HERMES & HUNTING AND COLLECTING PRESENTS : SWINGING SILK

SWINGING SILK” is this year’s celebration of playtime with your Hermès scarf.An unashamed excuse to party in neon, There is nothing square about this carre! Set to music,and perpetually in motion, with “SWINGING SILK” the iconic silk square gets its own dance at last.
With retro style and thoroughly modern moves the stage is set for a memorable evening Full of fun, games and Parisian style, the event “SWINGING SILK” is imagined by Hermès’ Artistic Director for Women, Bali Barret, ”SWINGING SILK” is set to tour the world in 2012 from Europe to Asia via Australia….

EIGHTY NINE DAYS – a photo exhibition by Thierry Cosson

« Thierry Cosson (born 1980, France) studied at the Ecole Supérieure d’Art, Metz, and the Ecole Nationale Supérieure des Arts Visuels de La Cambre, Brussels. He lives and works in Brussels, as art director and graphic designer, for clients such as Remy Cointreau, Delvaux, Hampton Bays or Mapp. store.

The exhibition “Eighty Nine Days” presents a selection of black and white photographs, a collection of recollections, accumulated last year, during a three months journey in New York City and some places around. Fragments of time, traces of the present, remnants of the past, the pictures are like a timeless personal tale, where everyday poetry or unspeakable beauty can be expected at every corner of the city. »

Greasy Lace | 20 April – 04 May 2012

Presenting new works by:

Stian Ådlandsvik

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The Waxy Pith exhibition Greasy Lace is Stian Ådlandsvik’s first solo presentation in Belgium, for which he is presenting new works in the perfectly formed premises of Hunting and Collecting in downtown Brussels. Within the solid concept that defines the artist’s quest to explore all the stages in the history of production, are to be found sculptures, photographic documentation, and works of a more hybrid nature, all of which reveal certain moments within the entire process of creation whereby the elements duly employed in the making of each have become salvaged and reinterpreted (though without any of the works ever shedding their deeply embedded wit). Some of the individual pieces have developed as offshoots of their prior state, others as palimpsests; in each case, their physicality blatantly reveals the various iterations or treatment to which they have been submitted; these are autonomous, essentially honest entities whose scars signify their stature.

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Inherent in the oeuvre of Stian Ådlandsvik is a yearning to understand products and materials. He unveils the different layers in his own production, emphasising the process of making the work and the different stages of their development. They are often reorganised hybrids in which the constituent parts derive from precise origins via connections that have been explored and dissected, made discernable through the unveiling of a certain logic or thought process.

Objects are evaluated and re-contextualised in the form of drawings, photographs and sculptures. They are parts of interconnected systems, consisting of a large number of components that are interrelated and interdependent, referring to transnational and transcontinental trade and production systems, but also to relationships beyond both these and the context prescribed by the exhibition space.

Ådlandsvik links his reference systems together, oscillating between obvious, plausible; and opaque, mysterious components. Their different states, which are documented by the artist and incorporated in his work, range from the utilisable object to deconstructed machines that can barely still function and abstract objects whose traces, notched in the material, tell of a utilisation context in another era.

The imperfect surfaces in his work suggest a wish for a new materialistic language wherein its reading not only leans on art history, but on a more direct way of understanding material as being the end product of human handling, where surface imperfections are there for a reason and thus also have a meaning. It appears as though Ådlandsvik is suggesting a new ideal for estimating the value of objects through knowledge of their past. His works are effectively an investigation into how value is ascribed to products, and how concealments might very well prove to lend worth to dubious content, or to no content at all.

Through these various layers of production Stian Ådlandsvik unveils the previous contexts, applications and understandings of the materials he employs. He thus overturns any former sense of convention and habit, and gives new meaning to what we had thought to be normal and ordinary. As a non-violent reaction to the status quo, reality is re- interpreted in a quest to see deeper into who and what surrounds us.

CODE 02 MAGAZINE LAUNCH

“Code Magazine 2.0 is proud to launch its fourth issue in Brussels at Hunting and Collecting. Dedicated to young artists, young writers and curators, Code Magazine 2.0 is published biannually in French and English. Created in Brussels in 2005, it was relocated in Paris in 2010 by Laetitia Chauvin and Clément Dirié but keeps strong connections with Belgium.
In this new issue, essays and portfolios are dealing with “attitudes”; artists are blowing a wind of freedom and readers are as usual invited to interact with the magazine through different “Do it yourself.”

The most belgian french art magazine, Code Magazine 2.0 aims to bring fresh art in a new format, cool and committed.”

SS12 Collection: ” PRESENT”

It is about moments. Moments through modernity. The JEANPAULKNOTT MEN SS12 collection by Greg Van Rijck is a reflexion on the human being. It is a combination of noble fabrics and simple shapes. It is the contrast between the casual wardrobe and a limited edition garment. Greg Van Rijck plays with the classic wardrobe and it’s proportions – Forms and shapes – commodity. Using even the lining as a garment – An oversize scarf becomes a collar – A shirt becomes a jacket – The trench becomes an oversize buttondown shirt. Colors and materials play on weight and texture to become monochrome paintings – Almost white or almost black. Ultralight waterproof poly is put in contrast with light cotton or heavy gabardine – cotton veil plays with cotton satin. It is a new definition of the masculine wardrobe where all kinds of combinations become possible.

Limited tee-shirt edition in collaborartion with Nicolas Cesaro.

This spring-summer 2012, Greg Van Rijck worked with Nicolas Cesaor on a limited editon of artworks tee-shirts – Mixing the simplicity of a white tee-shirt and the craziness of Nicolas’ painting. It is about stories narrating life’s differents moments. The tee shirt becomes a canvas, a white sheet op paper. Greg Van Rijck met Nicolas Cesaro at the Francisco Ferrer design school, and years later they decided to work together and to developpe a tee shirt line blending fashion and art.

SATURDAY 10 MARCH DURING THE AFTERNOON.

STILL GOOD, a new young mens label from Paris. Launched in 2010 with a range of t-shirts which won the Who’s Next contest, Still Good fashion brand created by Clément Taverniti, matures and provides for the spring-summer 2012 a collection from Cardigan to pants, including as well shoes thanks to a collaboration with Spring Court (which were recently launched at Colette).
+ HUNTING AND COLLECTING x STILL GOOD TEESHIRT COLLAB LAUNCH!!