Over the past 30 years, Galerie Greta Meert established itself as one of Brussels’ leading contemporary art galleries. Founded in 1988 as Galerie Meert Rihoux, it was subsequently renamed after its founding director Greta Meert in 2006. Located in the center of Brussels, the gallery occupies a five-story Art Nouveau building designed by Louis Bral and renovated for the gallery by renowned Belgian architects Hilde Daem and Paul Robbrecht. Since 2012 three floors of the building are dedicated to exhibitions, making it possible to maintain an expanded exhibition schedule.
Read MoreIn 1988, Galerie Greta Meert opened with Thomas Struth’s first international showing followed by exhibitions with Robert Mangold, Richard Tuttle, Louise Lawler, John Baldessari and Hanne Darboven. In 1992, the gallery presented Isa Genzken’s early sculptures and started to show the work of Donald Judd. These first exhibitions demonstrate the gallery’s aim to bring forth the work of these innovative artists at a time when they were still relatively unknown in Belgium. From the very beginning, one of the main focuses of the gallery has been on Minimal and the Conceptual Art. The significance of photography in conceptual strategies has also been a substantial interest in the programming of the gallery throughout the years. As early as 1991, Galerie Greta Meert was one of the first European galleries to show artists such as Ian Wallace, Jeff Wall and Ken Lum who have collectively been referred to as the Vancouver School.
During the 1990s and early 2000 the program was further developed around the work of artists like Carl Andre, Robert Barry, Jef Geys, Peter Joseph, Shirley Jaffe, Sol LeWitt, Jean-Luc Moulène, Fred Sandback, Niele Toroni, Didier Vermeiren and Michael Venezia. Concurrently, the gallery has played an important role in the rediscovery of an older generation of Italian artists who had been eclipsed by the Arte Povera movement. These artists notably include Carla Accardi, Gianfranco Baruchello, Enrico Castellani and Mimmo Jodice.
In more recent years the gallery has also become committed to a younger generation of Belgian and international artists whose work builds on the gallery’s distinctive artistic identity and historical standpoint: Eric Baudelaire, Iñaki Bonillas, Johannes Esper, Valerie Krause, Anne Neukamp, Tobias Putrih and Johannes Wald, Edith Dekyndt, Stef Driesen, Sophie Nys, Koen Van den Broek, Catharina van Eetvelde and Pieter Vermeersch.
'In Art Basel's American show, leading galleries from North America, Latin America, Europe, and Asia show significant work from the masters of Modern and contemporary art, as well as the new generation of emerging stars. Paintings, sculptures, installations, photographs, films, and editioned works of the highest quality are on display in the main...
About ten years ago, French visual artist Eric Baudelaire migrated from the social sciences to the field of art and filmmaking. To this day, his artistic practice is inspired by his former training and the research-driven approach that comes with it. Baudelaire mostly works in film and video installations, but he also uses photography, collage...
Apparently my timing sucks. One week too late for Berlin Gallery Weekend, and one month too early for the Berlin Biennale. ‘You should have been here last weekend for Berlin Gallery Weekend!’ a Berliner friend exclaimed. ‘Everyone was having orgies at Soho House! It was the best art world networking!’ I shifted...
In Vancouver's Chinatown, an area wedged between the gleaming office towers of the city's affluent West End and the city’s poorest neighbourhood, Downtown Eastside, is a gallery showcasing work from one of the world’s leading private collections. Housed in a restored iteration of Chinatown’s oldest building, the...
GERMANTOWN, New York — In his article "Piero della Francesca: The Impossibility of Painting" (Art News, March 1965), Philip Guston wrote: 'He is so remote from other masters; without their "completeness" of personality. A different fervor, grave and delicate, moves in the daylight of his pictures. Without our familiar...
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'I have a strong credo that an exhibition must embody real objects,' says curator Matthieu Poirier prefacing a walkthrough of The Brutal Play, in which works from Carl Andre, Donald Judd and Robert Morris occupy the Fondation CAB in Brussels. 'These objects remind the viewers of their own bodies.'
Hypergraphia/graphomania/graphorrhea can explode as a reaction to aphasia. When unable to speak, humans resort to writing as a way to overcome silence, locate themselves, or make room and some order for their thoughts. The stronger the silence conveyed by the body, the stronger the compulsion to use inscription as an alternative form of...
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