Nosbaum Reding Projects is a programme of guest-curated exhibitions showcasing young emerging artists from around the world.

Guest curators: Alberto Garcìa del Castillo, Agata Jastrząbek, Sophie Jung, Eglė Kulbokaitė

4, rue Wiltheim L-2733 Luxembourg
Tuesday-Saturday 11:00 - 18:00
projects@nosbaumreding.lu

  • Aline Bouvy
  • Born 1974 in Brussels. Works and lives in Brussels.

     

    Aline Bouvy does speak about anal retention as the main disfunction of today's society; she's obviously referring to the normalisation and extended conformity within the rules that veil and forbid sex. Instead of bending to this parameters, she concentrates her work around the desire drive, creating images that emulate an anus and a mouth, the hand grabbing the penis or an archeological chance of arrangement. The main goal here is not provocation, nor mere composition, but the continuous flow of the liquid-saliva-style that is the very consistent language of Bouvy. Her last solo exhibitions include NICC (BE) and EAP Vénissieux (FR). Her work has been exhibited at Le Confort Moderne (FR), IMT Gallery (UK), Parallel / Oaxaca (MX) and Island (BE).

  • Artist profile
  • Vava Dudu
  • Born 1970s in France. Works and lives between Paris and Berlin.

     

    Vava Dudu is a parisian figure with one hand over Berlin. Her work deals with poetry and a very personal post-cubist approach to drawing, she writes and draws on any support available and as a decadent glam-rock star, after the wall she will continue painting on her face. The language of Dudu's work presents a completely developed chart of recurrent signs: the Eiffel Tower surrounded by long breasts, hearts and crying faces with widely open mouths. Her work is a candid song for the desperation of the contemporary urban life. Dudu is the leader singer in the neo-punk band La Chatte, she has exhibited her clothes in showrooms around Europe and her catwalks are an an- them to the underground. Her work has been presented in mayor group exhibitions and performances in Palais de Tokyo (FR), Le Confort Moderne (FR) and Komplot (BE).

  • Jurgen Ots
  • Born 1978 in Belgium. Lives and works between Rome, Warsaw and Brussels.

     

    Jurgen Ots' work, lingering on the border between sculpture, installation and printing, is generated under the Alchemist motto Solve et Coagula, dissolve and coagulate, break down and reassemble. The resulting visual language consists a physical, tactile aspect stemming from the treatment of ultimately tangible material on the one hand and a representation of ephemeral elements on the other. These opposing parts enter into a dialogue in order to form an illusionary synthesis in a psychological context. Through repetitive actions and extensive ways of manipulation, exploring the boundaries of the image, the material is transformed and worn out into an image that is no longer a representation but a frozen object in time. Between other venues, his work has been exhibited in Witte de With (NL), Extra City Kunsthall (BE), Brussels Biennial (BE), Fundación Botín (ES), MASS MoCA Massachusetts (USA), Stereo (PL) and Gallery Isabella Bortolozzi (DE); he is represented by Elisa Platteau and Galleria Zero.

My Legs Up And Exposed To The World My Bottom Under The Jean-Trousers

Aline Bouvy, Vava Dudu, Jurgen Ots

25.9.2014 - 31.10.2014

Curated by Alberto García del Castillo


My Legs Up And Exposed To The World My Bottom Under The Jean-Trousers is an accurate mimic description of this exhibition: the V-shaped legs of an individual pushing out to spread the genitals. Underlining an upcoming generation of urbanites, the choral discourse of Bouvy, Dudu and Ots avoids the mere formalities to wander around explicit sex, poetic desperation and destruction to sing an anthem to the underground living.

"I just woke up to a gorgeous morning in The Land of Sculptures; in the office they must be waiting for my last review. The Era of The Denial of The Material has passed away, leaving a green field for us, friends, and those early years of The Era of The Objects Arrangement are witnessing a return to The Classic Form. This is not a big deal, as History delights us with a multiple flux of intercrossing waves, but I happen to be sitting in the very middle of a carrefour and my assignment is wide in scope. From the single window in my apartment, I can see three stone-like erections; they remind every single one of us of the three foundational menhirs from whom this land took its name, who have been absent without explanation since the beginning of The Era of The Denial of The Material. Only now the rapidity of the transformations have forced a temporary solution for The Three Fingers of The Land of Sculptures. Those three fingers are very significantly named The Left, The Centre and The Right. As I am writing this, there are a couple of supervisors throwing themselves repeatedly against The Left, then across at The Right, back to The Left and so on and so forth; each time meticulously avoiding The Centre, where a group of The New Community Helpers collects signatures to ensure those inflatable structures stay as ballooney as they are today. This is no nonsense as three cocks are better than none and two of them would be as irrelevant as marriage, thus the scene makes complete sense. Secretly, I have already heard that these three promptly blown inflatable gadgets will remain, as they are, a symbol of the early vanguard of The Era of The Objects Arrangement.

A clerk from The Ministry of Education phoned me yesterday: they will soon present their new program for The Sculpture Archival Method, with the aim to fill up our galleries with new blood to measure the brand-new objects. There have been serious changes in the standards of documentation; this I am very aware of since I was invited to attend The Measurement Committee that was set up at the time of The Declaration of The Genesis of The Era of The Objects Arrangement. I have always liked students, and it is the perfect time for them to join us because they wave flags and they are difficult to frighten, because they are birds, chemists, doctors, surgeons and dentists. A long life to Astronomy! I like them because they are not afraid of the police.

Someone arrived to the gay street, opened their arms, took a deep breath and said: “THESE ARE MY PEOPLE”. The boy turns back, I lay down on the couch, my legs up, and expose to the world my bottom under the jean trousers."  - Excerpt of Retrospective, a short novel by Alberto García del Castillo edited by Shelter Press.