OPENING SEPTEMBER 12, 2024
Espace Constantin Chariot, due to open in September 2024, will occupy the first floor of the ATOMA building constructed in 1924 in Forest (Brussels), a vast 4,000 m² industrial complex that was the birthplace of the famous notebook of the same name.
This art gallery is linked to the creation of a veritable “artists' hive”, which will eventually house a dozen temporary residencies, a permanent studio and a coliving space in the adjacent house. This hub of living creation works in close collaboration with the ECC, which also acts as its showcase.
PROGRAMMATION
The gallery develops a program focused on modern Belgian art from the post-war period to the present day, while building a strong contemporary line around an international artistic team, bringing together visual artists, designers, stylists, etc.
The editorial line of the artistic programming is established around the following questions: abstraction and its boundaries with reality, artisanal production and its incursions into artistic creation, the female artist, ethics and aesthetics, nature and creativity in children.
Artists who reside in the premises may also be invited to exhibit in the ECC after a more or less long period of residence, taking advantage of collective infrastructures (ovens, various workshops, canteen, etc.): the ECC now moves the artists and not the works. This is more economical and more ecological.
THE DECEIVED EYE
FROM SEPTEMBER 12 TO NOVEMBER 9
For its first exhibition, the Espace Carnets de Croquis (ecc), a specific department of the Espace Constantin Chariot (ECC), opens up to three imaginaries whose common denominator is to take the visitor on a visual exercise that plays with the codes and tools of representation.
This game disconcerts the viewer. The first glance at the purely figurative work gives rise to a second glance. This retinal movement makes the viewer switch to the subtle abstraction of a dreamlike and enchanting world. He thus rediscovers the joy of the child and the pleasure of a virgin eye, freed from socio-cultural codes and conditioning.
- Applying the specific springs of caricature to his sophisticated art of portraiture, Denis De Rudder deceives the viewer's eye, who comes to doubt the established codes of representation.
- Benjamin Monti, using Indian ink, brings back to life printed papers - of very diverse origins - that he collects. The artist invites us, through his series “Perspecta” and “Courage-Organisation”, into an intimacy where reality is swallowed up by the laws of dreams.
- Bookbinder Lola Roy-Cassayre creates “notebook-objects” based on Lionel Vinche’s drawings. Through the notebook, she encloses, she frames, she cuts out, she denies access, she composes with selected pieces, thus revealing a new approach to Lionel Vinche’s work. In this way, the artist once again deceives our eye by making the notebook a creation in its own right, a unique design object.
PARÉIDOLIES - AUX FRONTIÈRES DU RÉEL
FROM SEPTEMBER 12 TO NOVEMBER 9
The gallery develops a program focused on modern Belgian art from the post-war period to the present day, while building a strong contemporary line around an international artistic team, bringing together visual artists, designers, stylists, etc.
The editorial line of the artistic programming is established around the following questions: abstraction and its boundaries with reality, artisanal production and its incursions into artistic creation, the female artist, ethics and aesthetics, nature and creativity in children.
Artists who reside in the premises may also be invited to exhibit in the ECC after a more or less long period of residence, taking advantage of collective infrastructures (ovens, various workshops, canteen, etc.): the ECC now moves the artists and not the works. This is more economical and more ecological.