Özkan Eroğlu

Critical Selection from Antwerp 2021

The increase in artists and works in the world, as well as the increase in organized events, reduces more work to criticism and critic focus. As an art critic, I have come under the scrutiny of Art Antwerp. I had a vision for print, work an paper, painting, sculpture and photography units. I will also write the criteria that show why things are successful at the bottom of each study. Here are the successful jobs in my opinion:

 
 

Matthew Monahan

American, b. 1972

Any Friend of Mine, 2018

Oil, stainless steel foil, mortar, wood

175 × 35 × 30 cm

 

The most striking issue in this study is the correct deformation of the form. There are very few artists in the world who examine this qualified relationship between form and deform. (Özkan Eroğlu)

 
 

Belgian, b. 1982

Easy Alice, 2021

Tempera, chalk, casein glue & spray paint on wood

45 × 40 cm

Very clear handling of the simple and sensitive emphasis on basic form painting. (Ö.E.)

 
 
 
 
 
 
 

Bert Huyghe

Belgian, b. 1989

Six Trees, 2021

Oil on canvas

90 × 90 cm

 

Simplicity and simplicity are handled as both form and color elements, enabling the audience to have a sensitive approach. This is implemented without graphics. (Ö.E.)

 
 
 
 

Bert Danckaert

Belgian, b. 1965

Horizon #003 (Lodz), 2014

Archival Pigment Prints on Fine Art Paper (Hahnemuehle Fine Art Pearl) Framed in powder coated aluminum frames

110 × 147 cm

Edition 1/2/3

Presenting the richness of the elements in a contemporary language. (Ö.E.)

 
 

Benjamin Echeverria

American, b. 1980

(beige), 2021

Oil, Primer, Canvas 97 x 74 cm / 38 x 29 inches

97 × 74 × 3 cm

 

Contemporary evaluation of the layer phenomenon. (Ö.E.)

 
 
 
 
 
 
 
 
 
 

Sybren Vanoverberghe

Belgian, b. 1996

SNDCSTLSRBBSH13, 2021

Archival pigment print, custom made aluminium frame, UV70 glass

45 × 36 cm

Edition of 2 + 1AP

 

Interesting framing and richness of layers. (Ö.E.)

 
 
 
 
 
 
 
 
 

Thorsten Brinkmann

German, b. 1971

Pilloni, 2018

C-Print

72 × 54 × 3 in

Edition of 5 + 2AP

 

The fact that the photographic image is used in a contemporary language and that the most important thing in photography is the eye and sight. (Ö.E.)

 
 
 
 
 
 
 
 
 

Hannes Michanek

Swedish, b. 1978

Whisper, 2021

Oil on canvas

85 × 100 × 3 cm

 

The richness of imagination and its evaluation with reference to the past. (Ö.E.)

 
 

Stijn Ank

Belgian, b. 1977

24.2021, 2021

Pigmented plaster, metal structure

196 × 14 × 10 cm

 

Contemporary fulfillment of sculpture or three-dimensional phenomena. (Ö.E.)

 
 
 
 
 
 
 
 
 
 
 
 

Peter Buggenhout

Belgian, b. 1963

Mont Ventoux #42, 2020

Synthetic plaster, cow stomach, wood, polyester, polyurethane, wax, plaster, epoxy, plastic

24 × 79 × 80 cm

The effort to use and form the material with the highest will in sculpture and three-dimensional understandings. (Ö.E.)

 
 

Valentin Carron

Swiss, b. 1977

Adult and Dog, 2021

Painted wood

90 × 22 × 18 cm

 

Simplicity, simplicity and use of a contemporary symbolic language. (Ö.E.)

 
 
 
 
 
 
 
 
 
 
 
 

Erwin Olaf

Dutch, b. 1959

April Fool 10.05am, 2020

Chromogenic print on Fuji Chrystal Archive paper

60 × 90 cm

Edition of 10

 

The interestingness and success of photographic editing. Good evaluation of the phenomenon of space. (Ö.E.)

 
 

Hoda Kashiha

Iranian, b. 1986

Untitled, 2019

Acrylic on suede canvas

100 × 70 × 2 cm

 

The use of a dark language, knowing the light, without falling into the experimental one and making itself accepted. (Ö.E.)

 
 
 
 
 
 
 
 
 

Marcin Dudek

Polish, b. 1979

Wara, 2017

Jesmonite, wood, plastic and steel dust

36 × 18 × 15 cm

 

Good evaluation of the material language and presenting the obtained object by nihilation. A completely different approach to deformation. (Ö.E.)

 
 
 
 
 
 
 
 
 
 

Jan van Imschoot

Belgian, b. 1963

The word game, 2020

Oil on canvas

170 × 190 cm

 

Another successful dimension of dark language. Knitting work with light and colored dots in the dark. (Ö.E)

 
 
 
 
 

Leyla Aydoslu

Belgian, b. 1987

2021 VIII, 2021, 2021

Papier-mâché, offset plates, hoist, plaster

224 × 74 × 30 cm

 

Being a successful contemporary extension of the Arte Povera language and the desire to be free in space. (Ö.E.)

 
 
 
 
 
 
 
 
 

Tim Volckaert

Belgian, b. 1979

Taking place, 2021

Oil on cardboard (framed)

65 × 44 cm

 

Going to a conclusion with a little understanding of mass in a dark understanding. It leaves a sculptural effect. Powerful mass language. (Ö.E.)

 
 
 
 
 
 
 
 

Françoise Pétrovitch

French, b. 1964

Untitled, 2021

Oil on canvas

240 × 160 cm

 

A very special treatment of luminous language. (Ö.E)

 
 
 
 
 
 

Ellen Pil

Belgian, b. 1982

Threshold, detours and shutters, 2021

Acrylics and spray paint on coal died linen, casein glue on wood panel

125 × 88 cm

 
 

Generating ideas with a conceptual dimension of the form subject. Different rich language in push and pull. (Ö.E.)

 
 
 
 
 
 
 
 
 
 

Joëlle Dubois

Belgian, b. 1990

Angel, 2021

Acrylic on panel

20 × 15 cm

 

Suggesting a different plastic structure by staying within the language of the painting without falling into cartoons, illustrations or graphics. (Ö.E.)

 
 
 
 
 
 
 
 
 
 
 

ALL WORKS: https://www.artsy.net/fair/art-antwerp-2021? utm_source=braze&utm_medium=email&utm_campaign=gf&utm_term=61be06b1f540fd75dbb571108aa625d9

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2 Critical Selection from Antwerp 2021

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