* Introduction to contemporary art through letters Philippe Van Cauteren, director of the Municipal Museum of Contemporary Art (S.M.A.K.) in Ghent, has for many years written letters to artists all over the world. He directs his thoughts in a very personal manner to artists who inspire him. Van Cauteren's letters are written in a straightforward and accessible way; at times, they even verge on poetic. They offer an insight into how a curator experiences and interprets art, and also provide a clear and succinct introduction to the work of each artist to whom he writes. This richly illustrated book contains more than 100 letters. In an introductory manifesto - a final letter to Jan Hoet, his predecessor and the founder of S.M.A.K. - Van Cauteren also describes the 'ideal museum of the future'. This book is a reflection of the contemporary cultural arena, the roles of a museum, and the way in which diverse parties can collaborate constructively. It features letters to, amongst others, Micha�l Borremans, Berlinde De Bruyckere, Jan Fabre, Adrian Ghenie, Jan Hoet, Mark Manders, Thomas Ruff, Pascale Marthine Tayou, Ed Templeton, Rinus Van de Velde and Vincent van Gogh. Contents: Almost 100 letters to artists.
Massimo Bartolini (b.1962, Cecina, Italy) makes sculptures and large-scale immersive installations that change space and our experience of it. Although his work encompasses other media such as photography, drawing and performance, this book presents two installation works and a selection of small 'studioworks' made between 1994 and 2012, mostly in the last decade. Contents include an introduction from Fiona Bradley, Director of The Fruitmarket Gallery and Phillipe Van Cauteren, Director of S.M.A.K. Ghent, and an extended conversation between both gallery directors and Massimo Bartolini in the artist's studio in 2012.
Première monographie d'un personnage-clé de la scène artistique contemporaine, cet ouvrage de référence, abondamment illustré, propose une exploration exhaustive de l'univers de Berlinde De Bruyckere, depuis ses premières sculptures du début des années 1990 - méditations en plastique sur la figure humaine et sa chair vulnérable mais métamorphique – jusqu'à sa récente et envoûtante installation pour le Pavillon belge à la Biennale de Venise (2013).
Ayşe Erkmen (1949, Istanbul) and Ann Veronica Janssens (1956, Folkestone) are sculptors of roughly the same generation. In both their cases, sculpture is a concept that goes far beyond the three-dimensional nature of the work of art and the spatial relationship between the work and the viewer. Ayse Erkmen's artistic practice is characterised by a marked interest in the historical and social context in which a work of art is born. She makes invisible elements and structures in the surroundings temporarily or permanently visible. Ann Veronica Janssens is engaged with the sensory experience and the moment when the body and space meet. She experiments with the intangible and employs light, colour and sound in her research into the perception of space and movement. In 2016, at the invitation of the City of Ghent, Erkmen and Janssens will each be installing a permanent sculpture on the Korenmarkt. The S.M.A.K., in a double exhibition (31 October 2015 - 14 February 2016), takes the opportunity to set the designs in the broader context ocf the two artists' oeuvres and to examine how these two relate to each other. Exhibition: S.M.A.K., Ghent, Belgium (31.10.2015-14.02.2016).
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