Drawing in Practice
On the occassion of the exhibition Philippe Vandenberg: Molenbeek that opens in September 2020 in BOZAR, the Philippe Vandenberg Foundation organises the research and workshop program Philippe Vandenberg: Drawing in Practice. During the program students will engage on a theoretical and a practical level with the draughtmanship of Philippe Vandenberg. Through workshops in the vicinity of his work, they are encouraged to question the place their draughtsmanship occupies in their practice as an artist under the supervision of specialist on the work of Vandenberg and artists.
Kamikaze was selected for the film festival LIDF – The London International Documentary Festival, where it was screened on November 30, 2020 in the Khalili Theatre in London, UK. Directed by filmmakers Neel Cockx and Guillaume Vandenberghe, Kamikaze offers a dive into the life of Philippe Vandenberg and the abyss of his artistic creation. One long shot glides over his works, belongings, sources of inspiration and memories. Archival footage that is projected on the way brings the painter back to his studio. Kamikaze was produced by Bart Van Langendonck of Savage Films.
Guess Who’s Coming to Diner: Drawing in Practice
The talk Drawing in Practice was held by the Philippe Vandenberg Foundation as a part of the lecture series Guess Who’s Coming to Diner on November 28, 2019 in the Antwerp Academy of Fine Arts, Belgium. Under the title Drawing in Practice it focussed on the relationship between drawing and painting in the œuvre of Vandenberg. The lecture was organised as an introduction to the research and workshop program of the same name that takes place in January 2020. This program is organised in collaboration with ERG – École de Recherche Graphique (Brussels), KASK – School of Arts (Ghent), La Cambre (Brussels) and the Royal Academy of Fine Arts (Antwerp).
Kamikaze was selected for the film festival Cinemistica, where it was screened on November 27, 2020 in the Aula Magna of the Faculty of Psychology of the University of Granada, Spain. Directed by filmmakers Neel Cockx and Guillaume Vandenberghe, Kamikaze offers a dive into the life of Philippe Vandenberg and the abyss of his artistic creation. One long shot glides over his works, belongings, sources of inspiration and memories. Archival footage that is projected on the way brings the painter back to his studio. Kamikaze was produced by Bart Van Langendonck of Savage Films.
The group exhibition Love is on view from October 13, 2019, until January 26, 2020 in the Draiflessen Collection in Mettingen, Germany. As the second exhibition in the Faith, Love, Hope trilogy it takes a look at the concept of love, portraying love as a form of (special) social relationship and commitment. The exhibition presents a selection of modern and contemporary works of art that offer reflection on the potentialities, limits, and contradictions of human connectedness. In the exhibition the seminal work Aimer c’est flageller II (To Love Is to Flagellate II) by Philippe Vandenberg is on view.
Building a Dialogue
The group exhibition Building a Dialogue: Two Corporate Collections of Contemporary was on view from May 17 until September 15, 2019 in the National Bank of Belgium in Brussels, Belgium. Almost unknown to the general public, the National Bank’s collection of contemporary art was coming out into the open with a first exhibition in which it dialogued with the works owned by the Deutsche Bundesbank. In the exhibition an early triptych of Philippe Vandenberg was on view acquired by the National Bank in 1982.
Souvenirs de voyage. La collection d’Antoine de Galbert
The group exhibition Souvenirs de voyage. La collection Antoine de Galbert was on view from April 27 until July 28, 2019 in Musée de Grenoble, France. Conceived of as a journey through the collection of Antoine de Galbert Souvenirs de Voyage recounted the elective affinities of the collector, his passion for contemporary art, his taste for the margins, art brut and ethnography. As a part of the Collection Antoine de Galbert the painting Cyclus La faim de l’âne – la fin de l’âme (Cycle The Hunger of the Donkey – The End of the Soul) by Philippe Vandenberg was on view in the exhibition.
Philippe Vandenberg. Kamikaze
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from April 14 until June 16, 2019 in Kunsthaus centre d’art Pasquart in Biel-Bienne, Switzerland. The title of the exhibition, Kamikaze, described the artist’s drastic working methods and results, a basic precept of which is that creativity is only possible through the deliberate destruction of what has gone before. On view was a highly diverse and multifaceted body of paintings and works on paper: early figurative depictions were supplanted by Expressionist renderings, monochromatic pictures and abstract geometric overpaintings followed on the heels of graffiti-like pieces.
Philippe Vandenberg. Kamikaze
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from April 14 until June 16, 2019 in Kunsthaus centre d’art Pasquart in Biel-Bienne, Switzerland. On the occasion of the opening of the exhibition, Mo Vandenberghe, the son of the artist, and Johannes Muselaers, researcher and archivist at the Philippe Vandenberg Foundation, had a public discussion with Felicity Lunn, director of Kunsthaus centre d’art Pasquart.
Kamikaze was selected for FIFA – Festival International du Film sur l’Art, where it premiered on March 20, 2019 in the Musée National des Beaux-Arts du Québec, Canada. Directed by filmmakers Neel Cockx and Guillaume Vandenberghe, Kamikaze offers a dive into the life of Philippe Vandenberg and the abyss of his artistic creation. One long shot glides over his works, belongings, sources of inspiration and memories. Archival footage that is projected on the way brings the painter back to his studio. Kamikaze was produced by Bart Van Langendonck of Savage Films.
Vitrine: Philippe Vandenberg
The solo exhibition Vitrine: Philippe Vandenberg was on view from February 8 until March 10, 2019 in the NICC buildings in Brussels, Belgium. With Vitrine NICC initiates a solo exhibition on a two monthly basis in their display window not far from Brussels South railway station. Philippe Vandenberg was the first non-living artist selected for Vitrine and will be represented by two word paintings from his later oeuvre. For the opening on February 8, 2019 Prof. Marek Wieczorek (University of Washington) held a lecture on his work followed by a screening of A Painter Is as Oedipus on the Road by Julien Vandevelde.
Ateliers d’artistes: L’âme est vagabonde
The festival Ateliers d’artistes was organised by Shelter of Art from February 7 until April 14, 2019 in the Halles de St-Géry in Brussels, Belgium. By means of an exhibition, conferences and a film program the festival questioned the role of the artist studio in the urbanity of Brussels. For the film program L’âme est vagabonde (2015) was selected. Directed by Guillaume Vandenberghe and Raphaël Kolacz, the filmmakers returned to the apartment of Vandenberg after his suicide in 2009 and filmed the traces left by the painter, the lover and the father.
The Gulf Between
The group exhibition The Gulf Between was on view from January 27 until April 24, 2019 in De Warande in Turnhout, Belgium. Central to this exhibition was the colour gray, with the absence or disappearance of colour being a recurring element in the practice of the participating artists. Their work evokes a twilight world that connects with reality in a different way. The Gulf Between, accordingly, reflected reality as we experience it as a non-objective participant: a reality where memories, visions, and estrangement left their mark. On view in the exhibition was a Grande Noire (Large Black) by Philippe Vandenberg from 1996.
Salon de Peinture
The group exhibition Salon de Peinture was on view from January 17 until February 17, 2019 in M HKA in Antwerp, Belgium. The exhibition was installed on the occasion of Art’s Birthday, a date first celebrated by Fluxus artist Robert Filiou after declaring January 17 the genesis day of art. As befits a French Salon, visitors were dazzled by paintings of established artists such as Fred Bervoets, Luc Tuymans and Walter Swennen, or young talent such as Vedran Kopljar, Anna Zacharoff and Gijs Milnius. A late figurative work by Philippe Vandenberg was also on view during the exhibition.
Kill Them All: Bilder des göttlichen Windes
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from November 16, 2018 until February 24, 2019 in the Hamburger Kunsthalle, Germany. On the occasion of the exhibition the Austrian cultural scientist, philosopher and author Prof. Dr. Thomas Macho held a lecture entitled Kill Them All. Bilder des göttlichen Windes. Starting from his research on the subject of death and the cult of the dead Macho elaborated on the sensibilities in the work of Vandenberg, who elevated kamikaze (the divine wind) to his artistic principle.
Philippe Vandenberg. Kamikaze
The book Philippe Vandenberg. Kamikaze was presented on December 12, 2018 in S.M.A.K. —Stedelijk Museum voor Actuele Kunst in Ghent, Belgium. During the Belgian presentation of the catalogue, Vandenberg’s kamikaze attitude was celebrated. Museum director Philippe Van Cauteren discussed the principle with curator Dr. Brigitte Kölle, followed by a lecture by Peter Verhelst, who read a selection of poems on the artist. Never-before-seen footage of Vandenberg was screened and for the reception the extensive music collection of the artist was taken from the dust.
Films on Art: Reflections on Philippe Vandenberg
The film program Films on Art: Reflections on Philippe Vandenberg took place on December 10 and 12, 2018 in Art Cinema OFFoff in Ghent, Belgium. Conceived of as a reflection on the artistry of Vandenberg through the medium of film it was the first time that a selection of films on the artist was on view on the big screen. Screening these evenings were the trilogy Les Trois Lettres by Guillaume Vandenberghe and Raphaël Kolacz, including La Lettre au Nègre (2003), Jardin Noir (2008) and L’âme est vagabonde (2015), and Julien Vandevelde’s A Painter Is as Oedipus on the road (2004).
Philippe Vandenberg. Kamikaze
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from November 16, 2018 until February 24, 2019 in the Hamburger Kunsthalle, Germany. The title of the exhibition, Kamikaze, described the artist’s drastic working methods and results, a basic precept of which is that creativity is only possible through the deliberate destruction of what has gone before. On view was a highly diverse and multifaceted body of paintings and works on paper: early figurative depictions were supplanted by Expressionist renderings, monochromatic pictures and abstract geometric overpaintings followed on the heels of graffiti-like pieces.
Philippe Vandenberg. Kamikaze
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from November 16, 2018 until February 24, 2019 in the Hamburger Kunsthalle, Germany. On the occasion of this exhibition a catalogue was published by Uitgeverij Kannibaal and Walther König Verlag. The comprehensive publication was edited by Dr. Brigitte Kölle and Felicity Lunn, and includes essays in German, Dutch and French by Harald Falckenberg, Josephine Karg, Kölle, Lunn, Johannes Muselaers and Marek Wieczoreck.
Let’s Talk Abstract
Time and again, lay people interested in art and professionals alike stand dumbfounded before abstract paintings. Let’s Talk Abstract attempts to open up the impenetrable veneer of abstract painting and bring it closer to the viewer. To this purpose, editor Carolin Scharpff-Striebich — collector and director of the Scharpff Collection — conducted trenchant discussions with sixteen leading figures in the international art establishment, each of whom selected an abstract painting to comment upon. One of these interviewees is Hélène Vandenberghe, director of the Philippe Vandenberg Foundation, who discusses the emotional and intellectual sensibilities underlying an untitled abstract painting by her father.
Philippe Vandenberg. Kamikaze, the most extensive retrospective to date of the work of Philippe Vandenberg, was on view from November 16, 2018 until February 24, 2019 in the Hamburger Kunsthalle, Germany. On the occasion of the exhibition directors Neel Cockx and Guillaume created Kamikaze, a film shot in the artist’s still-existing studio in Molenbeek, Brussels. Kamikaze offers a dive into the life of the painter and the abyss of his artistic creation. One long shot glides over his works, belongings, sources of inspiration and memories. Archival footage that is projected on the way brings the painter back to his studio. Kamikaze was produced by Bart Van Langendonck of Savage Films.
Estate Planning for Visual Artists: A Workbook for Attorneys & Executors
The Joan Mitchell Foundation released their workbook Estate Planning for Visual Artists: A Workbook for Attorneys & Executors in October, 2018. Developed in partnership with the Arts & Business Council of Greater Boston (A&BC) the workbook includes in-depth sections on legal matters pertaining to intellectual property and copyright as well as estate vehicles, such as wills, trusts, and artist-endowed foundations. The legal details are complemented by perspectives from a diverse group of arts professionals. The Philippe Vandenberg Foundation contributed to the publication with information on the constellation of entities and relationships that play a role in the legacy-planning process.
The city of Oudenaarde, Belgium, organised an ambitious exhibition around the 17th-century painter Adriaen Brouwer from September 16 until December 16, 2018. Simultaneously on view in the local Pamele Church was Charivari, a group show that brought together a selection of 30 contemporary artists. Charivari was inspired by the artistic heritage of Brouwer, who left behind an œuvre that bears witness of a critical, often moralizing but always humorous look at society. In the exhibition Philippe Vandenberg was represented by two works, an untitled comic work from 1989 and a collage on canvas from ca. 1996.
The Philippe Vandenberg Foundation is happy to welcome you to their new website. Conceived of as place for discovery, it neatly documents the work and life of Philippe Vandenberg and the operations of the Foundation. The website gives an overview of Vandenberg’s biography, the exhibitions he participated in and the majority of publications on and by the artist. Available online for a first time, is a broad selection of films, texts and press articles that appeared throughout his life. The website moreover acquaints the visitor with the many domains the Foundation operates in, ranging from managing the studio, to organizing exhibitions, to conducting research. The website was designed by Ine Meganck and Chloé D’Hauwe from Studio Ine Meganck and was developed by Matthieu Serruys.
The twelfth edition of Museum Dhondt-Dhaenens’ annual (Tuin)Feest took place on August 31, 2018 in Flanders Expo in Ghent, Belgium. Central to the party were a Paddle8 Internet auction and a Christie’s live benefit auction. They are crucial for the museum as all proceeds of the evening go to the daily operations of the museum, that strives to create an optimal exhibition context for artists. The Philippe Vandenberg Foundation donated the drawing No Title (1996-1997) for auction. This text drawing, overpainted with a circle in black gouache, was on view during (Tuin)Feest together with the other works of both auctions.
The group exhibition I Object took place from July 13 until July 20, 2018 in the Old Courthouse of Ghent, Belgium. It focussed on the assessment of artistic choices and approached the theme from different angles. To this objective artists were invited to show two pivotal works from their oeuvre to underscore the substantive and formal limitations creative choices often result from. After all, many artists arrive to a point where the rules they set in their practice seem to dictate the law. How do artists deal with these limitations? Will they be guided by them? Or does the artist protest? Attesting to this issue were two early text works by Philippe Vandenberg from the years 1995-1996.
S&D#25: Philippe Vandenberg
During one of the many cleanup sessions at the very beginning of 019, an artist collective running an exhibition and work space in a former welding factory in Ghent, they came across an old discarded flagpole. They restored it to its original spot and raised a flag to introduce themselves to the neighborhood. A second flagpole arose with S&D#25. In January 2016 the pole moved to Ghent to be placed on a pedestal designed by Olivier Goethals. From that moment, S&D#025 functioned as a mobile exhibition space with a growing archive of Belgiums’ largest flags. In the summer of 2018, a flag design based on a word drawing by Philippe Vandenberg was on view on Dok-Noord, an industrial site in the old port of Ghent.
Nieuw Amsterdams Peil: Matthew Day Jackson & Philippe Vandenberg
The galleries of the Amsterdam Jordaan district organised Nieuw Amsterdams Peil (NAP) from June 23 until July 28, 2018. Under the title ‘Veracht den burgerman, doch ledig zijne kruiken’ (‘Despise the solid burgherman, but drink deep of his flagon’), Joost Declercq, director of Museum Dhondt-Dhaenens (Sint Martens-Latem, Belgium) and curator Charlotte Crevits, co-curated an unparalleled art program. The guiding principle for this edition of NAP has been to pair one artist represented from his or her gallery in Amsterdam with an artist not represented in the gallery’s program. One of the participating galleries was GRIMM, were a duo exhibition by the American artist Matthew Day Jackson and Vandenberg took place. On view was a diverse selection of works by Vandenberg, among which a burlesque figurative painting from the early late ’80s, a monochrome from the mid-’90s, and a word painting from the late ’00s.
Lust, Laughter, Liquor
The group exhibition Lust, Laughter, Liquor was on view from March 22 until May 5, 2018 in PLUS-ONE Gallery and Gallery Sofie Van de Velde in Antwerp, Belgium. It was their first jointly curated exhibition after the galleries decided to reinforce their projects in a shared and second gallery space in the Nieuw Zuid area in Antwerp. From a common sense of entrepreneurship in art, but with their own perspective on artistic choices, their philosophy is one of collaboration and sharing. With Lust, Laughter, Liquor the two galleries continued on their collaborative path and celebrated their positive and open-minded attitude towards art. On view in the exhibition were two rare assemblages by Philippe Vandenberg from 1996.
Het Gouden Paviljoen
The group exhibition Het Gouden Paviljoen (The Golden Pavilion) was on view from March 10 until May 20, 2018 in De Warande in Turnhout, Belgium. The title of the exhibition refers to a classic novel from Japanese literature. Autor Yukio Mishima describes in The Temple of the Golden Pavilion the thoughts and emotions of a young acolyte. The temple of the monastery where he resides is of unearthly beauty, in such way confrontational that it becomes a torture. In Het Gouden Paviljoen De Warande brought together works from a very diverse selection of artists and testified how beauty can be (too) overwhelming, to the point of being a torture and destructive. On view in the exhibition were four drawn variations on the crucifixion by Philippe Vandenberg from 1996.
The group exhibition Ecce Homo took place from November 17, 2017 until February 25, 2018 in several locations throughout Antwerp, Belgium. The starting point for the exhibition was a simple observation: we live in an era in which humanity and mankind are violated on different levels. Ecce Homo therefore investigated the different ways in which artists address this worldwide inequality in the development and freedom of humankind. It was an intended decision to choose only artists living and working in Belgium with the exception of one artist that could not be ignored considering the subject: Philippe Vandenberg. On view at the exhibition were four works by Vandenberg: three blood drawings from ca; 1996 displaying the word honte (shame) and a big text drawing from 2005-2008 with the sentence: “Kill Them All and Dance”.
Art & Alphabet
The group exhibition Art & Alphabet was on view from July 21 until October 31, 2017 in the Hamburger Kunsthalle, Germany. Taking place across two floors of the gallery of contemporary art, the exhibition focussed on the complex interrelation of script and image in contemporary art. On view were works in a variety of media by 22 international artists from 15 different countries that deal with elements of a broad range of languages and writing systems, exploring their impact as visual signs, expanding on them, and transforming them artistically. In line with the theme curator Brigitte Kölle presented two large walls of text drawings by Philippe Vandenberg made between 2005 and 2008.