OFF Course Art Fair – Bruxelles – 2016

We are glad to announce Cell63’s participation to the 5th edition of OFF Course- art fair for young art in Bruxelles, Beligium, with our beloved artists Elena Helfrecht and Luisa Catucci, introducing our incoming new artist Mathilde Nardone

Opening Wednesday, April  20, 6 to 11pm

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A stone’s throw form the historical Grand-Place of Brussels, the remarkable « Dynastie » building hosts OFF COURSE featuring young and emerging contemporary artists from Thursday, 21 to Sunday, 24 April 2016.

As an international, alternative art fair, the place given to young and emerging artists is essential and is at the heart of the OFF COURSE brand. Talented young graduates from leading international art schools are invited to showcase their work and winners from different fine art competitions are invited as well.  As for the gallerists, they present a project that initiates a dialogue between their young artists and a well-confirmed artist.

 Now in its 5th edition, OFF COURSE has become a firm fixture of the Brussels cultural scene. This is an exciting annual contemporary art fair in Belgium, offering an informed cross section of what is happening now in contemporary art creation.

 OFF COURSE stays true to its vocation of leaving room for enthusiasm, energy, creativity, novelty and discovery, and offers a platform for dialogue through artwork that dynamically changes the way the public views, talks about and enjoys contemporary art




Elena Helfrecht “Emesis I”

About Elena Helfrecht’s works:
Inspired by stories of Hermann Hesse, Franz Kafka and Gottfried Benn, and movies by David Lynch and Lars von Trier, Helfrecht creates dramatic and sensual photographs. Plain and brutal, Elena Helfrecht’s images are created with one aim – understanding and visualizing human thoughts and emotions. Her works question traditional and common definitions of beauty, showing human body in a very unsparing and revealing matter. Elena is constantly confronting the viewer with an idea of finding beauty in unexpected subjects, demanding from him only one thing – to be brave enough for that. Everything in her photography is real – scars, blood, wounds, insects, with very little digital post-editing. Nothing is censored, nude bodies are shot in minimalistic manner, with skin highlighted with raw, natural light. Morbid and unpleasant details give the appearance of death, with pale bodies, full of scars of the wounded. Scars, either by life, teenage angst or surgeries, are not very far from the visible scarifications. Helfrecht is successful in connecting these tormented, distorted bodies with fragility and emotions. What you see on the surface, on the exterior, are the secret torments of the interior. With her hypnotic, emotional photography, Elena manages to portray the duality of our bodies – weakness and damages, and yet, the great, visible strength of it.



Luisa Catucci: “Leda’s Swan”

About Luisa Catucci’s work (Serie Fairy Tales):


How can we parse our curious fascination with fairy tales, which persists while the times change and we change with them?

To Luisa Catucci fairytales are stories that try to find the cosmic truth as much as mythology, alchemy, psychology and today even quantum physics.
Those stories give us glimpses of greater things, different points of view, infinite possibilities, doors to parallel universes.
Psychoanalysts such as Sigmund Freud, Otto Rank, and Carl Jung among others looked into fairy tales and myths to represent the anatomy of the psyche.
The deep truths embodied in fairy tales, which depict complex developmental processes and group dynamics, affords the means for transforming the pain of psychological wounding into creativity.

Truth in fairy tales matters also to Italo Calvino, another great lover of them, who deems them more honest than verismo because they own up to their fictitiousness.

But not only. Luisa believes in “magic”, she believes there is much more in the universe buy diflucan online shipping than the nude reality that we experience and know. So incredibly more beyond our limited mind, our blind view, our ignorant knowledge.
Today time itself is under attack. Extreme speed rules, tense to the concrete achievement of our daily matters. Presenting images of fairy tales, myth and intangible topics, the artist wants to remind us there is much more in life: it’s worth to stop, breath and wonder.
The acceptance of magic and destiny can be fruitfully considered from a child perspective. If we take that point of view, we can understand our vulnerability or susceptibility. Fairy tale carries us back to this primordial kind of attention, when everything was new and stunning.

The modernity of the technique chosen by the artist– digital photography, painting and collage – brings the roots of Western capacity of wonder into a contemporary format, while maintaining a strongly art-historical root by virtue of their composition and multiple manifest references.

“Humanity has advanced, when it has advanced, not because it has been sober, responsible, and cautious, but because it has been playful, rebellious, and immature” Tom Robbins



Mathilde Nardone: “Raisin”

About Mathilde Nardone’s work (serie Nature Morte Par Scanner):
« Une authentique nature morte naît le jour où un peintre prend la décision fondamentale de choisir comme sujet et d’organiser en une entité plastique un groupe d’objets. Qu’en fonction du temps et du milieu où il travaille, il les charge de toutes sortes d’allusions spirituelles, ne change rien à son profond dessein d’artiste : celui de nous imposer son émotion poétique devant la beauté qu’il a entrevue dans ces objets et leur assemblage. » (Charles Sterling, historien de l’art et conservateur au musée du Louvre de 1929 à 1961).

The images are produced by a scanner.
When we paint or photograph a still life, we compose it and this composition plays the rôle of the model for the final image. With the scanner is the side invisible to the eyes that will appear on the image, so this technique goes against the classical approach to still life transporting it to contemporary format by virtue of its medium.
Still life has been not only a work where composition plays a main rôle, but also the light. This last element will define an ambience, a particular sensibility and will strongly influence the perception of the image self. Since a scanner works with light, it allows multiple interesting visual experience. The traces left by it during the creation of the image allow us to identify the technique and opens the door on the comprehension of the concept behind this work. The working surface is limited. The selection of the objects used in Mathilde’s composition is picked out of a daily use array: vegetables, minerals, recycled matherials, food, etc. The still live via scanner raise the object from common to subject of art piece.
Sometime the matherials chosen by the artist are decomposed, broken down to a million pieces, or smashed by the scanner self. Some other they are adjusted with extreme delicacy on the media to preserve their integrity.
These experimentations are tests to determinate the resistance’s borders of the matherial or out of respect for its beauty and inner fragility.
Sometimes will be the whole content of a drawer to be pour down the scanner as an aleatory choice. This will allow to create images connecting object that not necesseraly are bond together, imposing unpredicted order and a balance in the image. This takes the narrations to new frontieres, living the connections, the interpretations and the emotional responses entirely to the observers.