Galerie Paris-Beijing

RERO: UMWELT… (Brussels)

RERO: UMWELT… (Brussels)

Rue Hôtel des Monnaies 66Brussels, 1060 Belgium Thursday, April 10, 2014Saturday, June 7, 2014
sans titre (disque dur externe) by rero


Sans titre (DISQUE DUR EXTERNE), 2014

Price on Request

sans titre (no data found...) by rero


Sans titre (NO DATA FOUND...), 2014

Price on Request

sans titre (aucune image) by rero


Sans titre (AUCUNE IMAGE), 2014

Price on Request

Rue Hôtel des Monnaies 66
Brussels, 1060 Belgium
Thursday, April 10, 2014Saturday, June 7, 2014


Exhibition from April 10th to June 7th 2014

Galerie Paris-Beijing | Brussels
Hôtel Winssinger, Rue de l’Hôtel des Monnaies 66, 1060 Brussels

Opening on Thursday, April 10th from 6pm to 9pm
In the presence of the artist

Analytical artist – to quote the Italian critic Achille Bonito Oliva – Rero focuses on the codes of our society: considering Art as an alarm system capable of awakening the collective consciousness, he intervenes in public and private spaces to provoke the contemplation of a work of art and its connection with aesthetic and moral order.

His work walks the fine line between urban art and conceptual art finding its inspiration in the culture of graffiti, particularly in the iconic imagery of the first generation of New York taggers.

Rero decodes the different languages of our culture and transposes them in his unique manner to make them more accessible.

With a very distinct visual style, Rero explores the realm of representation and its negation. His interventions always consist of a strikethrough message, with a black line carefully drawn through the upper part of the word, leaving open all possibilities of interpretation.

His antinomic works use the Freudian trick of affirmation through a double negative, positioning them half way between self-censorship and the need to convey a message.

They can appear in the middle of urban areas or in open nature, or written on various surfaces (walls, ruins, building facades, posters, books, white sheets…), Rero’s statements always use the Verdana font that – since its creation in 1996 – has become the most widespread font on the net, in order to convey an average, impersonal prose free of any associations.

The exhibition at the Galerie Paris – Beijing traces the path of this young artist who has now become a major actor on the international scene, especially after his now famous performances at the Centre Pompidou and the Grand Palais in Paris.

The confrontation with the volumes of Victor Horta’s Art Nouveau architecture is an opportunity for the artist to create large-scale in-situ works.