Michaël Borremans
- Michaël Borremans, The German (Dreiten Teil), 2003, Courtesy: Zeno X Gallery, Antwerpen
- Michaël Borremans, The Mask of Simplicity, 2001, Courtesy: Private Collection, Belgium
- Michaël Borremans, The Ceramic Salami, 2001, Courtesy: Privé-collectie Brussel / Privatsammlung Brüssel
- Michaël Borremans, The Swimming Pool, 2001, Courtesy: Zeno X Gallery, Antwerpen
- Michaël Borremans, The Replacement, 2003, Courtesy: Zeno X Gallery, Antwerpen
- Michaël Borremans, The Consideration, 1999, Courtesy: Hauser & Wirth Collection, Switzerland
- Michaël Borremans, Rainpillow. An Inflatable Monument for John Coltrane (as a tribute), 2001, Courtesy: Kunstmuseum Basel, Kupferstichkabinett
- Michaël Borremans, An Unintended Proposal, 1999/2000/2001, Courtesy: Zeno X Gallery, Antwerpen
- Michaël Borremans, Terror Watch, 2002, Courtesy: Kunstmuseum Basel, Kupferstichkabinett
- Michaël Borremans, Trickland, 2002, Courtesy: Kunstmuseum Basel, Kupferstichkabinett
- Michaël Borremans, Various Ways of Avoiding Visual Contact with the Outside World Using Yellow Isolating Tape, 1998, Courtesy: Collection Tim Van Laere Gallery, Antwerp
*1963, lives in Ghent
Michaël Borremans has attracted international attention in recent years above all in regards to his extraordinary painterly position. SMAK in Ghent, Kunstmuseum Basel, and the Cleveland Museum of Art presented a broad sample of the artist’s drawings for the first time in 2004 / 2005. The scenarios, or rather scenographies, that Borremans drafts in his small-format drawings focus on traditions of art history as well as the pictorial languages of the sciences, stage and cinema. His paradoxical pictorial spaces are pervaded with contrary perspectives and scales, formation and deformation. They reflect the instability of the bourgeois self, enframed in these pictorial spaces: along with its codified attitudes, parapraxes and abysses. The uncanny and the fantastic feature in Borremans’ drawings alongside irony, social criticism, and political commenting. The contextual shifts he produces even continue in the titles that he chooses. For example, one drawing based on the graphical language of medical instructions for bandaging wounds, is entitled: “Various Ways of Avoiding Visual Contact with the Outside World Using Yellow Isolating Tape.”
