Posture Editions N° 47

168 pages, Hardcover 21 × 30 cm
ISBN 978 94 9126 249 4

Launched at Art Brussels (28.04 – 01.05.2022)
Gallery Geukens & De Vil

Shirley Villavicencio Pizango
Dark Empathy

Shirley Villavicencio Pizango (°1988, Lima) is a Ghent-based artist with Peruvian roots.  The crossover between her childhood in the Amazon rainforest and Lima, and her life in Belgium, is one of the main features defining her work. She mainly uses acrylic, which has a fast drying period and allows her to paint in a preferred spontaneous manner.
‘Although she flirts with all kinds of possibilities borrowed from reality, the scenes on the canvas have never taken place as a whole in the physical world. Even the clothes and patterns are usually imaginary. Colours occasionally run; some parts appear to be left unfinished or blank, such as lips and ears.’
From: Benedicte Goesaert, Inspired Imagination in: Dark Empathy

Shirley Villavicencio Pizango is presented by Geukens & De Vil at Art Brussels (B40)

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Posture Pockets N° 1

160 pages, Softcover 19.5 × 13 cm
ISBN 978 94 9126 250 0

Launched at Convent Ghent (30.04 – 05.06.2022)

Koen Brams
«PLUS» en Yves De Smet

Ideology, camaraderie and rivalry on the playing field of Ghent art between 1965 and 1970

In December 1966, a group exhibition titled «PLUS» met opzet takes place at the Sint-Lucas Institute in Ghent. What does this title mean? ‘Intentionally’ ‘Plus’? ‘Deliberately’ ‘Plus’? ‘Deliberately’ ‘Plus’? What is meant by “PLUS” with intent?

Not only is the title puzzling, so is the “composition” of the group of participating artists: Amédée Cortier, Yves De Smet, Gerard Geerinckx, René Heyvaert, Willy Plompen, Albert Rubens and Jan Van Den Abbeel. Some of them have become key figures of Belgian post-war art, others have fallen into the folds of history.

The essay describes the whimsical course of the young artist Yves De Smet, who deliberately organised countless «PLUS» activities before and after «PLUS», alone or together with his friends. De Smet acts not only as an initiator and organiser, but also as a graphic designer and publicist, and ultimately as a gallery owner.
The story of «PLUS», which at times reads like an exciting detective, has lost nothing of its topicality and significance with the accurate descriptions of the artists’ achievements, their unbridled ambitions and human shortcomings. The essay appears as no. 1 in the Posture Pockets series and is richly illustrated with numerous never-before published images.

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