1956 · Belgium
Galleries and Exhibitions
Michel François' work is available on display in 9 galleries around the globe, such as in Belgium, the United Kingdom, and Italy. Galleries exhibiting Michel François' work include Thomas Dane Gallery and Kamel Mennour | London in the United Kingdom, and Galerie Xavier Hufkens in Belgium. Michel François' work has most recently been displayed during the exhibition Mask at Kamel Mennour | London in the United Kingdom. The exhibition was open from 28 June 2018 until 28 July 2018. Michel François' other most recent exhibitions listed on Artland include the exhibitions at; Galerie Xavier Hufkens in Brussels (09 March 2020 - 24 April 2020) with the name Solo exhibition and Alfonso Artiaco in Naples (14 September 2018 - 20 October 2018) with the name Michel François. Michel François' first recorded exhibition in Artland's database was called Une Hétérotopie and took place at carlier | gebauer in Berlin, Germany from the 09 June 2018 to 15 September 2018.
Historical Context of Belgium
Throughout the 1930s, Belgian art was to play a integral role in Surrealism, particularly through the work of Rene Magritte and Paul Delvaux. Other significant Belgian artists of the twentieth century include Marcel Broodthaers, Wim Delvoye, Francis Alys and Luc Tuymans. In the late nineteenth century, as the period of the avant-garde in Europe began, the Belgian capital of Brussels was an important hub for the Art Nouveau movement, which included the architect Victor Horta amongst its founders. The Symbolist movement was also an important artistic trend that was greatly influenced by Belgian artists. Key practitioners of this important early precursor to Surrealism include Léon Spilliaert, Jean Delville, Fernand Khnopff and James Ensor.
Further Biographical Context for Michel François
Michel François was born in 1956 and was largely inspired creatively by the 1970s growing up. The 1970s were a period of consolidation and progress in the arts, most often characterised as a response to the central tensions of the preceding decade. Conceptual art emerged as a influential movement, and was in part an evolution of and response to minimalism. Land Art took the artwork into the expansive outdoors, taking creative production away from commodities and engaging with the earliest ideas of environmentalism. Process art combined elements of conceptualism with other formal considerations, creating esoteric and experimental bodies of work. Expressive figurative painting began to regain importance for the first time since the decline of Abstract Expressionism twenty years prior, especially in Germany where Gerhard Richter, Anselm Kiefer, Georg Baselitz became highly renowned figures worldwide. New York maintained an prominent position in the international art world, ensuring that global artists continued to gravitate to the galleries, bars and downtown scene in the city. International movements gained importance included feminism, which translated strongly into the visual culture, and photorealism which had begun in the 1960s and enjoyed significant commercial and critical success. For the first time painters and sculptors from Latin America were embraced by the leading critical and institutional levers in New York.