Mon Chéri

Carson Fisk-Vittori @ Mon Chéri, March 9 – April 15

8 March 2016

Carson Fisk-Vittori is presenting solo exhibition Disturbance Ecology at Brussels’ Mon Chéri, opening March 9 and running April 15.

The accompanying text sits something like a text edit box on a desktop where you might write to yourself about current thoughts on what you are doing, thinking or making -although it is kind of aware and not entirely diaristic. The text’s atmosphere is quite rare and goes someway to slot into what the press release proper tells about Fisk-Vittori’s work: that it “employs devices through which we experience and manipulate our environment, and analyzes our attempts to commodify the natural world”.

What the New York-based artist is going through is what ingredients are used to repel animals: deer, spiders, snakes, mosquitos, flies, as well as describing images they have seen of people hand-pollinating plants using tools like soft brushes or tufts of dog hair.

Then there is a strange ending, a statement in two parts, a relationship between someone growing saffron and plants being sick: “Saffron is actually a type of pollen from the crocus flower. Weird.”

See the FB Event page for more details**

Carson Fisk-Vittori. Image courtesy the artist.
Carson Fisk-Vittori. Image courtesy the artist.


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Louisa Gagliardi @ Mon Chéri, Jan 28

26 January 2016

Louisa Gagliardi is presenting an exhibition, Over and Under, featuring Adam Cruces + Greg Ito, at Brussels’ Mon Chéri, opening January 28 and running to March 5.

There’s no information on what the exhibition entails aside from a text by Laura Indorato Erba describing elements of French artist Henri Matisse’s practice for pinning cutouts to his studio walls. It carries on to relate this “perforation of the surface” to “a determined choice to form one’s physical identity these days”.

Drawing on ideas of body modification and home decorating as attempts to construct “an individual perception of a human being’s outer appearance” the wandering prose suggests a human modifies their environment to suit themselves, and not the other way around: “It has been turned into another form of expressing oneself through becoming a spatial ornament.”  

See the FB event page for details.**

Alex Cruces, Un coucher de soleil (2014) @ Exo install view. Courtesy the artist and the gallery.
Alex Cruces, Un coucher de soleil (2014) @ Exo install view. Courtesy the artist and the gallery.
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Hamishi Farah, Jailbait (For Us By Us) (2015) exhibition photos

14 September 2015

A reference to the US clothing and hip hop brand FUBU, Hamishi Farah‘s solo exhibition Jailbait (For Us By Us), running at Brussel’s Mon Chéri June 11 to July 18, points to structural racism both in and outside the art world. The Somali-Australian artist uses miscellaneous cultural signifiers –Uniqlo leggings, a Foot Locker tall tee, Chinese characters, international water, and possibly unclaimed recovered stolen artwork –relating to the artist’s personal experience and a projected global capitalist police-state.

“Everyone wants to be a nigga but no one wants to be a nigga (sic) (tru) watches whole first season of The wire in room alone”, writes Aurelia Guo in an exhibition text that teases the viewer with fragmented insight into the loose narrative that ties the Jailbait together. There are many new thought-provoking works by Farah, namely a poem simply called ‘Wifi poem’ (2015), made up of five wi-fi extenders and an Australian power box that reveals itself when one attempts to connect to wi-fi in the gallery using a smart device. When prompted to choose a network on a smartphone the options are as follows: 1 who let / 2 the hood / 3 into / 4 the / 5 gallery.

Hamishi Farah, 'Dog Heaven' (2015) Install view. Photo by Hugard & Vanoverschelde. Courtesy the artist and monCHERI, Bruxelles.
Hamishi Farah, ‘Dog Heaven’ (2015) Install view. Photo by Hugard & Vanoverschelde. Courtesy the artist and monCHERI, Bruxelles.

‘Only god can judge me (Untitled)’ (2015), is a beautiful yet drab carpet that rests quietly between a doorway, oversized for its location with the phrase “Only God Can Judge Me” burned into it, the title of a well-known song by deceased rapper Tupac Shakur, whose portrait is found on a whiteboard in another piece called ‘No Title’ (2015). References to a dog recur throughout the exhibition with ‘Retroactive pet passport & travel docs for unnamed canine survivor of sea venture shipwreck’ (2015)–a pet import application installed into a mould on a wall–and ‘Dog Heaven’ (2015)–a sculpture made from a table, fountain, pump, and filled with two litres of collected international water diluted with Brussels tap water. The fountain has a dog’s head affixed to one side, its tail on opposite one. International water is something outside of any nation’s jurisdiction, something untouchable that cannot be judged. It’s a poetic place where race and capital cannot impose any state of being onto any individual, yet is also isolated and outside of any society, always restricted from acceptance. **

Exhibition photos, top right.

Hamishi Farah’s Jailbait (For Us By Us) was on at Brussel’s Mon Chéri, opening June 11 and running to July 18, 2015.

Header image: Hamishi Farah, Jailbait (For Us By Us) (2015). Exhibition view. Photo by Hugard & Vanoverschelde. Courtesy the artist and monCHERI, Bruxelles.

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Dominic Samsworth @ Mon Chéri, Sep 12 – Nov 8

11 September 2014

London artist Dominic Samsworth is launching his latest solo exhibition, titled Floridian gut, at Brussels’s Mon Chéri gallery, September 12 to November 8.

Following a group exhibition titled Bien ou Bien that took place at Mon Chéri over the summer and included, among others, Amanda Ross-Ho, Gabriele Beveridge and Michael Staniak, Samsworth is striking out on his own with a solo show ostensibly inspired by the Floridian sheen and “suspicious glamour” of Miami-like nouveau riche.

Using props and textures reminiscent of humid days spent along the Gulf of Mexico – including pineapples, soft neon plastics, and a tanning bed – Samsworth seems to create in Floridian gut exactly what the title promises: the distinct and wordless feeling of life in one of America’s most fascinating and contradictory states.

There is currently no event page for this exhibition but launch times are 5pm to 9pm. **

Screen shot 2014-09-11 at 2.42.15 PM

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YEAH AND LOOK WHERE IT GOT US ! @ Mon Chéri, Apr 25 – May 31

25 April 2014

Group exhibition YEAH AND LOOK WHERE IT GOT US ! is on at Brussels’ new Mon Chéri gallery, opening April 25 and running to May 31.

Featuring Dora Budor, Gabriele De Santis, Bryan Dooley, Piotr Łakomy, David Douard and others the exhibition inaugurates a joint venture between Parisian galleries Jeanroch Dard and Chez Valentin named after the chocolate and inspired by its enormous diffusion in the 18th century.

You could draw the line between the similiarly ubiquitous influence of web-based culture and the emerging artists the gallery is pledged to support, but stretch or not, the first batch on show are well worth a look at.

See the Mon Chéri website for details. **

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