Yoshitaka Amano. "Landing", 2002, acrílic on aluminium. 200 x 200 cm
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Rue de Livourne 35, Brussels
Janssen feat. Janssen
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Galerie Rodolphe Janssen
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march 2004
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http://www.artnet.com
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For this first show of 2004, Rodolphe Janssen invited the director of the Michael Janssen Gallery in Cologne, Germany and of the Happy Lion Gallery of Los Angeles, to present works by seven of its painters. The Janssens, Rodolphe and Michael, who share the same last name and are long-time friends, present this joint project to reveal international artists who never, or seldom, have exhibited in Belgium, and to underline, through the diversity of their works, a renovation that has been taking place in painting these last years.
The artists who presented their work at this exhibition were: Yoshitaka Amano (1952, Japan), Torben Giehler (1973, Germany), Thomas Grünfeld (1956, Germany), Paul Morrison (1966, United Kingdom), Les Rogers (1966, United States), Thaddeus Strode (1964, United States), Peter Zimmermann (1956, Germany).
Yoshitaka Amano, for example, is an artist who was born in Shizuoko, near Mount Fuji. He has been working for over twenty years in graphic design, drawings, paintings, illustrations, filmmaking, lithograph, ceramics, clothing design and video games. In Japan he is famous for having participated in the world of the Manga and Animé, and he is even considered to have inspired an entire generation of contemporary artists such as Mariko Mori, Takasha Murakami and Yoshitomo Nara.
At the Rodolphe Janssen Gallery, on view were large-scale drawings made with the old Sumi-e technique, which consists in applying monochromatic ink on rice paper, and is characterized by the accurateness with which the brush strokes have to be applied without any margin for error. The technique is based on the rapid application of gestures that have been infinitely repeated to be automated. In the Sumi-e, the underlying idea is to represent the essence of things following the Zen philosophy.
From February 20th to March 20th, the Gallery exhibited recent works by Yan Pei-Ming (1960, China) under the title Mise à Mort. The exhibit underlined the evolution of the works of this artist represented by the gallery for more than ten years, and whose international notoriety has been reinforced with numerous exhibitions over the past years (in 2003: the Venice Biennial, the Kijon Museum, Besançon, Geneva, Athens, the George Pompidou Center, FRAC Champagne-Ardenne).
|
|
|
Rue de Livourne 35
Janssen feat. Janssen
|
Galerie Rodolphe Janssen
|
march 2004
|
http://www.artnet.com
|
For this first show of 2004, Rodolphe Janssen invited the director of the Michael Janssen Gallery in Cologne, Germany and of the Happy Lion Gallery of Los Angeles, to present works by seven of its painters. The Janssens, Rodolphe and Michael, who share the same last name and are long-time friends, present this joint project to reveal international artists who never, or seldom, have exhibited in Belgium, and to underline, through the diversity of their works, a renovation that has been taking place in painting these last years.
The artists who presented their work at this exhibition were: Yoshitaka Amano (1952, Japan), Torben Giehler (1973, Germany), Thomas Grünfeld (1956, Germany), Paul Morrison (1966, United Kingdom), Les Rogers (1966, United States), Thaddeus Strode (1964, United States), Peter Zimmermann (1956, Germany).
Yoshitaka Amano, for example, is an artist who was born in Shizuoko, near Mount Fuji. He has been working for over twenty years in graphic design, drawings, paintings, illustrations, filmmaking, lithograph, ceramics, clothing design and video games. In Japan he is famous for having participated in the world of the Manga and Animé, and he is even considered to have inspired an entire generation of contemporary artists such as Mariko Mori, Takasha Murakami and Yoshitomo Nara.
At the Rodolphe Janssen Gallery, on view were large-scale drawings made with the old Sumi-e technique, which consists in applying monochromatic ink on rice paper, and is characterized by the accurateness with which the brush strokes have to be applied without any margin for error. The technique is based on the rapid application of gestures that have been infinitely repeated to be automated. In the Sumi-e, the underlying idea is to represent the essence of things following the Zen philosophy.
From February 20th to March 20th, the Gallery exhibited recent works by Yan Pei-Ming (1960, China) under the title Mise à Mort. The exhibit underlined the evolution of the works of this artist represented by the gallery for more than ten years, and whose international notoriety has been reinforced with numerous exhibitions over the past years (in 2003: the Venice Biennial, the Kijon Museum, Besançon, Geneva, Athens, the George Pompidou Center, FRAC Champagne-Ardenne).
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