Dans le cadre de « Mars diversités », nous vous invitons au Trinkhall museum pour une visite guidée gratuite des expositions monographiques : D’entrée de jeu... - Jean-Marie Heyligen et Peindre - Paul Duhem.
Ce sera la dernière opportunité de (re)voir ces expositions qui se clôtureront le soir-même !
For its second season, the museum will examine the broad issue of places. This is the opportunity to contemplate this notion in all its dimensions, whether philosophical, historical, anthropological or even sociological.
It will be entirely occupied by the questions that the present aims at us. The collection testifies to this with extraordinary force: in the intimacy of the studio, all over the world and, since long before the Coronavirus crisis, the artists at work have constantly revealed the poetics and the necessity of places. Their unfailing loyalty to the here, their paramount indifference regarding everything that deviates from it and the learned ignorance which they herald, appear today as so many sensitive and vibrant responses to our worries, so many mirrors that show – with such grace and confidence – these reinvented places where, in the dark hours, there are flashes of confidence and hope.
https://trinkhall.museum/votre-visite/informations-pratiques
Jean-Marie Heyligen (Ath, Belgium, 1961) is a plural-form artist: painter, etcher, sculptor. For over forty years, with endless patience, he has played the role of talking about important things in a way that is beyond words – stunned faces, abandoned and naked bodies, Indians from another world, knights from another time, all drawn into the irresolute enigma of shapes, strokes, materials, colours, images and things. The long-lasting theme of Jean-Marie Heyligen’s work is organised knick-knacks, constantly metamorphosing due to everything we secretly go through from childhood to adulthood.
Jean-Marie Heyligen is also one of the pioneers of what we at the Trinkhall call “the movement of workshops.” From the very outset, a resident at the André Livémont Home (Beloeil), where he still is today, in 1980, he met Bruno Gérard, a young artist who, just at that time, had been employed by the Home as facilitator of a painting workshop. The two young men were of the same age – in their twenties. Who would be the master? Who would be the student? Nobody knew. But what was certain, was that Jean-Marie Heyligen’s first works – with their transparency, accuracy, power and mysterious autonomy – shook up the apprentice facilitator’s expectations and assumptions and, from then on, in amazement, he found all the resources of partner teaching skills that he continued to implement, firstly at Livémont, then at Pommeraie (Ellignies-Sainte-Anne), where for thirty years, he developed one of the major European workshops.
https://trinkhall.museum/fr/votre-visite/informations-pratiques
Paul Duhem (Blandain, 1919 – Ellignies-Sainte-Anne, 1999) began painting later in life. He was 70 years old when he first crossed the threshold of Bruno Gérard’s workshop, La Pommeraie, where the latter had already been resident for decades. His work, now circulated widely, is represented in numerous public and private collections. It remains completely in the artistry of drawing and painting, ad libitum, the same motifs which are used endlessly, always identical and always different, essentially, faces and doors with the same interior motifs which are also on show on his page, – Paul Duhem hoc fecit ! – through the intelligent, non-exhaustive range of colours and variations, continually leading to the action and daily ritual of painting, with the same ethos and the same tools – pencils, paintbrushes, set squares and protractors, a tin of sardines – where there are deposits of the pigments. In the morning: three paintings and three others in the afternoon, every day in the workshop for ten years until the artist passed away in 1999, the act of painting, which could have infinitely continued but was simply suspended. In his handbook, Poteaux d’angle, Henri Michaux gives artists one simple piece of advice: “Keep things on a short leash.” Looking at Paul Duhem’s paintings, maybe we can dream of a better resonance? Duhem does keep things on a short leash and gives each one of us the freedom to experience the faces, presence and sentiments of our own existence in each of our viewings.
https://trinkhall.museum/fr/votre-visite/informations-pratiques