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Works
Slideshow
Joëlle Tuerlinckx, <em>Salle-basine ‘gris neutral Kodak’, </em>2010, objet trouvé (bassine plastique), pigment dispersion, objet trouvé rehaussé 'gris neutral kodak' (plinth bois), 3 spots Richardson, programmateur dmx (éclairage variable, disposition des sports variable, cycle variable) - Mendes Wood DM
Francesco João Scavarda, <em>untitled</em>, 2017, gouache on raw canvas, 30 × 48 × 4 cm - Mendes Wood DM
Hamza Halloubi, <em>To Leave</em>, 2011, video, 3’40’’ - Mendes Wood DM
Dan Coopey,<em> untitled (Xia / Sinai),</em> 2017, rattan, walnut, kernel, mother of pearl, chewing gum, oak, 82 × 35 × 23 cm - Mendes Wood DM
Dan Coopey, <em>untitled (Xia / Sinai), </em>2017<em>, </em>rattan, walnut, kernel, mother of pearl, chewing gum, oak, 82 × 35 × 23 cm - Mendes Wood DM
Matthew Lutz-Kinoy, <em>Meeting the sun (torso schematic); Walking the Path Worn in the Grass; Nature without check (lower schematic),</em> 2017, acrylic on canvas,  left 362 × 313 cm / center 362 × 474 cm / right 362 × 307 cm<br> - Mendes Wood DM
Dominique Gonzalez-Foerster & Manuel Raeder, <em>BLACK MOUNTAIN left arm, </em>2016, powder-coated steel, resin, acrylic paint, 100 × 53 × 47 cm - Mendes Wood DM
Christina Mackie, <em>Rescue,</em> 2017, aluminum, ink, paint, canvas, 5 × 110 × 55 cm - Mendes Wood DM
Rodrigo Hernández, <em>The Metaphor of the Spider (The Beating), </em>2012, papier-machê, wood, cotton thread, rubber-coated copper cable, sanded polyester resin, acrylic, metallic lacquer, color pencil, graphite, 190 × 88 cm - Mendes Wood DM
Djordje Ozbolt<em>, The Third Eye</em>, 2016, african figure, acrylic, 50 × 20 × 20 cm - Mendes Wood DM
Djordje Ozbolt, <em>Full Moon</em>, 2016, acrylic on canvas, pen and ink on paper, 99,5 × 90 cm - Mendes Wood DM
Meriç Algün Ringborg, <em>Infinity and Eternity</em>, 2013, 2 digital video , 11’34” / 12’19” loop<br> - Mendes Wood DM
Paloma Bosquê, <em>Two Stones</em>, 2017, lead sheet, brass rods, handfelted wool and beeswax, 202 × 212 × 34 cm - Mendes Wood DM
Djordje Ozbolt<em>, Stranger in a strange land,</em> 2016, acrylic on canvas, 152 × 121,5 cm - Mendes Wood DM
Lucas Arruda, <em>untitled,</em> 2016, oil on canvas, 30 × 34 cm - Mendes Wood DM
Luiz Roque, <em>Ancestral</em>, 2016, HD video, 4’44”<br> - Mendes Wood DM
Erika Verzutti, <em>Starfruit Lamp</em>, 2009/2017, bronze, 68 × 12 × 12 cm - Mendes Wood DM
Mariana Castillo Deball, <em>Nobody (No. 15),</em> 2008, drawing, watercolor, photographic print on paper, 48 × 36 cm - Mendes Wood DM
Sonia Gomes, <em>untitled</em>, 2017, stitching, bindings of different fabrics and laces, 49 × 20 × 7 cm - Mendes Wood DM
Kasper Bosmans, <em>Legend: Specimen Days, </em>2016, mixed media, 28 x 21 x 1 cm (each) - Mendes Wood DM
Adriano Costa, DownToGreeeeeeceStudies/PacoRabanne, 2017, Marker pen and electrostatic paint on laminated brass sheets, 80 × 45 cm  - Mendes Wood DM
Adriano Costa, <em>DownToGreeeeeeceStudies/PacoRabanne</em>, 2017, Marker pen and electrostatic paint on laminated brass sheets, 10 × 10 cm - Mendes Wood DM
Otobong Nkanga, <em>Taste of a Stone: Things Fall Apart, 2017,</em> drawing<br> - Mendes Wood DM
Rodrigo Hernández, <em>Pierced cat</em>, 2017, papier-mache, lacquer, acetate film, wood, cardboard, found paper fan, plastic tube, other materials inside a plinth with a plexiglass box, 146 × 58 × 27 cm - Mendes Wood DM
Rodrigo Hernández, <em>Pedro</em>, 2012, paper, plaster, wood-powder, 32 × 24 cm - Mendes Wood DM
Rosemarie Trockel, <em>untitled</em>, 2016, glazed ceramic and steel, 61 × 48.3 × 121.9 cm - Mendes Wood DM
Joëlle Tuerlinckx, <em>Titre-salle ‘gris neutral Kodak’</em>, 2005/2012, pigment dispersion, clous, carton ‘gris neutral Kodak’, éclairage variable (naturel ou artificiel), dimensions variable - Mendes Wood DM
Patricia Leite, <em>Laranjeira,</em> 2017, oil on wood, 33 × 21 cm - Mendes Wood DM
Paul Sietsema, <em>Circle painting</em>, 2016, enamel on linen, 77 × 73 cm - Mendes Wood DM
Cibelle Cavalli Bastos, <em>untitled,</em> 2017, video performance via Instagram, 320' looping - Mendes Wood DM
Robert Janitz, <em>Model or Actor (Plays often start)</em>, 2016, oil, wax,  our on linen, 63,5 × 50,8 cm - Mendes Wood DM
f.marquespenteado,<em> Proteger Sean</em>, 2014, synthetic  ber sleeping bag, with hand and machine embroidery, and wood hanger with lamb skin, 187 × 80 cm - Mendes Wood DM
Giulio Delvè, <em>Camouflage</em>, 2015, plaster and pigment, 71 × 69 × 3 cm - Mendes Wood DM
Jason Dodge, S<em>hoes that have been made forsomeone with three legs</em>, 2015, shoes, variable dimensions - Mendes Wood DM
Katinka Bock, <em>Winterlandschaft mit Hut</em>, 2015, limestone, felt, sand stone, 5 × 60 × 90 cm<br> - Mendes Wood DM
Mauro Restiffe, <em>O Aquário,</em> 2000, gelatin silver print, 137 × 204 cm - Mendes Wood DM
Michael Dean, <em>Analogue Series (muscle)</em>, 2014, concrete (each), 10 × 19 × 7 cm - Mendes Wood DM
Patrícia Leite, <em>Nossa Senhora dos Prazeres</em>, 2016, oil and pastel on paper, 30 × 21 cm - Mendes Wood DM
Franz West, <em>Sinnlos</em>, 2008, steel, synthetic resin varnish, 199 × 39 × 11,5 cm - Mendes Wood DM
Nina Canell, <em>Brief Syllable</em>, 2017, subterranean signal cable, concrete, steel, 43 × 38,5 × 8 cm - Mendes Wood DM
Nicolas Deshayes, <em>Darling, Gutter,</em> 2015, jesmonite, plastic, brass, steel, hot water, 120,4 × 193,5 × 20 cm - Mendes Wood DM
Adriano Costa, <em>Spide Chair,</em> 2016, bronze, 30 × 30 × 45 cm - Mendes Wood DM
Alexandre da Cunha,<em> Fair Trade</em>, 2015, embroidered on jutebag in collaboration with Luisa Strina, 65,5 × 93 cm - Mendes Wood DM
Christodoulos Panayiotou, <em>untitled</em>, 2015, 1 pair of handmade leather shoes and 1 cardboard shoe box, variable dimensions - Mendes Wood DM
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Thumbnails
Joëlle Tuerlinckx, <em>Salle-basine ‘gris neutral Kodak’, </em>2010, objet trouvé (bassine plastique), pigment dispersion, objet trouvé rehaussé 'gris neutral kodak' (plinth bois), 3 spots Richardson, programmateur dmx (éclairage variable, disposition des sports variable, cycle variable) - Mendes Wood DM
Francesco João Scavarda, <em>untitled</em>, 2017, gouache on raw canvas, 30 × 48 × 4 cm - Mendes Wood DM
Hamza Halloubi, <em>To Leave</em>, 2011, video, 3’40’’ - Mendes Wood DM
Dan Coopey,<em> untitled (Xia / Sinai),</em> 2017, rattan, walnut, kernel, mother of pearl, chewing gum, oak, 82 × 35 × 23 cm - Mendes Wood DM
Dan Coopey, <em>untitled (Xia / Sinai), </em>2017<em>, </em>rattan, walnut, kernel, mother of pearl, chewing gum, oak, 82 × 35 × 23 cm - Mendes Wood DM
Matthew Lutz-Kinoy, <em>Meeting the sun (torso schematic); Walking the Path Worn in the Grass; Nature without check (lower schematic),</em> 2017, acrylic on canvas,  left 362 × 313 cm / center 362 × 474 cm / right 362 × 307 cm<br> - Mendes Wood DM
Dominique Gonzalez-Foerster & Manuel Raeder, <em>BLACK MOUNTAIN left arm, </em>2016, powder-coated steel, resin, acrylic paint, 100 × 53 × 47 cm - Mendes Wood DM
Christina Mackie, <em>Rescue,</em> 2017, aluminum, ink, paint, canvas, 5 × 110 × 55 cm - Mendes Wood DM
Rodrigo Hernández, <em>The Metaphor of the Spider (The Beating), </em>2012, papier-machê, wood, cotton thread, rubber-coated copper cable, sanded polyester resin, acrylic, metallic lacquer, color pencil, graphite, 190 × 88 cm - Mendes Wood DM
Djordje Ozbolt<em>, The Third Eye</em>, 2016, african figure, acrylic, 50 × 20 × 20 cm - Mendes Wood DM
Djordje Ozbolt, <em>Full Moon</em>, 2016, acrylic on canvas, pen and ink on paper, 99,5 × 90 cm - Mendes Wood DM
Meriç Algün Ringborg, <em>Infinity and Eternity</em>, 2013, 2 digital video , 11’34” / 12’19” loop<br> - Mendes Wood DM
Paloma Bosquê, <em>Two Stones</em>, 2017, lead sheet, brass rods, handfelted wool and beeswax, 202 × 212 × 34 cm - Mendes Wood DM
Djordje Ozbolt<em>, Stranger in a strange land,</em> 2016, acrylic on canvas, 152 × 121,5 cm - Mendes Wood DM
Lucas Arruda, <em>untitled,</em> 2016, oil on canvas, 30 × 34 cm - Mendes Wood DM
Luiz Roque, <em>Ancestral</em>, 2016, HD video, 4’44”<br> - Mendes Wood DM
Erika Verzutti, <em>Starfruit Lamp</em>, 2009/2017, bronze, 68 × 12 × 12 cm - Mendes Wood DM
Mariana Castillo Deball, <em>Nobody (No. 15),</em> 2008, drawing, watercolor, photographic print on paper, 48 × 36 cm - Mendes Wood DM
Sonia Gomes, <em>untitled</em>, 2017, stitching, bindings of different fabrics and laces, 49 × 20 × 7 cm - Mendes Wood DM
Kasper Bosmans, <em>Legend: Specimen Days, </em>2016, mixed media, 28 x 21 x 1 cm (each) - Mendes Wood DM
Adriano Costa, DownToGreeeeeeceStudies/PacoRabanne, 2017, Marker pen and electrostatic paint on laminated brass sheets, 80 × 45 cm  - Mendes Wood DM
Adriano Costa, <em>DownToGreeeeeeceStudies/PacoRabanne</em>, 2017, Marker pen and electrostatic paint on laminated brass sheets, 10 × 10 cm - Mendes Wood DM
Otobong Nkanga, <em>Taste of a Stone: Things Fall Apart, 2017,</em> drawing<br> - Mendes Wood DM
Rodrigo Hernández, <em>Pierced cat</em>, 2017, papier-mache, lacquer, acetate film, wood, cardboard, found paper fan, plastic tube, other materials inside a plinth with a plexiglass box, 146 × 58 × 27 cm - Mendes Wood DM
Rodrigo Hernández, <em>Pedro</em>, 2012, paper, plaster, wood-powder, 32 × 24 cm - Mendes Wood DM
Rosemarie Trockel, <em>untitled</em>, 2016, glazed ceramic and steel, 61 × 48.3 × 121.9 cm - Mendes Wood DM
Joëlle Tuerlinckx, <em>Titre-salle ‘gris neutral Kodak’</em>, 2005/2012, pigment dispersion, clous, carton ‘gris neutral Kodak’, éclairage variable (naturel ou artificiel), dimensions variable - Mendes Wood DM
Patricia Leite, <em>Laranjeira,</em> 2017, oil on wood, 33 × 21 cm - Mendes Wood DM
Paul Sietsema, <em>Circle painting</em>, 2016, enamel on linen, 77 × 73 cm - Mendes Wood DM
Cibelle Cavalli Bastos, <em>untitled,</em> 2017, video performance via Instagram, 320' looping - Mendes Wood DM
Robert Janitz, <em>Model or Actor (Plays often start)</em>, 2016, oil, wax,  our on linen, 63,5 × 50,8 cm - Mendes Wood DM
f.marquespenteado,<em> Proteger Sean</em>, 2014, synthetic  ber sleeping bag, with hand and machine embroidery, and wood hanger with lamb skin, 187 × 80 cm - Mendes Wood DM
Giulio Delvè, <em>Camouflage</em>, 2015, plaster and pigment, 71 × 69 × 3 cm - Mendes Wood DM
Jason Dodge, S<em>hoes that have been made forsomeone with three legs</em>, 2015, shoes, variable dimensions - Mendes Wood DM
Katinka Bock, <em>Winterlandschaft mit Hut</em>, 2015, limestone, felt, sand stone, 5 × 60 × 90 cm<br> - Mendes Wood DM
Mauro Restiffe, <em>O Aquário,</em> 2000, gelatin silver print, 137 × 204 cm - Mendes Wood DM
Michael Dean, <em>Analogue Series (muscle)</em>, 2014, concrete (each), 10 × 19 × 7 cm - Mendes Wood DM
Patrícia Leite, <em>Nossa Senhora dos Prazeres</em>, 2016, oil and pastel on paper, 30 × 21 cm - Mendes Wood DM
Franz West, <em>Sinnlos</em>, 2008, steel, synthetic resin varnish, 199 × 39 × 11,5 cm - Mendes Wood DM
Nina Canell, <em>Brief Syllable</em>, 2017, subterranean signal cable, concrete, steel, 43 × 38,5 × 8 cm - Mendes Wood DM
Nicolas Deshayes, <em>Darling, Gutter,</em> 2015, jesmonite, plastic, brass, steel, hot water, 120,4 × 193,5 × 20 cm - Mendes Wood DM
Adriano Costa, <em>Spide Chair,</em> 2016, bronze, 30 × 30 × 45 cm - Mendes Wood DM
Alexandre da Cunha,<em> Fair Trade</em>, 2015, embroidered on jutebag in collaboration with Luisa Strina, 65,5 × 93 cm - Mendes Wood DM
Christodoulos Panayiotou, <em>untitled</em>, 2015, 1 pair of handmade leather shoes and 1 cardboard shoe box, variable dimensions - Mendes Wood DM
Text

Adriano Costa, Alexandre da Cunha, Ana Mazzei, Anna Zacharoff, Christina Mackie, Christodoulos Panayiotou, Cibelle Cavalli Bastos, Dan Coopey, Daniel Steegmann Mangrané, Djordje Ozbolt, Dominique Gonzalez-Foerster & Manuel Raeder, Dries Van Noten, Erika Verzutti, f.marquespenteado, Francesco João Scavarda, Franz West, Giulio Delvè, Hamza Halloubi, James Ensor, Jason Dodge, Joëlle Tuerlinckx, Kasper Bosmans, Katinka Bock, Laurent Dupont, Lawrence Weiner, Lucas Arruda, Luiz Roque, Mariana Castillo Deball, Matthew Lutz-Kinoy, Mauro Restiffe, Meriç Algün Ringborg, Michael Dean, Neïl Beloufa, Nick Mauss, Nicolas Deshayes, Nina Canell, Otobong Nkanga, Paloma Bosquê, Patricia Leite, Paul Sietsema, Rineke Dijkstra, Robert Janitz, Rodrigo Hernández, Rosemarie Trockel, Runo Lagomarsino, Sonia Gomes



If I had to create a god, I would lend him a slow understanding: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.

– Roland Barthes, translated by Rosalind Krauss

NEITHER. 

When contemplating an exhibition that launches the new venue of a Brazilian born gallery in Brussels, my first thought was: what do I think of when I think of Belgium? 
Searching for a concept for the exhibition, I remembered a conversation I had with my grandfather. My grandparents were avid explorers, in the 1980s they left Brazil and embarked on a world tour that covered four continents. Many years later, while talking about the experience, I asked my grandfather which place he liked most. Surprisingly his answer was: Brussels. He told me it was because they have French food in German portions.  

While wandering about my grandfather’s anecdote and the Belgium he experienced in the 80s, the little I know about the countries’ fragmented history brought to mind the concept of neutrality. The term ‘neutral’ associated to state policy is disconcerting. To what extent is it possible to remain impartial in the name of stability? Lets instead think of the “neutral” as experiencing a state of nuance in the margins of language and thus culture. 

In Roland Barthes’ seminar on the Neutral (1978) he describes his work methodology as follows: “To prepare for this course, I took the word ‘neutral’ for a series of walks along a certain number of readings, relying on the procedure of topic (…) I didn’t take ‘neutral’ for a walk in a grid of words, but a grid of readings, that is, a library’. It was not by chance that the library chosen by Barthes was in his countryside home in rural France, which, according to the author, was a time-place where the loss of methodological rigor was offset by the intensity and joy of free reading.   

To suggest a reflection on the idea of Neutral by transposing this concept to an art exhibition is, above all, a free exercise of looking for a different way to make oneself present in the struggles of our time. This is a time when taking sides is urgent – as it has always been – but the routes and methods to do so need revision. Barthes’ Neutral is neither a consensus, nor indifference, nor taking sides. On the contrary, it is active. It is a way of ‘baffling’ the paradigm before it leads us to one side or the other. If there is meaning, there is paradigm, and Neutral is the desire to stay in the moment just before the crystallisation of any concept, idea or recognizable category. The Barthesian Neutral is nuanced; it is always searching for a third term that offers a new kind of awareness – removed from binary oppositions.   

Within the exhibition space, Barthes’ Neutral takes form by freely replicating his predilection for fragmented writing, described as the result of a stubborn affection rather than a rigorous methodology. Every artwork in the exhibition holds the seed of this floating ‘neutral’ in itself. Some do not subscribe to any specific category, deliberately staying in the margins of language. Others echo the ‘figures’ or ‘twinklings’ quoted by Barthes as possible embodiments of the Neutral, as androgyny, sleep, displacement, drift, weariness or colourlessness. 

What are the necessary elements to create an atmosphere a home or any active propositional space – the exhibition as a welcoming environment? The gallery space is shared by both the hosts and the guests and Barthes’ concept is like the first chair placed in an empty house, in relation to it, each element negotiates their position accordingly. “I don’t construct the concept of Neutral, I display Neutrals,” Barthes states. It is not a definition he – or we – are after, but a gathering of instances.

This new space that now binds us rests between moving in and feeling at home, in a place within Brazil and Belgium, that is no longer a family home and is not yet a fully-functioning commercial gallery. By taking this conscious pause – respecting the distance and the journey – the show recognizes harmony and conflict while taking the time for this gallery to become – once again – what it already is.


– Fernanda Brenner

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