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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

"BARBARA" (foreground);

"COSMETICA STELLE" (background)


photo: Steven Decroos

"BARBARA" (left);

"ERSATZ GOOD" (far right)


photo: Els Verhaeghe

"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

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

"THE LABORER"

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

"BONNIE" (foreground)

and

"MISCHLINGE MOTIF" (right)


photo: Quinten Buijsse

photo: Steven Decroos

"UNIVERSAL FOLKLORE"

W/ FARAH ATASSI (PAINTINGS)

CURATED BY ILSE ROOSENS


@ THE PERMEKEMUSEUM


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.