Christophe Terlinden - Superflu
19/03/2011 - 06/04/2011
For its next exhibition, aliceday presents for the first time together in one gallery space, two solo exhibitions by the artists Neal Beggs (IRL, 1959) and Christophe Terlinden (BEL, 1969).
These two artists come from a generation deeply rooted in the usage of diverse media (performances, sound objects, drawings and sculptures) experimenting with any mode of intermediation which allows the position of the artist to be registered in the public space.
Based on this common conceptual corpus, Neal Beggs and Christopher Terlinden share the same desire and pleasure to invest without limits and without formal exclusion from play, all geographical areas, social, economic or cultural, where they can post signs that are indicative of their progression.
Their projects for aliceday are a challenge for these two artists, confronted this time with a space exclusively dedicated to art and its dissemination.
Neal Beggs evokes, interrogates and combines various " myths " related to Woodstock, emblematic of the 60s hippie culture, and the enigma of wooden bombs from World War II which bore the inscription " wood for wood. "
Christophe Terlinden leaves his stockroom literally and figuratively, to re-assemble and re-show many " trace objects " that served as markers of his work in recent years.
To conclude, we should prepare for this perspective of exhibiting to open the way for the exploration of these two artists.
These two artists come from a generation deeply rooted in the usage of diverse media (performances, sound objects, drawings and sculptures) experimenting with any mode of intermediation which allows the position of the artist to be registered in the public space.
Based on this common conceptual corpus, Neal Beggs and Christopher Terlinden share the same desire and pleasure to invest without limits and without formal exclusion from play, all geographical areas, social, economic or cultural, where they can post signs that are indicative of their progression.
Their projects for aliceday are a challenge for these two artists, confronted this time with a space exclusively dedicated to art and its dissemination.
Neal Beggs evokes, interrogates and combines various " myths " related to Woodstock, emblematic of the 60s hippie culture, and the enigma of wooden bombs from World War II which bore the inscription " wood for wood. "
Christophe Terlinden leaves his stockroom literally and figuratively, to re-assemble and re-show many " trace objects " that served as markers of his work in recent years.
To conclude, we should prepare for this perspective of exhibiting to open the way for the exploration of these two artists.