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Netwerk / center for contemporary art
Netwerk / center for contemporary art
Houtkaai z/n
9300 Aalst
Belgio
tel: +32 53 70 97 73
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Netwerk / center for contemporary art | Goele De Bruyn: Clean Speech & Soap
Z.t. ( les mains sales ), 1998-… © Goele De Bruyn.

Netwerk / center for contemporary art

Goele De Bruyn: Clean Speech & Soap

+ performance en boekpresentatie Goele De Bruyn + concert Miaux (BE)

+ concert Miaux (BE) + performance and book launch Goele De Bruyn

FR 11.10 2013 – 20:00
20:00
book launch Goele De Bruyn
performance Goele De Bruyn (continuous)
21:00
concert Miaux
В 
extra: 18:00 Belgium – Croatia
В 

Netwerk / center for contemporary art
Houtkaai z/nВ 
B-9300 Aalst
Belgium

T: +32 53 709 773В 
F: +32 53 709 772В 
info@netwerk-art.be
btw: BE 421 393 536

Offices
open Mo в†’ Fr: 10:00 в†’ 17:00
closed on holidays

During a continuous performance at the opening of her solo exhibition, Goele De Bruyn will spontaneously affect her installation. In addition, the artist’s book, Clean Speech, recently published by MER. Paper Kunsthalle, will also be presented.

MiauxВ is an Antwerp-based keyboard virtuoso whose micro music touches every melancholic soul. Her minimal and timeless music evokesВ Roedelius,В Ruth Whiteand electronic interpretations of baroque music. Simply played with two hands on an old-school Casio keyboard: a complete band in a Casio-unit!

Mia Prce, alias Miaux, daughter of two painters, was born in Sarajevo in 1982. When she was seven, the family moved to Antwerp and she came in contact with the exciting artist/freak-scene around Ercola, one of the oldest artists’ collectives in Antwerp. Mia became hooked on her father’s collection of cassettes: Embryo, Neu!,Brainticket and Roxy Music. Since a very early age, her Casio keyboard that she acquired when she was five has fascinated her. Later, she was classically trained on the piano. Her music is released on such labels as, Ultra Eczema from Dennis Tyfus.

 

Goele De Bruyn

The work of Goele De Bruyn often plays upon the line between the functional and the non-functional. The profusion of possibilities for re-uses formulates a potential new beginning. De Bruyn often makes use of cleaning materials such as mops, garbage bags, handkerchiefs or soap: absorbent materials that emphasize cleansing, removal and protection. The artist herself philosophically sketches these elements of the creative process as “mechanisms of consolation”.

During her residency in 2011, in Beijing, De Bruyn did a re-enactment of Les Mains Sales, 1998-2…., a work consisting of an arrangement of soap bar remnants collected over several years. The re-enactment resulted in a second collection of soap remnants. These remnants differed from the first collection, which had been passively assembled, due to the fact that the artist had actively sought them out. This occurred in the city of Beijing, where the language as well as the local customs where foreign to De Bruyn. The Chinese collection forms a living installation with social relevance, halfway between sculpture and performance.


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