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Hans Bellmer, Sascha Braunig, Matthew Ronay

7 September 21 October 2017

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Matthew Ronay
Gathering (A Mother), 2017
Basswood, cotton, dye, plastic, steel, flocking,
MDF
130,8 × 94 × 19,1 cm (51 1/2 × 37 × 7 1/2 in.)

Matthew Ronay
Gathering (A Mother), 2017 (detail)
Basswood, cotton, dye, plastic, steel, flocking,
MDF
130,8 × 94 × 19,1 cm (51 1/2 × 37 × 7 1/2 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Sascha Braunig
Gemini 1, 2017
0il on panel
30,5 × 22,9 cm (12 × 9 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Matthew Ronay
Trammelled Stalks, 2017
Basswood, steel, plastic, dye, flocking
52,7 × 50,8 × 43,2 cm (20 3/4 × 20 × 17 in.)

Matthew Ronay
Trammelled Stalks, 2017
Basswood, steel, plastic, dye, flocking
52,7 × 50,8 × 43,2 cm (20 3/4 × 20 × 17 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Sascha Braunig
Ballast, 2017
Oil on linen over panel
165,1 × 40,6 cm (65 × 16 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Hans Bellmer
Untitled, 1937
Tirage argentique vers 1949, colorié à l’aniline
13,8 × 13,4 cm (5 3/8 × 5 1/4 in.)

Hans Bellmer
La Poupée enceinte, 1938
Tirage argentique vers 1949, colorié à l’aniline
13,7 × 14 cm (5 3/8 × 5 1/2 in.)

Hans Bellmer
L’avant dernière jeunesse de Kali-Dûrga, 1937
Tirage argentique vers 1949, colorié à l’aniline
13,7 × 13,6 cm (5 3/8 × 5 1/4 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Matthew Ronay
Cutaneous Limb, Droplet, Being, 2017
Basswood, cotton, dye, plastic, steel, flocking,
MDF
130,8 × 92,7 × 12,7 cm (51 1/2 × 36 1/2 × 5 in.)

Matthew Ronay
Cutaneous Limb, Droplet, Being, 2017 (detail)
Basswood, cotton, dye, plastic, steel, flocking,
MDF
130,8 × 92,7 × 12,7 cm (51 1/2 × 36 1/2 × 5 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Hans Bellmer
Untitled, 1934
Tirage argentique vers 1949, colorié à l’aniline
14 × 13,7 cm (5 1/2 × 5 3/8 in.)

Hans Bellmer
Untitled, 1938
Tirage argentique vers 1949, colorié à l’aniline
14,5 × 13,9 cm (5 5/8 × 5 3/8 in.)

installation view Hans Bellmer, Sascha Braunig, Matthew Ronay
Office Baroque, Brussels, 2017

Sascha Braunig
Rack 2, 2017
Oil on linen over panel
111,8 × 35,6 cm (44 × 14 in.)

Office Baroque is pleased to announce a three-person exhibition with work by Hans Bellmer, Sascha Braunig and Matthew Ronay.

Hans Bellmer (1902–1975) was a German artist known primarily for his series of photographs of a sculpture he called La Poupee, which occupied him for many years. This was a female dummy made up of modular limbs and anatomical parts that could be assembled and reassembled in various ways.

Sascha Braunig’s illusory and vibrant paintings blur the line between figure and abstraction. Braunig’s work is subtle, smooth, and entrancing. Her work reflects upon illusion and the surface of the represented subject. In dreamlike scenes, where repetition and patterning are used, Braunig’s figures emit an extrasensory glow. Often humanoid in form, they seduce the viewer to come closer, yet never allow the eye to comfortably settle, led to rove between background, foreground, and frame.

Melding vocabularies of modernist abstraction and ritualistic objects, Matthew Ronay’s sculptures express the primacy of the handmade object. Made in refined, colorfully flocked-and-dyed carved Basswood, his sculptures draw on traditions of non-Western art making, folk and pre-avant-garde art, as well as surrealism, mythology and psychedelia.

Hans Bellmer was born in Kattowitz, former German Empire in 1902, lived and worked in Berlin and Paris and died in Paris, France in 1975. His work has been the subject of solo exhibitions at Centre Pompidou, Paris; International Center of Photography, New York; Neue Nationalgalerie, Berlin and Whitechapel Gallery, London. His work is included in the collections of Tate Modern, London; MoMA, New York; SFMOMA, San Francisco; Centre Pompidou, Paris and Museum Boijmans Van Beuningen, Rotterdam.

Sascha Braunig was born in Qualicum Beach, Canada in 1983 and lives and works in Portland, Maine, USA. Her work has been the subject of solo exhibitions at Atlanta Contemporary, Atlanta; MoMA PS1, New York; Foxy Production, New York and Kunsthall Stavanger, Stavanger. Her work has appeared in group exhibitions at White Cube, London; Museum of Contemporary Art, Cleveland; the New Museum Triennial and Etablissement dʼen Face, Brussels. Her work is included in the collections of the Baltimore Museum of Art, Baltimore; National Gallery of Victoria, Melbourne and the Zabludowicz Collection, London.

Matthew Ronay was born in Louisville, USA in 1976 and lives and works in New York. His work has been the subject of solo exhibitions at Marc Foxx, Los Angeles; Blaffer Art Museum, Houston; Pérez Art Museum, Miami and Kunstverein Lingen, Lingen. His work has appeared in group exhibitions at Sculpture Center, New York; Schirn Kuntshalle, Frankfurt; the 12th Lyon Biennial and the Whitney Biennial. His work is included in the collections of MoMA, New York; LACMA, Los Angeles; Whitney Museum, New York and Astrup Fearnley Museet, Oslo.

Martin Herbert, ‘Martin Herbert’s pick of shows this September’, ArtReview, September 2017

En Liang Khong, ‘Critic’s Guide: Brussels’, Frieze, 5 September 2017