La Galerie Binome est heureuse d’annoncer sa première participation à la foire Art Anvers avec un solo show de l’artiste franco-néerlandaise Laurence Aëgerter.

La sélection réserve deux œuvres inédites : Le Torero mort (2024) et Pastorale (2024). Si le premier énonce d’emblée la question de l’histoire de l’art dans l’œuvre d’Aëgerter, la seconde est une démonstration de son art d’en jouer. « Une œuvre peut en cacher une autre » est un avertissement à l’adresse de ses spectateurs, à l’image explicite de ce que voile ou révèle le rideau devant Le miroir aveugle (2023).
Depuis une quinzaine d’année, Laurence Aëgerter développe aussi un important corpus de tapisseries, devenu l’un de ses médiums de prédilection. Soleils couchants sur la Seine à Lavacourt (2020) réalisée pour son exposition au Musée du Petit Palais à Paris est emblématique de cette production textile. Initié à partir des collections de cette même institution, le dialogue entretenu avec la peinture de van Ruisdael est en hommage aux paysages hollandais qui attachent l’artiste à sa terre d’adoption. L’étonnante réappropriation des gravures de Dürer, sérigraphiées d’encres tactiles et fluorescentes afin de leur donner une nouvelle vie, est un autre indice des libertés prises par une artiste qui revendique ne rien vouloir s’interdire.

The Galerie Binome is pleased to announce its first participation in the Art Antwerp fair with a solo show by French-Dutch artist Laurence Aëgerter.

The selection has two unpublished works: Le Torero mort (2024) and Pastorale (2024). While the former immediately raises the question of art history in Aëgerter’s work, the latter is a demonstration of her artistry in playing with it. ‘One work can hide another’ is a warning to her viewers, explicitly illustrated by what the curtain in front of Le miroir aveugle (2023) veils or reveals.
For the past fifteen years, Laurence Aëgerter has also been developing an extensive tapestry work, which has become one of her preferred mediums. Soleils couchants sur la Seine à Lavacourt (2020), created for her exhibition at the Musée du Petit Palais in Paris, is emblematic of this textile production. Inspired by the collections of this same institution, the dialogue with van Ruisdael’s painting is a tribute to the Dutch landscapes that bind the artist to her adopted homeland. The astonishing reappropriation of Dürer’s engravings, screen-printed with tactile and fluorescent inks to give them new life, is another indication of the liberties taken by an artist who claims to want to impose no restrictions on herself.

As a professional gallery, we adhere to the Gallery Fair Practice Code:

1. The gallery in question records in writing the relationship between the gallery and the artist, including agreements regarding the duration of the agreement, prices and any applicable discounts. Other matters that may be recorded in this document include: monitoring and evaluation of the agreements, both parties’ targets (e.g. regarding international visibility), the relationship with a second gallery, agreements regarding the settlement of any discounts, regarding commissions from third parties, or the settlement of other expenses such as for transport, photography, insurance or the construction of an exhibition. Model contracts are available on the Dutch Gallery Association (NGA) website.
2. The artist remains the owner of their work until the full amount is paid to the gallery, with the exception of secondary trading. This also applies in the case of gallery bankruptcy or attachment.
3. The gallery shall transfer the full artist’s share of the sales price agreed with the customer within 60 days following the sale of the artist’s work, and provide the artist with the buyer’s name and address details, and a copy of the invoice.
4. Unsold artworks in the charge of the gallery must always be returned to the artist within a month, if requested by the artist.
5. The relationship between galleries may involve competition and rivalry, but in the case of different galleries representing the same artist, the galleries should in all respects remain loyal to the interests of the artist in question. If a gallery exclusively represents an artist, thereby acting as their ‘mother gallery’, and another gallery would like to organise an exhibition with this artist, the involved parties should make written agreements regarding the conditions under which the exhibition can be held (see appendix for a Dutch Gallery Association (NGA) model contract).
6. The gallery is expected to be professional and competent, and to maintain this professionalism and competence.
7. The gallery vouches for the authenticity of the work that they are selling.* In the case that a work is adjudged to be fake by a recognised independent party, the customer may return the work to the gallery owner and have the amount paid for the work refunded.
8. A gallery states the following on their website: their objectives, programme, working method and the artists that they represent.
9. A gallery is expected to act in accordance with the Fair Practice Code (fairpracticecode.nl), which includes an assurance against inappropriate behaviour at the gallery and elsewhere.

*If desired, certificates of authenticity can be requested from the Dutch Gallery Association (NGA)