ART > 2018 - 2019 >
UNIVERSAL FOLKLORE @ PERMEKEMUSEUM/ MU.ZEE
DETAIL Nº 1
"DESERT BLOOM"
or
"COSMETICA STEELE"
A-B polyurethane foam, spray polyurethane foam,
foam batting, crushed velvet, velvet, metallic/
hologram fabric, and cotton
70 L x 159 H x 32 W cm
2018
"COWBOY CURTIS" aka
"HORSESHOES AND HANDGRENADES" (foreground)
velvet, crushed velvet, cotton, foam batting,
buttons, wood, and rope
127 L x 211 H x 60 W cm
2018
photo: Steven Decroos
DETAIL Nº 2
"JAMBI JOSS"
satin, velvet, crushed velvet, metallic/ hologram fabric,
organza, cotton, foam batting, buttons, wood, and rope
200 L x 211 H x 60 W cm
2018
photo: Els Verhaeghe
DETAIL Nº 3
DETAIL Nº 4
"JEWEL SECRETS"
or
"ERSATZ GOOD"
velvet, satin, crushed velvet, cotton,
foam batting, buttons, wood, and rope
127 L x 211 H x 60 W cm
2018
DETAIL Nº 5
photo: Els Verhaeghe
"EL PRESIDENTE"
satin, faux animal skin, metallic/ hologram fabric,
foam batting, buttons, wood, and rope
127 L x 211 H x 60 W cm
2018
DETAIL Nº 6
"(MK) ULTRAVETTE"
or
"THE TRICKSTER" (foreground)
crushed velvet, cotton, foam batting,
spray polyurethane foam, mdf, and cardboard
88 L x 117 H x 66 W cm
2018
Collection: Mu.ZEE, acquired with the support of the Flemish Community/ Vlaamse Gemeenschap
DETAIL Nº 7
photo: Els Verhaeghe
"THE BIRTH OF ARCHITECTURE"
or
"FLÜGELHEIM"
terry cloth, crushed velvet, felt, cotton,
spray polyurethane foam, foam batting,
mdf, and cardboard
84 L x 118 H x 98 W cm
2018
photo: Steven Decroos
or
"MISCHLINGE MOTIF"
metallic matelassé, cotton, foam batting,
wood, faux gold paint, and rope
155 L x 102 H x 3 W cm
2015
photo: Laure Cottin Stefanelli
DETAIL Nº 8
photo: Steven Decroos
"UNIVERSAL FOLKLORE"
W/ FARAH ATASSI (PAINTINGS)
CURATED BY ILSE ROOSENS
JUNE 3 - OCTOBER 21, 2018
2D AND 3D SCULPTURES
Like Constant Permeke’s, the works of Farah Atassi and Tramaine de Senna manifest a keen interest in folkloric motifs. The artists copy and mix the imagery of objects that are often situated in an ethnographic or design context, such as carpets, masks or toys. In the first half of the twentieth century, Permeke and several of his contemporaries adopted the forms of African masks and sculptures. They were motivated by a fascination with the aesthetic qualities of the objects.