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Michaël Borremans: Fire from the Sun (Spotlight)

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The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics―accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.

It is difficult to concentrate on the weight of the artist’s brushstrokes when such a scene is staring you in the face. I heard other interpretations while there, and so did the artist: that the paintings examine the loss of innocence, that they are a caricature of original sin, that they meditate on hypocrisy, that they demonstrate human capacity to be at once good and evil.The opening of the Hong Kong space marks the twenty-fifth anniversary of David Zwirner gallery as it increases its international presence beyond New York and London. The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence.

From the outset the artist understood he was taking a risk with the new works, precisely because of their open relationship with interpretation. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. His recent publications include The Rise of David Bowie 1972–1973 (Taschen, 2016), Bridget Riley: Paintings and Related Work (National Gallery, 2010), and a short story, The Way Ahead (Sternberg Press, Berlin, 2018). That the painting had had an unintended and instinctive meaning signalled that “I had made a good work”, Borremans said.A major museum survey, Michaël Borremans: As sweet as it gets, which included one hundred works from two decades, was on view at the Palais des Beaux-Arts in Brussels in 2014. Michaël Borremans combine horror and innocence in this young children, becoming allegories of the human condition. Borremans uses the language of portraiture to draw in the viewer but then subverts our expectations and understanding of the works.

Michaël Borremans: Fire from the Sun [author]Katya Tylevich[/author] visits a brutal and profound exhibition by the Belgian artist Michaël Borremans, featuring a host of Sistine-style cherubs, sometimes covered in blood. Work by the artist is held in public collections internationally, including Art Institute of Chicago; Dallas Museum of Art; High Museum of Art, Atlanta, Georgia; The Israel Museum, Jerusalem; Musée d’Art Moderne de la Ville de Paris; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Stedelijk Museum voor Actuele Kunst (S. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo, as well as commissioned work on view at the Royal Palace in Brussels. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness. While we make every effort to ensure that the information on the site is accurate complete and up-to-date we can make no guarantees and so will not be liable for any inconvenience loss or distress which may arise from using the information provided.

K.), Ghent (2005; traveled to Parasol unit foundation for contemporary art, London; and the Royal Hibernian Academy, Dublin); Cleveland Museum of Art, Ohio (2005); Kunsthalle Bremerhaven, Germany (2004); and Museum für Gegenwartskunst, Basel (both 2004). Seven years ago in his studio in Belgium, Michaël Borremans told me about the response to his painting Red Hand, Green Hand at an opening in Budapest.

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