AL GAL Mechelen
Currently in Mechelen (Flanders – BE) we have the exhibition entitled AL GAL from the cartoonist Gerard Alsteens, who became famous for his many contributions to the weekly issues of Knack magazine. The first impression for any visitor to this exhibition is that Alsteen’s artistic reach is much broader than just these cartoons for the magazine. He paints various types of objects (oysters, wine bottles, wooden panels, mussels, book covers, or just wire) with the faces, or situations, of figures we often know from (inter)national politics, thereby delivering a critique which is deserved and justified and carried by his political engagement and critical insight in what happens around us on the world stage. The leading metaphor and object of his expressive power is the human face in its various expressions to reveal, or hide, what is actually going on. I especially like his mussel pot, which is at the same time also a face. This object of art is made along the Belgian tradition of the “Grande Casserole de Moules” of 1966 from the Belgian artist Marcel Broodthaers. But the expressive power of Alsteen’s casserole is completely convincing and I recognised Broodthaers in this portrait made of mussels. As a second highlight photo I have chosen a panicking face painted on an oyster, reminiscent of the famous work “The Cry” (1893) from Edvard Munch. In my view, Alsteens stands in the tradition of painters like Munch, but also James Ensor of which I recently made a small photo contribution on my photostream.
When I left this outstanding exhibition I paradoxically felt relieved, because it appeared that the many critical works of art actually had worked, for me, as an outlet for my own indignation about the various world affairs that had served as an inspiration for this artist. Besides admiration, I felt a healing effect: art is so much better than bitterness, or rage. Anybody in the vicinity of Mechelen is advised to visit this exhibition, in the Midtown Cultural Centre (CCM) until 22 August 2021.
AL GAL Mechelen
Currently in Mechelen (Flanders – BE) we have the exhibition entitled AL GAL from the cartoonist Gerard Alsteens, who became famous for his many contributions to the weekly issues of Knack magazine. The first impression for any visitor to this exhibition is that Alsteen’s artistic reach is much broader than just these cartoons for the magazine. He paints various types of objects (oysters, wine bottles, wooden panels, mussels, book covers, or just wire) with the faces, or situations, of figures we often know from (inter)national politics, thereby delivering a critique which is deserved and justified and carried by his political engagement and critical insight in what happens around us on the world stage. The leading metaphor and object of his expressive power is the human face in its various expressions to reveal, or hide, what is actually going on. I especially like his mussel pot, which is at the same time also a face. This object of art is made along the Belgian tradition of the “Grande Casserole de Moules” of 1966 from the Belgian artist Marcel Broodthaers. But the expressive power of Alsteen’s casserole is completely convincing and I recognised Broodthaers in this portrait made of mussels. As a second highlight photo I have chosen a panicking face painted on an oyster, reminiscent of the famous work “The Cry” (1893) from Edvard Munch. In my view, Alsteens stands in the tradition of painters like Munch, but also James Ensor of which I recently made a small photo contribution on my photostream.
When I left this outstanding exhibition I paradoxically felt relieved, because it appeared that the many critical works of art actually had worked, for me, as an outlet for my own indignation about the various world affairs that had served as an inspiration for this artist. Besides admiration, I felt a healing effect: art is so much better than bitterness, or rage. Anybody in the vicinity of Mechelen is advised to visit this exhibition, in the Midtown Cultural Centre (CCM) until 22 August 2021.