Crsip new designs

Pinsart  Gallery
Bruges, Genthof 21

May 25 - June 23, 2013


Text of the introduction by art critic Johan Debruyne (Dutch)

Review article in H ART #112 (Dutch)

Poems inspired by CND



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Crisp new designs

solo exhibition

In his new series of paintings ‘Crisp new designs’ (2012-2013) Johan Lingier consistently takes further the turn that his work took in 2011 (‘Reti(t)led’). At that time figurative elements were, literally, still shining through. These elements have vanished from his new work, that radically chooses the path of spatial and painterly investigation.
The title refers to the evolution in Johan Lingier’s work, that constantly searches new paths, though it relies on a steady conceptual background. Relating to the content, on the other hand, it also refers to the underlying questions of the series: how does space function, how is it perceived and especially, how does it take form. The square, an archetypal building stone, is a central topic in the new paintings. These works were heavily influenced by the artist’s other projects: his installations in Ostend and Roeselare and ‘tiGels’, a project in which regional history, social and artistic concerns come together.
The title of the exhibition, borrowed from a song on the latest album of Magazine (No Thyself, 2011), is, incidentally, not without irony.

The paintings (24)



Crisp new designs, oil/canvas, 200 x 300 cm, 2013


untitled, oil/canvas, 80 x 60 cm, 2012


untitled, oil/canvas, 150 x 100 cm, 2013


untitled, oil/canvas, 100 x 100 cm, 2012

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untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012

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untitled, oil/canvas, 60 x 90 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012

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untitled, oil/canvas, 40x 40 cm, 2012


untitled, oil/canvas, 40x 40 cm, 2012

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untitled, oil/canvas, 100 x 100 cm, 2013


untitled, oil/canvas, 150 x 100 cm, 2013


untitled, oil/canvas, 60 x 80 cm, 2013


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untitled, oil/canvas, 40 x 40 cm, 2013


untitled, oil/canvas, 40 x 40 cm, 2013


untitled, oil/canvas, 40 x 40 cm, 2013


untitled, oil/canvas, 40 x 40 cm, 2013

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untitled, oil/canvas, 100 x 100 cm, 2013


untitled, oil/canvas, 40 x 40 cm, 2013


untitled, oil/canvas, 40 x 40 cm, 2013

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Poems inspired by the exhibition

Nooit overschrijdt de renner die wint
de eindstreep
de armen moedeloos langs het lijf
ingetogen
 langer dan een wijle
n met wie hem is ontvallen.
Meters voor de witte streep
priemt een vinger in het zwerk.
Uitgeput kiest het geheven hoofd
dezelfde richting.
Is er dan toch een hemel?
“Goeie benen vandaag”.
Berg en dal en onweer overwonnen.
Maar de natuur is van streek en
haar wraak wordt genegeerd:
het is mei.
Het Zuiden verzuipt.
Voor empathie zijn er slechts luttele seconden.
Microfoons binnen mondbereik en
wat wenkt is de monotonie.
Woordenbrij.
De orde van de dag laat niet met zich sollen.
Kijk niet naar de grond.
Daaronder woekert het verleden.
Als de wolken zijn verdwenen
omarmt het blauw de aarde.

JOHAN DEBRUYNE, inspired by Johan Lingier's exhibition “Crisp new designs”
Bruges, May 2013


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Marcus Cumberlege, English poet living in Bruges, wrote this poem inspired by the CND exhibition. He insisted on adding the following comment in Dutch:

"Dit is een hommage aan Johan L., een opwelling van bewondering in mijn eigen taal, de taal van de pozie. "Dichter-vlinders op de motorweg" (Hoofdweg)"
Marcus Cumberlege

CRISP NEW DESIGNS


Johan Lingier in Galerie Pinsart

Who must I please, the public or myself?

“Tell me, where is Fancy bred,
In the heart or in the head?”

Three quarters of a painting.
Three quarters of a poem.
Three quarters of a word.

WHIRR!

The mechanism moves into action
to the hum of a soft jazz piano.

W.O.R.

What Other Reason
for painting pictures on walls
than wanting to waltz in the sky?

His T-shirts are mostly duck-egg blue.

Can an abstract painting in the fall
make you think of anything at all?

I find myself gradually vanishing
into a Zen trance, a sacred Sufi dance,
as the light-hearted brushwork shapes
spin round the Cubist gallery.

Winter darkness spoiled the opening night.
Only the glasses in our hands took flight.

The artist now sits opposite me
drinking coffee, as I write about his work.
A woman I don't know is talking to him.
We're introduced. I smile, happy to exist.

A certain cerebral celebration,
the exultation/exaltation of a single line
slashed in thick black paint across a canvas
like a funeral tie down a civil servant's shirt.

Johan's productions have to be small enough
to get through his studio door.
We are practical people.
I haven't said much, but I could say more.

Marcus Cumberlege, Bruges, June 2013