‘COUNTERPARTS' : Nina Van Denbempt - Evert Debusschere
For the presentation SOLO / DUO we have again chosen for a confrontation between two artists with a totally different way
of working:
Evert Debusschere = investigates the different painting styles from the end of the 19th century to the interbellum of the 20th
century.
Nina Van Denbempt = paints, sculpts, does performances, creates installations, which touch on recognisable mental pain
points.
The major link between the two artists is that they both have their own physical and intuitive way of working.
Whereas Evert Debusschere pays particular attention to his artistic expertise, Nina Van Denbempt seems to have little regard
for any form of metier. But both use totally authentic 'touches' in which one can see a connection.
One point of contact in this project is the expressive, let's say expressionistic starting point of their works. For the rest both
artists are opposites. In terms of content, one artist departs from what he sees and feels, the other from what she feels and
sees.
With the confrontation of the two artists, Bruthausgallery once again wishes to create a special universe within an
'art-fair theme'. This is why we have opted for a 'curated project' within an art-fair booth. This is also the absolute
individuality of Bruthausgallery.
This show project is entitled: 'Counterparts':
‘Counterprts' shows how both artists are not concerned with contemporary trends, they prefer to grab hold
of what particularly concerns them. And they hold on to that freedom. Where one gains freedom by
shaking off blockades or mental taboos (and she does so not only for herself, but also for the public), the
other investigates what triggers his retina and sticks to the romantic freedom to create the image he loves.
Both artists gladly offer that sight, that image, to the public, without fear of further consequences...'.
consequences...'.
In this SOLO / DUO presentation, landscape paintings by Evert Debusschere will be brought into dialogue with painting and
installation work by Nina Van denbempt.
Evert Debusschere paints on the same canvas as David Hockney.
Nina Van Denbempt paints on a different type of canvas by Claessens Canvas (a neighbouring company to Bruthausgallery).
Worldwide the best painting canvas used by artists such as Gerhard Richter, Jackson Pollock, etc.. made use of.
A sculpture or small installation by Nina Van Denbempt will be on the floor of the exhibition stand. The use of text, also on the
sides of Nina's paintings, requires a different viewing posture from the audience.The visitors will have to make a certain effort
to enter the stand, just like in previous years. A typical way Bruthausgallery always demands that visitors concentrate on the
works. We like it when an exhibition stand can not be visited without obligation.
Most of the walls of our stand become the supports for Evert Debusschere's paintings. These paintings bring tranquillity,
cheerfulness, a safe and familiar feeling. The opposite is achieved by the works of Nina's: they ask questions, or they emphasise small human fears, small taboos that we all recognise and that cause a slight smile of recognition or laughter.
smile of recognition or venom.
White walls are not an option for entering this world of confusing spheres. Evert's work almost demands a wall colour as one
sees in museums of classical art, where the light must not detract from the works.
At the same time, this way of using coloured walls is an almost manifest choice of Bruthausgallery.
A choice that raises the question: should we still make a distinction between so-called contemporary art and the 'fine arts'?
Hasn't contemporary art long since asserted its position?
Working with partially coloured walls also brings a different sense of space.
It places the works in their own context, which makes the whole feel like a concept exhibition.
’Counterparts' demands an effort from the visitor to experience the whole; passing by without a thought is not an option.
In this presentation, one is not confronted with an illusion, but one is confused by a union, a dissociation of a lyrical impression
and an aggressive sensation, and by the confrontation of the explicit illustration of mental discomfort with lyrical landscapes.