Mike Kelley, Heavy-Hangin'-Horny, Emerald Eyehole, 1989, Cloth banner, China silk, 133,35 x 95,25 cm
Hervé Ic, La mort c'est l'autre, 2001, Golden oak to green gold, 14 x 22 x 18 cm - Courtesy Hervé Ic
Paul McCarthy, Brancusi tree - Butt plug, 2007, self inflatable mylar fabric, 1 integrated fan, 190 x 95 cm
Harry Benson, Donald Trump Holds One Million Dollars, Taj Mahal Casino, Atlantic City, NJ, 1990, photograph, edition 5/35, 60,96x76,2cm
Jonathan Horowitz, Rainbow American Flag on Orange Field II for Jasper in the Style of the Artists Boyfriend, 2015, Glitter and enamel on linen, 137,2 x 91,4 x 1,3 cm - Courtesy : Jonathan Horowitz and Xavier Hufkens, Brussels - Credit : Thomas Mueller
The Power and The Glory
The collection is open by email appointment only.
In order to comply with the current hygiene measures, the maximum number of visitors is limited at 5 at a time with mask.
Charles Riva collection is opening a new exhibition around a very topical issue.
On the eve of the US elections, “The Power and The Glory” metaphorically examines the tension that exists between an artist’s desire to shine and his or her desire to exist, like in the world of politics.
Pierre Yves Desaive, art historian and curator is collaborating with the collection for this exhibition and brings together works of Harry Benson, Roe Ethridge, John Giorno, Andy Hope 1930, Jonathan Horowitz, Nathan Hylden, Hervé Ic, Mike Kelley, Sherrie Levine , John Miller, Jonathan Meese, Paul McCarthy, David Ostrowski, Richard Prince, Josh Smith and Reena Spaulings.
The exhibition features a selection of works from the collection to evoke the ambivalence of the art world, which is not too dissimilar from politics in its quest for recognition and conquest of power, its quest for meaning and search for truth.
With US current affairs and the upcoming presidential election as a backdrop, the exhibition plays with references and influences to get its message across. The title, which refers to the Christian doctrine – a key element in the conquest of the White House, helps strengthen the focus on these contrasts whose works are the protagonists. The art world appears here as a metaphor for the conquest of political power.
The exhibition creates a contrast between the ostentatious works, where the gold colour embodies the pursuit of glory, and darker-coloured and tortuous works that epitomise the tireless search of artists for meaning.
The sparse and frugal use of colour precludes extravagance in some of the works, reflecting a kind of duality between vanity and excess as well as restraint and quintessence.
© Hugard & Vanoverschelde, photography