We are very glad to announce our participation at Poppositions Brussel.

Karl Karner

Installation

Objects

Karl Karner | Linda Samraweerovà

Performance

Interview about Poppositions with Collector Alain Servais click here

   Supported by Österreichisches Kulturforum, Brussels

bruno streich’s practice, which lies at the intersection of art, science, engineering and architecture, plays with the “form versus function” binary to engage with the viewer in an examination of space and our place in it.

 

his large-scale sculptures, evoking familiar forms from aerospace engineering, the artist’s former profession, impose themselves spatially but are made of very rudimentary materials, in stark contrast to the sophisticated ones used in actual aerospace designs. 

and yet streich insists on an academic rigor in his fabrication – despite the crafty diy aesthetic, which places his works firmly in the field of art, his sculptures are made to standard light-weight engineering specifications. through this mode of production, the sculptures once again allude to the form versus function duality. 

 

in two satellites, streich moves beyond mere formal allusions to aerospace technology by integrating interactive sound elements into his two sculptures that occupy the space of the gallery.  the visitor is invited to engage with the works by banging on or touching the sculptures, thus activating sounds at different calibers that originate from actual space recordings.

 

 

naoki fuku's oeuvre is a critical approach to the controversy of the human existence.

fuku's new work is titled "We dont know each other but we feel we know each other, you are who I think as I am who you think, my honesty exists only in these canvases and I hope it will make you smile".

it tells the story of his inner life, pains, confessions, truths, regrets on white canvas.

 

Naoki Fuku

 

The tyranny of the selfie

I feel I know you as you feel you know me,

but my honesty does exist only on the canvas and I will show you

 

There's my honest mind of whom I'm fond, who lives most of the time in my deepest but occasionally comes out of the dark to be seen. If you want to take my photograph, well and good, but if you want to take your own photograph with me as incidental curiosity, I am not having any.

 

It is because the more I advance, the more I decline, you will never see me except of my expression on the canvas….there are the ravages of age, the incursions of melancholy, the confessions, the lies, the guilts and even the psychology of self-obsession itself, but commonly the selfie performs a less self-critical function, putting the self at the centre of everything we see, marking the landscape with our faces, as though the only possible interest of the outside world is that we're in it. Let's do more interesting and honest.

 

This is one of the first justifications of all art - that it liberates us from the tyranny of being who we always are, seeing what we usually see, into the exhilaration of "wild surmise". We might read to find ourselves when we are young, thereafter we should reveal to lose the self we found because you are often not you.


Naoki Fuku, 2015

Exhibition Shots

'Heimat' - Paintings

Opening - Video - Short description 2.2min