Julie Senden, director of Rodolphe Janssen on the Fosbury & Sons Boitsfort collaboration.
When Julie Senden was invited to a dinner at the Fosbury & Sons Boitsfort location months before it opened – when it had been gutted, and was not yet furnished with a new interior design – an idea started to brew.
The lobby’s high ceilings seemed ideal to display art, and, as the newly minted director of the Brussels gallery rodolphe janssen, Julie had collaboration on her mind. The result is the placement of three works by Marcel Berlanger, a Brussels-based artist – in the future, there will be a changing selection of works by other artists represented by rodolphe janssen. When visiting or working at Boitsfort, make sure to appreciate these interesting artists’ work in close proximity.
Marcel Berlanger, Tapisserie Bruxelloise, 2016
Courtesy: rodolphe janssen, Brussels
Image: Jeroen Verrecht
Here, Julie talks about the gallery, the art, and why Fosbury & Sons proved a great partner.
FoS: How would you describe the art that rodolphe janssen represents?
Julie Senden: “We aim to represent contemporary, living artists that work in a variety of media – from painting to performance. Most of them are from Europe and North America, but it’s difficult to pinpoint one common denominator. They are all closely connected to the gallery and are young or mid-career artists.”
FoS: Can you tell us a bit more on Marcel Berlanger, the artist who’s work is at Fosbury & Sons Boitsfort?
Julie Senden: “Three of his works can be found in the entrance hall. They are quite sizeable works, large-scale works that suit the space. His works are painted, but on sheets of fiberglass. The interesting thing is that his work looks very detailed, but upon closer inspection, they are not. Each image consists of tiny squares of abstracted forms next to each other.”
FoS: How do you see art as adding value to such a shared space as this?
Julie Senden: “That’s a short question, which requires a long answer! (laughs) I think art fills different roles for different people. For those who are attentive to it, there’s the possibility of engaging with the art. For those who are less interested, the art doesn’t disturb, either. Placing these works in a co-working space like this one, that values a feeling of familiarity and domesticity, is interesting, as opposed to showing art in a white cube space. This is a place where people live and work: we’re part of the scene but we’re not trying to impose.”