Zomertentoonstelling juli/augustus in gallerie s.h. debuck te Gent met werk uit de permanentie en nieuwe ontdekkingen.

The Modern Art Foundation - Beijing China met werk van acht kunstenaars van de Galerie: Johan Clarysse, Jimi Dams, Jean De Groote,Frans Labath , Karl Mechnig, Piet Pollet,Luc Vandervelde Lux!, Stefaan Van Biesen lieten zich inspireren door het boek van Pascale Geulleaume "Merci Marie Pétronelle".

"A craniocaudal view", digital print of mixed media is geselecteerd voor de canvascollectie en wordt tentoongesteld in het Paleis van Schone Kunsten vanaf 23 mei tot 15 juni. Steeds welkom!
Hier alvast de link naar het werk op de online gallerie van de canvascollectie.

7 Octobre 2007 till 6 January 2008
Group exhibition "Passie voor het ongrijpbare"
Museum Minderbroeders, Sint Truiden (Belgium)

(date has to be confirmed) exhibition about the workshop with children
"Fine art project at Moinak" in corporation with Turkistan Global
Nukus Museum of Art and Applied Art named after Savitskiy (Uzbekistan)

Submission in progress at
Gallery Dagmar De Pooter, Antwerp (Belgium), 2008

1. Project "A lost civilization"
March – September ’03
Collecting information for the project in Central Asia.
As from October ’03
Processing the information and realization of the project in the studio.
Beginning 2006
Went back to Uzbekistan to collect more information for the project "A lost civilization" and to start the Aurora Borealis project.

2. Aurora Borealis project in Uzbekistan
It is a social and cultural program involved in Moinac (Karakalpak, Uzbekistan), in cooperation with Sagitjan Aitjanov. The purpose of this project is to redevelop the artistic qualities of the Karakalpak children and to introduce them in western contemporary art.

In early 2004 Lux established a new project "A lost civilization" about the post colonial time in Uzbekistan and central Asia.

He collected images from his stay in central Asia that offer visions of a non-western world dealing with post-colonial influence. The project reflects the people and the current society of these countries that have been intensively marked by the past. It is a (re)search of the daily living problems and the vulnerability of other cultures. "A lost civilization" treats, for example, the survival pressure of a nation that has been dominated by the Soviets and whose inhabitants have lost their common feelings and identity. Are these people the artificial creations of Stalin? Uzbekistan, for example, has now evolved under Karimov’s regime to become a dictatorial police state. Any opposition is kept silent and the press is controlled by the government, under the pretence of keeping extremist Muslims from taking power.
My art work is based on pictures of those people, collected photos and objects. I gathered memorabilia from local inhabitants. For instance, I received a gift from an Uzbek family consisting of postcards they received from a family member who stayed in Berlin when the wall still divided east from west. Those images represent a significant piece of their history. After the wall came down it became a symbol of freedom. But for the people of Uzbekistan it became the opposite, a struggle with a dictatorship. My art work reflects the memories, the suffering and the distance that the citizenry had to endure.

“The distance” is a very important topic in my work: first, I use photographs and images that refer to the distant past; second, my work underlines the distance between my western experience and the experience of these people; third, there is this distance between the present and the Soviet era. "Essentials For Survival" is a collection of drawings juxtaposed with images from a Soviet propaganda pamphlet explaining how to "survive a variety of disaster situations". The collection explores coping with the Post-Soviet reality in central Asia, and each image is made with black marker on transparent paper using Russian magazines from the seventies as background.
The process used to produce some of my work is also a very important aspect in my art. My obsession is with old photos that reflect the history of a certain place, and the humanity that I want to reproduce in my work.

Some of the people are intentionally portrayed in the past (based on photos from their youth); especially the older generation who like to refer to the "carefree past" of the Communist period.