The First Art Newspaper on the Net   Established in 1996 United States Friday, June 22, 2018

Work by Berlinde De Bruyckere at Hauser & Wirth Zürich
Romeu "my deer", IV, 2010. Wax, epoxy, iron, string, 84 x 31 x cm / 33 1/8 x 12 1/4 x 7 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Nele De Roo.

ZURICH.- Horse, deer and man metamorphose in Berlinde De Bruyckere’s exhibition for Hauser & Wirth Zürich. De Bruyckere’s work deals with death and transfiguration and looks to stories and art of the past to address anxieties that remain current. Her sculptures accomplish an almost alchemical transformation of wax into flesh, and out of this fantastical realism she creates intolerably mutated bodies: figures lack heads, borrow and reconfigure anatomies, become amorphous, vegetal and abstract. Their distortions emphasise our own fragile existence. ‘I want to show how helpless a body can be,’ De Bruyckere has said. ‘Which is nothing you have to be afraid of — it can be something beautiful.’

Antlers, a new motif for the Flemish artist, summon the fate of Actæon who was turned into a stag by the Goddess Diana before swiftly being torn to death by his own hounds. Preternaturally delicate and raw, pairs of antlers are suspended by string from the gallery walls. Blood red, mottled white and sinuous, they are utterly unlike the clichéd hunting trophies mounted in baronial halls. Flowing downwards and growing together as though protecting one another, these pairs seem sensitive and still alive; one wears bandages — an intimation of human feeling lying within these abstract animal forms.

Two other pieces in the exhibition use the same technique: a horse, sliced in two lengthways and hung vertically in a vitrine; and an elongated human figure whose resting body twists into a fleshy landscape that admits no head. The latter is dignified despite its deformity and has been granted a pillow to cushion its legs. Its emaciated form calls to mind Renaissance depictions of Christ taken from the cross, as well as more contemporary horrors such as concentration camp victims or the distorted bodies of famine sufferers. The horse imagines death on a large scale. Headless and hoofless, pale and translucent, its vertical carcasses are anthropomorphic, resembling swollen human figures whilst also calling to mind Rembrandt’s ‘Flayed Ox’ and Soutine’s ox torsos.

Another horse’s torn body, cast in iron, rises dramatically from a table. Iron is a new material for De Bruyckere and was chosen to convey ‘the heaviness of death’. The horse’s unyielding weight and emptied body contrast brutally with the malleable vulnerability of the waxen forms. Bringing unlike things together, De Bruyckere tests sculpture’s potential to recuperate and heal, using materials and motifs to create an increasingly complex language of empathy and suffering.

Hauser & Wirth Zürich | Berlinde De Bruyckere | Work of Death and Transfiguration |

Today's News

June 14, 2010

Zeng Fanzhi Exhibits Paintings from His Collection at the National Gallery for Foreign Art

Caravaggio Show Goes Nonstop at Scuderie del Quirinale in Rome

Getty Trust President and CEO James Wood Dies at Age 69

Works at Freer Gallery Showcase Nine Centuries of Artistic Tradition

Toledo Museum Presents The Psychedelic 60s: Posters from the Rock Era

Summer Exhibitions Celebrate Former Frye Director and Alaska Connection

First Exhibition of Contemporary Tibetan Art in a New York City Museum

Photographs by Cecil Beaton at the Imperial War Museum North

Haus Konstruktiv Opens Exhibitions by Ryan Gander and Franz Mon

Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present

Vintage Photographs and Shoe Shine Boxes at the Center for Visual Arts

Catalina Island Museum Appoints New Executive Director

Smithsonian Institution Libraries Unveils "Paper Engineering: Fold, Pull, Pop and Turn"

Work by Berlinde De Bruyckere at Hauser & Wirth Zürich

The Splendor of the Cossack Era in the Historic Context of the Ukrainian-Swedish Alliance on Display for First Time

William Lee Golden Honored at Tennessee State Museum

John James Audubon: American Artist and Naturalist at the Boise Art Museum

Sites of Memory: Architecture and Remembering at Stephan Stoyanov Gallery

Imprints: Photographs by Mark Ruwedel at the Peabody Essex Museum

Everson Celebrates 100th Anniversary of Renowned Ceramic Masterpiece

Most Popular Last Seven Days

1.- Porsche Super Speedster offered for first time in 50 years at RM Sotheby's Porsche 70th Anniversary Auction

2.- Cummer Museum of Art & Gardens opens 'Storytelling: French Art from the Horvitz Collection'

3.- Gauguin: Voyage to Tahiti stars Vincent Cassel as the famed French artist

4.- Stunning colored diamonds expected to dazzle at Heritage Auctions' Summer Fine Jewelry Auction

5.- US designer Kate Spade found dead at 55

6.- Vincent Van Gogh painting sells for over 7 million euros: Artcurial auction house

7.- Sir Stanley Spencer painting discovered hidden under a bed during a drugs raid

8.- Oxford's Bodleian Libraries unveil UK's first major Tolkien exhibition in decades

9.- Major exhibition at the Guggenheim explores decades of work by Alberto Giacometti

10.- World's largest freshwater pearl goes for 320,000 euros

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful