Middle Gate

    NLEN

    The exhibition project Middle Gate II – The Story of Dymphna is a collaboration between M HKA (Museum of Contemporary Art Antwerp) and the cultural centre de Werft in Geel. Middle Gate II is the follow up to the exhibition Middle Gate, curated by Jan Hoet in Geel in 2013. The exhibition concept is closely tied to the legend of the holy Dymphna, saint of the possessed, the mentally ill and patroness against epilepsy and insanity. The legend of Dymphna shares a strong connection to the identity of Geel, "the charitable city".

    Jacques Charlier

    Back
    image: (c) M HKA, Privécollectie
    Zonder titel (Paysages professionnels), 1967
    Jacques Charlier
    Book

    His first exhibitions in the early sixties are quickly oriented to mise-en-scènes of objects that have fallen into disuse, which he finds at flea markets and in which he often integrates photos. In 1960, he starts to build a collection of professional photographs, in collaboration with André Bertrand, with whom he works at the Provincial Technical Department of Liege (PTD) (1957/1977). The proposal to exhibit these photographs in galleries isn't successful. During this period, his photographs are only a reaction to pop art and nouveau réalisme (new realism). Afterwards, he makes transparent photographic enlargements installed in illuminated cabinets, then pasted on panel. He would destroy them, just like the earlier collages.

    […]

    In 1970, through the intervention of Broodthaers, he meets Spillemaeckers, who has just opened a gallery. The latter organises the first exhibition of professional photos by the Provincial Technical Department (PTD). During the seventies, several activities will take place. The documents of the PTD will continue to be made, further spurred by the advent of minimal and conceptual art. It is also the era of pictures of opening, photo novels, humorous drawings and musical experiences.

    Sergio Bonati, In: Uitnodiging/ Nieuwsperiodiek, Jacques Charlier – Van de jaren zestig tot de jaren negentig, 4e year, nr. 17, November 1994, p. 2

    Back