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ART FAIR

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ART BRUSSELS 2016
21/04/2016 - 24/04/2016
KRISTO KINTERA
SOLO SHOW

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D+T PROJECT SUPPORTS
OUT OF THE BOX

On the occasion of Art Brussels  and as part of its educational program wich recently included the D+T PROJECT PRIZE the gallery will present an artwork by Kristof KINTERA in collaboration with OUT OF THE BOX. The proceeds from its sale will be given to the Foundation.
Current Exhibition


Sebastien BONIN


Kledze Hatal

17/03/2016 to 07/05/2016


D+T Project Gallery is thrilled to present the first personal exhibition that includes the latest works by Sebastien Bonin (1977).

Sebastien Bonin’s (1977) production of images has shaped itself towards formalism within an image traditionally linked to ideas of form and colour. Photograms, the classical ancestor of photography itself, bring Bonin since 2013 to convert the mere technical relationship into pictoriality. The machine, the enlarger, the gelatine filters used in theatre and movie, the long process of fixing the scotch tapes are among other techniques that the artist uses to create an image that fragments the reality. Californian landscapes, car bodies or Navajo rugs provide an extensive source of inspiration to investigate the colours and their interaction with the light. Progressively, the colour becomes the subject itself.

This exacerbated hyper-reality keeps the marks of the fabrication of its referent (literature, printed image, movies, etc.) towards its rehabilitation as an abstract reality. In this overlay of realities which substitutes the subject with a series of filters, the focus remains on repetition, disguise, caricature, stereotype and artifice while simulacra remains an essential part of Bonin’s work.

Whilst the exhibition’s title, Kledze Hatal, uses the name of the shamanic Navajo singing, the artworks featured in the show are inspired by the Navajo textiles borrowed from movies and American comic books. The artist somewhat dilutes the myth of the Cowboy VS the Red Face culture by means of recuperation, reproduction, reinterpretation of woven shapes and flat tints of colour. In the mean time, the meticulously reinvented geometric compositions are employed as negative filters in order to materialise on photographic paper. The subject of the rug is reviewed by cut outs, collages and colour tests which allow to replay the fiction by duplication of frames.

By isolating the real object – the Navajo rug – filtered by fiction (movie, books, etc.) and recreated by the photogram, Bonin multiplies the levels of reading and highlights the multi-layered fictional process. The ultimate kaleidoscopically generated image is finally composed of a rectangular Navajo arrangement swallowed by cinematographic or printed frame. The change and the tilting of the original patterns afford the artist to reclaim the form and to proceed with pure pictoriality.

The final images cropped and framed hold the spots of their struggle to get out of reality and live in the hyper-dimension. Hand cut, wearing their contours and revealing traces of fixing lines they are enclosed in raw and untreated brass frames. The latter appears as a fragile window that retains oxidized marks left by its manipulation just like in the photography process. This same material with its shiny patina recalls over the Navajos who used it to manufacture their jewellery. 

Translated from text by Elisa Rigoulet