SOPHIE NYS - Emmanuel Hervéemmanuelherve.com/cspdocs/contact/files/dp_SN_13_10_2011.pdf · 2013-05-20 · 2000 — Gallery 227, Jan van Eyck Akademie, Maastricht, ... Turkey —

6, rue Jouye-Rouve75020 Paris

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[email protected] herve.com


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[email protected] herve.comEMMANUEL HERVE

SOPHIE NYS


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Sophie NYS

Born in 1974 in Antwerp (Belgium) — Lives and works in Brussels (Belgium)

Solo exhibitions

2010 — The Drunkard’s Cloak, Objectif Exhibitions, Antwerp, Belgium — curator Mai Abu ElDahab2010 — Artbrussels, Heizel, Place de Belgique, 1020 Brussels, Belgium2009 — Galerie Greta Meert, Brussels, Belgium2008 — Time Capsule, Kiosk, Ghent, Belgium — curator Wim Waelput2007 — Picture This, MDD, Deurle, Belgium2007 — Lonely at the top, Muhka, Antwerp, Belgium — curator Dieter Roelstraete2006 — Yama, Projection Program Marmara Pera, Istanbul, Turkey — curator Sylvia Kouvalis2005 — Interview with a building II, De Brakke Grond, Amsterdam, Netherlands — curator Fleurie Kloostra2005 — Untitled Stock, Ravenstein Galleries, Brussels, Belgium2005 — Pages, Galerie Meert-Rihoux, Brussels, Belgium2004 — Airs Classiques – A mini retrospective, FreeSpace, Bozar, Brussels, Belgium — curated by Nicc2004 — No Man Show, Experimental Intermedia, Ghent, Belgium2003 — 1 hour ‘Ebene in rotation’, Looking Glass, Brussels, Belgium2003 — Interview with a building, Selfbanking KBC, Brussels, Belgium2002 — Tout Juste Instable, Quartier Latin, Brussels, Belgium — curator Michel Assenmaker2002 — Sony versus JBC versus Panasonic, Recyclart, Brussels, Belgium2001 — It’s lonely at the summit, Campo Santo, Ghent, Belgium — curator Jan Hoet2001 — On Vermeer, Jan van Eyck Akademie, Maastricht, Netherlands2000 — Gallery 227, Jan van Eyck Akademie, Maastricht, Netherlands — curator Valeria Hasse

Group exhibitions & screenings

2012 — CIRCUIT, Centre d’art Contemporain, Lausanne, Switzerland — curators M. de Gaulejac / F. Chapon2011 — G Gallery, Toronto, Canada — curator Kevin Rodgers2011 — PA/PER view, sunday (March 31 - April 03), 2011, Wiels, Brussels, Belgium2011 — Celluloid Painting, Etablissement d’en Face Projects, Brussels, Belgium 2011 — (silence), Henry van de Velde Library, Ghent, Belgium2011 — Prix Fernand Boudin, ProQM, Belgiumrlin, Germany2010 — Present Future, Artissima16, Oval, Torino, Italy2010 — 2 1/2 dimesional: film featuring architecture, Desingel, Antwerp, Belgium — curator Moritz Küng2010 — Exhibition, Sunday, Brussels, Belgium — curators Tim Ryckaert / Amélie Laplanche2010 — Dit par, Passaporta, Brussels, Belgium — programmer Brigitte Neervoort2010 — Nothing Political, Komplot, Brussels, Belgium — curator Sonia Dermience2010 — Prix Fernand Boudin, Paris, France2010 — Kaoz Lily, VVB82 Gallery, Antwerp, Belgium — curator Fia Cielen2010 — Book Show, Eastside Projects, Birmingham, UK2010 — Public Private Paintings, MuZee, Oostende, Belgium — curator Philip Van den Bossche2009 — The archeologists, U. Blickle Stiftung, Kraichtal-Unteröwisheim, Germany — curator Dieter Roelstraete2009 — Applaus - annex Amperdans, Monty, Antwerpen, Belgium — curator Kristof Van Gestel / Marc Vanrunxt2009 — There is No(w) Romanticism, Les filles de Calvaire, Brussels, Belgium — curator Lilou Vidal2009 — Fidmarseille, Les spectres de l’histoire, Marseille, France — curator Jean-Pierre Rehm2009 — Kunst&Zwalm09, Zwalm, BELGIUM — curators Paul Lagrin / Luc Braconnier


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2009 — Artist Project, artbrussels09, Brussels, Belgium — ism Richard Venlet2009 — A Buster Keaton, Belgium-PART, Waregem, Belgium — curator Patrick Ronse2009 — Rooms, Hotel St.-George LycaBelgiumttus, Athene, Greece — curator Katerina Gregos2009 — Jeugdzonde. Hedah, LLS 387 Antwerpen/Maastricht, Netherlands — curator Ulrike Lindmayr2008 — International Film Festival, Rotterdam, Netherlands2008 — Courtisane Festival, Vooruit, Gent, Belgium2008 — L’art en Europe, Domaine Pommery, Boulogne, France — guestcurator Els Roelandt2008 — The garden and its delights, Intermediae, Madrid, Spain — curator Maria Morata2008 — Honorons Honoré, De Garage, Mechelen, Belgium — curator Damien De Lepeleire2008 — Aller à Ouessant, l’île d’Ouessant, France — curator Marcel Dinahet / Celia Cretien2008 — Doclisboa, Apordoc, Lisbon, Potugal — programmer Sérgio Tréfaut2008 — Over the Hedge#2, VerBelgiumke Foundation, Belgium — curator Vaast Colson a.o.2008 — X, Y etc, Artissima, Torino, Italy2008 — Jeugdzonde, Hedah, Maastricht, Netherlands — curator Ulrike Lindmayr2008 — Seven, Galerie Elisa Platteau, Brussels, Belgium2007 — Anachronism, Argos, Brussels, Belgium — curator Elena Filipovic2007 — Europalia Europa, Agorafobie, Graanmarkt/Electriciteitscentrale, Brussels, Belgium2007 —Tumbleweed meets Lohaus, Herman Teirlinckhuis, Belgiumersels, Belgium — curator Hans Theys2007 — Looking for the Border, CC StromBeek-Palazzo delle Stellone, Italy— curator Luk Lambrecht2007 — Multi/Plier, Les filles du Calvaire Galerie, Brussels, Belgium — curator Edith Doove2007 — Mr. Jean-Paul recevra, Maison Grégoire, Brussels, Belgium — curator jean-Paul Jacquet2007 — Women inc., Festival, Beurs van Berlage, Amsterdam, Netherlands — curator Frédérique Belgiumrgholz2007 — Out of Place, argos, Brussels, Belgium — curator Vincent Meessen2007 — RE:COLLECTIONS, argos, Brussels, Belgium — curators M. Glöde / K. Gregos / B. Klinkum / B. Sicheln2007 — Over the Hedge#2, Tianjin, China — curator Vaast Colson a.o.2006 — International Film Festival, Rotterdam, Netherlands2006 — Anspach Gallerie, Brussels, Belgium — curator Mira Sanders2006 — Fordhamnck, Netwerk, Aalst, Belgium — curator Man Somerli2006 — E-Flux, Video Rental, different locations2006 — All about lies, Apartman Projects, Istanbul, Turkey — curator Selda Asal2005 — Emotion Pictures, MÜHKA, Antwerpen, Belgium — curator Dieter Roelstraete2005 — Stippels & Pixels, Gent, Belgium — curator Stef Van Belgiumllingen2005 — Housewife, Belgica, Dendermonde, Belgium — curator Luk Lambrecht2005 — Beograd nekad i sadvic, Prodajna, Serbia-Montenegro, Georgia — curator Marco Stamenko2005 — A-Tipis, Ter Schelling, Nederland, Parc de la Vilette, Paris, France — curator Nuno Sacramento2005 — Art Caucasus: Beyond Stereotypes, Tbilisi, Geogia — curator Nino Chubinashvili/Bruce Allen2004 — Sábados, El Arrabal, Mexico, Mexico2004 — Essential Emptiness, Beursschouwburg, Brussels, Belgium2004 — Sound Watch/W cube project, Gallery Surge, Tokyo, Japan2004 — Belgian Focus-Shorts, argosfestival, Brussels, Belgium2004 — Midi, Zuidwijk, Brussels, Belgium2004 — Volle Vox 7, Vanderborght Gebouw, Brussels, Belgium2004 — Volle Vox 16, Petit Théâtre Mercelis, Brussels, Belgium2003 — Storage and Display, Mexico, Mexico — curators Dieter Roelstraete, Roger Willems, Philippe Van Cauteren2003 — Vooruit Danse en Avant, l’Usine, Montreal, Canada2003 — Belgian Focus-Shorts, argosfestival, Brussels, Belgium2003 — Volle Vox 3, Petit Théâtre Mercelis, Brussels, Belgium2002 — Tout Juste Instable, Quartier Latin, Brussels, Belgium — curator Michel Assenmaker2002 — Belgian Focus, argosfestival, Brussels, Belgium


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2002 — FreeSpace, NICC, Hasselt, Belgium — curator Gert Robijns2001 — The air palpably thickens as the Californian hairdresser walks in, Marres, Maastricht, Netherland

Selected bibliography

Butterflyroom, publication released on the occasion of the exhibition ‘Twin Room’, Production: Grotto publications / bkSM, 2011CC, Publication released on the occasion of the exhibition ‘Twin Room’, Production: Grotto publications / bkSM, 2011Tomba di Kha, publication released on the occasion of the exhibition ‘Twin Room’, Production: Grotto publications / bkSM, 2011Au Pilori, publication released on the occasion of the exhibition ‘The drunkards cloak’ in Objectif_Exhibitions, pro-duction: Grotto publications / Objectif Exhibitions, Antwerp supported by: University College of Art and design Sint-Lukas, Brussels Fernand Baudin Award, 2010Dit par, record released on the occasion of ‘Vers Brussel’, production: Passa Porta / Het Beschrijf, BrusselsThe Writing Terrace, publication released on the occasion of the exhibition ‘De bewaarder van het huis der doden en andere kronieken’, text: Kersten Geers, production: Richard Venlet, Herman Teirlinck Museum Beersel, supported by: De Vlaamse overheid / Flemish Government, Fernand Baudin Award, 2009

Editions by the artist

A Buster Keaton - Exemplaire no. 7411dust Jacket released on the occasion of Art Brussels 2009 — production: Bepart Waregem22 x 22 cm — 3500 copies

Kekulépublication released on the occasion of the exhibition ‘Richard Venlet’ — production: Galerie Elisa Platteau, Brussels21,4 x 28 cm, 16 p. — 250 copies

Profilo Continuopublication released on the occasion of the exhibition ‘Looking for the border’ in Stelline, Milano. — production: BKSM-Fernand Baudin Nomination 200817 x 24 cm, 80 p. — 150 copies

Identités GéographiquesPublication released on the occasion of teh exhibition ‘Airs Classiques – A mini retrospective’ in Bozar, Brussels. — Production: Groep Damp, 200417 x 22 cm, 140 p. — 500 copies

Service après venteProduction: Jan van Eyck Akademie, 200121 x 29,7 cm, 78 p. — 30 copies

Catalog version I – VI, 2002-200714,85 x 21 cm, 599 p. — 2 copies


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Chèvre espagnol, 2011Offset plate, paper79 x 103 cm


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Sans titre, 2011Photogram32 x 42 cm


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The drunkards cloak Recto, 2011Photogram27 x 32,5 cm


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The drunkards cloak Verso, 2011Photogram27 x 32,5 cm


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Die blau huicke, 2011Textile, leather172 x 50 cm


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Sans titre (Se cacher sous une huque bleue), 2011Wood, oil paintDiameter 25 cm


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Sans titre (Semer des roses devant les pourceaux), 2011Wood, oil paintDiameter 22 cm


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Au pilori, 2010Journal, paper, paint60 x 80 cm


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The drunkards cloak, 2010Ink on paper25 x 33,5 x 4 cm


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56 ART PAPERS Future Anterior

ABOVE, LEFT TO RIGHT: Paulina Olowska, Functional Collage (Club Spatif), 2004, 2 offset prints in one frame, framed: 126 x 90 x 4.5 cm (courtesy of the artist and Daniel Buchholz Gallery,Cologne); Tobias Putrih, Sketches for a Functional Cinema (Argos), 2007, studies for a cinema structure of plywood and cardboard (courtesy of the artist and Almine Rech, Brussels) andChris Marker, La Jetée, 1962, 35 mm film, black and white, sound, 29 minutes (courtesy of Argos Films, Paris)

photo-novel La Jetée, 1962. Projected at the farthest endof Argos’ long and lofty ground floor, the film playscontinually inside a makeshift cinema constructed espe-cially for the occasion by Slovenian artist Tobias Putrih.As Filipovic succinctly describes in the compact exhibi-tion booklet, the cinema “looks at once futuristic andindeterminately old.” This fusion of Marker’s filmic jour-ney back to the future with Putrih’s architect-chronicsfulfills the promise of a nimble and confusing time, withperhaps the greatest complexity of any work in the exhi-bition. And yet, while it takes pride of place, La Jetée sitsapart from the other works, with its Cold War conspirato-rial whispers, its Sixties authenticity, and its weird self-possession as an artwork that insists on its presentationof an altogether new and revolutionary structure and filmaesthetic.

Filipovic’s choice to travel in time, to insert this cipherfrom the Sixties within her selection of works by morecontemporary European artists, casts a crisp light on thespecific temporalities that animate current art produc-tion. In 2 p.m.: Die Hütte, 2007, Boris Belay and SophieNys both project footage of Heidegger’s hut, using todifferent effects the same satirical voice-over fromThomas Bernhard’s Old Masters about the muchmaligned philosopher. Paulina Olowska re-presents theprovincial modernism of her native Sopot in FunctionalCollage [Club Spatif], 2004, which embodies the opti-mistic didacticism of constructivist collage. DeimantasNarkevicius’ video Once in this XX Century, 2005, liter-ally reverses history’s march by screening the applaudedremoval of a Lenin sculpture in his native Vilnius inreverse. In Awaiting Enacted, 2003, Roman Ondákrecalls the waiting game that was the Eastern Bloc byinserting photographs of people queuing into a freenewspaper assembled out of the pages of sixteen othersfrom his native Slovakia, where such representationswere once banned. Aneta Grzeszykowska erases herselffrom her family history by removing her image from theirphoto album. David Claerbout synthesizes the photo-

graphed time of a shot-down U.S. bomber near DucPho, Vietnam, with a contemporary film of the same siteinto the single still/moving image projection Vietnam,1967—Near Duc Pho (Reconstruction after HiromishiMine), 2001. Martha Rosler’s Vietnam War-eraphotomontage Tron (Amputee), from the Bringing theWar Home: House Beautiful series 1967-1972, acts aseerie déjà vu when juxtaposed with her recent HoodedCaptives from the Bringing the War Home: HouseBeautiful series 2004, a photomontage of images fromthe current U.S.-led war in Iraq. When considering theseworks, it becomes evident that none of the artists in the show has a sense of, or desire to deal with, thefuture. Even Putrih’s cinema consciously looks likeyesterday’s version of tomorrow. This disappearing futureis perhaps partly presaged in Marker’s grainy, black-and-white fantasy of time travel, but in La Jetée he seems tohave tried to grasp the world’s direction more than itsprovenance. He was less a historical revisionist than aninventor—of time, place, and persona.

I note this because, for all the temporal disruptiondelivered by the works on view, they may be said toremain history-bound. The great opportunity sensedhere is that artists can operate and are operating in post-Wall Europe and beyond as some of the most creativehistorians around. History’s proclaimed end was justtheir beginning. Yet, a telling refusal of this exhibition,signaled by Filipovic’s conspicuously titled catalogueessay “This is Tomorrow [and Other Modernist Myths]”is that, in all this talk of time, not much is ventured abouttomorrow. Surely, the futuristic overdrive of many amodernist project led people straight and fast to theirgraves, and this is no plea for a return to futurism. Yet,the reticence of the artists in Anachronism to lookforward as disruptively as they look back is perplexing,and perhaps a missed opportunity when so many politi-cians today are clamoring to take tomorrow, define it,and quite literally “set it right.”

—Monika Szewczyk

“The time is out of joint; O cursed spite! That ever I wasborn to set it right!” once wrote Shakespeare for hismorose Danish Prince Hamlet. This old sense that timeis out of joint seems to have recently hit artists and cura-tors—maybe harder than before 1989. With the procla-mation of the end of history upon the fall of the BerlinWall, the Bush Administration’s reckless march back tothe era of the Crusades, and the Documenta 12 curatorspondering modernity as our antiquity, it is no surprisethat temporal halts, twists, and reversals define the hereand now. Anachronism, a group exhibition organized byindependent curator Elena Filipovic, enters the fray,without trying to set time right [Argos; March 24—May26, 2007]. Rather, the exhibition heightens our percep-tion that time is out of joint, claiming revolutionary poten-tial for this operation. This provocation deserves closerattention, especially since this is Filipovic’s second showon the theme this year—after Let Everything beTemporary, or When is the Exhibition at New York’sApexart in January-February 2007. As such, hercommitment to changing chronos is more than fleeting.

Filipovic, co-editor of The Manifesta Decade: Debateson Contemporary Art, which is perhaps the definitivetome on post-Wall art in Europe, has just been namedco-curator of the upcoming 5th Berlin Biennale. It will beinteresting to see how her research into time's disjoint-edness figures in an exhibition sited in the city thatseems to be the phenomenon's epicenter. The Argosproject is not a survey, but rather a show built around asense of a commonality of drives, which benefits fromthe knowledge of someone who knows the field. Many ofthe artists—seven of the eighteen—hail from the EasternBloc or its borderlands, and most if not all somehowrespond to the newly reunified Europe through a deftmanipulation of their recent past—a history that hasbeen geographically redefined and rendered newly avail-able to hard scrutiny.

A key exception, and both the oldest and last workone encounters in the exhibition, is Chris Marker’s filmed

ANACHRONISMBRUSSELS

“Anachronism, Bruxelles”, Monika Szewczyk, in Art Papers, July-August, 2007


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62 Flash Art JULY SEPTEMBER 2007

Taking its cue from the physical-ity that drawing entails, this exhi-bition assembled nine artists whouse drawing as the chief compo-nent of their process, though noneshare an approach to material or asingular definition of drawing.What they all do seem to share isan interest in the implicit mecha-nisms of drawing, such as com-pulsion, repetition, recursive at-tentiveness and examination.Guest curated by Jon Bewley, thedirector of the Newcastle-basedarts organization Locus+, theshow is composed of artists livingor working in the Northeast ofEngland. Many, like Layla Curtisand Catherine Bertola, haveshown widely in the United King-

dom and throughout Europe.One of the less exposed artists,Peter J. Evans’ graphite drawingsthoroughly explore the connec-tion between drawing and com-pulsion. Walking to a Space in theDistance (2007) is the result of adense build up of parallel lines ofgraphite, forming dimensionwithin a flat space. The lines ap-pear to be drawn repetitively, in-voking Evans’ presence in thework and evoking the rigor of ar-chitectural construction. CathCampbell’s purposefully con-structed architectural renderingsare less subtle, but no less com-pelling than Evans’.Like Evans, Curtis is interested inphysicality. Her contribution tothis show is from the series “PolarWandering,” abstract drawingsexecuted during her trip toAntarctica. Named after the exactgeographical coordinates of theirmaking, the drawings, whichwere recorded as digital files andconverted into silkscreen, recordher movements through the re-gion as tracked by the naviga-

tional device GPS. Much like herearlier work with re-renderingmaps, her physical journeythrough the ice, snow and water isvisually serialized. The work alsoliteralizes the impartiality of car-tography. Here corporeal move-ment is a metaphor for drawing.As well, her project recalls thehistory of travel and the produc-tion of ledger books or seascapesthat were essential to the per-ceived success and purpose ofmobile commerce.Like Curtis, Bertola also uses theimplications of history in herdrawings. Prickings, a sort of as-semblage of formed lace onpaper, investigates the history oflace as a consumer good, as a toolin women’s social status, and asan object of cultural adoration.Graham Dolphin’s combinationof the matter of popular cultureand abstraction attempts a similarfeat to draw together history andculture, though he is also inter-ested in sound, principally in theform of song lyric texts trans-posed onto vinyl records.

The show makes a strong case forlocating the conjunction of the‘means and ends’ of drawing,though sometimes the point is abit obscured by the medium.

—Courtney J. Martin

“Anachronism” is the first exhibitionin a renovated Argos that lives up toits promise. Director KaterinaGregos invited guest curator ElenaFilipovic, who presented an exem-plary selection of works of art whichall literally interfere with thechronology of history and the linearexperience of the abstract concept oftime. Modern art once had to dealwith cinema, in which the film

maker can use the montage to shuffletime and freely rearrange and‘move’ time segments. Mixing upand reordering events and experi-ences enables us to muse overhistory, but also to redefine a futurefrom the perspective of various care-fully contemplated ‘possibilities.’The works selected range fromhistorical work, such as ChrisMarker’s film La Jetée (1962), tocollages by Martha Rosler — ‘topi-calized’ for the occasion — but therewere also recent politically inspiredvideos by David Claerbout,Deimantas Narkevicius and SophieNys & Boris Belay, and GuillaumeBijl’s ironic re-staging of JamesEnsor on the beach of Ostend.Tobias Putrih’s Functional Cinemais a beautiful shrine and creates adeep perspective into the exhibitionspace. The work is a sort of safecocoon space made from recycledcardboard in which Marker’s LaJetée is screened. This short filmtravels back in time through memo-ries; it is an icon for contemporaryartists who make video works thatbelong in-between the genres offiction and documentary. MarthaRosler presents a series of collages

Bringing the War Home: HouseBeautiful, New Series (2004), whichdisrupt the capitalist logic of thehappy few with images of war andhorror. The work is reminiscent ofHans Haacke, who ‘shows’ thewealth of the well-to-do thatpromote and purchase art. Rosler’scurrent series is a reworking of anearlier project from the period 1967-1972, that consisted of similarcollages of images from the trauma-tizing war in Vietnam. In the NewSeries she proposes the same theme,now using media photographs of thewar in Iraq. The similarities are quitestriking: the face of war has hardlychanged in the course of thirty years. Near Rosler’s work, David Claer-bout shows us a still of the firstAmerican aeroplane that wasbrought down in Vietnam, a strongimage mounted against the originalbackground in which only the lightslightly changes. A little furtheralong there is the video installationOnce in the XX Century (2005) byDeimantas Narkevicius, whichconfronts us with hilarious images ofthe reinstallation of one of Lenin’sstatue on its plinth.“Anachronism” is a sparkling

project for which the public needs totake time in order to discover thesubtleties and finesses. That is truealso of the images of the fatal attackon the German philosopher MartinHeidegger, who in this grippingvideo is literally finished off againsta backdrop of archive images of thephilosopher himself and the idyllicplace where he worked and thought.This video by Sofie Nys and BorisBelay is maybe one of the most harshand politically committed of this fineexhibition. —Luk Lambrecht(Translated from Flemish by DirkVerblest)

The Opposite of VertigoTHE DRAWING ROOM, LONDON

David Claerbout, Vietnam, 1967- NearDuc Pho (reconstruction after Hi-romishi Mine), 2001. DVD projection,3’ 30” mins. Courtesy Galerie Miche-line Szwajcer, Antwerp. Right:Martha Rosler, Hooded Captives.From the series: Bringing the WarHome: House Beautiful, 2004. Pho-tomontage, 50 x 60 cm. Courtesy Ga-lerie Christian Nagel, Berlin/Cologne.

AnachronismARGOS, BRUSSELS

Darren Banks, Big Blob on SmallPaper, 2006. Ink on paper, 65 x 85 cm.Upperleft: Layla Curtis, King EdwardPoint, South Georgia, 54.283S,36.496W, 81 Hours 3 Minutes, 4 Se-conds, 30.2 Miles, 2006. Silkscreen inkon paper, 103 x 103 cm.

GROUP SHOWS

July Sept2 OK 26-06-2007 12:05 Pagina 62

“Anachronism, Argos, Bruxelles”, Luk Lambrecht, in Flash Art, summer 2007, p 62

Documents

SOPHIE NYS - Emmanuel Hervéemmanuelherve.com/cspdocs/contact/files/dp_SN_13_10_2011.pdf · 2013-05-20 · 2000 — Gallery 227, Jan van Eyck Akademie, Maastricht, ... Turkey —