Press Release

Xavier Hufkens is pleased to present Tracey Emin: Video Works, 1995—2017. This will be the first exhibition to survey Emin’s video art. Key works such as Why I never became a dancer (1995) and How it Feels (1996) will be shown alongside rarely screened videos including Niagra (1997) and Love is a Strange Thing (2000). The works in this exhibition offer a window into Emin’s infamous world: from her earliest traumas and personal struggles, to her poetic, witty and often self-deprecating views on love and loneliness.

With an essay by David Rimanelli.

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Installation Views

Tracey Emin, Sometimes the Dress is Worth More Money Than the Money (2000). Single channel video (shot on Mini-DV), 4 minutes, 2 seconds. Courtesy the artist and Xavier Hufkens, Brussels.
Tracey Emin, Tracey Emin How it Feels (1996). Single channel video (shot on Hi8), 22 minutes, 33 seconds. Courtesy the artist and Xavier Hufkens, Brussels.
Tracey Emin, Emin & Emin (1996). Courtesy the Artist and Xavier Hufkens, Brussels.
Tracey Emin, You made me feel like this (2017). Courtesy the Artist and Xavier Hufkens, Brussels.
Tracey Emin, Homage to Edvard Munch and all My Dead Children (1998). Courtesy the Artist and Xavier Hufkens, Brussels.
Tracey Emin, Tracey Emin's CV Cunt Vernacular (1997). Courtesy the Artist and Xavier Hufkens, Brussels.
About the Artist

Over a career spanning some two decades, Tracey Emin has produced a body of work that encompasses all forms of artistic expression, including painting, print-making, drawing, film, photography, installations, appliqué, sculpture and neon text. Although Emin first rose to prominence as part of the so-called generation of Young British Artists (YBA), the highly autobiographical nature of her work set it apart from the general artistic trends of the 1980s and 1990s. Emin is well known for her frank, confessional style and for transforming her inner emotional and psychological world – personal experiences, memories and feelings – into art that is both intimate yet profoundly universal. Her candid but unsentimental disclosure of personal trauma and crises, as well as aspects of her love life, have often led to controversy. Works such as Everyone I Have Ever Slept With 1963–1995 (destroyed in the Momart fire, 2004) and her 1999 Turner Prize exhibit entitled My Bed (currently on loan to Tate Modern) are two cases in point. Tracey Emin was elected to the Royal Academy in 2007, the same year that she represented Great Britain at the 52nd Venice Biennale. Emin was appointed Professor of Drawing at the Royal Academy in 2011 and a Commander of the Order of the British Empire (CBE) in 2013.

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Also Exhibiting at Xavier Hufkens

About the Gallery
Xavier Hufkens is one of Europe’s leading galleries for contemporary art. Located in Brussels, the gallery maintains a diverse exhibition programme with solo exhibitions of the gallery artists as well as group exhibitions and special projects. The gallery deals in a distinctive combination of painting, drawing, sculpture, photography, video and installation-based work.

The origins of the gallery date back to 1987, when Xavier Hufkens opened a gallery space in an un-refurbished warehouse in the neighbourhood of the South Station (Midi) in Brussels. During the early years, the focus of the gallery was upon mid-career and emerging artists and the gallery is known for having introduced some of the most influential contemporary artists to Brussels at a time when they were still relatively unknown. British sculptor Antony Gormley, who is still affiliated with the gallery, Felix Gonzalez-Torres and Rosemarie Trockel all showed in Belgium for the first time with Xavier Hufkens (Gormley in 1987; Gonzalez-Torres in 1991 and Trockel in 1993).

In 1992, the gallery moved to a 19th-century townhouse at 6 rue Saint-Georges, close to the Avenue Louise. Completely renovated by Belgian architects Paul Robbrecht, Hilde Daem and Marie-José Van Hee, the house quickly gained a reputation for being not just one of the most beautiful contemporary art spaces in the Belgian capital, but also one of the most interesting. The expanded exhibition programme coincided with the additional representation of a number of established artists from Belgium and abroad, including Richard Artschwager, Thierry De Cordier and Jan Vercruysse. In 1997, Hufkens expanded the gallery further by annexing the adjacent building and a number of new artists joined the gallery, including Louise Bourgeois, Roni Horn and Thomas Houseago.

A second space in the same street, at 107 rue Saint-Georges, opened in spring 2013. Located in the Galerie Rivoli, a mixed-use commercial development from the 1970s, the new gallery space was designed by Swiss architect Harry Gugger, who was previously in partnership with Herzog and De Meuron. Slegten & Toegemann, Brussels, managed the project. A third space opened in spring 2020, located at 44 Rue Van Eyck, designed by architect Bernard Dubois.

An eclectic but very clear vision underpins all of the gallery’s activities: ‘The definition of the gallery was established from the start. The common thread, then and now, is quality over and above everything else, which I find more intellectually challenging than a forced definition. From the early days I juxtaposed established artists such as Michelangelo Pistoletto with someone like Felix Gonzalez-Torres when he was totally unknown. Today I still mix my work: I have no problem showing Malcolm Morley … alongside Robert Ryman, or Willem de Kooning.’ [Xavier Hufkens in The Art Newspaper, Issue 220, January 2011, published online: 20 January 2011]

Xavier Hufkens represents some thirty artists from different generations. He was part of the six-member selection committee for Art Basel during seven years and also participates in up to five international Arts Fairs annually. The gallery has partnerships with the estates of Louise Bourgeois, Willem de Kooning, Robert Mapplethorpe and Alice Neel.
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