In 1981, Frank and Eliane Demaegd founded Zeno X Gallery in an early 20th century townhouse in the Antwerp South district. In the early years the program of the gallery was mainly focused on architecture and installations with artists such as John View Gallery Profile Behind this lies the loss of a forgotten, long set aside innocence of the painted image, the refusal of the possibility of direct observation of reality and its reproduction through painting. Today, painting can no longer merely document reality. It always entails a submersion into the long tradition of the imaginative world of painting as such. The month-long residency is a collaboration between Ocula and the Austrian art association Salzburger Kunstverein. David Zwirner is pleased to present an exhibition of new paintings by Michaël Borremans, inaugurating the gallery’s space in Hong Kong. This will be the artist’s first solo show in Hong Kong and his sixth overall with David Zwirner. Explaining why he got into art collecting, Beatz said, 'there's not enough people of colour collecting artists of colour.'

These are all things that are influential for my visual language, which I do on the side but are important for me. I will show part of my artistic repertoire I suppose—what's in my head and has formed me—I think it will be interesting for the show. DdYes, you have film, video, drawings. How do different media all feed in to each other? Belgian painter Michaël Borremans is pictured in Brussels on February 20, 2014. The inset shows signage for the Balenciaga shoe boutique in New York City. Borremans has become a talking point on social media amid a scandal over a recent Balenciaga ad campaign. BENOIT DOPPAGNE/AFP via Getty Images;/Smith Collection/Gado/Getty Images After receiving a Master of Fine Arts degree from Ghent's Sint-Lucas Hogeschool voor Wetenschap en Kunst (College of Arts and Sciences St. Lucas) in 1996, Borremans trained as a photographer before moving to painting and drawing. MBI want to do an experiment there. I want to show part of my thought process in the evolution of my work. I will be showing a lot of stuff that I have in drawers and that has been significant for me. Some are old pictures I've collected from here and there, even from the internet, and I've them printed out—things that have been influential in forming my vocabulary—and a lot of drawings, unfinished drawings from my personal archive, shown in vitrines. There will also be scale models—little sculptures, ideas for sculptures. Sculpture is a hobby for me. Nobody is waiting for it and I like that. I am including a couple of film works and spaceships that I have designed. Australian artist [Brook Andrew][0]'s practice often finds inspiration in institutional archives, but his intentions go beyond the archaeological: he is not primarily interested in discovering or docu Read MoreHe 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." Dafoe, Taylor (30 November 2022). "How Artists Matthew Barney and Michaël Borremans Found Themselves Swept Up in Controversy Over a Balenciaga Ad Campaign". Artnet . Retrieved 1 December 2022. The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence. There is an analogy with rituals, but it’s never really clear, it’s not specified. That’s important for me in my work, to not define anything, to allow for different analogies so everybody can relate to it in a different way. Since opening its doors in 1993, David Zwirner has been home to innovative, singular, and pioneering exhibitions across a variety of media and genres. The gallery has helped foster the careers of some of the most influential artists working today, View Gallery Profile

The review went on to say, “Fire from the Sun shows children aged two or three playing with fire and what look like human limbs, even hair, in different ways.” The children are all Sistine-style cherubs with light skin, and sometimes they are covered in blood. “The children don’t seem worried or upset, but some people in the gallery might be.” In 2011, Michaël Borremans: Eating the Beard, a comprehensive solo show, was presented at the Württembergischer Kunstverein Stuttgart, and traveled to the Műcsarnok Kunsthalle, Budapest, and the Kunsthalle Helsinki. In 2010, the artist had a solo exhibition at the Kunstnernes Hus in Oslo, as well as commissioned work on view at the Royal Palace in Brussels. Other venues that have hosted solo exhibitions include the Kestner Gesellschaft, Hanover, Germany (2009); de Appel Arts Centre, Amsterdam (2007); Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent (2005; traveled to Parasol unit foundation for contemporary art, London; and Royal Hibernian Academy, Dublin); Cleveland Museum of Art (2005); Kunsthalle Bremerhaven, Germany (2004); and the Museum für Gegenwartskunst, Basel (2004). Breitbart conveyed, “The now-canceled spring 2023 ad, the primary subject of which was French actress Isabelle Huppert,includeda book by Belgian artist Michaël Borremans whose paintings often depict children — including castrated children.”The scenes depicted by the majority of paintings comprising Fire from the Sun show a state of being or society in which the primal is uncontrolled, without bearings, in a state of anarchy,” Bracewell writes. “ historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” These are all things that are influential for my visual language, which I do on the side but are important for me. I will show part of my artistic repertoire I suppose—what’s in my head and has formed me—I think it will be interesting for the show. Following European art’s tradition of exploring universal human values, Michaël Borremans and Mark Manders work reflects on our contemporary era of globalization. The paintings of Borremans, who mines Baroque traditions to portray the dark recesses of the human soul, and the sculptures of Manders, with their striking pieces of bodies—created in accordance with the artist’s concept of “self-portrait as a building”—both delve deeply into complex psychological states and relationships. Initially you were trained as an etcher. What prompted you to shift your focus to painting? What allure does painting hold for you?

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] The gallery’s presentation at Frieze London 2021 includes a focus on new work by Michaël Borremans, Carol Bove, and Oscar Murillo. MBI did once, but now I want to dress up like a policewoman. I'm looking for a nice uniform to wear to see if it will influence what I'm painting [ laughs]. DdDid being dressed as a bunny influence how you painted? Michaël Borremans, Space Vessel I (2017). Bronze and paint. 9.2 x 9.04 x 11.3 cm. Exhibition view: 21 st Biennale of Sydney, Artspace, Sydney (16 March–11 June 2018). Courtesy the artist and Zeno X Gallery, Antwerp. Photo: Document Photography. DdYou've worked on a number of films in the past. How does your approach to film differ from that to painting?Double Silence brings together the work of artists Michaël Borremans and Mark Manders for the first time at the 21st Century Museum of Contemporary Art in Kanazawa. There has always been something not entirely of this world about Borremans' works. His paintings depict figures sometimes incomplete with limbs or heads missing, frozen mid gesture, seemingly swaying or dancing to unheard music or engaging in some sinister ritual. They are unsettling, eluding comprehension. His portraits—if they can be called such—tell nothing of the sitter. Borremans uses the language of portraiture to draw in the viewer but then subverts our expectations and understanding of the works. The painted figure is beside the point, more absent than present, an object to be posed and deciphered like a riddle, rather than a subject with a story. Galimberti told Newsweek he was not responsible for the content of the images in the photo shoot, including the children with the toy bears in fishnet shirts, studded leather harnesses and collars. "I am not in a position to comment [on] Balenciaga's choices, but I must stress that I was not entitled in whatsoever manner to neither chose the products, nor the models, nor the combination of the same." The review went on: "In the most evident terms, Fire From the Sun portrays children aged two or three in various stages of play with fire and what appear to be human limbs, even hair. The children are all light-skinned Sistine-style cherubs, sometimes covered in blood. The children do not appear to be distressed or disturbed (though some viewers at the gallery may be)."

In 2011, Michaël Borremans: Eating the Beard, a comprehensive solo show, was presented at the Württembergischer Kunstverein Stuttgart, and traveled to the Műcsarnok Kunsthalle, Budapest, and the Kunsthalle Helsinki. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo, as well as commissioned work on view at the Royal Palace in Brussels. Other venues that have hosted solo exhibitions include the kestnergesellschaft, Hanover (2009); de Appel Arts Centre, Amsterdam (2007); Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent (2005), which traveled to Parasol unit foundation for contemporary art, London, and the Royal Hibernian Academy, Dublin; Cleveland Museum of Art, Ohio (2005); Kunsthalle Bremerhaven, Germany (2004); and Museum für Gegenwartskunst, Basel (2004). You’ve worked on a number of films in the past. How does your approach to film differ from that to painting? Tylevich, in Michaël Borremans: The Acrobat. Exh. cat. (New York: David Zwirner Books, 2022), p. 26 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 Borremans, quoted in Daiga Rudzāte, “White Canvas Is Ugly: An Interview with Artist Michaël Borremans,” Arterritory.com, March 11, 2000.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. 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 the past two decades, was on view at the Palais des Beaux-Arts in Brussels in 2014. The exhibition traveled later in the year to the Tel Aviv Museum of Art, followed by the Dallas Museum of Art in 2015. Michaël Borremans: The Advantage, the artist's first museum solo show in Japan, was also on view in 2014 at the Hara Museum of Contemporary Art, Tokyo. [8] Balenciaga has come under fire for its Balenciaga Objects collection ad campaign, titled "Balenciaga Gift Shop," that was shot by Gabriele Galimberti.