Hareng Saur: Ensor and contemporary art takes a new step in the approach to Ensor’s oeuvre. The exhibition shows that Ensor has retained his topicality even on today’s art scene. He is taken out of his historical context and approached decisively as a timeless artist whose themes and technique are inseparably linked to the practices of many contemporary artists. Even at the start of the twenty-first century, Ensor’s subjects and points of view remain resoundingly up to date. Such subjects as the mask and the grotesque, social critique, the self-portrait, the identification with Christ, the masses, satire and death have after all lost none of their relevance in contemporary visual art. The exhibition makes unexpected links and demonstrates that in his visionary oeuvre Ensor pursued a goal that connects him to numerous contemporary artists.

In addition to an extensive selection of Ensor’s work (paintings, drawings and prints), the exhibition also includes contemporary kindred spirits and counterparts in the genres of painting, sculpture, video, installation, performance, drawing, etc. Ensor’s visual world is thereby linked to those of Eija-Liisa Ahtila, Francis Alÿs, Huma Bhabha, Jake & Dinos Chapman, George Condo, Thierry De Cordier, Marlene Dumas, Thomas Hirschhorn, Yang Jiechang, Tomasz Kowalski, Jonathan Meese, Bruce Nauman, Ugo Rondinone, Dana Schutz, Cindy Sherman, Raymond Pettibon, Thomas Schütte, Philippe Vandenberg, Jan Vercruysse, Thomas Zipp and others.

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Collection Artist(s)

Glossary

  • Contemporary

    Existing or coming into being at the same period; of today or of the present. The term that designates art being made today.

  • Drawing

    The depiction of shapes and forms on a flat surface chiefly by means of lines although colour and shading may also be included. Materials most commonly used are pencil, ink, crayon, charcoal, chalk and pastel, although other materials, including paint, can be used in combination.

  • Installation

    An artwork comprised of many and various elements of miscellaneous materials (see mixed media), light and sound, which is conceived for and occupies an entire space, gallery or site. The viewer can often enter or walk around the installation. Installations may only exist as long as they are installed, but can be re-created in different sites. Installation art emerged in the 1960s out of Environmental Art (works of art which are three-dimensional environments), but it was not until the 1970s that the term came into common use and not until the late 1980s that artists started to specialise in this kind of work, creating a genre of ‘Installation Art’. The term can also be applied to the arrangement of selected art works in an exhibition.

  • Painting

    Work of art made with paint on a surface. Often the surface, also called a support, is a tightly stretched piece of canvas, paper or a wooden panel. Painting involves a wide range of techniques and materials, along with the artist's intellectual concerns effecting the content of a work.

  • Sculpture

    A three-dimensional work of art. Such works may be carved, modelled, constructed, or cast. Sculptures can also be described as assemblage, in the round, relief, and made in a huge variety of media. Contemporary practice also includes live elements, as in Gilbert & George 'Living Sculpture' as well as broadcast work, radio or sound sculpture.

  • Video

    Images recorded on videotape or on optical disc to be viewed on television screens, or projected onto screens. The medium through which these images are recorded and displayed.