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Duo Exposition with Marco De Sanctis
30 January - 27 February 2014, Gallery Plagiarama , Brussels


Window Void, Matthias Yzebaert, 2014
Chalk on three windows
240x215 / 240x243 / 240x247

3900K 4000K 5050K, Matthias Yzebaert, 2014
Mixed media (Foto Print on Dibond / Graphite on ceiling)
20x30 / 587

Club Mayz, Matthias Yzebaert, 2014
Mixed media (White Painting / Disco Ball / Podium / Music Intervention)
40,5x55,5 / Ø20 / 73x40x32 / 182cm


'Matthias Yzebaert (°1983, Ghent, Belgium) is an "artist" who works in a variety of "media". With a subtle minimalistic approach, Yzebaert creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The "work" is aloof, subversive and systematic and a cool and neutral imagery is used.
His artworks are based on formal associations which open a poetic vein. This means that the a priori blankness of a white space can never be just that, a blankness without meaning. There will always be cracks in the wall, adding value to the space. This idea is very clear in a recent installation of Yzebaert in Assimilé in Brussels. Taking his clues from the space, Yzebaert alters it slightly -or not-, thereby drawing attention to things we never saw before.
The practice of Yzebaert does not provide a set of non-allegorical tools for manoeuvring with a pseudo-realistic approach in the world of art: these meticulously planned works do not resound and resonate with images culled from the fantastical realm o f imagination. Yzebaert notices and works with the intrinsic qualities of a space. Because a space is never a 'perfect white cube', there are always anomalities. The ideal, authentic space is, thankfully, an illusion.
His multilayered pictures/music/sculptures/drawings/paintings/installations (pick one) question the seemingly certain reality that surrounds us, by drawing attention to its fragility and instability. By choosing mainly formal solutions, he tries to develop work that follows polite criteria and is based on subjective and/or objective associations and formal parallels, which incite the viewer to make new personal associations.
Consequently, all and every authored dissertation concerning this artist is thoroughly arbitrary and capricious and can therefore be read from divergent points of view. Thereby contemplating what it is that makes his art, art.
Also, performance."
Written by Sophie Verhulst, Matthias Yzebaert and 500letters.org