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The exhibition at Kristof De Clercq gallery takes on the form of an all-over installation, as was also the case with his solo show in 2014. Morrens is presenting his work in a large, two-part wall-based installation conceived according to the structure of the exhibition spaces. In this structure, he places recent drawings and objects that he has grouped associatively in his studio. Simultaneously confrontational and harmonizing, he allows images of an intimate nature to enter into dialogue with ‘reality outside’: politics, history, the major narratives. The exhibition title, Belo Horizonte, refers - among others - to the horizon in art history, that imaginary line where sky and earth meet, but also cleave each other in half. At the same time, the title implies an ironic commentary on thought about and viewing of art, and a self-affirming search for beauty and unity.
Morrens’ practice is driven by intuition: in a playful, probing way he finds, selects and reworks images. Using pencil, charcoal, graphite or paint, images and compositions are constructed and attacked, worked on, tampered with, distorted, erased. Perception itself, but also the viewer’s precise position are central concerns in Morrens’ work. The artist seems to offer us a window onto the world, or to create an illusion of such a prospect. An image is that which shifts between viewer and reality. Morrens very often reprises older works, in order to consciously disrupt the chronology of his oeuvre. The passage of time is thereby made to speed up or slow down, to be transformed, and freeze.
In the capacity of various personae - Peter Morrens, PM, Herman Smit, Point Blank Press – the artist works in a disparate manner on various series of drawings, objects and installations. Morrens does not believe in the complete autonomy of a work, but focuses on the thrilling opportunities a format such as an exhibition or a book can provide. In that way, there is always a tense, associative connection between the parts and the whole, which – temporarily – engage in a relationship with the space and/or context.
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43 hosts and 43 guests –– A group show with 63 artists.
Each artist (or duo, or group of artists) participates as host of one of the other artists and is likewise guest of one of the other artists. The host could be seen as the passive conglomerate, the guest as intruder, as invité(e), invited to discuss the work of his/her host and point a favourite object - or work - or item, taking advantage of the fact that he or she is the active character in a meeting of two persons who know each other or don't. Croxhapox won't interfere in the process of meeting, talk and choice. The result of these 43 encounters makes the presentation.
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Prologue
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The TRUST exhibition is the first joint project by Les Brasseurs arts centre (Liège) and S.M.A.K. (Ghent). It presents a series of artworks from the S.M.A.K. collection that have been purchased or received as gifts in the last few years. The title of the exhibition derives from a work by Peter Morrens that was acquired a couple of years ago. Almost all these works are now being shown to the public for the first time.
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Van De Troost E...
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© Peter Morrens
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