Michaël Borremans: Fire from the Sun (Spotlight)

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In 2011, Borremans' work was the subject of a solo exhibition, titled Eating the Beard, which was first on view at Württembergischer Kunstverein Stuttgart in Germany and traveled to Műcsarnok Kunsthalle, Budapest, and Kunsthalle Helsinki in Finland. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo, and in 2009, he had a solo show at the Kestnergesellschaft in Hanover, Germany [5]

It was overnight. It was like an epiphany. All of a sudden I knew I had to paint. One sudden moment it just came to me that I just had to paint.

Work by the artist is held in public collections internationally, including the Art Institute of Chicago; Cleveland Museum of Art; Dallas Museum of Art; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Israel Museum, Jerusalem; Los Angeles County Museum of Art; 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.M.A.K.), Ghent; and the Walker Art Center, Minneapolis. Published to accompany the inaugural exhibition at David Zwirner’s space in Hong Kong, Michaël Borremans: Fire from the Sun features new scholarship by British art critic, curator, and cultural historian Michael Bracewell. It marks the first in a series by David Zwirner Books of small-format publications devoted to single bodies of work.

Northern Lights to shine across parts of the UK tonight: Is your area going to be illuminated as Aurora Borealis lights up the night sky? Somos Libres II: Works from the Mario Testino Collection, Pinacoteca Giovanni e Marella Agnelli, Turin [catalogue]He started his fashion career at Maison Margiela, then worked at Louis Vuitton and Marc Jacobs before launching Vetements in 2014. He took over from Alexander Wang at Balenciaga in 2015. While the fire and (probable) cannibalism imply some sort of ritual, the works are most chilling as sketches of random violence, causal and instinctual. The depicted characters break with one typecast (angelic) while fitting another (demonic). Balenciaga has taken a hit yet again over photographs from an axed ad campaign that shows a book featuring a Belgian artist whose work includes depictions of castrated toddlers. Michaël Borremans: The Advantage, Hara Museum of Contemporary Art, Tokyo [catalogue] (solo exhibition) In this recent body of work, the artist continues to explore surface and artifice in his careful consideration of mise-en-scène. As Tylevich notes, “Art is just one object with which to fill a vitrine. Mounted butterflies another, cuts of meat or war medals other still. As metaphors, the contents of Borremans’s display cases are any or all of the above. It is the vitrine, and not the human, that is the recurring character across The Acrobat’s landscape paintings, which really aren’t landscapes, deceitful as they are, just as The Acrobat’s portraits really aren’t portraits. The vitrine has a mystical quality here. Despite the nature surrounding it, the glass remains clean of tree sap, bird droppings, and fingerprints. It is, apparently, a newcomer. Somebody offstage might care devotionally for the structure, perhaps the artist himself.” 3

The ruling upheld the PROTECT Act, a 2003 federal law that criminalizes advertising, promoting, presenting or distributing child pornography. Its acronym stands for Prosecutorial Remedies and Other Tools to End the Exploitation of Children Today. He continued, "As a photographer, I was only and solely requested to lit the given scene and take the shots according to my signature style. As usual, the direction of the campaign and of the shooting are not [in] the hands of the photographer."

David Zwirner

Yeah, one of them. The Storm (2006) is a one-minute loop where you see three figures just sitting there. They were three guys who were acting in another film of mine but here they are just resting. They were young guys and they’d been out the night before on drugs and they were just sitting there. I saw them there by accident and told the cameraman ‘Please film this!’. And it was much better than the film I was working on. I threw away the other film and kept this. Michaël Borremans, The Storm (2006). Single-channel video, 1:07 mins, looped. Installation view: 21 stBiennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Zeno X Gallery, Antwerp. Photo: Document Photography. Then came living in Paris, which can be so xenophobic, and it escalated into a full-on identity crisis.

The secrets of the ultimate roast potato: TOM PARKER BOWLES digs deep to find the answers, and reveals how top chefs including Nigella Lawson and Jamie Oliver make theirs iii Michael Bracewell, Michaël Borremans: Fire from the Sun, exh.cat., David Zwirner, Hong Kong, 2018, p. 42 Tylevich, in Michaël Borremans: The Acrobat. Exh. cat. (New York: David Zwirner Books, 2022), p. 26 Borremans's work has been the subject of solo exhibitions at many prominent institutions. Most recently, Michaël Borremans: Fixture, was presented at the Centro de Arte Contemporáneo de Málaga in 2015–2016. 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. The exhibition travelled later in the year to the Tel Aviv Museum of Art, followed by the Dallas Museum of Art in 2015. The previous year, Michaël Borremans: The Advantage, the artist's first museum solo show in Japan, was on view at the Hara Museum of Contemporary Art, Tokyo.

Balenciaga and Baal caution tape controversy

Borremans, quoted in Daiga Rudzāte, “White Canvas Is Ugly: An Interview with Artist Michaël Borremans,” Arterritory.com, March 11, 2000. The Acrobat will be accompanied by a publication including a new text by Katya Tylevich, forthcoming from David Zwirner Books. In 2007, he had a solo show at gallery De Appel in Amsterdam, focusing on his cinematic works. [6] In 2005, he had a one-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent. The paintings then traveled to Parasol unit foundation for contemporary art, London, and The Royal Hibernian Academy, Dublin, while the drawings traveled to the Cleveland Museum of Art in Ohio. Other solo exhibitions include La maison rouge, Paris (2006); Kunsthalle Bremerhaven, Bremerhaven, Germany; and the Museum für Gegenwartskunst, Basel, Switzerland (both 2004). In 2004, he participated in Manifesta 5, The European Biennial of Contemporary Art. [7] Work by the artist is held in public collections internationally, including the Art Institute of Chicago; Cleveland Museum of Art; Dallas Museum of Art; Hammer Museum, Los Angeles; High Museum of Art, Atlanta, Georgia; The Israel Museum, Jerusalem; Los Angeles County Museum of Art; 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.M.A.K.), Ghent; and Walker Art Center, Minneapolis.