In a space remodelled for each occasion, the Institute schedules four exhibition periods per year. These consist of several novel projects.
The solo exhibition is the closest to the artist and his work and is a basic principle of events at the Institute (2006: Anthony McCall, Allen Ruppersberg; 2007: Frangois CurIet, Jef Geys; 2009: Laurent Montaron; 2010 : Michel François, Matt Mullican; 2011: Hans Schabus, Joachim Koester 2009 : Laurent Montaron ; 2010 : Michel François, Matt Mullican ; 2011 : Hans Schabus, Joachim Koester). 2009 : Laurent Montaron ; 2010 : Michel François, Matt Mullican ; 2011 : Hans Schabus, Joachim Koester; 2012: Berdaguer & Péjus, Bojan Šarčević; 2013: Saâdane Afif, Manfred Pernice; 2014: Thomas Bayrle, Guillaume Leblon; 2016: Jason Dodge; 2017:Ann Veronica Janssens). Group and theme exhibitions focus on the issues of creative art today; these are more experimental and occasional (2008: Fabricateurs d’espaces; 2011: Yes, We Don't, 2013: 1966-79; 2015: RIDEAUX / blinds;  Otium #1 - De Mineralis, Pierres de vision & Kata Tjuta; Otium #2 - Tomorrow in the Battle Think on Me & Collection 15; 2016: Le Temps de l'audace et de l'engagement).

Jef Geys

Le Tour de France 1969 d'Eddy Merckx / Les Plantes médicinales

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Since his beginnings in the 1950s, Jef Geys has flouted the established limits between minor and major art, culture and trivia, intimate and collective, through a continually evolving œuvre. Ten years after his major solo exhibition at the IAC, Jef Geys returns to the Institut with two separate projects based on questioning our society’s hegemonic systems: Le Tour de France 1969 d’Eddy Merckx and Les plantes médicinales.

Maria Loboda

La Fête, La Musique, La Noce

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La Fête, La Musique, la Noce [Party, Music, Revelry]: War, in the colourful slang of Napoleon’s Grande Armée. This is the proclamation of Maria Loboda’s solo exhibition at the IAC, her largest to date in France. Beneath this quasi-baroque banner, with its whirling tunes evocative of joy and merriment, broods a threat. An underlying tension is felt, settling upon the viewer until the end of the visit.

Charwei Tsai

Water Moon

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Borne by the notion of impermanence, Charwei Tsai’s oeuvre makes itself part of the continual flux that irrigates each
presence in the world. Through a diversified practice, including calligraphy as well as documentary or performance pieces, the Taiwan-born artist creates zones of passage
revealing the silent movements animating and traversing the universe.
Using sharing as its modality, it examines the bonds of coexistence uniting phenomena opening our eyes to unsuspected convergences.
IAC → EXHIBITIONS → in situ → ongoing
printed on June 26, 2017 [21:05] from IP address :
© Institut d’art contemporain 2017