OCTOBER 2019

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Camouflaged Pearls #2 is the second version of 'Camouflaged Pearls' in 2017.

In Camouflaged Pearls #2, Bruthausgallery shows works by nineteen artists, artists connected to the gallery but also artists who will receive a project in the near future. We chose works with a special meaning for the artists themselves. Work with which the artists feel very closely connected and which show how it relates to this time. For this BruthausGallery chooses 'gems of works' that reveal the identity of the artist very closely. Sometimes harsh, sometimes beautiful, sometimes doubtful but above all 'emerging'. They are works that situate the artist in his own environment: covered, hidden pearls from the studio with a deeper, non-binding meaning. Many of these works have been kept by the artists for many years, visible in their private environment of their workshop. Some were never shown, others already have a museum past, others are completely new. By confronting these works with each other, Bruthausgallery also confronts the artists with themselves.

opening: zaterdag 19 oktober vanaf 19u / Saturday 19th of October at 7pm
/with: Anna Lange (NL) - Ben Benaouisse - Camille Dufour - Evert Debusschere - Gery De Smet - Giovanni Ozzola (IT) - Hugo Debaere (+) - Jan Vandeplancke - Joëlle Dubois - Luk Berghe (+) - Merlyn Paridaen - Mohammed Alani (IQ) - Oleg Matrokhin (RU) - Pieter Jan Martyn - Peter Puype - Peter van Ammel - Robin Vermeersch - Sacha Eckes - Salam Att Sabri (IQ)


JULY 2019

Group exhibtion in Ostend!

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JUNE 2019

Driftwood, solo exhibition at Bruthaus Gallery in Waregem!

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MARCH 2019

Salon de Peinture, group exhibition at Muhka in Antwerp extended til March 30

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DECEMBER 2018

No Comment

Solo Exhibition at Achaa Projects

27/10-15/12/2018

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Food Matters

FOOD MATTERS
crox 580 ALL YOU NEED IS THE LAVATORY

Croxhapox

30 november - 29 december 2018

JUNE 2018

After 25 Years of Pure Misery, I am pleased to announce I am now being represented by Bruthaus Gallery in Waregem, Belgium

 

MAY 2018

25 Years Of Pure Misery, a Retrospective - Gallery M146, Antwerp
Sacha Eckes, solo exhibition
18/05/2018 - 27/05/2018

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MAY 2018

How Do You Like it - Bruthaus Gallery, Waregem
Sacha Eckes & Patrick Wokmeni, curated by Ben Benaouisse
06/05/2018 - 17/06/2018

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Letters to Artists by Philippe van Cauteren

Letter to : Sacha Eckes

There is little room for humor or scabrous jokes in art. We rarely get beyond a restrained laugh.  As if it’s not allowed to make art that roars.   Of course there are exceptions: Honoré Daumier, Grandville, Marcel Duchamp, Robert Filou, Philip Guston, Martin Kippenberger, Paul McCarthy, James Ensor, Peter Land, Richard Prince,

Walter Swennen, Gelitin, Jacques Lizène... It’s a small selection of artists in which humor, witty or not, has a place in the work.  Satire, parody, caricatures, slapstick and absurd humor can be found in dribs and drabs in art history. However, it is just a thin layer in an art world overwhelmingly characterized by seriousness and distinction.  It’s an observation, no more, no less.  Maybe it’s because it isn’t evident to be able to crack a good joke, but neither is this the case with making (good) art.  In any case, I have to admit that I am amused whenever I see one of your reworked posters from some cultural center. The elegantly designed poster or ad is reconstructed into a Sacha Eckes.  Somewhere I feel an artist’s struggle for acknowledgement, but I mostly sense an artist who lets her work balance on the art world’s carefully built house of cards.  Clumsily written letters, nervous crossings-out and caricature drawings are your tools to tone down the art world with an apparent playfulness.  Because it doesn’t feel like critique, but more like an off-screen commentary that moves between admiration and judgment. It’s surprising that not one woman can be found in the list of artists I summed up.  As if the domain of humor exclusively belongs to male artists.  Or does it have to do with my own one-sided perspective? In any case, it’s here where your work feels like a sledgehammer blow.  With your ‘Ads of Art’, ‘Imposters’ and ‘Kill Your Darlings’ series, you infiltrate an area that can be called ‘male’.  Scabrous jokes are made with a self- consciousness that belongs to you alone and not to some kind of feminist or institutional critique.  For many, the lightness and playfulness are unmanageable, not to be taken seriously. From now on, the seriousness with which you handle playfulness to create your work allows me to add you to the list of exceptions.

Philippe van Cauteren, Liège, May 1st, 2017