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Sculpture and the Enemies Issue1 2013.Indd SCULPTURE + the enemies The Art Gallery of South Australia has purchased a work by the Belgian artist, Belinde De Bruycke for its permanent collection. ...... A confronting work by the contemporary Belgian artist, Belinde De Bruyckere of a pair of entwined headless horse torsos, hangs from the ceiling in the newly refurbished and redisplayed Melrose wing of European Art in the Art Gallery of South Australia. Suspended from a metal armature, once part of an oil rig, the sculpture hangs in the wing which is devoted to the theme of the human condition. It is displayed near August Rodin’s, ‘The Inner Voice’ c. 1894.The horse sculpture was cast in epoxy resin then covered in real horse skin. This new acquisition has caused some debate and comment in Adelaide, but this response is to be expected as Adelaide has a reputation for being conservative. The work titled, ‘We are all fl esh’ was chosen by Art Gallery Director, Mr Nick Mitzevich. According to Nick Mitzevich, “If it is a little bit shocking and a little disturbing, that’s the role of art in the society that we live in now. ….It is supposed to change our thinking.” 1. With the reopening of the Melrose wing of January this year, the Gallery’s traditional chronological system of displaying and hanging art works has been replaced with a display that mixes the art works from different eras. Works from different periods and cultures are displayed together and grouped into themes such as the human condition and mortality. This mix has not deterred people from visiting the gallery, in fact since Mr Mitzevich took up the post as Director in July 2010, attendances have increased signifi cantly. Berlinde De Bruyckere is known for her sculptures which are confronting, contorted and reconfi gured concepts of the body. Each body whether human or equine expresses a range of themes that defi ne our humanity: suffering, loneliness, fragility, vulnerability, imperfection, death and remembrance. De Bruyckere has made the comment: “I wanted to show how helpless a body can be, and the beauty of that body.” 2. De Bruyckere has been infl uenced by the aesthetics and subject matter of the Flemish Renaissance and other old Masters including the Flemish ‘Vanitas’ – the still life paintings which included symbols depicting the impermanence of earthly life. The work of the German Renaissance painter, Lucas Cranach the Elder who used the physical body to represent the mental condition, particularly infl uences De Bruyckere. She has described what she sees in his works: “their physicality as the medium to express the thoughts and concerns of those fi gures; their fears, their passions, their doubts... it is all to do with man’s mental state which is evoked by the visible body.” 2 De Bruyckere is also infl uenced by war and famine. De Bruyckere was born in Ghent, Belgium in 1964. Her father worked as a butcher. She grew up used to images of animal’s bodies skinned and headless and hung up on butchers hooks and of white smocks covered in blood. It is clear that these images have also infl uenced her work. She was educated from the age of fi ve at a Catholic Boarding school. However when asked if her work is religious she has said that she does not like to put a label on it, because once you label a work the viewer only focusses on the label. Of her religious education she has commented that reading the Bible is like watching a fi lm by the Italian fi lm maker, Passolini in that it inspires you to start thinking and to reference your own situation. In her studio in Ghent, a converted catholic boy’s school which she shares with her husband, 1 sculptor Peter Buggenhout, De Bruyckere uses materials such as wax, wood, iron, wool, hair and hides of horses to create her sculptures of tangles of fl esh coloured branches, human bodies that morph into branches or dissolve into a cushion, and of lifeless horses with all their weight and volume. Her works are displayed in different ways- suspended from a ceiling or on a wall, on plinths and sometimes inside old museum cabinets. De Bruyckere works mostly with wax because it is easily manipulated. As a fi lling material for her sculptures she used epoxy reinforced with a metal construction for strength. She produces silicone moulds made from casts of parts of the body. The moulds are then painted inside with layers of melted coloured wax, with each sculpture requiring numerous pieces of coloured wax. De Bruyckere and her team of assistants then assemble and sew together the moulds. The seams are covered with a further layer of wax. This technique produces her eerie pale translucent bodies with touches of reds and blues to indicate veins and life. Her artistic career spans 26 years; she reached international recognition at the 2003 Venice Biennale when her sculptures were shown in the Italia Pavillion . In 2011, she was the subject of a major exhibition: ‘Mysterium Leib: Berlinde De Bruyckere in Dialogue with Cranach Pasolini’ at the Moritzburg Foundation in Halle, Germany. 3 De Bruykere studied at the Saint-Lucas Visual Arts School in Ghent where she trained as a painter. From an early time in her artistic career, from the 1990s not long after graduating, her work portrayed themes of suffering and human vulnerability using woollen blankets as the material for her sculptures and installations. Their use was symbolic of warmth and shelter and of the vulnerable during disaster and war; the suffering are covered. One of her fi rst sculptures using blankets consisted simply of a stack of blankets folded on top of an unsteady wooden stool (Untitled, 1991). In a later work, she sewed thousands of ribbons embroidered with the phrase, ‘Innocence can be hell’ onto 200 heavy woollen blankets which she hung up on four huge drying racks. The result – the work was reminiscent of the play houses children construct to hide and play in. The image and the words also conjured up another more distressing image - of refugee camps full of the vulnerable and suffering displaced from their homes. Her ‘Blanket Women’, a series of sculptures she began in the mid-1990s and a continuation of the blanket theme, were of the female form covered in woollen blankets. This work was a response to news footage she saw of blanket covered refugees in Rwanda. Her human fi gures do not have faces because she does not want the viewer to focus only on the face, resulting in the body becoming of less importance. A few years later De Bruyckere turned to the horse as a subject for her work. In 2000 she was commissioned by the Flanders Fields Museum in the town of Ypres to make a work with war as its theme. After researching WWI she came across many images of streets fi lled with the bodies of horses used during the war. Her work: fi ve life sized splayed legged horses captured in the throes of death in the legendary WWI battle. De Bruyckere’s process with her horse sculptures is entirely humane. She works closely with the veterinary clinic at Ghent University. When a horse dies, the veterinarians contact her so that she can cast it in epoxy. The skins come from a tanner in Brussels who otherwise would prepare them for the leather industry. For this work, the heads of those corpses were awful to look at and she chose not to show them. Berlinde De Bruyckere is world renowned and her work has been exhibited in major galleries in France, Germany, the Netherlands, Belgium, Switzerland, Finland, Spain, Italy, England, Russia, Brazil, Sweden, the United States, Canada, Korea, China and Australia. 2 3 1.http://www.artgallery.sa.gov.au/agsa/home/Media/docs/Current_media_releases/Melrose_ Wing_MR_FINAL.pdf 2. “Berlinde Bruyckere: We are all Flesh” VCE education kit acca education 3. .(Cranach the Elder and poet and fi lmmaker, Pier Paolo Pasolini) Bibliography http://www.saatchi-gallery.co.uk/artists/berlinde_debruyckere.htm?section_name=shape_of_ things http://www.artinfo.com/news/story/31241/berlinde-de-bruyckere http://www.depont.nl/nc/en/exhibitions/archive/release/pers/berlinde-de-bruyckere-1/ http://www.artnet.com/galleries/exhibitions.asp?HYPERLINK “http://www.artnet.com/galleries/ exhibitions.asp?gid=423838496&cid=68981” gid=423838496&cid=68981 http://www.theage.com.au/entertainment/art-and-design/works-born-of-bloodied-memory- 20120601-1zmd6.html http://www.hauserwirth.com/exhibitions/899/berlinde-de-bruyckere-into-one-another-to-p-p-p/ view/ http://johnmcdonald.net.au/2013/succes-de-scandale-in-adelaide/ http://www.theaustralian.com.au/arts/visual-arts/curtain-rises-on-a-gallery-that-mixes-it-up/story- fn9d3avm-1226556159086 http://www.artgallery.sa.gov.au/agsa/home/Media/docs/Current_media_releases/Melrose_Wing_ MR_FINAL.pdf http://www.saatchi-gallery.co.uk/artists/berlinde_debruyckere.htm http://www.abc.net.au/arts/blog/arts-desk/berlinde-de-bruyckere-we-are-all-fl esh-acca-120706/ default.htm http://www.hauserwirth.com/exhibitions/34/berlinde-de-bruyckere-schmerzensmann/view/ http://www.theage.com.au/entertainment/art-and-design/works-born-of-bloodied-memory- 20120601-1zmd6.html http://www.theaustralian.com.au/arts/review/art-gallery-director-nick-mitzevich-adopts-an-open- door-policy-for-south-australia/story-fn9n8gph-1226323841040 and information provided by Grace Davenport, Donor and Special Events Coordinator at ACCA (the Australian Centre for Contemporary Art and Katrina Hall, ACCA Publicist at ACCA. 4 5 for your electronic copy To subscribe, complete and post this form to Sculpture + the enemies, PO Box 381, Turramurra 2074 Make your cheque payable to Stage Craft Consulting P/L Name: Delivery Address: Suburb: State: Post Code: Telephone: Email: Subscription: First Issue: December 2012 February 2013 for your on-line pdf emailed to your computer or IPAD 1 issue for $7 3 issues for $21 Alternatively, place your order at www.sculptureandtheenemies.com.au.
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