posture editions

KOBA DE MEUTTER
So That Afternoon We Both Made an Empty Circle

BOOK LAUNCH
5th JULY at LLS Paleis Antwerp

Together with Posture Editions, Koba De Meutter (b. 1992) creates So That Afternoon We Both Made an Empty Circle, a book with visual work that is the result of two recent artist’s residences in Mexico. De Meutter combines sculpturally adaptable modules (consisting of metal rods and ‘holders’) with found material in deliberate actions or chance events, often in public spaces. In the book, photographs of her interventions in Mexico City are combined with a series of drawings she made during her second residence in art centre Casa Wabi. The drawings feature imaginary characters from her memories of her stay in Mexico City—yet they are no less realistic or near.

Book, 96 pages
With an introduction by Gijs Milius.

The book is realised in the context of Residencias Artistias por Intercambio R.A.T., Casa Wabi, and AIR Antwerp.

SANAM KHATIBI
My garden is wilder than yours

Sanam Khatibi (b. 1979) is a Brussels based artist, born in Tehran, Iran. Her works deal with animality and the core of her practice interrogates our relationship to power structures, specifically the duality of triumph and failure. The recurrent themes that often feature in her work question our relationship with excess, loss of control, bestiality, the male-female dynamics, domination and submission. She is also interested in the thin line that exists between fear and desire, and how closely they are interrelated.
Her subjects live on their impulses in alluring, exotic landscapes. They are ambiguous with their relationship to power, violence, sensuality and each other. Wildlife and animals are an integral part of her practice, and her subjects are often depicted within the same plane as the flora and fauna.

release:
Fall 2018

forthcoming
Publication with
LAURA VAN

release
28th Oct 2018
Roger Raveelmuseum

Posture Editions and Laura van are currently working together on a publication with recent still lifes by van. The works, for which the artist uses only oils, are without photographic point of departure: they are the result of an inflection of what the artist observes on the table in his living and working space. They are therefore anecdotal-autobiographical in nature — a nature that is emphatically determined by the motorial and psychological intentions of the moment.