Berlinde de BruyckereBy Depont
Since the early nineties, Berlinde de Bruyckere has been working with blanketsâwoolen blankets that cover and protectâas the material for her sculptures and installations. For De Bruyckere they symbolize not only warmth and shelter, but also vulnerability and fear. Fear that makes people crawl under blankets and vulnerability in situations related to cold, illness, disaster and war. They are the imagesâfrom Somalia, Ruanda or Kosovoâwhich the media show us every day: images from hotbeds of violence which cause the population to flee, to hide or to shiver from cold. Victims are wrapped in blankets. The suffering is covered. In De Bruyckereâs studio, such newspaper photographs are present as quiet moments among the day-to-day memoranda. They are often images in which sadness and beauty seem to compete for attention.
One of De Bruyckereâs first sculptures with blankets consisted of a simple stack of folded blankets on an unsteady wooden stool (untitled, 1991). The order and balance of the stack are almost literally undermined here by the tremendously tilted base. Dekenhuis (House of Blankets) from 1993 is a metal cage over which blankets have been draped. One corner of the cage remains uncovered, but the âhouse of blanketsâ is inaccessible and offers only the suggestion of shelter. Berlinde de Bruyckere says the following about the use of blankets in her work: âTo me, a blanket is a symbol of security. It has a soul, which usually has a positive connotation. A blanket tucks you in; you feel like the child sitting indoors while itâs raining outside. I also use the blanket as a negative object. You can give someone so much love and safety that it smothers him, that he can no longer find himself. Lying under a pile of blankets can be disorienting! I like to play with that ambiguity in my work.â Read the entire article hereSource:
Peter Buggenhout and Berlinde de Bruyckere at Brakke grondBy Janet Koplos
This two-person show consisted of separate installations by Peter Buggenhout and Berlinde de Bruyckere, a married couple who live in Ghent, Belgium. She is the better known of the two, because her work in two recent outdoor shows in Holland provoked minor controversies.
In this exhibition at the Flemish Cultural Center in Amsterdam, there could be no such confusion. De Bruyckere constructed a rectangular, three-level metal-and-wood platform. Scaffolding elements protruded on three sides, as if assembly had stopped in process. The lowest level was empty. Read the entire article hereSource: