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DEWEER gallery
Introduction

Since 1979, DEWEER gallery has been bringing cutting edge contemporary art from all over the world to its spacious exhibition
halls in Otegem, a small village on the countryside in the Belgian province of West Flanders. The gallery is now a ‘family affair’:
Bart and Gerald Deweer have joined forces with their father Mark, with the intent to keep on playing a role on the international
scene.

A considerable part of the shows at DEWEER focus on important and established positions, but the gallery regards the
promotion of upcoming artists - from Belgium and abroad - as equally important.
Furthermore, the gallery’s profile is based on independent, at times even controversial choices. As a result of this, lyrical work
will always be part of the programme together with work based on intellectual discourse – if the distinction is even useful. The
DEWEER gallery does not wish to follow any trends or neglect any genres: the originality, intelligence and personal engagement
of the artist are all that matter.

The DEWEER gallery has two exhibition halls, of about 200 and 300 square meters, both lit by tempered natural light. The
staff assisting the Deweer family currently consists of two employees and two assistants. Catalogues are published on some
occasions, and the gallery often supports institutional publications. The DEWEER gallery is also a regular exhibitor at the art
fairs in Brussels (Art Brussels), Berlin (Art Forum Berlin), Paris (FIAC), Basel (ART Basel) and Madrid (Arco).

Short historical survey

The DEWEER gallery was founded in 1979 by Mark Deweer and his wife Marleen Deprez.
During the first half of the eighties, exhibitions were held on the attic of their house in Otegem.
An important focus within the programme was on British Pop Art, with two shows by David Hockney and one by Allen Jones.
The first outcome of Mark’s explorations into the German art movement of the Neue Wilde were a solo show by Thomas Lange
in 1984 – several shows by this artist at the gallery would follow - and another one by Georg Baselitz in the same year. There
was a solo show by Braco Dimitrijevic in 1982, and one year later the gallery was admitted to ART Basel.
Also in 1983, Belgian artist Panamarenko was introduced with a solo show. The DEWEER gallery would become the only
gallery to accompany the artist during his entire career.
In 1985, a new exhibition space was opened on the site of the Deweer family’s carpetfactory in the same street, where the
gallery is now still located. Jan Hoet’s assistant at ‘Chambres d’Amis’, Jo Coucke, came to work for the gallery in 1986.

During the second half of the eighties, the gallery’s interest in the Italian ‘Transavanguardia’ movement - already explored in a
couple of group shows – culminated in solo shows by Mimmo Paladino and Enzo Cucchi, while the work around the Neue Wilde
was continued with shows by Penck and Baselitz.
After the group show ‘Neue Deutsche Skulptur’, the DEWEER gallery was the first outside Germany to start a collaboration
with Stephan Balkenhol. Since his first solo show in 1987, Balkenhol has regularly exhibited at the gallery and has become a
reference in the programme.
Also in 1987, Josef Felix Müller was introduced. Another artist crucial to the development of the gallery’s activities, Jan Fabre,
was introduced in 1988. Since then, the DEWEER gallery documented every major thematical step in his work in several solo
shows.

The nineties at the DEWEER gallery were, perhaps not coincidentally, typified by a series of shows by remarkable but more
individual positions. One of those was the young Aernout Mik, whose work was shown at the DEWEER gallery in three solo
shows throughout the decade, the first solo being held in 1992. Imi Knoebel’s solo show took place in the same year. Other
crucial shows were by Gunter Brus in 1990, by Thomas Ruff one year later and by Siegfried Anzinger and Mark Wallinger, both
in 1997. An additional exhibition hall, offices and stock facilities were opened in 1994.
The year 1995 was special again, with a first solo by Günther Förg (followed by another one in 2000), and with the introduction
of Tony Cragg, who remained a key artist to the gallery’s profile. Cragg built a number of important shows at DEWEER, just like
another reputed artist the gallery could introduce already in 1992: Ilya Kabakov. Right after Documenta 9, Kabakov made his
first show at the DEWEER gallery. More shows would follow, the first one being a historical duo show with Jan Fabre in 1998.

The beginning of the new millennium at DEWEER was marked by the introduction in 2001 of Koen Vanmechelen, whose work
on the ‘Cosmopolitan Chicken Project’ was shown in several solo shows since then. In the same year Jan Fabre presented his
installation ‘Umbraculum’, a significant work within his oeuvre.
The years 2004 until 2006 were crucial as well: Bart and Gerald Deweer came to work for the gallery on a full-time basis.
One of the first shows that revealed the gallery’s plans for the future was the one by Matthieu Laurette in 2004. Later that year,
with the grandscale group show ‘Eclips’, held on a historical industrial site, the DEWEER gallery made a summary of 25 years of
activity, and demonstrated its ambition to develop an equally fascinating programme for the next decades.

In 2006, four artists were introduced with a solo show: Sergey Bratkov, Enrique Marty, Benjamin Moravec and Belgian artist
Andy Wauman. In the same year, Ilya Kabakov presented a new series of paintings and the closing down of the factory again
allowed for an expansion of the infrastructure. The aim for the near future is to integrate all the spaces into one consistent
architectural concept.
In 2007, the young Belgian artist Stefaan Dheedene made his first solo at the gallery and another one, Michaël Aerts, joined
the programme in 2008. At the end of the same year, Cristina Lucas made her first appearance in Belgium with a solo show at
DEWEER gallery, as did Boris Mikhailov in 2009. Over the next years, the gallery will again introduce a couple of new artists
from the international scene.

DEWEER gallery currently represents

Michaël Aerts
Stephan Balkenhol
Sergey Bratkov
Tony Cragg
Wim Delvoye
Stefaan Dheedene
Jan Fabre
Günther Förg
Ilya & Emilia Kabakov
Matthieu Laurette
Cristina Lucas
Enrique Marty
Benjamin Moravec
Josef Felix Müller
Panamarenko
Koen Vanmechelen
Andy Wauman

DEWEER gallery has worked with

Emmanuelle Antille
Georg Baselitz
Lawrence Carroll
Enzo Cucchi
Jiri Georg Dokoupil
Antonius Höckelmann
Imi Knoebel
Marie-Jo Lafontaine
Thomas Lange
Gerhard Merz
Aernout Mik
Mimmo Paladino
A.R. Penck
Johan Tahon
Hans Vandekerckhove
Mark Wallinger
View on the village of Otegem from the gallery
Interior view of Jan Decock’s ‘Denkmal 6AB, Deweer Art Gallery, Tiegemstraat 6AB, Otegem, 2004’, a permanent installation
which serves as an office for the gallery’s staff
List of exhibitions 1996 - 2009

> this list was last updated in November 2009. The numbers are both exhibition and catalogue numbers. A catalogue was
produced for each exhibition numbered in italic characters or marked with (c).

2009
171 Michaël Aerts - Ridge Ecstacy - New drawings and paintings
170 Stefaan Dheedene - The happy end of a univocal metal taste
169 Johan Tahon - Selected works 1998 - 2006
168 Koen Vanmechelen - Orloff
167 Hans Vandekerckhove - Paintings 1986 - 2007
166 Josef Felix Müller - Neue Bilder, Eiswasser und Spiegelung
165 Andy Wauman - Post Everybody
164 Securities - Works on paper
with Michaël Aerts, Stephan Balkenhol, Wim Delvoye, Jan Fabre, Günther Förg, Ilya & Emilia Kabakov, Thomas Lange, Cristina
Lucas, Enrique Marty and Koen Vanmechelen
163 Boris Mikhailov - Dusk

2008
162 Cristina Lucas - Imago Mundi
161 UPDATE
with Michaël Aerts, Stephan Balkenhol, Wim Delvoye, Stefaan Dheedene, Jan Fabre, Ilya & Emilia Kabakov, Matthieu Laurette,
Enrique Marty, Benjamin Moravec, Panamarenko, Koen Vanmechelen and Andy Wauman
160 Jan Fabre - Is the brain the most sexy part of the body?
159 Enrique Marty - Dank and Dismal
158 Matthieu Laurette - Plight 2
157 Michaël Aerts -The Immaculate Collection

2007
156 Matthieu Laurette - Real Estate
155 Stephan Balkenhol
154 Hans Vandekerckhove - Recent Works
153 Koen Vanmechelen - The Cosmopolitan Chicken Project      / Ten generations
152 Stefaan Dheedene - backdrop
151 Thomas Lange – Johan Tahon

2006
150 Andy Wauman – Wet Feet Bet
149 Jan Fabre – Landscapes and Turtles
148 Enrique Marty – Aim at the Brood
147 Benjamin Moravec – Happy together & mourir ensemble
146 Sergey Bratkov – Dream Rooms
145 Ilya and Emilia Kabakov – The Thaw

2005
143 Stephan Balkenhol
142 T142
141 Panamarenko - Batopillo
140 Koen Vanmechelen - Cosmopolitan Chicken Project - Virtual Mechelse Fighters

2004
139 ECLiPS – 25 years DEWEER gallery
138 Matthieu Laurette – Commodities
137 Hans Vandekerckhove – Stalking Hiëronymus

2003
136 Panamarenko @ DEWEER gallery – 1983-2003 - from Donderwolk to Donnariet
135 Koen Vanmechelen – Cosmopolitan Chicken Project – Second Generation: Mechelse Bresse – Sex & Mortality
134 Johan Tahon - 9
132 Thomas Lange / 1983 – 2003
2002
131 Josef Felix Müller – Alpen
130 Stephan Balkenhol
129 Recent Acquisitions
with Stephan Balkenhol, Tony Cragg, Berlinde De Bruyckere, Jan Fabre, Christoph Fink, Johan Tahon, Hans Vandekerckhove,
and Koen Vanmechelen
128 Tony Cragg – New Sculptures

2001
127 Jan Fabre – Umbraculum
126 Johan Tahon – Simulacra
125 Koen Vanmechelen – The Cosmopolitan Chicken
124 Hans Vandekerckhove – Schilderijen ter vervolmaking van methoden van onbeweeglijkheid

2000
123 Lawrence Carroll
122 Panamarenko – Snijboon / Monocedo
120-121 Albrecht Schnider / Günther Förg – Malerei
119 Johan Tahon – Traumgestalt

1999
116 Stephan Balkenhol
115 Young @ all.ages
with Cazin, Rebetez, De Beukelaer, Jooris, Pivi, Berkhemer, Van den Abeele
114 Josef Felix Müller – Farbe für das Volk
113 Jan Fabre – Battlefields & Beekeepers

1998
111 Tony Cragg – Sculptures and Drawings
110 Maquette (Dirk Hendrikx & Matthew Stokes)
109 Hans Vandekerckhove –Hunker Bunker Tuin
108 Een ontmoeting / Vstrecha / A Meeting – Jan Fabre & Ilya Kabakov

1997
106 Panamarenko 1967-1997
105 Posities, Positions, Positionen < 40
with Maurice Blaussyld, Christoph Fink, Carsten Höller, Aernout Mik, Albrecht Schnider, Berend Strik, Mark Wallinger and
Vadim Zakharov
104 Georg Baselitz – Drawings and Graphic Works
102 Siegfried Anzinger

1996
101 Stephan Balkenhol
100 Snowball
with Christoph Fink, Frédéric Hage, Aernout Mik, Albrecht Schnider, Montserrat Sot, Joëlle Tuerlinckx, Richard Venlet and
Marijke Van Warmerdam
99 Lawrence Carroll
98 Thomas Lange – The Eternal Present 1426-1996
97 Hans Vandekerckhove
List of exhibitions 1986 – 1995 (selected)

1995
Gerhard Merz (c)
Aernout Mik (c)
Antonius Höckelmann (c)
Günther Förg (c)
Tony Cragg (c)

1994
A Painting Show (with Anzinger, Baselitz, Brumberg, Carroll, Deconinck, Dessi, Dokoupil, Fetting, Förg, Höckelmann, Kirkeby,
Knoebel, Lange, Leroy, Müller, Paladino, Penck, Raveel, Richter, Tchouikov, Toebosch, Tuymans, Uslé, Vandekerckhove and
Wallinger) (c)
Ilya Kabakov – Ivan Tchouikov – Vadim Zakharov (c)

1993
Marie-Jo Lafontaine – Himmel und Hölle (c)
Stephan Balkenhol – Skulpturen 1993 (c)
Thomas Ruff (c)
Jiri Georg Dokoupil (c)

1992
Imi Knoebel – Porträts (c)
Ilya Kabakov – In Memory of Pleasant Recollections (c)
Scanning 1992
with Serguei Volkov and Vadim Zakharov
Aernout Mik – Für Nichts Und Wieder Nichts (c)
Jan Fabre, a portrait (c)
A.R. Penck (c)

1991
Georg Baselitz (c)

1990
Günther Brus – Im Kunstkreis der Lichtmaschinen (c)
Stephan Balkenhol / Zeichnungen 1990 + Entwürfe für Skulpturen (c)
A.R. Penck / Georg Baselitz (c)

1989
Xth Anniversary Show (c)
Enzo Cucchi (c)
Jan Fabre – a sculpture / five drawings (c)

1987
Domenico Bianchi, Bruno Ceccobelli, Gianni Dessi, Giuseppe Gallo (c)
Stephan Balkenhol (c)
Looking at the Wall / Berlin based art from the 80s (with Armando, Bach, Baselitz, Castelli, Dornseif, Endart, Fetting, Hacker,
Hodicke, Höckelmann, Immendorff, Koberling, Lange, Lüpertz, McLean, Middendorf, Näher, Penck and Salome) (c)

1986
Neue Deutsche Skulptur
with Balkenhol, J. Brus, Dornseif, Endart, Hacker, Höckelmann, Jung, Kiecol, Lange, Simon and Virnich (c)
Rainer Fetting (c)
A.R. Penck (c)
The Deweer family portrayed by Jean-Pierre de Stoop
Interior view of the gallery’s stock halls
Michaël Aerts

Michaël Aerts creates objects, sculptures, installations and related drawings. The works of Michaël Aerts are to be situated in
the context of socio-cultural history and more specifically of the symbols and forms it created in art and architectural style since
the Middle Ages.

Traces of the rich Belgian surrealist tradition and cultural inheritance are important elements in his iconography. Another impor-
tant feature is Aerts’s particular interest in power induced imagery, such as globes and monuments.

His treatment and choice of materials is another remarkable aspect: a consistent and repeated use of a selection of materials
which evoke the poetical content of the work in their own way, constantly generates an additional layer of meaning. All of this is
done with great conscience of the historical use of both materials and objects.
The associative structure and iconographic content of the works reveal a passion for cultural styles and great in depth analysis
of their meaning. Themes which keep coming back are the material languages of power, lust and sensuality and the ideological
transformation that occurs when these are shifted to another (or present day) context. These ingredients make for a peculiar
and recognisable atmosphere that pervades drawings and installations alike.

Filip Luyckx, artistic director of Sint-Lukas Gallerij (Brussels, BE) comments: ‘Michaël Aerts appropriates various historical forms
of which the significance is blurred to say the least. Modern day image culture constantly uses forms from different continents,
eras and cultural layers. Michaël Aerts recognizes that untouchable form principles do not exist, because what we would like to
perceive as a historical appearance is also the product of a past syncretism.’

Michaël Aerts is currently working on a range of mobile monuments. These sculptures or monuments are constructed from
flightcase elements, normally used as a shipment material wich allows easy building up and breaking down.
By emphasizing the mobility of the monument, the work reflects the dislocation of the origins of a monument and the idea of
transmigration and consumption of religion, belief and ideology in contemporary society. The meaning of the work changes on
each location.

Short biography

Michaël Aerts was born in Dendermonde, Belgium, in 1979. Recent projects include solo shows at De Brakke Grond,
Amsterdam, The Netherlands, DEWEER gallery, Federico Luger Gallery, Milano, Italy. Aerts recently took part in group events
like Arrivals and Departures Europe, a group show at Mole Vanvitelliana, Ancona, Italy and Pandora’s Sound Box, a group show
as part of Performa 09, New York, USA.
Stephan Balkenhol

“Stephan Balkenhol’s wooden sculptures spurn the classical ideals of beauty and present us with the nondescript everyday
man/woman. His works have affinities to the wood carving tradition of the Middle Ages and northern renaissance and the “naive”
folk art of Poland and eastern Europe, yet there is more whimsy than Gothic in his forms....He does not seek to recapture the
heroic glory of bygone periods but rather demonumentalizes the figurative statue by thrusting the most unremarkable men and
women onto pedestals historically reserved for heroes and heroines.

In the work of Balkenhol, the age-old human urge to represent is linked with the tradition of art aimed at creating a world that is
analogous to this world, and yet exists alongside it. The aim is not to be absorbed, unthinkingly, in this make-believe world, but
to become all the more aware of its unique reality by offering a representation.

Using a variety of woods such as wawa, poplar and Douglas fir, Balkenhol chisels away at impressive logs using power saws
and hammers, letting his sculptures of lifelike men, woman, animals and perhaps even a hybrid of the two emerge. The figures
spring forth, all part of the same log, thus bound literally to their base. This carving technique links him to German Expressio-
nism, yet the men and woman in his works have deadpan expressions. He works to resist this heritage by avoiding gesture. It is
the exposed incisions and rough surfaces on the finished forms that give a sense of vitality and compelling humanism.

Balkenhol avoids creating a narrative or leading to an allegorical interpretation. His figures are devoid of specific associations.
His figures wear nondescript outfits, further emphasizing the everydayness of their forms and not likely to give anything away.
He uses paint sparingly, only for clothes, hair, lips and eyes, letting the raw wood speak for the skin tones. The figures are either
smaller than life or larger than life, but they are never quite human size. Balkenhol doesn’t want to fool you, he wants to make
sure you know it’s a sculpture. He has resuscitated the figurative sculpture from what was a burdensome tradition and has given
it his own distinctive approach.” (Neal Benezra in his 1995 catalogue of Balkenhol’s exhibition at the Hirshhorn Museum and
Sculpture Garden)

Short biography

Stephan Balkenhol was born in Fritzlar / Hessen, Germany, in 1957. Solo exhibitions were recently held at Deichtor Hallen,
Hamburg, Germany, Kunsthalle Baden-Baden, Germany, Museum Küppersmühle für Moderne Kunst, Duisburg, Germany, Mu-
seum der Moderne Salzburg, Mönchsberg, Austria, The National Museum of Art, Osaka, Japan, Goethe-Institut, Lyon, France,
Sprengel Museum Hannover, Hannover, Germany, Centro Galego de Arte Contemporaneo, Santiago de Compostela, Spain,
Kunstforum Baloise, Basel, Switzerland and Saint Louis Arts Center, St Louis, Missouri, United States.
 DEWEER gallery was Stephan Balkenhol’s first gallery abroad and has documented his evolution in eight solo-shows since
1987. In November and December 2007, the gallery celebrated it’s twenty year long collaboration with a large solo show, desig-
ned especially for the occasion by the artist.
Sergey Bratkov

Ukrainian artist Sergey Bratkov is not only an enfant terrible of contemporary photography, he is also one of the most important
contemporary artists from the former Soviet region, belonging to those who radically portray and document their rapidly chan-
ging society and its quest for identity. Bratkov grew up with the artistic resistance of the underground movements in Kharkiv,
where the radical realism of the Vremia group inspired him to form the Fast Reaction group, together with Mikhailov and Solon-
ski. While doing so, Bratkov developed a distinct style and attitude. His work is imbued with a slightly surrealistic kind of poetry,
with great irony and humour. Nevertheless, it tackles highly complex issues about cultural transformation and the ideological
treatment of images.

Viktor Misiano wrote a great comment on Bratkov’s work in his essay ‘The teenager Bratkov’ : ‘Bratkov belongs to the genera-
tion for whom the rhetoric of the “happy soviet childhood” appeared to be the statement of an indubitable fact. Yet his personal
development led on the way of liberation from the ideological fiction.(...)
It’s essential for the understanding of Bratkov’s work that his childhood and a big part of his life took place in Kharkiv, a huge in-
dustrial town, where the hard reality clearly refutes the ideological idyll of the mighty. Probably therefore documentarism became
the basis of work for the Kharkiv artists.(...) It was also in Kharkiv that Sergey Bratkov, who had started his artistic career as a
painter, turned photographer. It is symptomatic that the first and till now unmatched, naturally autobiographic novel of Eduard
Limonov, who has his roots in Kharkiv, is called “The Teenager Savenkov ”(in English: “Memoir of a Russian Punk”. Savenkov is
the original family name of Limonov). (...)
In the post soviet nineties the ideological order changed into a society of show, and the propaganda clichés turned into media
clichés. If formerly the sphere of human traumas and wishes was reduced to the absence of the mighty and the display of this
sphere (…) had a disclosing and liberating character, the situation has changed today. The sphere of traumas and wishes is
not any more only part of the world of the subjectivity but also of that of the commercial picture industry (…). Bratkov states the
actual, new, post ideological meaning of subjectivity. While there had been obligatory rites for objective acts in the soviet era
and an alternative world of subjectivity existed beside it, today the world of subjectivity and the world of cliché images become
identical inside and outside. Subjectivity is an industrial product today.

To state this fact led Bratkov to the following conclusion: in the world of the total show and representation through play acting,
not only the artwork is settled but even human existence itself (…). Bratkov, like his old friend and colleague Boris Mikhailov,
becomes a personage in his own photographs (…). Bratkov (…) does not claim his nonparticipation in the general show. In art
exhibitions he shows the very same photos he created for e.g. fashion agencies. Both constitute one territory of modern art
– there does not exist a sphere of salvation any more like in the soviet period, and art is part of industry as everything else. In
the result, Bratkov meets a double problem: the ethical one, to take part in the exploitation of (human beings), and the moral
one, to exhibit documents of human humiliation (...).
The ethical blamelessness of Bratkov’s (...) works is apparently derived from their ethical relentlessness. They show that today it
is more ethical to acknowledge one’s deep involvement into the amoral order of things than to pretend that distancing oneself is
possible.’

Short biography

Sergey Bratkov was born in Kharkov, Ukraine, in 1960. He graduated from Repin Art College, in Kharkov in 1978 and five years
later also as an electronical engineer at the Polytechnical Academy in the same town. In 1994 he organized the Fast Reaction
Group with Boris Mikhailov, Sergei Solonski and Vita Mikhailov. Sergey Bratkov lives and works in Moscow since 2000. After
being remarked with some important series like the one on the children in Kharkov around 1993, Sergey Bratkov’s work gained
international recognition. He took part in group shows at a.o. Moderna Museet (Stockholm, Sweden, 1999), Museum of Con-
temporary Art of Milwaukee (United States, 2000), the 25th Sao Paolo Bienal, (Brasil, 2002), the Venice Biennale (Italy, 2003
and 2007) and Manifesta (San Sebastian, Spain, 2004). He made institutional solo- shows at a.o SMAK (Ghent, Belgium, 2005),
Moscow Museum of Contemporary Art (Moscow, Russia, 2006), Baltic Centre for the Arts (Gateshead, Great-Britain, 2007) and
Fotomuseum Winterthur (Switzerland, 2008).

DEWEER gallery showed works by Sergey Bratkov for the first time in 2004. The show ‘Dream Rooms’ was designed especially
for the gallery and took place in 2006.
Tony Cragg

Tony Cragg is one of the most important representatives of British artists born in the early 50s. This generation has initiated a
Renaissance in sculpture based on objects. New materials, until now not used in art, came into use.
Similarly to Richard Deacon and Bill Woodrow, Tony Cragg began his studies in art school in the late 60s and early 70s, in the
period when minimalism, conceptualism and arte povera were reigning as the most popular movements. The public became
interested in Richard Long’s stone objects, brick works by Carl Andre, Mario Merz’s needles, Bruce Neuman or Gilbert and
George.

Cragg’s first works produced in his RCA studio consisted of a stool and little wood pieces while the contents of his first exhib-
tions were pieces of plastic combined to reproduce the colour spectrum in the form a crescent shape. They appeared to be an
attempt to adapt elements of the outer world for art’s sake. The artist quickly realised that the method of heroic gestures for their
own sake or to demonstrate geometric processes is futile as it renders the work meaningless.

Early works of the 1970s were mostly made with found objects through which Cragg questioned and tested possibilities. Later
pieces demonstrated a shift of interest to surface quality and how that could be manipulated, and a play with unlikely juxtapositi-
ons of materials. Results vary from the exquisite to the grotesque, from the refined to the crude, in bronze, steel, plastic, rubber,
glass, wood, plaster and more.The artist’s use of such diverse materials and ready-mades is an evidence of his search for a
new metaphor in sculpture.

After having moved to the Rhineland in 1977, Cragg became aware of a European cultural heritage and not only strove to be
shown on the continent but first of all to refer to economic development, climate and intellectual genealogy.

Many of the people Cragg admits to be influenced by are scientists and philosophers like Isaac Newton and Alain Prochiantz.
Being inspired by their works in the 80s he exhibits small wooden forms resembling Norwegian fjord area houses, steel con-
structions of the Albert Dock in his home-town Liverpool and gigantic versions of laboratory equipment.

An artist of great international acclaim and immense energy, Cragg has developed more possibilities in the making of sculp-
ture than any other sculptor since Moore discovered the ‘hole’ as positive space. He has employed more materials than most,
and tested them to their limits through a wide variety of means, so that he seems to be one hundred sculptors at any one time.
Cragg’s contribution to the debate on contemporary sculpture practice is considerable.

Short biography

Tony Cragg was born in Liverpool, UK, in 1949. He received numerous awards for his work, including the Japanese Premium
Imperialis. Recent solo shows were held among others at Staatliche Kunsthalle Karlsruhe, Germany, Museum der Moderne,
Salzburg, Austria, Stiftung Wilhelm Lembruck Museum, Duisburg, Germany, Galleria Sculptor, Helsinki, Finland, Fondazione
Stelline, Milan, Italy, Akademie der Künste, Berlin, Germany, Foundation Louis Moret, Martigny, Switserland, Central House of
the Artist, Moscow, Russia, Museu Serralves, Porto, Portugal,
CAC Málaga, Málaga, Spain, MACRO - Museum of Contemporary Art of Rom, Rome, Italy and Neue Nationalgalerie, Berlin,
Germany.
DEWEER gallery has brought three solo-shows by Tony Cragg and has a collection of important, experimental works.
Wim Delvoye

The installations of Wim Delvoye are distinguished for the ironic intent with which they confront cultural themes of great
importance. The artist appropriates images that are widely disseminated on a mass level and considered “artistic” in the
common sense of the word, like the characteristic figurines of Delft pottery, the abstract patterns of oriental rugs, and, more
generally, the various elements of domestic decor.
Elements of similar styles are submitted to a kind of decontextualization and then linked with various objects at odds with their
intended use: Delft decorations are applied to metal saw blades, oriental patterns to abstract paintings, and the designs of
military banners to garden vases. This procedure uses humor as a device to distance the viewer psychologically, creating an
effective critique of our lifestyles

Short biography

Wim Delvoye was born in Wervik, Belgium, in 1965. Recent solo projects were organised at the Biennale di Venezia/Peggy
Guggenheim Collection, Venice, Italy, Casino Luxembourg, Luxembourg, Musée d’Art Contemporain, Lyon, France, New
Museum, New York, United States, Museum Kunst-Palast, Düsseldorf, Germany, Migros Museum, Zürich, Switzerland and
Centre Georges Pompidou, Paris, France.
Stefaan Dheedene

After his studies in sculpture at the Royal Academy of Arts in Ghent, Stefaan Dheedene (1975) did a post-graduate study at
HISK Institute for Fine Arts in Antwerp and graduated as a laureate in 2005.

Dheedene’s works are based on social and architectural observations, on accidental encounters or on found images and ob-
jects. He deals with them mostly in documentaries, objects and spatial constructions. The resulting works are a combination of
abstract poetry and conceptual structure, leaving the viewer confronted with questions about the visual language of things. They
are often in-between situations, giving a hint of content without revealing a meaning.

An important part of the works function within the context of globalisation and the subsequent migration of economic and social
values and commodities. Dheedene is also particularly interested in situations in which one system (and the inherent language)
penetrates into another and creates alienation and confusion on the level of the content, as in his installation BILLY at SMAK.

Dheedene repeatedly deals with observations of a socio-cultural cross-over or shift, or other situations that generate interacting
layers of cultural meaning. By reducing the visual and material grammar of the image or object, Dheedene keeps his works in
balance between a conventional meaning (or meaninglessness) and a constructed, contextual meaning (or meaninglessness).
A balance between a controlled experience and free exploration, a vagueness that results in richness.

Dheedene’s objects play with the present-day conventions about their practical use, social function and spatial context. Some
of their features, such as the ‘hand-made’ aspect and the carefully chosen proportions, reveal downright sculptural pretentions,
while others betray a conceptual mentality. One feels motivated to read them as sculptures, and it seems perfectly possible to
do so. The videoworks are often observations; semi-documentaries in which the content is structered into a format that hesitates
between poetry and document. The way information is communicated in the documentary genre(s) is always important for his
analysis. His installations are either (re)combinations of objects and constructions in a logical structure or total installations invol-
ving the whole physical space as a context, or both.

Generally, Stefaan Dheedene developes an extraordinary suggestive and poetical language using a sophisticated conceptual
grammar. His work demonstrates just how emotional, philosophical, and in one word beautiful any kind of ‘conceptual’ language
can be.

Short biography

Stefaan Dheedene was born in Kortrijk, Belgium, in 1975. He studied fine arts and sculpture at Sint-Lucas and K.A.S.K. in
Ghent, then did a scholarship at Hogeschool voor de Kunsten Arnhem in Holland and finally went to study in Antwerp where he
graduated as a laureate at the Higher Institute for Fine Arts in 2005.

His most recent institutional solo project was at SMAK (Ghent, Belgium). Stefaan Dheedene recently took part in group shows
at a.o. Art Forum Berlin and MKM Museum Küppersmühle für Moderne Kunst, Duisburg (Germany, 2008), Jihlava Internatio-
nal Documentary Film Festival (Jihlava, Czech Republic, 2007), Argos center for art & media (Brussels, Belgium, 2007), 10th
International Istanbul Biennial (Istanbul, Turkey, 2007), Momenta Art, Brooklyn (New York, United States, 2006), Circuit (Lau-
sanne, Switserland, 2006), Platform China (Beijing, China, 2006), MARTa Museum (Herford, Germany, 2006) and NAC (Tbilisi,
Georgia, 2006).
Jan Fabre

Jan Fabre is a visual artist, theatre director and writer. A remarkable element in Jan Fabre’s work, which has become more evi-
dent since widespread recognition enabled the artist to create the circumstances for it, is Fabre’s constant cross-over between
theatre and visual arts, between different genres within both, and between the visual arts of old and modern traditions and his
own work.

Furthermore, as Giacinto di Pietrantonio puts it: ‘Jan Fabre has always used a broad range of expressive languages, from the
plastic arts to film, theatre, choreography, dance, drawing and sculpture. In each of these areas, Fabre focuses his research on
the body, understood as a physical reality and mental dimension. His art reflects human nature – necessarily fragile and mortal
– and the desire each of us has to overcome this precariousness, through subjects that are intrinsic to the Flemish tradition:
madness, illness, death, the sweetness of sin, regeneration and spiritual power.’

As with for example Battlefields and Beekeepers, Umbraculum, A Meeting - Vstrecha (with Ilya Kabakov) and more recently
Turtles and Landscapes, DEWEER gallery has always attempted to document every major thematical step in the development
of Fabre’s work, often while also showing less known aspects or unknown works.

As the next investigation into the poetical possibilities of the body, a leading thread within his oeuvre, Fabre recently continued
to explore the theme of the brains through drawings, models, and videoworks. At the occasion of his soloshow From the Cellar
to the Attic / From the Feet to the Brain at Kunsthaus Bregenz, director Eckhard Schneider described what Fabre’s work essen-
tially stands for:

‘Applying artistic strategies which he devised in the early part of his career and continued to develop in different disciplines,
Fabre unfolds a universe of plentitude based on five principles: the awareness of the power of the images of the real resulting in
visually overwhelming sculptural tableaus; the extreme emphasis of the body as the interface between life and death, gony and
fulfillment; the fascination for insects as a symbol of metamorphosis, as the subject of intense research, and as an important
material for a wide variety of works; the continuous application of the auto-mechanical principle originating from the discovery of
the body and the behavior of insects; the fascination for mirroring and doubling providing the point of departure of many works.’

Short biography

Jan Fabre was born in Antwerp, Belgium, in 1958. Fabre has taken part in important events such as the Venice Biennial (1984,
1990 and 2003), Documenta in Kassel (1982 and 1992), the Sao Paolo Biennial (1991), the Lyon Biennial (2000), the Valencia
Biennial (2001) and the Istanbul Biennial (1992 and 2001). Furthermore he had important solo exhibitions in leading museums
throughout the world, a.o. at Kunsthalle Basel, Centro de Arte Moderna Lissabon, Palais des Beaux-Arts Brussels, Kunstverein
Hannover, Stedelijk Museum Amsterdam, Ludwig Muzeum Budapest, Muhka Antwerp, Haggerty Museum of Art Milwaukee, Mu-
seum of Contemporary Art Warshaw, Sprengel Museum Hannover, Smak Ghent, Kunstnernes Hus Oslo, Fundacio Joan Miro
Barcelona, Musée d’Art moderne et d’Art Contemporain Nice and Musée d’Art Contemporain Lyon.

In 2007 there was the grand-scale Homo Faber event in Antwerp, with important exhibitions a.o. at the Muhka Museum of
Contemporary Art and the Royal Museum for Fine Arts. In 2008 the Musée du Louvre in Paris presents “The Angel of Metamor-
phosis”, a grand scale solo exhibition for which Fabre has 39 halls in the Richelieu wing at his disposal to juxtapose his works to
those of the Louvre’s collection.
After having presented six solo-shows by Jan Fabre between 1988 and 2006, DEWEER gallery organised his first one-man
show after the Louvre, “Is the brain the most sexy part of the body?”, with new works exclusively. The show was followed by a
grand scale soloshow at the Kunsthaus Bregenz, where Fabre transformed the building into one giant metaphorical installation,
a concept based on his investigations on the human body.
Günter Förg

Günter Förg is one of the most prominent German artists of his generation within abstract painting. Since his first solo exhibition
in Munich in 1974 with a series of monochrome paintings, he has gained an international reputation as a printmaker, painter,
photographer and sculptor. Monochromatic color fields are an important aspect of Günther Förg’s work - monochromatic pain-
ting remains the backbone to which his various bodies of work are all linked - but Förg is not just a minimalist painter. Although
his works are often motivated by a critical mimicry of minimalism and modernist ideals, Förg’s work actually demonstrates a
philosophical duality. His work is indeed an homage to modernism, but it also strives to highlight the failure of modernist ideals.

His fascination with failure is shared with many German artists of his post-war generation. The aftermath of World War II leaves
younger generations struggling with ambivalence toward their own cultural legacy. This dilemma, though not always directly
expressed in the content, plays a central role in Förg’s work. Förg’s work attempts to reassess the positivistic impulse that drove
modern art---art based on paring down color, shape and line to a crucial essence---by using its devices.

Short biography

Günter Förg was born in 1952 in Füssen, Germany and now lives in Areuse, Switzerland. He had recent solo exhibitions at
Essl Museum, Klosterneuburg, Austria, Langen Foundation, Neuss, Germany, Kunstmuseum Basel – Museum für Gegenwarts-
kunst, Basel, Switserland, Kunsthalle Bremen, Bremen, Germany, Gemeentemuseum Den Haag, Den Haag, The Netherlands,
Tel Aviv Museum of Art, Tel Aviv, Israel, Kunsthaus Bregenz, Bregenz, Austria and Deutsche Guggenheim Berlin, Germany.
Ilya & Emilia Kabakov

Ilya Kabakov, a Russian conceptual artist, was born in Dnipropetrovsk, Ukraine. He works together with his wife Emilia since
1989. Throughout his career, Kabakov has produced a wide range of paintings, drawings, installations, and theoretical texts
— not to mention extensive memoirs that track his life from his childhood to the early 1980s. Unlike some underground Soviet
artists, Kabakov joined the Union of Soviet Artists in 1959, and became a full-member in 1965. This was a prestigious position
in the USSR and it brought with it substantial material benefits. Kabakov illustrated children’s books but spent most of his time
on his own projects. In recent years, he has created installations that evoke the visual culture of the Soviet Union, though this
theme has never been the exclusive focus of his work.

By using fictional biographies, many inspired by his own experiences, Kabakov has attempted to explain the birth and death of
the Soviet Union, which he claims to be the first modern society to disappear. In the Soviet Union, Kabakov discovers elements
common to every modern society, and in doing so he examines the rift between capitalism and communism. Rather than to de-
pict the Soviet Union as a failed Socialist project defeated by Western economics, Kabakov tends to describe it as one utopian
project among many, capitalism included. By reexamining historical narratives and perspectives, Kabakov delivers a message
that every project, whether public or private, important or trivial, has the potential to fail due to the potentially authoritarian will to
power.

Kabakov’s installations have acted as documents and reminders of a failed socialist project and society. Having experienced a
much greater oppression than is commonly known in the West, Ilya Kabakov attempts to nudge the viewer into acknowledging
certain authoritarianist aspects of his or her personality but also, and in particular the imagination that might liberate from any
kind of previously accepted oppression. His artworks serve as (fictional) stories and biographies that demonstrate universal
characteristics within every human.
In the Western art world and an increasingly westernized world, completely removed from the Soviet Union he grew up knowing,
Kabakov has grappled to address relevant, and yet still universal, concepts, a typical feature for Kabakov’s style in general
being a dreamlike mixture of optimism and melancholy.

Short biography

Ilya Kabakov was born in Dnepropetrovsk, in 1933. Emilia Kabakov was born in the same town in in 1945. He worked in Mos-
cow from the 1950s until the late 1980s, where he was a major figure in the underground community of dissident artists and
intellectuals known as the Moscow circle of conceptualists. Kabakov came to the West in the early eighties. He works together
with his wife Emilia since 1989. His work has been widely exhibited ever since, and it was featured among others in the 1992
Venice Biennial and the 1997 Whitney Biennial. Ilya Kabakov was named as one of the ten greatest living artists by ArtNews in
2000. He now lives and works on Long Island (New York).
In 2006 DEWEER gallery presented an exhibition with a series of new paintings and drawings by Ilya and Emilia Kabakov, en-
titled The Thaw (2004-2006). This was not Ilya Kabakovs first show at DEWEER gallery. Already in 1992 the gallery presented
the installation of the album In Memory of Pleasant Recollections and in 1998 Ilya Kabakov was a guest for the historical double
show Jan Fabre & Ilya Kabakov: Een Ontmoeting / Vstrecha / A Meeting.
Matthieu Laurette

’By turning the laws of marketing and the mass media to his advantage, Matthieu Laurette incorporates his work within a strate-
gy of infiltration and redistribution. In 1993, he established his artistic birth certificate by taking part in a TV game called Tournez
manège (The Dating Game) where the female presenter asked him who he was, to which he replied: ‘A multimedia artist’.’
(Pascal Beausse, La Biennale di Venezia, Cat., 2001)

Laurette’s ‘studio’ is what could be called the ‘commercial public space’: the supermarket, the press, television, etc., in short,
any zone where interest or need is marketed.

With a good eye for readymade metaphors and for suitable products and phenomena in the commercial domain, he analyses
the mechanisms of the economic system and measures their effect on art and man. As an artist, he usually operates in the
guise of an economic actor – a consumer or a manufacturer – in order to test and question the system from the inside, or even
to shape it to his will. In the process, Matthieu Laurette investigates both the role of the buyer/spectator or entrepreneur and
the role of the artist. In other words, he questions the identity of the consumer as an artist, and vice versa. And he finds new
answers.

It is especially this far-reaching integration of his work into social and commercial life, the near-merger of his work with economic
reality, that makes the oeuvre of Matthieu Laurette so remarkable. This quality causes works by Laurette to generate a multitude
of reflections on the interplay between consumption, in all its forms, and art. It lends it a symbolic and often problematic nature.
Another important aspect of Matthieu Laurette’s oeuvre is his use of the medium of television, which Laurette turns into a kind of
virtual studio. Moreover, through television, his artist’s career itself is turned into a direct product.
Technically speaking, Laurette could be called a ‘multimedia’ artist, or a conceptual pop-artist. But his installations and objects
are often the result of a production process which is merely started up or guided by him. In other words, he seldom intervenes
as a ‘maker’: the actual work consists of an association or recombination of existing products or objects manufactured by ‘third
parties’. The evolution of our market system leads to a constant divergence and cross-fertilisation of ideas. Laurette’s work at-
tempts to find, in this ever-changing economic context, a survival strategy for art and for man.

Short biography

Matthieu Laurette was born in Villeneuve St. Georges, France, in 1970. He made exhibitions and projects with and in a.o. PS1/
MoMA, N.Y, Kunstverein Frankfurt, Stedelijk Museum Amsterdam, Prix Ricard, MNAM-Centre Pompidou Paris, ICA London,
Palais de Tokyo Paris, Artsonje Center Seoul, CAPC Musée d’Art Contemporain Bordeaux, Deichtorhallen Hamburg, Castello
di Rivoli Torino, 49th Venice Biennale (2001), Arc-Musée d’Art Moderne de la Ville de Paris, De Appel Amsterdam, Mamco-Mu-
sée d’Art Moderne et Contemporain, Geneva, Casco Projects Utrecht, Guggenheim Museum Soho, New York. He received the
RICARD S.A. Award for the most representative artist under 40 y.o. in the French scene in 2003.
Cristina Lucas

Lucas’s general strategy was described as follows by Katya García Anton in her text on Cristina Lucas in the catalogue for The
Real Royal Trip, an exhibition of young Spanish art curated by Harald Szeemann in 2004: The analysis of both vanquished and
victorious political thought systems, lies at the heart of the artistic practice of Cristina Lucas. Lucas’ exploration of what could
be described as the semiotics of ideology operates through the female body, and is profiled against the backdrop of a habitually
male-gendered history. The interrelation between the ‘aesthetics of information’ she engages with, and the link she establishes
with gender and political critique, belong to a line of discourse developed by artists such as Martha Rosler in the 1970s.

Cristina Lucas’s originality also lies in the fact that she dares to return to fundamental - ideological - questions on the social im-
pact of art, without avoiding a critique of the discourse on feminism, globalization and oppressive political systems. Cuauhtémoc
Medina, a critic, curator and historian who lives and works in Mexico City, comments on Lucas’s approach in his essay Failed
Messianism: Lucas’s satirical style is not simple. It owes something to the approach of the old court jester in which humour is
only critically effective when ones plays the role of the madcap clown (…). But at the same time, Cristina Lucas interprets cultu-
ral and political stereotypes as tedious arguments that dissolve in the barren intent, without any thought process whatsoever, to
renew the confederation of innocence, beauty and truth.

Indeed, Lucas’s reaction on debated themes is never without irony. Most of her works can nevertheless be read as sharp state-
ments. She says about her approach: I am interested in the problem of ethics within contemporary aesthetics. For that reason
my work jumps freely between different subjects. I try to create an undefined map of the lacunas of existing structures in power,
education and art. In my personal confrontation with big themes I cannot avoid that I am a woman. This results in a substantial
swift in my view on the cosmology, which is traditionally dominated by the masculine point of view. My interest is to incitate the
viewer to choose an ethical position in confrontation with the piece of art, to start thinking on a different way on common truths.
In order to enhance this strategy the media I use are suppressive. I select situations and scenarios where the factors are wor-
king as they are supposed to, but in an inappropriate way.

Short biography

Cristina Lucas was born in Jaén, Spain, in 1973. Her work was selected for the last editions of the biennials of Istanbul, Sao
Paulo and Singapore, and for group shows at ao. Musac (Léon), De Appel (Amsterdam), Palais de Tokyo (Paris), Mart (Ro-
vereto), Sala Rekalde (Bilbao) and Marco (Vigo). In 2009, the new Centro de Arte Dos de Mayo in Madrid opened with a solo by
Cristina Lucas. She was introduced in Belgium by DEWEER gallery with a solo show in 2008.
Enrique Marty

Enrique Marty works a lot, driven by a kind of maniacal phantasy and by an obsession to depict ‘everything’ in his environment,
or to ‘deal’ with it in a certain way. His oeuvre, consisting of paintings, video’s, watercolours and sculptures, reads as an explo-
ration of the human soul through a recording of what people do and how they behave.

Marty’s paintings are mostly based on snapshots of day-to-day situations, often moments were normal people are either acting
on purpose or behaving like actors without knowing it, in which the artist detects a hidden layer of cruelness or ridiculousness. In
other cases, Marty uses found footage, unusual stories, or invented scenes and mixes them with obscene, surreal or humouris-
tic imagination.
The sculptures are three-dimensional portraits based on moulds taken from real persons. Both theatrical objects and sculptures
at the same time, they serve as tools with which the artist can control the psychology of the viewer, and thus structure the show.
In his video’s, Marty makes a mix based on different sources, a procedure similar to the paintings. The result is a highly drama-
tic but also vital oeuvre in which the audience discovers the dark side and magic of our so-called normal life.

Marty constructs shows which can be read as mental spaces - a collection of thoughts and images, an archive of memories and
mental snapshots by which life among friends and family is documented. Portraitdolls, walls filled with hundreds of paintings
and video are often combined into total installations. Sometimes the structure of the exhibition even requires an architectural
intervention.
Rather than a ‘show’ in the traditional sense of the word, each exhibition is a try-out or an improvisation, an experimental asso-
ciation of themes, arranged according to a personal logic and related to content the artist is dealing with. Marty often gives way
to his fascination for the dark side of our psychology, the kind of darkness we find in circusses or wedding parties. Within this
mental frame, the impact of the works varies from devilish or ambiguous amusement, to shock or terror.
For Marty however, shocking - or amusing, for that matter - is only one of the methods. It is not a goal, although his work can
be very shocking to any viewer who is not familiar with it, and even to those who do know it. The feelings and experiences the
viewer has when undergoing the work cause a state of extreme awareness of the unseen, in other words a fascination for life.

Furthermore, behind each presentation lies a conceptual play with the nature of self-made images and mass-communication, an
obsessive urge for the reproduction of our personal life, the unlimited recording of experiences and an analysis of the techni-
ques of story-telling. Through a complex process of reworking and mixing visual content, seemingly without adding any clear
significance, the highly personal is turned into a moment or an image with a universal appeal. Each event or image recorded
by the artist - who deliberately acts as a ‘medium’ at this point - is turned into a painting or another work in any kind of medium.
Then it is combined with other elements from the artist’s vast archive of impressions, or recombined with a previous work. It
ultimately becomes a sign of life, a universal testimony of someone else living a life as difficult, horrifying or pleasant as yours.

Short biography

Enrique Marty was born in Salamanca in 1969. His unique signature drew a lot of attention in Spain and abroad, a.o. with a
solo-show at the Reina Sofia Museum and with his much acclaimed solo-exhibition at the MUSAC (Léon, 2006). He recently
had a solo show at the Gemeentemuseum Den Haag (The Netherlands, 2008) and took part in group shows at the Venice
Biennial (2001 and 2005), at PS1 (New York, 2004), ZKM in Karlsruhe (2008), and many more. He was also one of the artists
selected for a survey exhibition on Spanish art of the last 50 years in Palermo last year (‘Spain.1957-2007’, Palazzo Sant´Elia)
and for ‘L´Art en Europe’ at Domaine Pommery, (Reims, France, 2008) where a selection of 2 artists of each European coun-
try was made by the leading art-magazines. He made his first appearance in Belgium with the solo show ‘Aim at the Brood’ at
Deweer gallery in 2006.
Boris Mikhailov

Photographer Boris Mikhailov was born in 1938 in Kharkov and is recognised as one of the most important artists to have
emerged from the former Soviet Union. He lives and works in Kharkov and Berlin. For over thirty years his photographs have
explored the position of the individual, creating radical and often provocative ways of working. Major solo exhibitions, interna-
tional photography awards and prize-winning books have brought him public acclaim. Arguably his most important work, ‘Case
History’ explores the break-up of the Soviet Union by focussing on its human casualties, the homeless, with an unflinching and
powerful gaze.

Trained as a technical engineer, Mikhailov began to take photographs at the age of 28 and was sacked from his factory job
when the KGB discovered nude photographs he had taken of his wife. Thus began his full time career as a photographer and he
has since become one of the most important artists to have emerged from the former Soviet Union.

Mikhailov has worked in extended series, often quite different from each other in form. In the ‘Private Series’ (from the late
1960s) he explores intimacy and private moments in domestic environments. The ‘Red Series’ (1968-75) takes a playful snap-
shot style to document everyday situations, drawing the viewer’s attention to red objects, slogans and symbols of the Soviet era,
in the background. In 1984, Mikhailov initiated a remarkable project: gluing small black and white photos of everyday occurren-
ces in Kharkov on the back of his uncle’s lecture notes. Later, he added handwritten text fragments. The project was published
in 1998 as an elegant art book entitled ‘Unfinished Dissertation’.

Arguably his most important work, ‘Case History’ explores the break-up of the Soviet Union by focussing on its human casual-
ties, the homeless or ‘bomzhes’, living on the margins of Russia’s new economic regime without social support or care. Publis-
hed in 1999, the series won the Krazna-Krausz Photography Book Award. The unflinching images of dissolution, madness and
decaying human wreckage present a dismal portrait of outcast humanity. Mikhailov does not avoid the moral complexities of the
new Russia and paid his models to pose in an ambiguous intervention that displaces the images from the purely documentary to
a form of staged self-consciousness, although ultimately it only underlines the powerlessness of his subjects.

A critical perspective combined with empathy, a sense of tragedy and dignity as well as a sense of humour and of the absurdi-
ties of life, are all carried out in wry, vulgar, playful and intimate photographs. His work documents Ukraine under Soviet rule,
the conditions of living in post-communist Eastern Europe, the fallen utopias of the Soviet Union, all interwoven with mediations
on lust, longing, togetherness, vulnerability, destitution, aging and death. (Judith Staines)

Short biography

Boris Mikhailov was born in 1938 in Kharkov, Ukraine. He lives and works in Kharkov and Berlin. Over the last decade, Boris
Mikhailov has won several major international photography prizes including the prestigious Hasselblad Foundation Internatio-
nal Award in Photography in 2000 and the Citibank Prize for photography in 2001. Recent solo-shows include exhibitions at
Sprengel Museum, Hannover, Germany, Centre de la Photographie, Geneve, Switzerland, Institute of Contemporary Art, Boston
(MA), USA, Fotomuseum Winterthur, Switzerland and Haus der Kulturen der Welt, Berlin, Germany.
In 2009, DEWEER gallery showed about 60 photographs from the series ‘At Dusk’ from 1993.
Benjamin Moravec

Benjamin Moravec is a young painter with french-czech origins currently working in Nürnberg (DE). His oil paintings are
compositions that combine fictituous images with images taken from photographs, resulting in multi-layered visual structures. In
a fascinating way Moravec combines a purely contemporary approach to visual content with the traditional oil painting technique
of his 19th century ancestors. His canvasses show original talent, great feel for composition and authentic gesture.

Deweer Art Gallery introduced Benjamin Moravec for the first time to an audience outside Gemany with a one-man-show
entitled Happy together & mourir ensemble. The title refers to themes that troubled the artist when he was a child, such as dying
together with unknown people, and paradise.

In a statement about his work, Moravec says: ‘In my work I try to render the impressions of my subjective observation. These
impressions are based on the fact that our thoughts are composing different kinds of information, through experience as well as
through conscious and unconscious feelings. It is mostly impossible to recognize the origin of these feelings or experiences. As
individuals with our own personal Weltanschauung, we are formed by these pieces of information. Our confrontation with the
world remains veiled, irrational and imaginary.
Thus, my motives and images are formed behind that veil. As completed images however, they come out from behind the veil
and confront the viewer, who always reacts to them with his own subjectivity.
In case the confrontation is a positive one, the viewer will take some information from the images, or recognize some of his own
experiences, or simply enjoy the esthetic quality.
I preserve my experiences through photographs and sketches. They become the basis of the composition of the images.
Painting allows me to work intuitively and formally free. The structure of the image is layered or decomposed into layers, and the
layers are shifted or hidden or they dissapear.’

Short biography

Benjamin Moravec was born in Thiais, France, in 1977. In 2006 DEWEER gallery brought a solo show by Benjamin Moravec,
Happy together & Mourir Ensemble. Moravec was a laureate at theArt Students 18th Federal Competition, Kunst- und
Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany. his work was shown on Art Forum Berlin 08 with DEWEER
Gallery.
Josef Felix Müller

Swiss artist Josef Felix Müller was first presented at DEWEER gallery in 1985. The exhibitions of 1987, 1990 and 1994 showed
various aspects of his sculptural practice. The show Farbe für das Volk in 1999 was a decisive moment in Müllers shift towards
painting: especially for DEWEER gallery the artist made a wonderful series of 120 small figurative sculptures, each one of
which was given a layer of paint of a different color on the front side of the base. And the show with the 8 paintings from the
Alpenbilder series in 2002 was a pure painting show . With our 2009 one-man show Neue Bilder, Eiswasser und Spiegelung, we
did present Müller’s most recent paintings.

Müller starts working towards the end of the seventies and makes very large, neo-expressionist paintings about controversial
themes such as mutilation, homosexuality, sexuality between human beings and animals, etc. The canvasses provoke a
scandal and make him famous in very short time. At the beginning of the eighties, he promptly changes medium and begins to
create equally big neo-expressionist sculptures in wood. He makes figurative statues, often painted, preferably in red. It was
then that the artist stated that cutting wood is like cutting flesh.

Almost 20 years later, around the turn of the century, Josef Felix Müller’s artistic focus shifts from man to nature. As a logical
consequence, he ceases to make sculptures and takes on painting again. From now on, he concentrates on a painterly
reconstruction of nature. He regards earth as one big body, which can be inhabited and explored and which is many times
bigger than mankind.

In 2000, Müller begins to paint mountains. About the resulting series of paintings, made between 2000 and 2002 and entitled
‘Alpenbilder’, he says:
“In fact I have always drawn, painted and sculpted. During my figurative period, sculpture was the right medium for me. This way
of working – to cut figures directly out of the wood with the chainsaw – accorded with the theme of human vulnerability. As for
the mountains, it was clear to me that they had to be painted, (…) mountains are gigantic sculptures.”
After the series of Alpenbilder, Müller made series about the forest (Waldstücke, 2003-2006), about sources and ponds (Quelle,
2004-2007), about the roof of foliage in the forest (Lichträume, 2005-2007) and about rivers and brooklets during wintertime
(Eiswasser).

For his paintings of mountains and gletschers, Müller chose pictures made by others. He selected photographs from books,
each taken from an airplane. For his later series he turned to digital photography. During long walks he photographs natural
scenes, only a few of which are selected to serve as the basis for a painting. A print on A4 size is enlarged up to 10 times and
delicately copied onto the canvas.

Short biography

Josef Felix Müller was born in 1955 in Eggersriet, Switserland, and lives and works in the Swiss city of Sankt Gallen.
Müller had solo shows in a.o. Neue Kunsthalle Sankt Gallen (2006), Ausstellungshalle Kraft Basel (2000), Kunstmuseum Chur
(1997), Kunsthalle Giessen (1996), Museum zu Allerheiligen Schaffhausen (1995), Kunstverein Frankfurt (1993), Kunsthalle
Bielefeld (1991), Museum Moderner Kunst Wien (1987), Museum für Gegenwartskunst Basel, Neue Galerie Sammlung Ludwig
Aachen (both in 1985) and Kunsthaus Zürich (1983).
Panamarenko

In his art works Panamarenko brings the wonderful world of technics and natural sciences back to life. In this way the dream of
free and unhindered move, and the aesthetic aspect of the scientific analysis regain their place in the world they belong to: the
world of the human being determining its position within the nature. In his projects the artist freely and inventively plays with the
formal rules of mechanics and physics.

Owing to the unrestrained development of scientific knowledge the complexity of the idea of nature did also proportionally incre-
ase. This is the reason of the paradox that the human being of today is alienated from nature of which it nevertheless always
deepened its knowledge. Joining Panamarenko we can now rediscover the riveting nature appearances and potentialities in the
objects, drawings and sketches in which he has hidden a poetic approach to the world. His creative relationship with the gravita-
tion laws is not aimed at taking off from the ground but at giving back to flying the poetic attraction it had when we were not yet
able to fly.

Panamarenko belongs to the very little circle of worldwide admired artists with very personal, intriguing works which uneasily
can be ranked in the usual categories and for which the Belgian art has gained a great reputation in the post war international
art world. ,(from ‘Panamarenko. A retrospective’, exh. cat., Royal Museums of Fine Art, Brussels, BE)

Short biography

Panamarenko was born in Antwerp, Belgium, in 1940. Solo shows and projects were held in recent years at FRAC Dunkerque,
France, Royal Museum of Fine Arts, Brussels, Belgium, Hangar 7, Salzburg, Austria, Flemish Parliament, Brussels, Belgium,
Muhka, Antwerpen, Belgium, Museo Nacional Centro de Arte Reina Sofia, Palazzo Cristal, Madrid, Spain, M.ART.A, Herford,
Germany, S.M.A.K. Museum of Contemporary Art, Ghent, Belgium, Museum Het Valkhof, Nijmegen, The Netherlands, Hayward
Gallery, London, UK, Musée Jean Tinguely, Basel, Switzerland, and Dia Center for the Arts, New York, USA. DEWEER gallery
has an important collection of works, as a result of a collaboration of more than twenty years, including several solo show at the
gallery.
Koen Vanmechelen

Since approximately 10 years Koen Vanmechelen is mainly engaged in an ongoing worldwide project, the Cosmopolitan Chic-
ken Project.
The project is a metaphor for the dynamism, fertility and creativity of life and a statement in favour of the peaceful living together
of different species and races. It not only touches a lot of contemporary social issues such as genetic manipulation, cloning,
globalisation, multiraciality and multicultural society but it also tries to influence the debate on these themes from an artistic and
humanitarian point of view.

The Cosmopolitan Chicken Project officially started in 2000 in Watou, a small village near the border between Belgium and
France. For his participation in the exhibition ‘Storm Centers’, curated by Jan Hoet, Koen Vanmechelen crossbred the Belgian
chicken Mechelse Koekoek (Cuckoo of Malines) with the French pride Poulet de Bresse. He thus created the first Cosmopolitan
Chicken and called it the Mechelse Bresse.

From there, Vanmechelen took the project all over the globe: the Mechelse Bresse was crossbred with the English Redcap, the
resulting Mechelse Redcap with the Jersey Giant - an American industrial chicken - and so on.
One after another, already existing national races - each time from a different country - were crossbred with the latest Cosmopo-
litan Chicken.

Up to now the German Dresdner Huhn, the Dutch Owlbeard, the Mexican Louisiana, the Thai Fighter, the Brazilian Auracana,
the Turkish Denizli Longcrower, the Cuban Cubalaya and the Italian Ancona were all integrated into the genealogical line of the
Cosmopolitan Chicken Project. Where possible, the crossbreeding was organized in a gallery or museum in the country of origin
of the newly integrated race.

Recently, the Ancona was crossed with the Mechelse Cubalaya in order to create the twelfth and last generation so far: the
Mechelse Ancona.
For his solo show in September 2009 at DEWEER gallery, Koen Vanmechelen confronted the Mechelse Ancona with the Rus-
sian Orloff-chicken to create the 13th generation, the Mechelse Orloff. The Orloff project was spread out in two events: one was
the artists’ participation at the 3rd Moscow Biennale and the other one was his show at DEWEER gallery.

Short biography

Koen Vanmechelen was born in Sint-Truiden, Belgium, in 1965. His work on the Cosmopolitan Chicken Project took him to
institutions all over the world, including recently the 3rd Moscow Biennial, the 53rd Venice Biennial, the Museum Kunstpalast in
Düsseldorf and Art Basel Miami, De Brakke Grond Amsterdam, the Museum het Valkhof in Nijmegen and CRAC Alsace.
Andy Wauman

Andy Wauman’s works speak about the possibility of freedom. They are messages with a romantic sense for anarchy and love.
In his statements, he often uses images that have been violated, multiplied and copied by commercial media. He recuperates
common metaphors and symbols and gives them back their original romantic touch or even ideological meaning. The poetic
quality is striking.

Within an upcoming movement of new young artists using the language of the social context they grew up in, with the so-called
popular culture and media as basic ingredients, Andy Wauman’s feeling for materials and authentic meaning is a marker.

Mark Ruyters, director of Belgian art magazine H’art: ‘The young Antwerp artist Andy Wauman tries to look with unprejudiced
eyes at the world around him, at the deluge of visual and verbal information that washes over us every day. Everything in this
massively digitised society has become a copy of a copy. The original has become so rare that it may even have lost all real in-
terest. A fascinating idea, that Wauman explicitly plays with: perhaps an original way of copying a copy is more interesting than
desperately seeking originality.

In a personal statement, Wauman comments on the nature of his artistic personality: “Generally my work has it’s origins in my
conviction that a truly living culture can only arise from social structures and that the only theory a contemporary artist can feed
on is necessarily a social one. I do not recycle existing forms, I try to make new ones based on my own background. Which is
what distinguishes an artist from a marketeer. I try to inject the spontaneous energy from the street into my artistic practice, and
I create my own contribution to the ‘revolution of everyday life’ in the shape of texts and objects.
Therefor, a recurrent element in my work is my protesting against cynicism and a preference for the sensuality and romantic
value of the materials of the street, the ones the vagabond knows better than the bourgeois. But rather than a political activist, I
like to call myself a poetical terrorist. “

Short biography

Andy Wauman was born in Antwerp, Belgium, in 1975. He currently lives and works in Antwerp and Amsterdam, The Nether-
lands, where he is a resident at Rijksakademie van Beeldende Kunsten.
He has exhibited solo at Open Art Space (Stuttgart, Germany), Art Statements Gallery (Hong Kong) and DEWEER gallery, who
showed his work in 2007 and 2009. Wauman took part in group shows at Error One at Extra City (Antwerp, Belgium), 1st Brus-
sels Biennial (off program at YUM 21C), Museum Küppersmühle for Modern Art (Duisburg, Germany), Martha Herford Museum
for Contemporary Art (Herford, Germany), Space for Contemporary Art (Pesc, Hungary), Lokaal 01 (Breda, The Netherlands),
Sant’ Agostino Exhibiting Space in cooperation with GAMeC Gallery of Modern and Contemporary Art (Bergamo, Italy), Gallery
of Contemporary Art of Przemysl (Poland), Vis à Vis Art Lab (Xiamen, China) and in SuperHasselt at Z33 Centre for Contempo-
rary Art (Hasselt, Belgium).
This page: main exhibition hall downstairs
This page: main exhibition hall upstairs
PRACTICAL INFO

Contact
DEWEER gallery
Tiegemstraat 6A
B-8553 Otegem
Belgium

0032.(0)56.644893
info@deweergallery.com
www.deweergallery.com

Exhibition hours
wed - fri / sun 14.00 - 18.00
and on appointment

Office hours
mon - fri 09.00 - 18.00

Road description
On highway E17 (Antwerpen - Kortrijk) take exit 4 (N36), and take direction Vichte/Ronse. After 7 kms, past the Gulf gasstation,
take first right, direction Avelgem. After 1,5 kms you find the gallery on the left side

Mailinglist
You can subscribe to our mailinglist through the infopage on our website

Location
The gallery is located on the countryside
Nearby cities are Ghent (40 minutes by car), Lille, France (30 minutes by car) and Kortrijk (20 minutes by car)
Nearest railwaystation is Kortrijk - Centraal Station which has good connections to Lille (FR) (20 minutes), Ghent (30 minutes)
and Brussels (60 minutes). Taxi to the gallery: 20 minutes. Bus: 30 minutes, busstop 500 meters from the gallery.
Check www.nmbs.be and www.delijn.be to prepare your trip.
Nearby places to stay and eat can be found on the infopage on our website

E17
DEWEER gallery is part of E17, an association of several institutions and centres for contemporary art alongside the E17 high-
way. A visit to DEWEER gallery can be combined very easily with a stop at other interesting places nearby. Check www.E17.be




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