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christophe demat re

selected works 2005-2007

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chris t o p h e d e m a t re
selected works 2005-2007

E d i t i n g b y Wa r e h o u s e S t u d i o f o r I s l a n d 6 A r t s C e n t e r
Graphic Design by Lucas Gurdjian
English introduction by Alexandra Verhaest
French introduction by Olivia Gurdjian
We b w w w . i s l a n d 6 . o r g / w w w . wa r e h ou s e s t u d i o . o r g

it seemed that the best word to designa t e (temporarily)


the attract ion certain photographs exerte d u p o n m e w a s
advenience or even adventure.
Camera Lucida

by Roland Barthes

n the few years of studying photography, I have developed a special weakness for nine teenth century images. Those first photographs ever taken, still hold the alchemy that
photography once was. I wonder how it must have felt to be the first to experience that
magical chemical process. A ghost of the image appearing on the paper in the development
bath, as if it were covered in fog which slowly dissolves until the picture reaches its full
density. Perhaps Nicephore Niepce thought, as Roland Barthes argues in Camera Lucida,
that it was an instant painting. It had the same framing, the same perspective as a painted
image, with only the brushstrokes missing. My personal magical moment of developing a
picture for the first time has since long passed. But perhaps that particular moment is what
drives us photographers. Whenever I go hunting for that one shot, it is the longing for
that magic, not the rational consciousness that pushes the button. Failing to find that
ultimate image which expresses it all is the twofold blessing that keeps us passionate.
As contemporary urban citizens, we are daily confronted with the millions of visual
stimuli. Few images force us to really look, most of them are even hardly noticed.
Being born in the digital age, my mind is spoiled (maybe in both meanings) with imagery. I can only dream of erasing that inner image bank, clearing it of contemporary refer ences. The innocence of wondering has disappeared. The moment is lost in a stream of mean ingless pictures. As hard as the advertising market tries to draw our attention, the more I
tend to overlook those billboa rds. Chocking images, like the universally loved or hated
Benetton advertising, dont stick anymore. They are based on a two second-snap effect of
getting the clue and remembering the brand. The only effect they had on me, over all these
years, is a diminishing attentio n span and a built-in filter against easily gained content.
However seldom, some con temporary images are still able to freeze my pace. They have
the same silent quality I find in some old photographs. A kind of timelessness, an alchemic
excellence, transforming metal into gold, moments into journeys.
I see Christophes work as a peregrinatio pro alchemia, the quest for the mercury,
a search for the lost magical moment. His pictures of contemporary cities, using the same
emulsions applied by those first photographers, travel between eras, one of alchemy, ob scurity and darkness and another one of fast movement, bright city lights and technology.
He captures the speed of the metropolis. Showing instants of urban life environments and
transforming them chemically into traveled stories. Railway-Brussels moves me in a very
personal way. The picture seems grated onto the canvas, like ongoing Belgian rainy days,
sad and beautiful in their melancholy. I can imagine Christophe taking this picture.
Wandering around the Bru ssels north station, lighting a cigarette under his coat and
then lighting it again when some raindrop soaked the ashes while he was looking up to the
sky. And then, in the midst of all this, discovering the dancing high voltage cables as the
veins of that eternal grey sky.
His paintings move me in a similar way. Bodies are shifting like shadows through the
canvas. They leave marks that ask questions about untold stories. He told me they are made
in instants, like snapshots of emotional outbursts. As spontaneous his paintings are made,
as carefully he composed his sculptures.
Joining unusual objet trouvs into new compositions, he seems to truly unveil his
personal desires. Like the wishes of a little boy playing in the attic and inventing his own
science. Playfully but carefully, he combines different materials into his own galaxy.
In his work, Christophe reveals himself as an alchemist of modern times, discovering
his own elixir; that of creating a stopover in this ever moving society.
A l e x a n d r a Ve r h a e s t
Shanghai, 2007/02/02

E
Lhomme photosensible

t si Christophe Dematre tait la premire surface humaine photosensible ?


C e l u i q u i a c a p t u r , a u c o u r s d e s e s p r g r i n a t i o n s e t d e s e s o b s e r va t i o n s u n e i n finit de lumires diffrentes, dombres, de formes, de contrastes pour finalem e n t l e s p r o j e t e r s u r u n e m u l t i t u d e d e s u r f a c e s va r i e s e t a t y p i q u e s . C h r i s t o p h e
Dematre est le capteur humain de lumire, cristalline ou opaque, floue ou nette,
b r u m e u s e o u av e u g l a n t e L u m i r e q u i l a r u s s i d o m p t e r , c o n t r l e r m a i s a u s s i
sduire et amadouer pour la sublimer et en faire le premier rle de ses compositions.
Mais la lumire est, paradoxalement, aussi, chez Christophe Dematre, celle
qui cache, qui mystifie et recouvre ses sujets dun voile de pudeur Il ny a aucun
visage, peu de repre, seulement des silhouettes, des corps: souvenirs, regrets
amers, amours laisss en friche, fantasmes Les photos de Christophe Dematre
sont comme les indices dune histoire quil faut reconstituer, ou quil faut peut
tre commencer...
Christophe Dematre nous renvoie limage dun art qui voyage, qui flotte et
q u i r v e , u n a r t q u i j o u e av e c l e s c o n t r a s t e s e t av e c l e s g e n s . I l d o n n e u n c a r a c tre phmre ses oeuvres et fait de ses modles les passagers dun songe, venus
simplement pour nous toucher Il y a, dfinitivement, du fantasme dans ses compositions, fantasme quil veut fixer dans le temps en le tirant sur des matires
brutes et intemporelles.
Il reste dans les oeuvres de Christophe Dematre, un soupon de spleen, une
douce mlancolie, une tristesse presque complaisante. On reste hsitant sur ce
va g u e l m e , v i e n t - i l d u p h o t o g r a p h e o u d e s o n s u j e t ? S a n s av o i r d e r p o n s e ,
on se laisse doucement happer par ce sentiment, on devine des sparations, des
a d i e u x , d e s r e t r o u va i l l e s c h o u e s , d e s a m o u r s i m p o s s i b l e s o u t r o p p a s s i o n n s , d e s
d e s t i n e s av o r t e s , m a i s a u s s i u n e m u l t i t u d e d e s e n t i m e n t s i n e f f a b l e s q u e t o u s s e s
sujets se plaisent taire
On ma demand dcrire une prface pour le catalogue de Christophe et audel de ma passion pour lcriture, la tche tait complexe. Cest en effet toujours un peu dlicat de mettre ses mots sur les oeuvres dun artiste, on a le sentiment de rduire, limiter, et parfois de trop expliquer sa dmarche et son propos.
Et, sans vouloir faire dloges gratuites et sans intrt, lunivers de Christophe
e s t u n m o n d e d a n s l e q u e l o n p n t r e av e c p l a i s i r e t f l u i d i t . U n u n i v e r s l a f o i s
urbain et arien, nourri par les passages clairs de ses sujets et les matires
brutes de ses supports; le tout mlang dans une alchimie vidente et subtile.
Olivia Gurdjian
Shanghai, 2007/02/02

01

02

04

30

32

34

06

08

10

36

38

40

12

14

16

42

44

46

18

20

22

48

50

52

24

26

28

54

56

index

sculpture
12

lhomme de fer
brussels // 2005
150cm x 20cm // metal structure

14

planetarium

equilibrium

brussels // 2005

brussels // 2005

40cm x 35cm // metal structure

55cm x 40cm // metal structure

16

gravitat ion & space


brussels // 2005
45cm x 30cm // metal structure

circles
brussels // 2005
120cm x 40cm // metal structure

18

poids ternel

monde perceptuel

brussels // 2005

brussels // 2005

35cm x 25cm x 15 cm //mixed media installation

45cm x 40cm // mixed media installation

20

photography
22

travelling
london // 2006

122cm x 80cm // mixed media on photo-sensibilized canvas

24

tate modern part.1


london // 2005

180cm x 120cm // mixed media on photo-sensibilized canvas

tate modern part.2


london // 2005

180cm x 120cm // mixed media on photo-sensibilized canvas

tate modern part.3


london // 2005

160cm x 120cm // mixed media on photo-sensibilized canvas

26

victoria stat ion


london // 2006

110cm x 92 cm // mixed media on photo-sensibilized canvas

28

tianmuxi lu
shanghai // 2007

84cm x 60cm // mixed media on photo-sensibilized canvas

fietser
shanghai // 2007

33cm x 20cm // mixed media on photo-sensibilized canvas

30

rainy day

leaving

london // 2006

london // 2006

70 cm x 50cm // mixed media on photo-sensibilized wood

80cm x 70cm // mixed media on photo-sensibilized canvas

32

moganshan lu
shanghai // 2007

105 cm x 75cm // mixed media on photo-sensibilized canvas

macao road
shanghai // 2007

64cm x 49cm // mixed media on photo-sensibilized canvas

34

metropolis

paseo de gracia

london // 2005

barcelona // 2006

34cm x 24cm // mixed media on photo-sensibilized canvas

33cm x 24cm // mixed media on photo-sensibilized canvas

36

t h e bund
shanghai // 2007

124cm x 70cm // mixed media on photo-sensibilized canvas

p i c cadilly
london // 2006

70cm x 40cm // mixed media on photo-sensibilized wood

38

carsamba pazari
istanbul // 2006

170cm x 95cm // mixed media on photo-sensibilized canvas

40

mixedmedia
42

c i t y beat
shanghai // 2007

60cm x 62cm // LED display, mixed media on photo-sensibilized canvas

44

ra i n shadow
shanghai // 2007

89cm x 76cm // LED display, mixed media on photo-sensibilized canvas

46

w i t h a view
shanghai // 2007

87cm x 73 cm // LED display, mixed media on photo-sensibilized canvas

48

I would like to thank all the people who helped realize this book, especially :
Harold & Elke Einsman, Thomas Charveriat, Margherita Salmaso, Yang Longhai,
Allard van Hoorn, Zu Yumei, Alexandra Verhaest, Lucas & Olivia Gurdjian,
friends & family.
Christophe Dematre

50

2007

Island6 Arts center,


BoyCott Gallery,

2006

A R Ta n t i d e ,
ManaArt,

Shanghai - China

Brussels - belgium

Verona, Italy

Brussels, Belgium

Island6 Arts center,

Shanghai, China

K a f k a A wa r d , 1 s t M i n i s t e r C a b i n e t ,

christophe demaitre

2005

ARTEespace Jacqmotte,

Brussels, Belgium

ManaArt,

Brussels, Belgium

2004

ManaArt,

Brussels, Belgium

2003

Duomo ART gallery,

Verona, Italy

pa i n t i ng , c h a r c oa l d r aw i ng , e ng r av i ng o n z i nc a n d p h o t o g -

Artfarm Situarsi 03,

Bonavigo, Italy

r a p h y . W h i l e l i v i n g a n d w o r k i n g i n S h a n g h a i , S a o Pa o l o a n d

Wa o u w G a l l e r y ,

Brussels, Belgium

hristophe Dematre (Belgium 1968) is an image hunter.

He masters a wide range of different media such as fresco

Brussels, he incorporated the graphical elegance of Asia,


the temperament that is South-America and the great Euro-

2002

Universitat Pompeu fabra,


CCB, Esp-4,

p e a n a r t h i s t o ry . H i s t r av e l s p r o f ou n d ly i n f l u e nc e d h i s

Brussels, Belgium

Barcelona, Spain

Mac-Mestissatge,

c r e at i v i t y . I n I n d o n e s i a h e wa s c o n f r o n t e d w i t h t h e p r i m i -

Barcelona, Spain

Barcelona, Spain

Istituto Enologico Italiano,

Verona, Italy

t i v e c u l t u r e o f t h e M e n t a w a i s . Th e i r i m a g e c u l t u r e i n s p i r e d
h i m i n t h e s e a r c h f o r h i s d r a w i n g s t y l e . Th e A r t e P o v e r a ,

2001

Pa l a z z o C o r r e r ,

w h i c h h e d i s c ov e r e d i n B a r c e l o na , i n f l u e nc e d h i s way o f

of

fresco

painting.

Th e

metropol

of

Venice, Italy

S a n G i o V i d e o Fe s t i va l ,

to discover the use of pigments and to experiment with diftechniques

Rome, Italy

A r t G a l l e r y S t u d i o Pa l a z z i ,

combining materials. His residency in Italy has granted him

ferent

Rippeta Prize XII Ed.,

2000

Venice , Italy

Verona, ItalY

P a l a z z o C o r r e r , Venice, Italy

Shanghai allowed him to realize work on a bigger scale and

Art Gallery, Via del Corso,

the collaboration with Island6 inspired him to integrate

Ciak Cinema d'Essay,

Rome, Italy

Verona, Italy

technology such as LED displays and microchips into his

1998

work.
Th e a r t i s t c u r r e n t l y e x h i b i t s o n a r e g u l a r b a s i s i n i n ternational
Pa l a z o

art

Correr

shows
Ve n i c e ,

and

different

A R Ta n t i d e ,

galleries
Ve r o n a

and

such

as

Mac-

West-rand Gallery,

Brussels, Brussels

Arcipelago cultural Centre,

Trento, Italy

Province Arthall of verona,

Verona, italy

1997

Teg.sequiz Museum,

1996

Magazijn theatre-gallery,

transylvania, Romania

Metissatge at Barcelona. His work is part of public and


p r i va t e c o l l e c t i o n s a l l ov e r E u r o p e a n d A s i a .

Ghent, Belgium

t 120 Moganshan Rd, a lane leads onto a large open green area surrounded

b y t h e S u z h o u C r e e k . Th e r e , i n s e v e r e c o n t r a s t t o S h a n g h a i s e v e r - t o w e r i n g s k y scrapers, stands Island6, a four story red brick building. Its history : Shanghai
typical.
Island6 and its two neighboring buildings were established, like most flour
mills and breweries, along the Suzhou Creek at a time when the river nurtured a
m a j o r i n d u s t r i a l b a s e i n S h a n g h a i . Th e t h r e e b u i l d i n g s ( b u i l t 1 9 1 3 - 1 9 3 0 ) b e c a m e

island6 arts center

p a r t o f a c o m p l e x , d e s i g n e d t o h o u s e t h e o f f i c e h e a d q u a r t e r s a n d d e p o t s o f Fo o
S i n g Fl o u r M i l l . S i g n e d b y A t k i n s o n & D a l l a s , a B r i t i s h a r c h i t e c t u r e a n d c i v i l

shanghai // 2007

engineering firm that thrived in the city during the early 1900s, the structures

4.3 ha. // wooden arcades and red brick walls

are representatives of typical masonry architecture, originally constructed with


w o o d e n a r c a d e s a n d r e d b r i c k wa l l s .
I n t h e 1 9 0 0 s I s l a n d 6 wa s u s e d a s t h e s m a l l p a c k a g e d f l o u r wa r e h o u s e .
Later, Rong Yi Ren, the former Chinese vice president and textile magnate, purc h a s e d i t . Th e b u i l d i n g h a s s u r v i v e d a d e r i s o r y f i g h t w i t h t h e c i t y ; i n J u l y 2 0 0 3 ,
t h e c o m p l e x wa s t h r e a t e n e d b y i m m i n e n t d e m o l i t i o n t o m a k e r o o m f o r r e a l e s t a t e
d e v e l o p e r s . L u c k i l y , t h e d o o m o f wa r e h o u s e s a l o n g t h e S u z h o u C r e e k wa s f o u g h t
by a series of cultural campaigns run by architects and university professors.
I s l a n d 6 wa s d e c l a r e d a c u l t u r a l h e r i t a g e a n d i s p r o t e c t e d b y t h e S h a n g h a i M u nicipal Government.
Island6 now rises as a center for the arts, one that aims to interact with
the cultural relics that surround it. At a time when funding for the arts has
b e c o m e p r e c a r i o u s , a n d m a n y a r t s p a c e s h av e h a d t o c h a n g e t h e i r m i s s i o n s t o s u r vive, Island6 remains committed to supporting young and emerging artists and
p r e s e n t i n g i n n o va t i v e , r i s k - t a k i n g p r o g r a m s t h a t e x p l o r e n e w c u r a t o r i a l m o d e l s ,
challenge the definitions and boundaries of art, and engage in key issues of contemporary society.
Island6 is a non-profit organization governed by voluntary staff, dedicated
PHOTOGRAPHY BY DAAN NOPPEN

to the support of its artists and to the constant initiation of site-specific projects. Island6s residency program allows artists from all over the world to come
t o S h a n g h a i a n d p r o d u c e l o c a l l y i n s p i r e d w o r k . Th e r e s i d e n c y f o c u s e s o n p r o d u c tion and is followed by an exhibition. Christophe Dematre completed two exhibitions during his residency at Island6.

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