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MICHAËL BORREMANS - WEIGHT

MICHAËL BORREMANS (1963-)

“A painting is not a stationary image: it moves, it is a presence. Film is something I would still like to experiment with.” (Michael Borremans)

Although originally trained as a photographer and graphic designer, Belgian artist Michaël Borremans (* 1963 in Geraardsbergen) has made a name for himself with absurdly ominous drawings and enigmatic paintings. In 2005, Borremans first presented a film projection as an integral part of a room-filling installation at the Berlin Biennale. His films—shifting tableaux vivants with poetic titles, in which Borremans very gradually creates an oppressive atmosphere with subtle camera work—are closely related to his two-dimensional works in terms of form and subject. Using a fixed camera position or slowly zooming in, he focuses on certain details of the scenery, body parts, faces, or clothing. It remains unclear who these people are or what they are doing. As in his paintings, the images in Borreman’s films balance on the fine line between a recognizable, everyday reality and a bizarre dream world.

Texts by Massimiliano Gioni, Philippe-Alain Michaud, Delfim Sardo

Pris ved 1 299,00 DKK

Emne Nutidskunst
Kunstner BORREMANS, Michaël
Forfatter Edited by Edna van Duyn
Sprog Engelsk
Illustrationer 55 i farver
Format / Sideantal 24 x 18 cm / 88 sider
Udgivelsesår 2008
Indbinding Indbundet
Forlag Hatje Cantz Publishers
Antikvarisk
Antal
Køb
ISBN 9783775721301
Lev. 3-5 dage

MICHAËL BORREMANS (1963-)

“A painting is not a stationary image: it moves, it is a presence. Film is something I would still like to experiment with.” (Michael Borremans)

Although originally trained as a photographer and graphic designer, Belgian artist Michaël Borremans (* 1963 in Geraardsbergen) has made a name for himself with absurdly ominous drawings and enigmatic paintings. In 2005, Borremans first presented a film projection as an integral part of a room-filling installation at the Berlin Biennale. His films—shifting tableaux vivants with poetic titles, in which Borremans very gradually creates an oppressive atmosphere with subtle camera work—are closely related to his two-dimensional works in terms of form and subject. Using a fixed camera position or slowly zooming in, he focuses on certain details of the scenery, body parts, faces, or clothing. It remains unclear who these people are or what they are doing. As in his paintings, the images in Borreman’s films balance on the fine line between a recognizable, everyday reality and a bizarre dream world.

Texts by Massimiliano Gioni, Philippe-Alain Michaud, Delfim Sardo