FIAC’s first floor has an outstanding selection of galleries this year, tending to show the smaller or more independent spaces from around the world. There is a great sense of cohesion in these booths and, we have noticed, an excellent showing from Brussels. The first to catch our attention was Dépendance.
The gallery has a sizeable grouping of artists, representing well-covered names such as Ed Atkins (opening Hisser, a solo show next Friday at the gallery), Michael Krebber and Sergej Jensen. They have brought seven artists to FIAC, who are curated in an eclectic but very well-considered booth, consisting of; Richard Aldrich, Jana Euler, Hague Yang, Thilo Heinzmann, Karl Holmqvist, Linder and the aforementioned Jensen.
Colour plays a big part in this booth, with luminous pinks and reds creating bold splashes on an otherwise naturally hued palette. Elephant spotted a couple of Yang’s works at Frieze and they are just growing and growing on us. The big, round Ceremonial Pom-pom Ball is part sheepdog, part high-end sculpture, a woolly affront of artificial straw that looks as though it could spring to life at any second. Dotted with bells and the occasional bright green or purple mini pom-pom, this work is joyful — especially if you happen to walk by as it is being moved on its tiny wheels, fully animated and merrily jingling.
A couple of framed, small-scale Linder works draw the eye from passing spectator to intimate viewer. The main colour palette of these works comes from the sepia and monochrome photographs in the collages, worked into with veins and intricately detailed areas of blood-red paint. Violent but calm, these works demonstrate a sense of control and intensity that Linder is known for, bodies morphing into abstract liquid forms.
Jana Euler draws the eye back out again, with a characteristically colour-laden work, the features of a human face depicted in pinks and oranges with such ferocity that the outer edges of each feature begin to merge into one. Jensen brings a sense of calm with Untitled, 2002, a beige fabric canvas that holds five dark blue material strips in the top middle, each reading ‘okay’ on repeat. From a distance this mimics the visuals of Jenny Holzer, looking almost as though the words are travelling down illuminated strips. ‘Okay’ sums it up about right, this is the antidote to Euler’s neighbouring work, though no less enjoyable.
All in all, a group exhibit that perfectly balances humour, fire and mundanity.
Dépendance can be found at 1.H16, FIAC
