi Gallery, with a selection of three celebrated pieces as part of the exhibition Toward the Absolute.

At Office Baroque the work of surrealist Hans Bellmer, who passed away in 1975, comes together with Sascha Braunig’s vibrant paintings featuring dream-like scenes and the sculptures of Matthew Ronay, which mix the vocabularies of modernist abstraction and ritualistic objects.

OV Project is showcasing what they call “a confrontation” between the late American painter Ted Stamm (USA, 1944 – 1984) and revered Dutch modern design pioneer Gerrit Rietveld —think of the Red Blue Chair against shaped canvases by Stamm.

Pierre Marie Giraud is hosting Cristal Blanc, an exhibition of new work by the Japanese glassmaker, whose approach melds ancient Italian glassmaking techniques with a contemporary aesthetic, and also draws up on a cross-cultural dialogue between European and Japanese sensibilities. To find out more, click here to read our piece on her process.

The Belgian conceptual artist will be presenting his Vision of the Owl at the Galerie Valérie Bach. The exhibition starts with the use of peep-holes to go inside the binocular sight of the bird, and from then on progresses to sculptures and installations that reference mythology and shamanism. Read about one of his previous projects, this time using chickens, here.

'Don't Go' from Tracey Emin's The Memory of Your Touch
Kendell Geers' 'Twilight of the Idols' at AfroPunk
Tomáš Libertíny's Honeycomb Vase (red edition) at Chronosophia
Matthew Ronay Cutaneous Limb, Droplet, Being, 2017. On display at Office Baroque.
Sascha Braunig Study for ‘Tub Nan’, 2017. On display at Office Baroque.
Sascha Braunig Study for ‘Tub Nan’, 2017. On display at Office Baroque.
Ted Stamm's SW-44, 1979 Oil on canvas. On display at OV Project.
Gerrit Rietveld's Zig-Zag Chair, 1932/1933. On display at OV Project.
Ritsue Mishima's Waterways (2017), on display at Pierre Marie Giraud.
From Koen Vanmechelen's Vision of the Owl, on display at the Galerie Valérie Bach.

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