Seiichi Furuya crosses back and forth between the borders of systems, cultures and epochs. One of the last masters of the ephemeral, with his project Gravitation he re-examines the sum of his photographic work. Gravitation is a distillation of his photographic memory, taken from four decades of his surveying and exploration, a body of work that continues to grow and expand. Image for image, the black and white photographs – memories extracted from silver salts – cover the entire horizon of his photographic world from the inside out. This horizon seldom brightens (black is the dominant shade), continually forcing the viewer’s glance towards the ground, the earth – from which everything begins and to which everything returns again. In this way Gravitation proves to be a different kind of retrospective, a poetic meditation on that which remains behind and only becomes recognizable when it’s all over.
Photographer of the darkening, of the vanishing: this is how one might describe Dirk Braeckman. His photographs tell us nothing about the world and stay mum about their maker. They are dark, hazy, blurred, highly suggestive. They are not here to show us something: they offer no spectacle, no new insight, no revelation. They are enigmas wrapped in black, hovering somewhere between us and the world.
For his exhibition Dirk Braeckman will present a site-specific wall work.
Text: Steven Humblet
„I met the King of the Gypsies of Kentuckiana on the street; he had a crow by his side that, eaten by maggots, had been hung by its claws and was sitting on an pile of garbage. Still, he wasn’t crazy, just destroyed by illness, time and circumstances. After this first encounter I returned and we played pool in a chinese joint, ate tacos and visited his wife whom he really was no longer allowed to contact because of his alleged attacks; we smoked and he told stories. And then we recorded his song. His song is a „fuck you“ to conditions, a „fuck you“ to white dominance, white and racist police violence, and white hubris.“
Margrét H. Blöndal ushers the familiar into unexpected constellations. In drawings and sculptures the world is rearranged and looked at askew. Her installations use commonplace materials almost like words, but words used out of context and mispronounced and yet they still make perfect sense.