{"id":94678,"date":"2016-02-18T13:13:18","date_gmt":"2016-02-18T18:13:18","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=94678"},"modified":"2016-02-18T13:46:57","modified_gmt":"2016-02-18T18:46:57","slug":"no-life-lost-the-world-of-berlinde-de-bruyckere","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/18\/no-life-lost-the-world-of-berlinde-de-bruyckere\/","title":{"rendered":"No Life Lost: The World of Berlinde De Bruyckere"},"content":{"rendered":"
\"DSC_3378_DE

Berlinde De Bruyckere, to Zurbaran, 2015<\/i>, 2015, horse skin, fabric, wood, iron, polyester, 46″ x 63″ x 50″. All photos: Mirjam Devriendt.<\/p><\/div>\n

The foal\u2019s spindly legs, gently bound together in a chiasmus and lit, as though by overhead moonlight, formed a shy shadow on the darkened gallery floor. The animal\u2014sacrificial, symbolic, stunning, meaning both marvelous and stupefying\u2014had its eyes covered by frayed cloth, but, coming into sharp view, it was revelatory, a subtle kind of piercing. Laid out on a wood-and-iron table, the foal evoked Francisco de Zurbar\u00e1n\u2019s small oil painting Agnus Dei<\/em>. And indeed, the piece, by the Belgian sculptor Berlinde De Bruyckere, was called to Zurbaran<\/em> and dedicated to that Baroque master.<\/p>\n

De Bruyckere\u2014a soft-spoken woman, whose quiet, deliberate intensity echoed the steel-rod strength of her work\u2014saw Agnus Dei<\/em> about a year and a half ago at a Zurbar\u00e1n exhibition in Brussels and was, she said, \u201csurprised\u201d by it. Standing in front of her work on the eve of the opening of her show \u201cNo Life Lost\u201d at Hauser & Wirth, De Bruyckere said that the only way she knew to \u201creact to that painting was making a work out of this feeling and emotion. I was so attracted by what I saw I couldn\u2019t do anything else, just work with that idea, that feeling.\u201d And so she began with the visuals: \u201cThe holy lamb was bound\u2014the legs together in the same position as I did with the foal. And then it was also placed on wood, very poor wood; it\u2019s not a rich table with a lot of class and glamour, it\u2019s a really poor wood. And also the fact of chiaroscuro\u2014the dark and the light in the painting was something that inspired me, and it\u2019s also why I decided to keep the darkness in the space.\u201d But as she worked on the fragile blankets that would bind the animal, she felt that it was not enough. This was around the time she first saw images of Alan Kurdi, the drowned Syrian boy, and these images elicited again the feeling she had at seeing the Zurbar\u00e1n. \u201cFrom that moment on,\u201d De Bruyckere said, \u201cI was doing the blind-making of the horse not in terms of making blind in a negative way but just in a positive way. It was like the dream of [the] people of Syria who try to make it to Europe. They have a dream, and very often this dream will never happen. And especially with the boy who arrived dead already, there was no chance to live and to become someone. And it was the same with the foal, he died after one day, there was no future for him.\u201d\u00a0<\/p>\n

\"DSC_3535_0\"

View of \u201cNo Life Lost,\u201d 2016, Hauser & Wirth, New York, New York.<\/p><\/div>\n

De Bruyckere has long been making work that might be called provocative were it not for the persistent touch of gentleness, of softness, that is always, always at the core. Or perhaps it is more proper to say that the work is provocative precisely because of that tenderness: it forces us to look directly at abjection, at death, and to find beauty in it. It is a decadent sort of art, focused on decay and disintegration, on objects (and subjects) held together by the force of the artist\u2019s will. And yet the decadence is a form of immanence, too, a reminder of love, of grace proceeding from suffering. As Alexandra Coghlan remarked on the occasion of De Bruyckere\u2019s 2012 show at the Australian Centre for Contemporary Art, there is in her work, as in the work of the Old Masters, the coexistence of Rabelais and Vitruvian Man<\/em>.<\/p>\n

De Bruyckere herself casts the balance in other terms. Referring to No Life Lost II<\/em>, a found-object vitrine holding three stacked, embracing horses, she spoke of the ways in which the piece was at once figurative and abstract: \u201cI like this idea that it\u2019s not just a figurative sculpture, but that from one side, there is a more or less certain shape of something that you don\u2019t recognize immediately,\u201d she said, circling the work. And, several times, she noted the ways in which life and death, Eros and Thanatos, pulled at and played with each other throughout her oeuvre and more and more animate her work these days. \u201cIt\u2019s always about Eros and Thanatos. Death and life, these are the topics I talk about,\u201d she said. \u201cAnd that I have to deal with\u2014everybody, we have to deal with as human beings. And when you are young, you can escape from that, it\u2019s far away. And when you are getting older\u2014I am more than fifty, and my parents, they still live but they are older people\u2014it\u2019s like, yeah, you feel that\u2014I feel really my position now, where I am in my life, what I did before and what I want to do, and yeah, it deals always with love and death.\u201d<\/p>\n

\"0_300dpi\"

Berlinde De Bruyckere and Romeu Runa, Sibylle<\/i>, 2016. Performance view, Hauser & Wirth, New York, New York, 2016. Romeu Runa.\u00a0<\/p><\/div>\n

The shock of De Bruyckere\u2019s work\u2014and it is shocking, in its vulnerability, its stark but quiet force, its capacity to resonate in the viscera, its intimation of a lost battle, a battle we are bound to lose but persevere in fighting\u2014is the way in which life and death, love and aggression, are not separate forces in it, but intertwined ones. Of the foal, she explained, \u201cIt\u2019s not that I am only interested in the dead horse. I am trying to talk about something living. For me, this horse\u2014it\u2019s like a moment that I have frozen. For me, this horse is not dead. If you see the power in his belly, for me, it\u2019s like he still can start breathing again.\u201d<\/p>\n

Something similar happens in Cripplewood<\/em>, originally shown in the Belgian pavilion at the 2013 Venice Biennale. The piece\u2014a fallen tree, its branches, some bandaged, suggesting desperate hands reaching for salvation that may never come\u2014tells, in De Bruyckere\u2019s own telling, several stories: of Venice and of Saint Sebastian, of the tree itself, an important recurrent motif in the artist\u2019s work, of her collaboration with the novelist J. M. Coetzee, whose novels (she used the word romans<\/em>) she admires and whom she invited to serve as curator for her stint at the Biennale.<\/p>\n

\"Naamloos-1

Kreupelhout\u2014Cripplewood, 2012\u20132013<\/i>, 2013, wax, epoxy, iron, wood, fabric, blankets, rope, 90 1\/2″ x 704 3\/4″ x 161 3\/8″.<\/p><\/div>\n

\u201cFor me, there are many layers in [Cripplewood<\/em>],\u201d she said. \u201cOne layer is that I look at it like a wounded body, who needs that someone take care of it. When I was working with my assistants on Cripplewood<\/em>, very often I would get the idea that we were nurses, doing all these bandages around the legs, which were broken and had to be restored or repaired. And this shows you much more the vulnerability of the work, of the tree. So the body was one layer. And on the other hand, you have Saint Sebastian, which was another layer. Sebastian is a very strong person, in the way that he has to deal with his suffering, with the arrows. He is never showing his pain, it\u2019s like he is in a mental state that is above all this physical pain. And that is something that I really want to try out also in my own work, that we are above pain and suffering, that we\u2019ve survived it. And then for sure also the fact of the tree, which isn\u2019t a real one, it\u2019s a collage, the branches are not coming from this trunk, from these roots. It\u2019s something that I\u2019ve collected, and to make one big sculpture from this assortment \u2026 They are not installed in the way we are used to seeing trees, and it\u2019s like a big thing also from the ocean. And then the colors that we chose, they are all related, the red to blood, to the wounds we all have to work on. Each detail has a reason why they exist. The cushions are not just somewhere, they are placed, they need to be there.\u201d<\/p>\n

She suggested, in describing the work\u2019s precision, the writing of poetry, or maybe it only seemed that way because the work seemed to me so poetic, a seemingly fragile accumulation of meaning that holds together even as it collides head-on with our necessities, confronts\u2014and, momentarily but hauntingly, transcends\u2014our limitations. And though De Bruyckere tactfully assented when I sighed \u201cIt\u2019s like a poem\u201d in front of the moonlit Cripplewood<\/em>, she might see her work in somewhat different terms. Speaking of No Life Lost I<\/em>, a hanging grid of animal skins re-created in wax, she had noted that she \u201cwanted to show the skins as real individuals, as portraits.\u201d Smiling, she described \u201casking some people in the gallery here, What\u2019s your favorite skin?, the one that they picked out, I told them, It\u2019s your portrait.\u201d And which one was her favorite? \u201cThe last one is my favorite, the large one,\u201d she said without hesitation. \u201cIt\u2019s like a monk.\u201d<\/p>\n

Yevgeniya Traps lives in Brooklyn. She works at the Gallatin School of Individualized Study, NYU.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The foal\u2019s spindly legs, gently bound together in a chiasmus and lit, as though by overhead moonlight, formed a shy shadow on the darkened gallery floor. The animal\u2014sacrificial, symbolic, stunning, meaning both marvelous and stupefying\u2014had its eyes covered by frayed cloth, but, coming into sharp view, it was revelatory, a subtle kind of piercing. Laid […]<\/p>\n","protected":false},"author":228,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,20034,21211,964],"class_list":["post-94678","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-berlinde-de-bruyckere","tag-installation","tag-sculpture"],"acf":[],"yoast_head":"\nNo Life Lost: The World of Berlinde De Bruyckere<\/title>\n<meta name=\"description\" content=\"February 18, 2016 \u2013 The foal\u2019s spindly legs, gently bound together in a chiasmus and lit, as though by overhead moonlight, formed a shy shadow on the darkened gallery floor.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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