Every week, inside the exhibition space, Camille Dufour and Rafaël Klepfisch will print one hundred copies of a new engraving from their series Les 7 péchés du capitalisme.
The spectator is invited to take these original prints and display them in the city. Each sin is made up of two engravings, one visual, and the other textual. The first invites contemplation. The second is to be completed by passers-by. By placing the two prints in public spaces, such as bus shelters, walls and corridors of train stations, Camille Dufour and Rafaël Klepfisch attempt to put the work in contact with different audiences, and go beyond the museum space, allowing the engravings to play their role of resistance.
Referring to the news posted during times of social unrest while attempting to infringe on dominant images, the engravings are an invitation to look differently.
The project of Les 7 péchés du capitalisme rekindles with the origins of engraving as a means of reproduction and popular communication, hence as a democratic art.
Camille Dufour and Rafaël Klepfisch started displaying the Les 7 péchés du capitalisme in the streets of Brussels in October 2019. Ilan Weiss discovered the project and suggested that the artists think about a return to museum space in Ilan Weiss’ gallery, Pinguin Space in Brussels.
This first curation prefigures the new exhibition presented as part of BIP2020.
Parallel to his work as a curator, Ilan Weiss (Mexico City, 1982) is also a photographer (he has notably developed a singular printing technique that leads photographic prints to pictorial renderings) and teaches at the Ecole Supérieure des Arts de Saint-Luc in Brussels.
In 2018, Ilan Weiss created an artist-run space in Brussels, Pinguin Space, in which he exhibits artists with multidisciplinary approaches. His focus is on innovative methods, where the image is explored in all its aspects, right down to the most unexpected.