An unsettling, reconfigured concept of the body, helpless yet contorted, takes centre stage in Berlinde de Bruyckere’s faceless sculptures. Abject deformation is turned into beauty as if the artist is trying to wrestle a shape from abstract form. That each body, whether human or equine, stands on a plinth or inside a cabinet, as if posing for the viewer, emphasises their monumentalised objecthood and the tension between what these objects represent and what they actually are.Read More
De Bruyckere began making work around ideas of the human figure in the early 1990s, first through its absence, stacking and draping woollen blankets on furniture, symbolising shelter and vulnerability. Then she added bodies made of wax, almost completely covered in wool; imperfect, sexless and headless.
Having made her name in the 1990s with quietly compelling pseudo-anatomical sculptures of flesh, Belgian artist Berlinde De Bruyckere has subsequently adopted a less explicit approach in her work.
Since opening in 2011, the Museum of Old and New Art (Mona) in Hobart, Australia, has put man’s biological impulses and realities at the heart of its curatorial mission. Mona’s founder David Walsh dec
MARRAKESH — Set outside the institutional white cube, in restored ancient sites and the ruins of a 16th-century palace, the sixth edition of the Marrakech Biennale, Not New Now, arrives like a breath of fresh air. Curated by Guggenheim Abu Dhabi Associate Curator Reem Fadda, the current edition of the Moroccan biennale creates a marvelous...
Inside her Ghent studio, Berlinde De Bruyckere discusses death, drapery and intimacy in her work ahead of her solo exhibition Stages & Tales at Hauser & Wirth Somerset. ‘In our society, we are alwa