'The London-Galleries-Therapy', Kurt Ryslavy exhibition, Bureau du Port, Brussels, 2005
B Exhibition Outline Saturday 3rd December 2005 until Thursday 22nd December.
Kurt Ryslavy in «Bureau du Port» Brussels (Belgium)
Title : «The London-Galleries Therapy»
« Bureau du Port » is an alternative exhibition space with regular exhibitions (room plan attached). These are normally advertised by issuing invitations and putting up posters, which are produced in an adjoining print workshop – mainly in colour using monotype.
This approach has been rejected for this exhibition. The artist flies to London and visits about seven of the most important private galleries ( Gagosian, Saatchi, Lisson, etc.); he is very well dressed and receives an invitation to the current exhibition at every gallery; he is accompanied by a photographer, who discreetly documents these visits. The invitations the artist received are photographed together and the result is then used as the invitation for this exhibition. The design and graphics of the invitation and poster mimic the quality and appearance of the invitations received from the famous galleries (glossy, high quality card, etc.); the invitations are in English.
Paper bags are being printed in the print workshop, with something like the following inscription (depending on space and other circumstances): List of Pigments & Title: « how to become an artist »
250 gr. O Titanweiss
250 gr. O Siena gebrannt
250 gr. O Rebenschwarz
250 gr. O Elfenbeinschwarz
250 gr. O Oxydschwarz
250 gr. O Ultramarinblau
250 gr. O Habichrot
250 gr. O Gelber Ocker natur (französisch)
250 gr. O Preussisch Blau
250 gr. O Caput Mortuum
250 gr. O Terra Pozzuoli
250 gr. O Neapelgelb echt
250 gr. O Kremser Weiss
250 gr. O Umbra natur
250 gr. O Umbra gebrannt
250 gr. O Chromoxydhydrat Grün echt
250 gr. O Protex Schwarz
250 gr. O Krapplack hell
250 gr. O Echt Rot
250 gr. O Kadmium Gelb echt
250 gr. O Lithopone
250 gr. O Chromoxydgrün stumpf
250 gr. O Zinkgrün
250 gr. O Zinkgelb
250 gr. O Kobaltblau echt
250 gr. O Siena natur
250 gr. O Böhmische Erde
250 gr. O Pariser Blau
250 gr. O Roter Bolus
250 gr. O Veroneser grüne Erde
250 gr. O Cadmium Rot echt
The installation in the gallery consists of rough euro pallets, on which the bags of colour pigments are stored. Next to these is a table with a computer, next to that a small scoop and a set of letter scales. At the opening of the exhibition the well dressed artist is working at the computer. On request, his assistant – after putting on an apron – sells pigments to gallery visitors in the above mentioned paper bags at weights of 250g. The artist crosses the circle on the paper bag next to the relevant colour. The bag is signed and stamped with the date. A price list for the pigments from the retailer “Le Lion” is on the wall; the prices correspond to the exhibition prices, plus 100% supplement for the gallery ( for example, the 9 euro retail price for 250g Ultramarine becomes a gallery price of 18 euro.) This supplement goes to the gallery. The pigments are the personal possessions of Kurt Ryslavy ( and are not part of the professional equipment of the Kurt Ryslavy artists workshop); this is important from the point of view of tax law.
The performance is recorded on video (camera: T. Geirlandt or C. Montalvo). Together with the elaborate and “socially representative” invitations (and poster), it reveals a certain discrepancy between artistic reality and social reality. It becomes clear why there can be no more “oil paintings on the walls”. On the wall is a “forever unfinished oil painting” (the artist is too busy selling wine) and framed dirty, dog-eared invitations – nicely framed.
Depending on the circumstances, videos can be shown in the adjoining room: “Sonntagsmaler” (1994) or “Ryslavy – Interview” with Michel Kolenberg (2004). Because the adjoining room offers many possibilities for accommodating “small objects” – full wine bottles are being distributed in the ‘ordered chaos’ (similar to hidden Easter eggs). Depending on the gallery owners, visitors can declare part ownership and drink some glasses of wine.
There are two price lists:
1) the “pigments” ( ‘Le Lion’ prices + ‘TC’ supplement)
2) Works from the “artistic” production, such as videos, photographs and installations.
The second price list is not on public display. The aim is to sell as many bags as possible and, at the gallery owners’ discretion, the price supplement could be waived for the unemployed and people on social benefits.
The catalogue “ True Marchand du Vin – The London-Galleries-Therapy” is part of the conceptual approach; it includes amongst other things a textual and photographic contribution by Douglas Park.
Translated from German by Jessica Knight
Geology, Organic, Climate and Weather
Merchandise, Services and Personnel
While out haunting almost barren vast expanse (hardly built-up, furnished, populous or active) solitary ghost (all that remains of the entire cloud formations, long since emptied from the now
unhealthily blank sky) finds nothing more worthwhile to while away lengthy shifts, other than gather, hold, trap and store inhaled breath. Intake saved up and earning interest -until involuntarily regurgitated on impact after carelessly straying near and getting caught by sustained thermal current (neither noticing the other until far too late); brief, sudden and unexpected discovery and exploration of furthermost extreme limits frontier; thus barrage dirigible meets shield barrier stationed to guard border agreed upon and shared with the next neighbouring unknown territory over on the other side. Struck blow / knocked dent / burnt hole firebrands indelible stain and deep moulding into ice and crystal window. Despite (and partly due to) considerably immense force involved, misty fur worn by culprit transfers detailed feather and blossom texture, pattern and motifs upon surface. Template survives, from which comes many more new others, that evolve, transform and differ from original example, with as much improvement and deterioration.
Somewhere else altogether, from requests entered and taken, vending dispensers conduct enquiry and search and summon up all their strength and will-power; straining themselves, with all their might and for what they’re worth. Much overexertion later, the shedding of lone wept tear (nothing else) is advance-announced as vending dispensers delicately whisper out a single gasp and sigh. Without seeking recovery or aftercare, a perfumed soap bubble is inflated by glassblowing vending dispensers; safety-net catches each lone wept tear, before they even drop, then hermetically seals up. Every perfumed soap bubble bakes into a durable ampoule shell prior to quitting vending dispensers; completing preservation and display of fragile and precious lone wept tear; shock-absorbent soft-landing (supplied courtsey of friendly, obliging and ever-helpful cushioned jewellery case) breaks fall of vessel and load (after the balloon touches down, clear lid roof closes, firmly locked and snapping tight shut).
Far away from either apparently unrelated (although secretly linked and connecting indirectly) place, serviettes, flags and sails pulled and slipping off both these sources come loose and hover in a column, floating in vague registration, above some emergent shifting landscape that’s never flat, even or regular anywhere and unable to stay fixed or still. Restless terrain and vertical squadron ripple and bulge, constantly influencing already indeterminate unpredictable form, mutation and metamorphosis of each other; once established and up and running, vibrant state continues, inconclusively and unstoppable. Generated and persistent power and energy results in unresolved wave motion and tidal flow. Crumpled and torn features and earthworks and gardening exchange features and attributes; while buildings and engineering and incisions and folding mimic and rival one another.
Copyright, Douglas Park, 2005
BUREAU DU PORT
RUE SIMONIS, 20 T. 0474.762.933
1050 BRUSSELS F. 02.411.83.91
GALLERY HOURS by appointment
KURT RYSLAVY : The London-Galleries Therapy
Saturday, 3 December – Thursday 22 December 2005
Opening reception : Saturday, 3 December, 3 – 7pm
Bureau du Port is pleased to announce the first major one-man gallery show of Kurt Ryslavy in Ixelles. Kurt Ryslavy’s work is about visual perception, and the ways which the brain reacts to different stimuli.
The exhibition will include new sculptures as well as recent objects and paintings. It warps the small space of BUREAU DU PORT. It sets up an oppositional grid, offset to the grid of the space by 90 or so degrees. It becomes an awkward historicist anomaly in the crisp neutrality of this contemporary art space and questions notions of progressivism and relations between high art and the vernacular. The viewer’s persistence of vision creates an illusion of 3-dimensional movement, and the pulsating sound of business emphasizes the dynamic rhytm.
Ryslavy’s Wie wird man Künstler, 2005 takes the form of a traditional fairground bag, functioning but transformed by contents and flashing covering, so that the movements are intensified, redoubled and destabilised.
The exhibition also includes a new series of conceptual works, made by Ryslavy in collaboration with Larry Gagosian, Annely Juda, Hauser & Wirth, Sadie Cole and others. In apparent contrast, resin casts of baby invitations will also be shown, seemingly hallucinatory in that their eyes appear to make them seem alive.
A fully illustrated catalogue will accompany this exhibition and it will include essays by Douglas Park, writer and curator in London and the artist himself.
Kurt Ryslavy (b. 1961) lives in Koekelberg and has shown his work nationwide over the last decade, including important one-man exhibitions in different major places and leading institutions.
For further information please contact the gallery
Rue Simonis, 20 B-1050 Brussels T. 0474.762.933 F. 02.411.83.91