Peter Buggenhout’s unpolished sculptures evoke images of chaos and disorder, of abandoned ruins and archeological findings from a different era. His oeuvre, in which he focuses on the use of abject materials, such as debris, industrial waste, horsehair, blood, intestines and household dust, contains both enormous installations and smaller works that are often presented on pedestals or vitrines. What seems to be a relatively random accumulation of material, is actually a carefully orchestrated chaos. Anonymous and indeterminate. The sculptures appear to be turned inside out; raw and dismantled, repulsive and appealing, bearing a frail and uncomfortable beauty.
The industrial column-hall entitled ‘Karnak’ presents a new exhibition of the Mexican artist Bosco Sodi (°1970). A collection of large clay spheres that the artist calls ‘perfect bodies’ are mysteriously dispersed throughout the room alongside the Dvaravati Buddha statues. Every single sphere is made by hand and is baked in a rustic kiln, creating a unique and unpredictable result. Karnak also presents a series of “Sun Paintings” that he made during the pandemic lockdown painted on chili pepper sacks, materials that were available in his studio in Puerto Escondido. Sodi strips his work of the notion of time - here reflected by the use of centuries-old (timeless) methods and pigments that were already used in ancient cultures. These pigments ensure that the work radiates a certain energy - an energy that develops further when the organic material dries up, hardens and bursts.
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