Bonolo Kavula, I Rise, 2022, Courtesy Uhoda Collection, © Jean Luc Deru, Daylight Georges Meurant, Untitled, 2019, Royal Museums of Fine Arts Belgium, Brussels / photo : J. Geleyns - Art Photography
This is the first chapter of "Collection Meets", a new series of presentations dedicated to contemporary or modern art that establishes a dialogue between works from the RMFAB collections and pieces from external collections. Painter and essayist, Georges Meurant is best known for his dynamic use of color, chromatic abstractions, and geometric lines. A great connoisseur of Kasai embroideries, he developed a pictorial practice inspired by their motifs—without copying them. Rather, it was their constructed, structural quality that guided him in creating a highly personal style. The works of the young artist Bonolo Kavula (°1992), can be situated between weaving, engraving, sculpture, and installation, echo both Meurant’s practice and textile art. Using the simple units of the circle and...
This is the first chapter of "Collection Meets", a new series of presentations dedicated to contemporary or modern art that establishes a dialogue between works from the RMFAB collections and pieces from external collections. Painter and essayist, Georges Meurant is best known for his dynamic use of color, chromatic abstractions, and geometric lines. A great connoisseur of Kasai embroideries, he developed a pictorial practice inspired by their motifs—without copying them. Rather, it was their constructed, structural quality that guided him in creating a highly personal style. The works of the young artist Bonolo Kavula (°1992), can be situated between weaving, engraving, sculpture, and installation, echo both Meurant’s practice and textile art. Using the simple units of the circle and the line and incorporating traditional sheshwe fabric, Kavula has created a unique visual language that reimagines the vocabulary of 1960s Western post-minimalism and serial art while invoking African cultural and ancestral references. This event offers an opportunity to question the encounter between contemporary African art and the practice of a Western painter, showing that inspiration is not synonymous with appropriation.Monday | Closed |
Tuesday | 10:00 - 17:00 |
Wednesday | 10:00 - 17:00 |
Thursday | 10:00 - 17:00 |
Friday | 10:00 - 17:00 |
Saturday | 11:00 - 18:00 |
Sunday | 11:00 - 18:00 |
Bonolo Kavula, I Rise, 2022, Courtesy Uhoda Collection, © Jean Luc Deru, Daylight Georges Meurant, Untitled, 2019, Royal Museums of Fine Arts Belgium, Brussels / photo : J. Geleyns - Art Photography
This is the first chapter of "Collection Meets", a new series of presentations dedicated to contemporary or modern art that establishes a dialogue between works from the RMFAB collections and pieces from external collections. Painter and essayist, Georges Meurant is best known for his dynamic use of color, chromatic abstractions, and geometric lines. A great connoisseur of Kasai embroideries, he developed a pictorial practice inspired by their motifs—without copying them. Rather, it was their constructed, structural quality that guided him in creating a highly personal style. The works of the young artist Bonolo Kavula (°1992), can be situated between weaving, engraving, sculpture, and installation, echo both Meurant’s practice and textile art. Using the simple units of the circle and...
This is the first chapter of "Collection Meets", a new series of presentations dedicated to contemporary or modern art that establishes a dialogue between works from the RMFAB collections and pieces from external collections. Painter and essayist, Georges Meurant is best known for his dynamic use of color, chromatic abstractions, and geometric lines. A great connoisseur of Kasai embroideries, he developed a pictorial practice inspired by their motifs—without copying them. Rather, it was their constructed, structural quality that guided him in creating a highly personal style. The works of the young artist Bonolo Kavula (°1992), can be situated between weaving, engraving, sculpture, and installation, echo both Meurant’s practice and textile art. Using the simple units of the circle and the line and incorporating traditional sheshwe fabric, Kavula has created a unique visual language that reimagines the vocabulary of 1960s Western post-minimalism and serial art while invoking African cultural and ancestral references. This event offers an opportunity to question the encounter between contemporary African art and the practice of a Western painter, showing that inspiration is not synonymous with appropriation.Monday | Closed |
Tuesday | 10:00 - 17:00 |
Wednesday | 10:00 - 17:00 |
Thursday | 10:00 - 17:00 |
Friday | 10:00 - 17:00 |
Saturday | 11:00 - 18:00 |
Sunday | 11:00 - 18:00 |