Michael Borremans – författare
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"Michaël Borremans may be the greatest living figurative painter." —John Vincler, The New York Times"'The Acrobat' provides an opportunity — all too rare on this side of the Atlantic — to see the genius of Borremans in the flesh...It’s painterly magic. A major New York museum retrospective is long overdue." —John Vincler, The New York TimesRecalling classical painting, both through technical mastery and choice in subject matter, Borremans’s depictions of the surprising and the bizarre invites a second look. Uncanny scenes of figures looking at blurred acrobatic displays, hooded subjects rendered in Rembrandt-esque lighting, or solemn portraits demonstrate Borremans’s unique vision. In this recent body of work, Borremans continues to draw the viewer in closer with his intimately scaled paintings of mysterious figures in peculiar arenas. Accessible yet full of rich detail, this pocket-size book features fifteen masterful works offering a mystifying narrative. An illuminating text by Katya Tylevich mines the scenes Borremans sets, conjuring the multidimensionality of the works’ emotional power and their unique place in the lineage of art history.
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Presenting the Belgian artist Michaël Borremans’s newest group of psychologically charged paintings, this catalogue highlights his exceptional technical skill, interest in figuration, and innovative approach to mise-en-scène. "Everything is a self-portrait. And now I have been painting monkeys. . . . It’s like making a movie." —Michaël Borremans, Interview magazine As a pendant to his acclaimed catalogue The Acrobat, The Monkey showcases seventeen paintings that reveal his interest in exploring surface and artifice. Borremans portrays mysterious sitters—including the titular monkeys, which are glazed toy figurines—and depicts enigmatic scenes that simultaneously invite viewers in and keep them at bay. Katya Tylevich’s insightful commentary delves into the depths of Borremans’s compositions, connecting the themes and motifs in The Monkey to those present in previous bodies of work. Tylevich delves into the complex emotional and art-historical registers at play in the artist’s new paintings and maps the trajectory of his practice, observing other instances of repetition and fabulation across his practice. The publication, featuring this essay alongside beautifully illustrated images of the new paintings, serves as the ideal complement to the artist’s 2024 exhibition at David Zwirner, London.