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4 rue du marché aux porcs Brussels Gallery Weekend 2018 1000 brussels Gallery Information tel. .32 .2 217 74 00 fax .32 .2 217 74 01 www. dependance.be [email protected] GALLERY name, address, website dépendance varkensmarkt 4 rue du marché aux porcs Brussel 1000 Bruxelles t + 32 (0) 2 217 74 00 www.dependance.be MAIN CONTACT mail, phone number Zoë Denys zd@dependance +32 484 15 42 82 EXHIBITION INFORMATION title, name of the artist, dates Ed Atkins 5 September - 13 October (TBC), 2018 PRESS INFO on the gallery: dépendance was founded in 2003. As part of the avant-garde tradition, the gallery sees itself as a link between the artist, the art institutions and the commercial art world. Since its founding, the gallery has presented the work of artists who take a social and political stance and operate both inside and outside the established art circuit. The gallery represents twenty seven artists of different generations. dépendance held the first international exhibitions for artists such as Sergej Jensen (2003), Haegue Yang (2004), Michaela Eichwald (2005), Jana Euler (2010) and Peter Wächtler (2013) among others. dépendance was one of the first galleries to open downtown, what later be- came a significant area for young art in Brussels for both commercial and non- profit spaces. As of the 12th of September, 2014 dépendance is operating out of rue du marche aux porcs 4 and 8. The renewed gallery space marks a new phase in the development of dépendance. Gallery artists have been included in international exhibitions such as MoMA, New York (Richard Aldrich and Michaela Eichwald, 2014), Kunsthalle Zurich, Zurich (Jana Euler, 2014), Whitney Museum, New York (Jana Euler, 2013), Documenta 13, Kassel (Thomas Bayrle, Haegue Yang, 2012) the 55th and 54th Venice Biennales (Henrik Olesen, 2013, Oscar Tuazon, Karl Holmqvist, 2011), MoMA PS1, New York (Sergej Jensen, 2011), WIELS, Brussels (Thomas Bayrle, 2013) Kunst Museum Basel (Michaele Eichwald, Nora Schultz, 2013, Henrik Olesen, 2011), Contemporary Art Museum St. Louis, St. Louis (Richard Aldrich, 2011), Museum Ludwig, Cologne (Henrik Olesen , 2012), and KW Institute for Contemporary Art, Berlin (Thilo Heinzmann, 2013, Sergej Jensen, 2009) among others. on the artist: With his work, Ed Atkins (1982, UK) explores the virtuality of our contemporary visual world and its profound effect on the reality of our embodied lives. His high-definition videos and powerful sound-tracks address existential ques- tions about how love, sex, death, and relationships are experienced in the face of digital abstraction. Atkins’ video works are digital performances, as it is the artist’s voice and movement animating the digital world. In these videos, as well as in his collages and drawings, Atkins is asking for the paradoxical capacity of media to let our material lives be present in a progressively dema- terialized world..

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Press Release Curators' Series #5. Bouvard and Pécuchet's Compendious Quest for Beauty
Press Release Curators’ Series #5. Bouvard and Pécuchet's Compendious Quest for Beauty. Exhibition dates: 05.04.12 – 09.06.12 Opening Reception: 04.04.2012 from 6.30 pm Mark Manders. Figure with Book and Fake Dictionaries 2009. David Roberts Collection, London Chris Sharp and Simone Menegoi are the fifth guest curators invited by D.R.A.F. to be part of the Curators' Series. The title for the exhibition is taken from Gustave Flaubert's last, unfinished novel where two Parisian copyists Bouvard and Pécuchet meet, become dear friends, and stoke each other's curiosity to know the world and its rational, post- Enlightenment ways better. They become autodidacts of a dozen different orders, teaching themselves everything from agriculture to medicine. However, despite their best intellectual intentions, any application of the often contradictory knowledge they recklessly accumulate almost always results in confusion, failure or disaster. Yet success is not entirely elusive. One moment a given principle works, whereas in the next it doesn’t. This in turn leads them to continually cry in vain, Où est la règle? (Where is the rule?), as if the clarity and understanding of the supposedly knowable world promised by the Age of Reason were but a farce. In a time when any one individual can access and amass vast and even arcane stores of information, Flaubert's hapless antiheroes seem to be both prescient harbingers and symbols of our era. Their headlong approach can also be said to implicitly describe a good portion of what takes place in contemporary art today, in which we are faced with an obscure and at times questionable expertise on a bewildering multiplicity of subjects.
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CONSTRUCTED SITUATIONS Socialising a Sculptural Practice
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