Uldus Bakhtiozina. Miss Future – 未來小姐
Uldus Bakhtiozina was born in a family with mixed religions and nationalities: a Muslim Tatars father, and a Christian half-Ukrainian mother. In her work, she often explores folklore and fairytales, but also challenges stereotypes. She was the first Russian TED-speaker in history, and was chosen as one of the Top 100 Women of Year by the BBC in 2014. In 2016, she was named Best Fashion Photographer by Vogue Italy.
Her first professional work as a photographer was a series of ironic self-portraits, which she created during her studies at the University of the Arts in London. Her main intention was to expose stereotypes around nationality, gender, social issues, etc. However, she always does this in a way that is both ironic and infused with magic mysticism.
At SEEN, we meet Uldus Bakhtiozina in a new installation entitled ‘Miss Future – 未來小姐’. Uldus often plays a character – as a form of escapism but also to bring across a sharper message. The artist holds a degree in politics, and this influences some of her work, as is the case in ‘Miss Future’. The installation is informed by the relation between Russia and China, which has been very difficult in the past. Today, everywhere we look, China seems to be taking over the world. It is the world’s largest manufacturing economy and exporter of goods; all objects and clothes we buy – no matter where – seem to be ‘Made in China’, and it has an extremely elaborate market in copied versions of big brands. All eyes are on China – waiting to see what the future holds.
‘Miss Future’ overlooks the current world, as a kind of broadcaster or spokesperson for a changing and challenging society. She herself is a vision of the future – a manufactured, reconstructed, copied version of a person – at all times she sees and is seen, yet she is apparently also missing. Because of her many different guises, the search for ‘Miss Future’ will prove to be a difficult one.
This project is supported by Anna Nova Gallery.
Markus Raetz. Kopflose Mühle
So often our vision plays tricks on us: you think you see someone you know from the corner of your eye. You turn and blink, and the person is gone. Was what you saw real or just a play of the light, or even a whim of your imagination? There is no way of knowing for sure.
This September SEEN welcomes the installation Kopflose Mühle (1993-2002) by Swiss artist Markus Raetz. It is remarkable that, despite being arguably one of the most important contemporary artists in Switzerland, his works have rarely ever been seen in Belgium. This ‘headless mill’ has only seldomly been on public display.
Probably the most important part of Raetz’s work is the viewer. One’s perception of Kopflose Mühle changes depending on one’s position; not only does the installation move by itself, it also changes according to the viewer’s movement. The relation of each viewer to the work is unique.
SEEN – a small yet flexible space – offers a multitude of possible perspectives from which to view this work. Most obviously, the visitor can move around the piece inside the space. Another perspective is offered from the outside, where you can see the work from different angles, as well as the play of light and shadow projected onto the white walls. As dictated by the concept of the art space, the installation will be running day and night. A nighttime viewing offers yet another experience, since at this time the installation itself becomes the primary source of light.
This project was made possible thanks to: Private collection, courtesy of Wilde Gallery, Geneva.
Curated by Laura Adams
Petrovsky & Ramone. Our Kisses
“A desire to unite, instead of divide”
The touch or press of the lips as an expression of affection, love, greeting, or reverence.
The ease of sharing the kiss, the significance of receiving the kiss.
Artist duo Petrovsky & Ramone present an installation around the themes of Love and Connection, a desire to unite, instead of divide – curated by Laura Adams at SEEN in Antwerp.
With the use of visual and digital art they will build a world of unconditional love across borders, genders, race and sexes. The core element of the installation is a visual reminder that we are all connected, all ONE, not by the self-implied restrictions of our ‘social’ media, but by blind love that binds us all.
The act of kissing
While giving a kiss can be done for multiple purposes, the underlying intention of the act is mostly related to feelings of love, affection and connection. While the act of a kiss is something very personal, it is often judged by the public. Some societies do not accept the freedom of sharing a kiss. Some allow the kiss, but not between all types of people. We are all humans searching for acceptance and protection. To be united with ‘the whole’. Searching for the greater connection. Why can’t it be as easy as a kiss?
Oda Jaune. Hands
Common sense usually tells us to “not play with fire”. However, the longing to touch the delicate yet powerful flame, dancing on top of a candle, can be great. You will soon realize that the hot flame can burn you, but the attraction does not fade.
Oda Jaune’s installation Hands created especially for SEEN shows a symbiosis of light and shadow, confronting the viewers with the question of their own existence. In absolute silence and as an antidote to our distractive times, the installation explores the theme of perception and represents a never repeating moment. Under the candle flame, the sculpture becomes animated: shadows start to dance, candles melt away. The wax traces left by the melting become a symbol for the inevitable passage of time and the fragility of life – a poignant metaphor for vanity. All the while, the bronze hands burn but seem to resist the pain, as an everlasting material. The installation functions as a memento, created through life and death.
Oda Jaune is represented by Galerie Templon.
Venice, Garden of the Palazzo Balbi Valier, visible from Canal Grande
Jan Fabre. The Man Who Measures the Clouds (Monument to the Measure of the Immeasurable)
Busan, South-Korea, Gallery 604 and Project B6
Jan Fabre. Loyalty and Vanity
The Hague, The Mesdag Collection
The Sensation of the Sea – In Honour of Bas Jan Ader
For The Sensation of the Sea, guest curator Joanna De Vos has invited several international artists to engage in a dialogue with The Mesdag Collection. These contemporary artists are captivated by the grandeur and tempestuousness of the ocean. The attraction of the sea is an inexhaustible source of inspiration for them, a ‘battery for the imagination’.
Odes to the performance In Search of the Miraculous by the Dutch artist Bas Jan Ader form the exhibition’s connecting thread. Ader disappeared in 1975 as he attempted to sail across the Atlantic. His soul became one with the untameable power of the sea. The tributes to Ader’s artistic practice highlight the enticement and mystery of the ocean.
Nelly Agassi, Ruben Bellinkx, Ansuya Blom, Elke Andreas Boon, Dirk Braeckman, Stijn Cole, Thierry De Cordier, Wim Delvoye, Jan Dibbets, Jan Fabre, Nan Goldin, David Horvitz, Oda Jaune, Sigalit Landau, Enrique Marty, Fabien Mérelle, Johan Muyle, Katie O’Hagan, Ahmet Ögüt, Hans Op de Beeck, Mikes Poppe, Enrique Ramirez, Lonnie Van Brummelen, Hans Van Houwelingen, Yves Velter, Bill Viola, Jorinde Voigt, Julius Von Bismarck, Andy Wauman.
Sicily, several locations
Jan Fabre. Ecstasy & Oracles
Ostend, several locations
The Raft. Art is (not) Lonely
A raft is a means of transport, a means to save lives, a place of isolation, reflection, doubt, insight and encounter. It symbolizes a voyage with a set destination or an adventurous quest without such destination. As a symbol, a raft is susceptible to a variety of interpretations. Call it also a metaphor for the ecstasy art has to offer.
The second edition of the Ostend Triennale takes its starting point in Théodore Géricault Radeau de la Méduse (1818-1819) and Jan Fabre’s Art Is (Not) Lonely (1986). Against the panorama of the North Sea and across the fabric of the city, 73 artists share their creations. Their works are often characterized by dualism, though quiet seclusion and social involvement are equally important.
The dramaturgy of the exhibition is anchored in the concept of crossing borders. Several artists are also active in the world of film, theatre and performance. Existing work and 52 new creations are on view at more than twenty familiar or unexpected places. Furthermore, over fifteen artists will present a unique performance.
De zee vzw (non-profit organisation)
Mu.ZEE and several locations in Ostend.
For more information please contact Pieter Hens, Marketing & Press Manager Oostende,
firstname.lastname@example.org or +32 (0)59 70 11 99
International group exhibition of modern artistry as a 'legacy' of knightly ideals.
‘The Artist/Knight’ is a tribute to the poetic figure of chivalry who gallops out of the mists of romance. The tragic-heroic warrior who falls and rises again, who conquers, rescues, defends, protects, seeks and meets expectations in the sight of his visor.
'The Artist/Knight' defines the knight as conceived in the mind, body and limbs of the contemporary artist. A number of works by modern artists (including Lovis Corinth, James Ensor and Lucio Fontana) reflect the historic embedding of the theme. Chess games, never exhibited before in Belgium, by e.g. Tracey Emin, Damien Hirst and Yoko Ono, embody the progressiveness of the artist/knight: the will for movement and change, the genesis of a different vision on the world.
With work by Marina Abramović, Uldus Bakhtiozina, Horia Damian, Robert Devriendt, Davide Dormino, Jan Fabre, Laurent Grasso, Phil Griffin, Oda Jaune, Kubra Khademi, Meiro Koizumi, Pere Llobera, Kris Martin, Jonathan Meese, Fabien Mérelle, Benjamin Moravec, Eleni Mylonas, Luigi Ontani, Antonis Pittas, Quiet Ensemble, Gabriel Roca, Rob Scholte, Adeela Suleman, Hannelore Van Dijck, Hans Van Houwelingen, Marko Velk, Antonello Viola, voorforvaastfanclub and Andy Wauman.
'The Artist/Knight' book by Hannibal Publishing is available from July 11
Gaasbeek Castle, Kasteelstraat 40, 1750 Lennik (Gaasbeek), +32 (0)2 531 01 30 www.kasteelvangaasbeek.be
For more information please contact Marieke Debeuckelaere, +32 (0)2 531 01 45 or email@example.com
Florence, several locations
Jan Fabre. Spiritual Guards
Piazza della Signoria, Palazzo Vecchio
Forte di Belvedere
Spiritual Guards was listed as number 3 in the top 10 art exhibitions 2016, ARTRIBUNE
Spiritual Guards and its followers : Palazzo Vecchio: 254.000 visitors, Piazza della Signoria: 4.350.000 and Forte di Belvedere: 176.225 visitors
SEEN: Uldus Bakhtiozina, ‘Miss Future – 未來小姐’
12 Dec. – 4 Mar.
For the latest news and updates, follow me: