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Bert Danckaert | Simple Present

Bert Danckaert | Simple Present

€45.00
ISBN: 9789491297540
Sizes: 34 x 27 cm
Pages: 180
Cover: hardcover
Publisher: Co-published by Royal Academy Of Fine Arts Antwerp | Roberto Polo Gallery | Lannoo
Exhibition at Roberto Polo Gallery 12.09.2013 | 03.11.2013 & at Bozar 17.09.2013 | 03.11.2013

Bert Danckaert, Simple Present accompanies the first solo exhibitions in Brussels of Bert Danckaert (1965), a photographer born in Antwerp, where he resides and works. Danckaert studied at the National Higher Institute of Fine Arts (NHISK) and the Royal Academy of Fine Arts (KASKA) of his native city. He now teaches photography at the latter. Danckaert is also a writer on photography. His articles are published regularly in several reputed periodicals. Danckaert’s work is represented in museum and private collections. He has exhibited in many international museums and manifestations. The exhibition at BOZAR EXPO, presented in the context of Europalia’s celebration of India this year, features archival pigment prints on fine art paper and an installation of large format Ecoboards. All the images in this exhibition were taken in Mumbai in 2011. The exhibition at ROBERTO POLO GALLERY consists of two films and an important number of archival pigment prints on fine art paper from a series titled Simple Present, which dates from 2007 to the present time. Bert Danckaert drew the images in these exhibitions from eighteen cities on four continents. Depending on the spectator’s empathy, his images may be read either at formal or documentary levels, or both. Danckaert turns ordinary, often unrecognizable, fragments of urban reality into extraordinary images that reveal a profound knowledge and understanding of the history of modern art, especially its painterly, narrative, conceptual and constructivist currents. According to Inge Henneman, former curator of the Museum of Photography in Antwerp and professor of the history of photography at the Royal Academy of Fine Arts in the same city: “Bert Danckaert’s bizarre cityscapes deal with the paradox of non-figurative simplicity, as well as with the complexity of meaning and metaphor. His ‘urban still-lives’ breathe a kind of strangeness that can only emanate from the familiar. ‘Found’ sidewalks, walls, and street furniture refer more to minimalist art than to the conventions of documentary photography. In his absurd compositions, a recognizable and banal reality appears as a stage set, props and trompe-l’œil included…”


 


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