Michaël Borremans erste monumentale Skulptur ist eine menschliche Figur, die in der lieblichen aber urtümlichen Landschaft mit Blick auf den Videmanette-Gipfel Kopf voran im Boden steckt. Die Figur, die auf eine Reihe von Gemälden mit dem Titel ‹Black Mold› zurückgreift, ist düster und komisch zugleich. Wie von einer unsichtbaren seelischen Last getrieben, scheint die bewegungslose Figur, gekleidet in eine Art liturgisches Gewand, vom Himmel gefallen zu sein; ein Ausgestossener, seltsam betörend, vertrieben aus der inneren Landschaft, wo Glaube, Moral und Politik zusammenprallen und ineinander greifen.
Michaël Borremans's drawings, paintings, and films present an evocative combination of solemn-looking characters, unusual close-ups, and unsettling still lifes. There is a theatrical dimension to his works, which are highly staged and ambiguous, just as his complex and open-ended scenes lend themselves to conflicting moods—at once nostalgic, darkly comical, disturbing, and grotesque. His paintings display a concentrated dialogue with previous art historical epochs, yet their unconventional compositions and curious narratives defy expectations and lend them an indefinable yet universal character.
Borremans was born in 1963 in Geraardsbergen, Belgium. In 1996, he received his M.F.A. from Hogeschool voor Wetenschap en Kunst, Campus St. Lucas, in Ghent. Since 2001, the artist's work has been represented by David Zwirner. Previous solo exhibitions at the gallery in New York include The Devil's Dress (2011), Taking Turns (2009), Horse Hunting (2006), and Trickland (2003), which marked his United States debut. Black Mould marked his first solo presentation at David Zwirner, London, on view June 13 through August 14, 2015.
Over the past decade, Borremans's work has been the subject of solo exhibitions at a number of prominent institutions. In 2014, a major museum survey, Michaël Borremans: As sweet as it gets, consisting of one hundred works from the past two decades, was presented at the Palais des Beaux-Arts in Brussels. The exhibition traveled later in the year to the Tel Aviv Museum of Art, followed by the Dallas Museum of Art in 2015. Also on view in 2014 was the artist's first museum solo show in Japan, Michaël Borremans: The Advantage, at the Hara Museum of Contemporary Art, Tokyo. In 2011, a comprehensive solo show, titled Eating the Beard, was presented at the Württembergischer Kunstverein Stuttgart, which toured to the Műcsarnok Kunsthalle, Budapest and the Kunsthalle Helsinki. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo as well as commissioned work on view at the Royal Palace in Brussels. Other venues which have hosted solo exhibitions include kestnergesellschaft, Hanover (2009); de Appel Arts Centre, Amsterdam (2007); Kunsthalle Bremerhaven, Germany; and the Museum für Gegenwartskunst, Basel (both 2004). In 2005, he had a one-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent. The paintings then traveled to Parasol unit foundation for contemporary art, London and The Royal Hibernian Academy, Dublin, while the drawings traveled to the Cleveland Museum of Art, Ohio.
Work by the artist is held in public collections internationally, including The Art Institute of Chicago; Dallas Museum of Art; High Museum of Art, Atlanta, Georgia; The Israel Museum, Jerusalem; Musée d'Art Moderne de la Ville de Paris; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; and the Walker Art Center, Minneapolis, Minnesota. Borremans lives and works in Ghent.