EN 中文

Rio

Curated by Louis-Philippe Van Eeckhoutte
Matthew Brannon, Sascha Braunig, Mathew Cerletty, Barb Choit, Peter Halley, Marc Hundley, Nicholas Krushenick, Jonathan Lasker, Elad Lassry, Megan Marrin, Przemek Pyszczek, Michael Rey, Peter Shire
4 June 17 July 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Installation view Rio
Office Baroque, Brussels, 2015

Sascha Braunig
Warm Leatherette, 2015
oil on linen
73,7 × 67,3 cm (29 × 26 1/2 inches)

Michael Rey
Nassy Boum, 2015
oil on plasticine clay on panel
226 × 106 cm (89 × 41 3/4 inches)

Mathew Cerletty
Automatic Teller, 2015
oil on canvas
71 × 53 cm (27 15/16 × 20 7/8 inches)

Marc Hundley
And you won’t be unhappy (Kate Bush), 2013
acrylic on paper
121,9 × 101,6 cm (48 × 40 inches)

Peter Halley
Age of Panic, 2014
acrylic, fluorescent acrylic and Roll-a-Tex on canvas
127 × 185 cm (50 × 72 13/16 inches)

Mathew Cerletty
Live at Red Rocks, 2015
oil on linen
27,9 × 40,6 cm (11 × 16 inches)

Przemek Pyszczek
Facade, 2015
polyethane paint on debond, steel
240 × 150 cm (94 1/2 × 59 1/16 inches)

Przemek Pyszczek
Playground Structure, 2015
lacquered steel
270 × 240 × 230 cm (106 5/16 × 94 1/2 × 90 9/16 inches)

Barb Choit
Duran Duran, ‘Rio,’ Album Cover, UV Exposure Time Three Months, 2009
digital c-print
33,7 × 33,3 cm (13 1/4 × 13 1/8 inches)

Matthew Brannon
May I make a suggestion?, 2015
acrylic and enamel on canvas
83,8 × 68,6 × 4,4 cm (33 × 27 × 1 3/4 inches)

Elad Lassry
Skewers, 2012
c-print, painted frame
36,8 × 29,2 × 3,8 cm (14 1/2 × 11 1/2 × 1 1/2 inches)

Megan Marrin
Untitled (Master), 2012
leather on wood shelf
14 × 45,6 × 12,7 cm (5 1/2 × 17 15/16 × 5 inches)

Marc Hundley
We communicate more and more in more defined ways than ever before it’s all very poor it’s all just a bore, 2013
acrylic on canvas
148 × 97,2 cm (58 1/4 × 38 1/4 inches)

Michael Rey
Kinseklope, 2015
oil on plasticine clay on panel
126,7 cm x 91,4 cm (49 7/8 × 36 inches

Megan Marrin
Untitled (Typical Girls), 2015
leather, glass, artist’s frame
50,8 × 38,1 cm (20 × 15 inches)

Nicholas Krushenick
Untitled Collage No. 5, 1970
paper collage
88,9 × 63,5 cm (35 × 25 inches)

Jonathan Lasker
The Thing Itself, 2005
oil on linen
77 × 102 cm (30 5/16 × 40 3/16 inches)

Peter Shire
Milk Carton Odyssey, 2014
cone 06 clay, stainless steel
45,7 × 10,8 × 27,9 cm (18 × 4 1/4 × 11 inches)

Peter Shire
Milk Carton with Tin Man, 2014
cone 06 clay, stainless steel
55,9 × 10,8 × 27,9 cm (22 × 4 1/4 × 11 inches)

Peter Shire
Jug with Cup, 2013
cone 06 clay
14 × 7,6 × 12,1 cm (5 1/2 × 3 × 4 3/4 inches)

Rio brings together artists of different generations whose work pays reverence towards the pop aesthetics of the 1980’s. The era’s limited palette of bright colors, dynamic compositions, and strong graphic qualities allowed artists to tackle formal issues with the playful visual language of stardom and comic books, while contemporary artists cite these formal systems to express a subjective reality. The exhibition takes its title from the second studio album by rock band Duran Duran whose distinctive cover by Patrick Nagel is a classic example of 1980’s graphic design.

The 1980s began with a emergence of stark design icons, from Patrick Nagel and the severe women he created for Duran Duran album covers, to the Memphis group and Peter Shire with their furniture that incorporated art deco and a broad palette of clashing colors. There was a shared sensibility among artists who embraced the visual language of the decade. Bold brushstrokes, lively cartoonish squiggles and bright colors marked Jonathan Lasker’s paintings while the use of industrial materials as Day-Glo and Roll-a-Tex with recurrent patterns of circuits and cells formed Peter Halley’s signature style. Their work, together with that of pop abstraction’s father Nicholas Krushenick is now seen as a nostalgic mirroring of pop culture of the early 1980’s.

In addition to a sense of nostalgia to a partly imagined past, different elements of the 1980’s aesthetic have been an inspiration to a younger generation of artists. These elements are the graphic design in the paintings of Matthew Brannon that reflects upon the themes of the autobiographical narrative and the destabilization of language, in Barb Choit’s rephotographed faded Nagel posters and in Marc Hundley’s silkscreens with texts culled from the era’s music that catalogue his personal experiences; the stylized exotic of the 1980’s in the hypnotic vibrant paintings of Sascha Braunig and Mathew Cerletty; the glamour of the era in Elad Lassry’s faux-commercial photography and Megan Marrin’s leather objects that bring glamour back to the domestic; the postmodern architectural language in Przemek Pyszcek’s deconstructions of building structures and Michael Rey’s wall-based retro-futuristic plasticine objects.


“Rio, to me, was shorthand
for the truly foreign,
the exotic,
a cornucopia of earthly delights,
a party that would never stop.”

John Taylor – bass guitarist Duran Duran

Mauea Egan, ’Welcome to Brussels: Europe’s unexpected art-world hotspot’, Travel + Leisure, December 2015

Sam Steverlynck, ‘Rio’, H-Art, June 2015

Wim Denolf, ‘Esthetiek Van De Eighties’, Weekend Knack, June 2015

Rio