Biennale de l’Image Possible
For its 10th edition, BIP (formerly called International Biennial of Photography and Visual Arts) becomes the Biennial of the Possible Image ! After having worked for several years on diverse thematics, BIP orients towards a freer and more open exploration of the becoming an image of the world. Thus, out goes the thematic approach in favour of a broader generic intention, the notion of the “possible image” which will be declined in a restricted artistic selection but deployed in several individual or collective exhibitions.
For this anniversary edition, the dynamic centre and heart of BIP2016 will be located on the site of the Manège of the Caserne Fonck adjacent to ESA École supérieure des arts Saint-Luc and the faculties of architecture of the University of Liège in the Outremeuse district in Liège. The officiel exhibitions will take place on this site and also in other spaces of the city.
The gallery has lent works by Albert Moser, José Manuel Egea, John Kayser, Alexander Lobanov and the anonymous Zorro.
Eugene Von Bruenchenhein
Von Bruenchenhein, born on 31 July 1910 in Wisconsin, lost his mother when he was only seven years old. He began working at an early age: as a florist, as a grocer, and then as a baker. His physical stature was small, and he worked daylong in the privacy–and total secrecy–of his kitchen, obsessively dedicating himself to his artistic work, persuaded that his birth during the year of the passage of Halley’s Comet was irrefutable proof that the gods had bestowed artistic genius on him. “I come from another world,” he would say. In 1943 he married Eveline Kalke, ten years his junior. She became his inspiring muse and the subject, direct and indirect, of all his art. He renamed her Marie.[…]
At the age of seven, Alexandre Lobanov became deaf and mute, the result of meningitis. Rebellious and often aggressive, his family decided to admit him into a psychiatric hospital at the age of twenty-three. His first ten years at the facility were marked by extreme displays of hate and agitation. At the approximate age of thirty-three, Lobanov gradually began to draw, and his behavior evolved. The formerly turbulent and irritable man became calmer and even sociable. Drawing both distracted and soothed him, helping to stabilize his overall psychological state. From the moment he begins to draw, all of Lobanov’s activity is focused on those moments when he is alone in front of a blank sheet[…]
This American artist, autistic, lived most of his life with his parents, before joining the New Jersey foster home where he still lives. Moser first gained recognition for his tinkered photographic panoramas, then for his psychedelic geometric designs. But whatever the medium, his work testifies to the same obsession with space. They report, in their own way, the vertigo through which he tries to find his place in the world. Exhibited in 2019 at the Rencontres de la photographie d’Arles, his work is as well in the collections of Antoine de Galbert (France) and Treger Saint Silvestre (Portugal).
A typographer by training, Košek first became a fairly conventional artist. When he fell into psychosis, he began to produce works as radical as poetic. Convinced that he plays a decisive role in the sequencing of the world, he spends his time at his window, recording his observations - meteorology, bird flights, insignificant facts - and aggregating them into diagrams supposed to ward off chaos. For fifteen years and across the world, from the Palais de Tokyo to the maison rouge, from the MONA (Australia) to the DOX in Prague and the Rencontres d’Arles, his Sibylline maps have been constantly interrogating.
José Manuel Egea
Convinced of his lycanthropy, this young Madrid artist is fascinated by the Kafkaesque metamorphosis found in the comics and mythology world. His work, also polymorphic, consists of drawings, sculptures and performances, and urges us to accept our repressed therianthropy. Promoted by the gallery since 2016, he is already found in major European contemporary art collections such as those of Antoine de Galbert, or Laurent Dumas (France).