CURATED BY CODE MAGAZINE 2.0
Opening Thursday, April 23, 2015, 5-10 pm
Extended opening hours during Art Brussels:
Sat. 10am-8pm, Sun. 10am-1pm
and by appointment on Friday and Sunday at firstname.lastname@example.org
Philippe Quesne / Vivarium Studio, Taupe Code, 2015
For its 20th issue and 10th anniversary, Code Magazine (2005-2015) proposes a "retro-prospective" at Middlemarch: an exhibition conceived as a three dimensional extension of the prospective content of the publication. It is a retrospective of new works, often never-before-seen, to take you from the position of homo magazinus seated reading to that of the standing homo expositus.
Retrospection is not in Code Magazine's DNA. Since its creation in Brussels in 2005 and its transplantation to Paris in 2010, the magazine has been concerned with new generations and forms of expression, resolutely turned toward the future. However, the latest Parisian issue offers the opportunity to look in the rearview mirror this spring, and to ask how our choices, our editorial line and our invited guests fit in the artistic landscape – if they constitute a familiar horizon or atypical curiosities.
If the imaginary museum of published artists were inaugurated tomorrow, the visitor would discover the following modern museographic sections: "Painting and pictorial experimentation" featuring Roxane Borujerdi's neo-concrete work, Ruth Van Haren Noman's false naivety, and Matthieu Blanchard's and Céline Vaché-Olivieri's material experiments. "Reflections on the medium" would bring together Constance Nouvel's volumetric photographs, Valentin Bouré's unframed frames, Camila Oliveira Fairclough's cloth-wrapped signs, Xavier Antin's multimedia occurrences and Pierre Paulin's half-real half-digital Constellations. "Archaic practices and ethno-ism," definitely an important section, would include the pagan totems of Ferruel & Guédon, the graphic heraldry of Eric Giraudet de Boudemange, the animal mimetism of Louise Deltrieux, the ornamented sausages of Cécile Noguès, the kitten-like assemblages of Laurent Le Deunff, the augmented tapestries of Appriou & Kaës and the magic realism of Rometti & Costales. "Found images and ideas" would be a cabinet, confronting Guillaume Constantin's quotidian ghosts, Gaëlle Cintré's biting regard, and Florian Sumi's sci-fi experiments. Lastly, "An instruction manual for life" would bring together the video auscultations of Pauline Curnier-Jardin and Eléonore Saintagnan & Grégoire Motte, engaging with the real and beyond.
On the pediment of the museum we'd engrave: "In art's recognition of its narrators." Because what brings together so many of these artists is the desire to recount alternative histories whose meticulously constructed scaffolding create an illusion of perfect verisimilitude. Their stories move away from commonly accepted official accounts, rummaging through the various material and manners of telling, making everything fair game, from hierarchies to the stuff of daily life.
Like the review itself, the exhibition follows intuitive choices, without making distinctions between mediums and esthetics – not in an absence of thought, but so that thought itself yields to the intelligence of the heart. It is an assembly built on affection and practices, a reunion of artists that we've followed and who have, in turn, accompanied us. An exhibition conceived with these artists rather than above or through them; Code Magazine has never attempted putting them in categories or creating successive neologisms for them – in short, has never sought to instrumentalize them. We've left the reader the liberty of tracing his or her own path among these inclinations and exercising his or her own taste. As such, this exhibition resembles the review at a reduced scale, presenting in fine a miscellaneous selection of the most recent generation of artists.
– Laetitia Chauvin & Clément Dirié
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