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335 Summer 2021, On View

10 June 2021, 9:00 am CET

Guillaume Désanges / Curator of La Verrière, Fondation d’entreprise Hermès’ exhibition space, Brussels

June 10, 2021

ON VIEW is a printed and an online section in which Flash Art invites prominent figures of the art world to select the best current and upcoming international exhibitions.

Charlotte Johannesson
“Take Me to Another World”
Museo Nacional Centro de Arte Reina Sofía
Through August 16, 2021

Charlotte Johannesson, Actitud de ataque, 1977. Wool, wood and metal. 200 × 100 cm. Courtesy of Malmö Konstmuseum, Sweden.

I discovered the work of Swedish textile artist and digital graphic art pioneer Charlotte Johannesson at the 32nd Bienal de São Paulo, and I was immediately struck by her original tapestries that embrace a political, feminist, critical, and satirical discourse. The self-taught artist has also been involved in sharing knowledge, founding Scandinavia’s first digital arts laboratory. “Take Me to Another World” is an important solo exhibition that includes new productions.

Jacqueline de Jong
“The Ultimate Kiss”
WIELS
Through August 15, 2021

Jacqueline de Jong, The Ultimate Kiss, 2002–12. Oil on canvas. 165 × 195 cm. Photography by Gert-Jan van Rooij. Courtesy of the artist.

Dutch artist Jacqueline de Jong is the subject of a monographic exhibition that offers an important overview of her wide-ranging production. She was notably involved in avant-garde movements in the early 1960s, especially the Situationist International, and since then has developed a very recognizable subversive pictorial style that combines humor and political diversion. Eroticism and violence are distilled in these exuberant, cerebral-yet-popular narrative paintings in which humans and animals evolve in fluid, ambiguous environments.

Minia Biabiany
“I have killed the butterfly in my ear”
Kunstverein Freiburg
From June 11 to July 25, 2021

Minia Biabiany, Pawòl sé van, 2020. Video still. Courtesy of the artist.

Minia Biabiany’s sculptural, graphic, and film-based works use raw materials in a way that expresses the restorative power of memory. In this way she invites us to embrace issues of identity connected to the history of Guadeloupe, her homeland. Functioning as a guiding narrative that is otherwise unseen, her sensual and poetic work, composed of infinitesimal gestures, illustrates the weight of this geopolitical legacy, marked by French cultural assimilation, colonialism, and the transatlantic slave trade.

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