Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Borreman's drawings, paintings, and films are closely intertwined, though without this involving the mere formal translation from one medium to another or the genesis from 'concept' to 'preliminary study' and, finally, 'finished work.' Rather the artist operates in an area bordered by all the various media." Hans D. Christ, excerpted from the introduction to MichaŽl Borremans: Eating the Beard.
Published by David Zwirner Books. Text by Michael Bracewell.
The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights MichaŽl Borremans' (born 1963) new paintings, which feature toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence. Borremans' depiction of the uncanny and the bizarre often surprises sometimes disturbs the viewer. In this series, children are presented alone and in groups against a studio-like backdrop that negates time and space while underlining the theatrical atmosphere and artifice that exists throughout Borremans' recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness.
In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings.
MichaŽl Borremans: Black Mould documents the artistís first exhibition at David Zwirner, London in 2015 and his first solo presentation in the city in ten years. This intimately scaled catalogue, which has been designed by the artist in collaboration with Kim Beirnaert, includes 32 small- and large-scale paintings from his new series, most of which feature anonymous, black-robed characters. Alone or in groups, they perform mysterious acts within monochromatic spaces reminiscent of an artistís barren studio. Seemingly behaving according to a symbolic language of their own, they pose alone or interact in communal dances, with some figures holding torches and others exposed naked from the waist down. Their facelessness opens up ambiguous narrative possibilities, as if they were empty canvases with which to construct meaning. Like archetypes capable of embodying shifting meanings, the blank figures become a mold for the human condition, at once satirical, tragic, humorous and above all, contradictory.
Published by Hatje Cantz. Edited by Jeffrey Grove. Text by Michael Amy, Hans Christ, David Coggins, Martin Germann, Jeffrey Grove, Jan Hoet, Jeffrey Kastner, David Lynch, Charlotte Mullins et al.
Since the late 1990s, when he first began to produce drawings and paintings, MichaŽl Borremans has created an extraordinarily mature body of work that has captured international attention. The disparate spaces he imagines in his paintings, drawings, sculptures and films are unified by an uncanny sense of dislocation and an often unsettling beauty. Rendered in complex palettes and exquisite techniques, Borremansí works in all media embrace a rich legacy of artistic progenitors, but remain firmly anchored in the present. Presenting over 100 works created by the artist over a 14-year period in all media, this publication includes many works not previously reproduced in books or catalogues, offering the most complete overview of Borremansí oeuvre to date. Contributions include a concise and incisive overview of Borremansí practice; a revealing, in-depth interview between the main author of the book, Jeffrey Grove, and the artist, addressing process, influence and philosophical and critical issues; as well as more than 50 individual entries and mini-essays on individual works in the artistís oeuvre by notable writers, curators, filmmakers and musicians. Described by the artist as "the mother of all Borremans books," MichaŽl Borremans: As Sweet As It Gets is published on the occasion of a major mid-career retrospective. Initially trained in photography and graphic design, the Belgian artist MichaŽl Borremans (born 1963) turned to painting at the age of 30. Work by the artist is held in numerous public collections, including The Art Institute of Chicago; High Museum of Art, Atlanta, Georgia; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis, Minnesota. Borremans lives and works in Ghent.
Published by David Zwirner Books. Text by Hans van Heirseele.
Belgian filmmaker and painter MichaŽl Borremans (born 1963) has made a name for himself over the past two decades, though his figurative portraiture and pastoral scenes, indebted as they are to Manet, Degas and VelŠzquez, look of another time, the traditional Baroque and Rococo-esque style rendering the work unsettlingly familiar. MichaŽl Borremans: Horse Hunting, published on the occasion of the artist's second solo exhibition at David Zwirner in 2006, is devoted to the 14 new paintings on view, among them the eponymous "Horse Hunting" (2005), which portrays a young man, fashionably attired, holding two twigs from each of his nostrils. Rendered in a palette of diffused, shadowy browns, oranges and grays, Borremans' work can be characterized by its lustrous surface and eerie exploration of mental states through the careful release and withholding of visual clues. This catalogue includes a text by Belgian artist and curator Hans van Heirseele.