De collectie Museum Dhondt-Dhaenens, een voorstelling

‘De Collectie Museum Dhondt-Dhaenens, een voorstelling’ is the new collection catalog of this museum and shows the 130 works of art that were donated by Jules and Irma Dhondt-Dhaenens to the self-founded foundation, in 1967.
The catalogue is conceived around a photographic concept that reveals the physical handling of the collection. Clusters of works are assembled, laid out on the museum floor by figurants and photographed. The book becomes a theatrical performance with paintings, drawings and sculptures deployed as actors in changing stage settings.
In addition, in a separate section, some 25 top works are highlighted and reproduced full-page.
Finally, the book contains texts by outside voices who briefly explain their personal experiences with the museum and interpretations of its historical heritage. The texts were written by Goedele Bartholomeeussen, Inge Braeckman, Bart Cassiman, Chantal Pattyn, Herwig Todts, Kia Tsakaridis, Michiel Van Damme, Karen Van Godtsenhoven, Olga Van Oost, Cathérine Verleysen, Bart Verschaffel, Sophie Von Hellerman.

Birde Vanheerswynghels
A Glimpse Is All I need

Birde Vanheerswynghels (b. 1986) is best recognized for her monumental charcoal drawings of semi-imaginary, lush plant worlds. She based these mostly on historical documentation and stories of European ‘explorers’ but eventually went on a virtual journey herself to create new, fictional images.
Since 2020, Birde has been working on a series of portraits of individuals pursuing the image of androgynous beauty. The characters in the works are not portraits in the sense that they are made after life, but are based on photographs, a colour, a movement or a gesture. Initially Birde created her portraits in charcoal or green pigment on paper, but in 2022 she made the move to work with oil on canvas.

The book ‘A Glimpse is all I need’ brings together a nice selection of works from these last 10 years and includes a thoughtful text by Dagmar Dirkx, especially written for the book.

Ritsart Gobyn
Reclining Fragments

In 2021, Posture Editions published ‘In Between’, Ritsart’s very first publication. ‘Reclining Fragments’ forms the second volume on the artist’s work and contains almost all the works Ritsart made from late 2020 to mid-2023. The book will be launched at the finissage of ‘Prologue’, the exhibition at PLUS-ONE gallery.

Consistently, Ritsart continues to build an evocative and tactile oeuvre in which he increasingly challenges the viewer’s perception and causes the gaze to slow down.
More than in the first book ‘In Between’ – with works from 2017 to 2020 – the artist incorporates fragments/citations of other artists into his paintings, raising the question of what motivations preceded that choice.

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Dieter Durinck
Bootleg Paintings

‘Bootleg Paintings’ is a series of works based on classics of 20th-century painting. In his own way, Durinck translates well-known and lesser-known 20th-century works by repainting them in a combination of bright green and black oil paint. This collection contains works by a wide variety of artists: including Picasso’s Les demoiselles d’Avignon (1907), L’usage de la Parole (1927-29) by Magritte, Le movement des billes (1926) by Fernand Léger, Zig-zag Zigzag (1987) by René Daniëls, The Studio (1969) by Philip Guston, Käthe Grüsse (1990) by Luc Tuymans, ….
The series was started in 2019 and counts 36 paintings today.

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Fabrice Souvereyns
Erased and Not Erased

Armed with pencil, eraser and box cutter, Fabrice Souvereyns (b. 1995) creates a detailed world based on intense observations and perceptions.
Souvereyns’s young oeuvre draws inspiration from the physical world, from fauna and flora and from what is visible to humankind in the skies. In addition, more ‘invisible’ themes also play a substantial role in the work. The influence of, for example, science cannot be denied, while art history also serves as inspiration for the artist’s eccentric plant world.
While working, he is guided by spontaneity, yet the drawings are not simply the result of automatism. Each movement, whether adding or omitting, leaves a unique trace and is a deliberate choice by the artist.

Posture Editions N° 50 brings together these diverse landscapes and functions as a first retrospective work of the young artist.

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Guy Rombouts
oei

‘Oei’ is the title of a notebook that Guy Rombouts (b. 1949) filled from front to back with the word ‘oei’, during a week in the month of July in the year 1976.
Weaving this word as one long stream of thought through the pages of the book under ever-changing guises creates a primal litany in which mistakes are sung over and over again in all their impossibility.
‘Oei’ is the title of the exhibition at S.M.A.K. (31.03-14.05.2023) in which the artist bridges the early beginnings of his practice and transforms this wondrous word into a total installation.
The facsimile of the notebook ‘oei’ will be published in its entirety at full size as Posture Pockets N° 3.
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On the occasion of the exhibition and the facsimile edition of the notebook OEI, Posture Editions is offering a multiple, the OEI sheet < more info >