{"id":30179,"date":"2023-07-19T13:56:30","date_gmt":"2023-07-19T04:56:30","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&#038;p=30179"},"modified":"2023-07-19T15:34:03","modified_gmt":"2023-07-19T06:34:03","slug":"pleasure-to-burn","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/30179","title":{"rendered":"Pleasure to burn"},"content":{"rendered":"<p>2023. 5. 12 &#8211; 6. 15<br \/>\nSimon Demeuter<\/p>\n<figure id=\"attachment_30182\" aria-describedby=\"caption-attachment-30182\" style=\"width: 896px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-30182 \" src=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-scaled.jpg\" alt=\"\" width=\"896\" height=\"597\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-scaled.jpg 2560w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-300x200.jpg 300w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-1024x683.jpg 1024w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-150x100.jpg 150w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-768x512.jpg 768w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-1536x1024.jpg 1536w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.08-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 896px) 100vw, 896px\" \/><figcaption id=\"caption-attachment-30182\" class=\"wp-caption-text\">L21 Residency, Simon Demeuter, Pleasure to Burn, 2023, Installation View<\/figcaption><\/figure>\n<p>The new exhibition &#8220;Pleasure to burn&#8221; by Belgian Paris-based artist Simon Demeuter, presents a new series of paintings, specifically created for this exhibition.<\/p>\n<figure id=\"attachment_30183\" aria-describedby=\"caption-attachment-30183\" style=\"width: 902px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-30183 \" src=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-scaled.jpg\" alt=\"\" width=\"902\" height=\"601\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-scaled.jpg 2560w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-300x200.jpg 300w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-1024x683.jpg 1024w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-150x100.jpg 150w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-768x512.jpg 768w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-1536x1024.jpg 1536w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.17-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 902px) 100vw, 902px\" \/><figcaption id=\"caption-attachment-30183\" class=\"wp-caption-text\">L21 Residency, Simon Demeuter, Pleasure to Burn, 2023, Installation View<\/figcaption><\/figure>\n<p>In them, we can see the recurring motif of the cowboy, already present in previous series, but from a new approach inspired by imagery s and popular culture from the seventies.<\/p>\n<figure id=\"attachment_30180\" aria-describedby=\"caption-attachment-30180\" style=\"width: 899px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-30180 \" src=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-scaled.jpg\" alt=\"\" width=\"899\" height=\"599\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-scaled.jpg 2560w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-300x200.jpg 300w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-1024x683.jpg 1024w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-150x100.jpg 150w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-768x512.jpg 768w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-1536x1024.jpg 1536w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.19-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 899px) 100vw, 899px\" \/><figcaption id=\"caption-attachment-30180\" class=\"wp-caption-text\">L21 Residency, Simon Demeuter, Pleasure to Burn, 2023, Installation View<\/figcaption><\/figure>\n<p>His paintings, which always exude a nostalgic air, experiment on this occasion with new techniques such as applying paint with his fingers, achieving a peculiar, blurred effect.<br \/>\nIts yet mysterious scenes are here amplified by the smoky atmospheres that characterise this new series.<\/p>\n<figure id=\"attachment_30181\" aria-describedby=\"caption-attachment-30181\" style=\"width: 896px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-30181 \" src=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-scaled.jpg\" alt=\"\" width=\"896\" height=\"597\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-scaled.jpg 2560w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-300x200.jpg 300w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-1024x683.jpg 1024w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-150x100.jpg 150w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-768x512.jpg 768w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-1536x1024.jpg 1536w, https:\/\/static-edge.kiaf.org\/web\/2023\/05\/19000111\/Pleasure_to_Burn_L21_Residency_2023.05-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 896px) 100vw, 896px\" \/><figcaption id=\"caption-attachment-30181\" class=\"wp-caption-text\">L21 Residency, Simon Demeuter, Pleasure to Burn, 2023, Installation View<\/figcaption><\/figure>\n<p><strong>Simon Demeuter<\/strong> (b. 1991, Soignies, Belgium) lives and works in Paris. His painting practice is inspired on childhood memories as well as from travels and encounters\u2026 His imagery conveys both an inner landscape as references to Folk Art, the Impressionists, cinema or music. Colour is the artist\u2019s primordial tool to evoke an emotion, an impression, a sensation, a mood or a physical or mental state. Compositions and sceneries are repainted endlessly, with gestural variations in colour, size and through imperfections. In doing so, Simon tries to unearth the trace of an emotion in the simplest and most stripped way.<\/p>\n<p>L21 Residency<br \/>\nArxiduc Llu\u00eds Salvador, 100<br \/>\n07004 Palma<br \/>\nIslas Baleares, Spain<\/p>\n<p><a href=\"https:\/\/www.l21gallery.com\/\" target=\"_blank\" rel=\"noopener\">WEB<\/a>\u00a0 \u00a0 \u00a0<a href=\"https:\/\/www.instagram.com\/l21gallery\/\" target=\"_blank\" rel=\"noopener\">INSTAGRAM<\/a>\u00a0 \u00a0 \u00a0<a href=\"https:\/\/www.facebook.com\/l21gallery\" target=\"_blank\" rel=\"noopener\">FACEBOOK<\/a>\u00a0 \u00a0 \u00a0<a href=\"https:\/\/www.youtube.com\/@l21gallery77\" target=\"_blank\" rel=\"noopener\">Youtube<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-30179","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/30179","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=30179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=30179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}