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After Howl

« Collection »

 

BAD proudly presents Collection

An exhibition by After Howl

Exhibition : 10.09.2015 – 26.09.2015
Vernissage : Thursday the 10th september 2015 at 6pm

During Brussels Art Days, from 11.09 to 13.09 we will be open from 2pm to 6pm

From 14.09 to 26.09, visits by appointment : 0486 031 928

Brussels Art Department, 12 rue Isidore Verheyden, 1050 Ixelles, Bruxelles

Visits by appointment : 0486 031 928

Join the Facebook event here

 

(English text below)

L’exposition s’appelle toujours Collection.
Un défilé d’objets statiques qui s’érigent comme des monuments. La (bad) Collection, c’est l’étendue orchestrée et improvisée des matériaux migrants du studio After Howl. Le studio pratique une certaine idée de la rétrospective comme archéographie, retaillant ses formes, leurs signes et donc sa propre histoire.
La matière qui s’amoncelle sur le sol du B.A.D. surgit alors via quelque gouffre spatio-temporel. Il s’agit tant de morceaux de murs et autres corps directement prélevés du studio que de cristallisations d’anciennes expositions au sein de titres-sculptures. Les typographies, comme métonymie des expositions, passent ainsi d’archives à sculptures. Face à ces obélisques de science-fiction, qui montent comme des stalagmites, le jardin est construit en négatif, le sol y est creusé, des glacières y sont enfouies, les murs y sont couleur du vide, blue screen.
On plonge dans ces murs comme on plonge les mains dans les bacs, traversant la pellicule d’eau froide pour accéder à un ailleurs ou la double promesse d’une bière fraîche et de tout enfin recommencer à zéro nous fait languir.

We’re still calling the show Collection… a parade of static objects standing as monuments. The (bad) collection is the ensemble, orchestrated and improvised, of the moving materials from the After Howl studio. The studio puts together a certain idea of the retrospective as archeography, remodelling its forms, their signs and thus its own history. The stuff accumulating on the floor of B.A.D. seems then to come out of a breach through time and space. It’s as much parts of walls and other bodies directly taken form the studio as it’s condensed versions of past shows, taking the form of sculpture-titles. The typefaces as metonymy for the exhibitions then go from archive to sculptures. Facing these sci-fi obelisks, elevating like stalagmites, the garden is built by the negative, there’s holes in the ground, featuring iceboxes, the walls are voids, blue screens. One leaps into these walls just like another reaches through the ice, going through that thin layer of freezing water, both longing for that elsewhere and its double promise of starting all over and an ice-cold beer.

http://afterhowl.com/