Peter Buggenhout

PERMANENT INSTALLATIONS

The Blind Leading The Blind (MONA piece), MONA, Hobart, Tasmania

Hollow Man, collaboration with Willem Boel, Migratie Museum Migration, Brussels
 

SELECTED SOLO EXHIBITIONS
 

2023 

The Ever Changing Repetition, Konrad Fischer Galerie, Berlin
 

2022

Holtermann Fine Art, London, UK
 

2021

Kunstmuseum Reutlingen, Reutlingen, Germany

Bernier/ Eliades Gallery, Athens, Greece
 

2020

Galeria Hilario Galguera, San Rafael, Mexico

Galerie Laurent Godin, Paris

… use menace, use prayer … (part II) Axel Vervoordt Gallery
 

2019

… use menace, use prayer … (part I) Konrad Fischer Galerie Düsseldorf
 

2018

Los Ciegos Guiando a los Ciegos, Museo de la Ciudad de Queretaro, Mexico

On Hold #6. om situ 39 Great Jones Street, New York

Temporalizing Temporality.  Peter Buggenhut & Marie Cloquet, Jason Hamm Gallery, Seoul
 

2017

Peter Buggenhout. Kein Schatten im Paradies, Neues Museum Nürnberg

Pas éléphant, Galerie Laurent Godin, Paris

The Blind Leading the Blind, Palazzo De'Toschi, Bologna
 

2016

Peter Buggenhout, Museum Zu Allerheiligen, Schaffhausen
 

2015

Für Alle und Keinen, Konrad Fischer Galerie, Berlin

Peter Buggenhout, Bonnefantenmuseum, Maastricht

Peter Buggenhout, Museum M, Leuven
 

2014

Gorgo – Peter Buggenhout, Musée de la Chasse et de la Nature, Paris

Peter Buggenhout, Centre International d'Art & du Paysage, Ile de Vassiviére

Caterpillar Logic II, Gladstone Gallery, New York
 

2013

The Blind Leading The Blind, Palais de Tokyo, Paris

Ni chair, ni poisson, Galerie Laurent Godin, Paris
 

2012

de-titled, Konrad Fischer Galerie, Düsseldorf
 

2011

Shape Of Things To Come, Saatchi Gallery, London

Ongewerveld, De Pont Museum, Tilburg

Contes Invertébrés, Galerie Laurent Godin, Paris
 

2010

Caterpillar Logic, Kunstraum Dornbirn

It's a strange, strange world, Sally, La Maison Rouge, Paris

The Broccoli Cycle 1, Konrad Fischer Galerie, Berlin
 

2009

Peter Buggenhout, Konrad Fischer Galerie, Düsseldorf

The Blind Leading the Blind, Herzliya Museum of Contemporary Art, Herzliya

Peter Buggenhout, Museum Dhondt - Dhaenens, Deurle, Belgium
 

2008

Res Derelictae II, Gallery Maskara, Mumbai

The Blind Leading the Blind #26, Saatchi Gallery, London
 

2007

Individual presentation, new works acquired by the Flemish Community, S.M.A.K., Ghent
 

2006

De Res Derelictae, Objects owned by nobody, De Garage, Mechelen
 

2005

Peter Buggenhout, Gallery Richard Foncke, Ghent
 

2002

Wolken zijn geen bollen/ Clouds are no spheres, De Brakke Grond, Amsterdam
 

2001

Pati Natae – Darmsculpturen/ Intestine Sculptures, S. Cole Gallery, Ghent
 

2000

Eskimo Blues, Kunstvereniging / Art society Diepenheim

Peter Buggenhout, No solution at the moment, De Bond, Bruges
 

1998

Tweeluik '98, Campo-Santo, Sint-Amandsberg
 

1997

Darmsculpturen/ Intestine sculptures, Huize St.-Jacobus, Ghent
 

1996

The unlogical proposition. Drawings by Peter Buggenhout, Het Kunsthuis, Ostend
 

1995

The unlogical Proposition, Vereniging voor het Museum van Hedendaagse Kunst, Ghent
 

1994

Peter Buggenhout, Gallery De Oorzaak & Zn, Turnhout
 

1991

Peter Buggenhout, Gallery Fortlaan 17, Ghent
 

1990

Paintings, Gallery Fortlaan 17, Ghent
 

1989

Peter Buggenhout, International Cultural Centrum - ICC, Antwerp
 

1988

Recent paintings, Gallery William Wauters, Oosteeklo
 

1987

Paintings and drawings, Community House, Hamme

Works on paper, Gallery William Wauters, Oosteeklo

SELECTED GROUP EXHIBITIONS
 

2022

Die Wirklichkeit ist sowieso da, Weltkunstzimmer, Düsseldorf 
 

2021

Bienanale Kunst in de Heilige Driehoek, Oosterhour, Netherlands

Kunstenfestival Watou, Watou, Belgium

Innuendo, Istanbul, Turkey
 

2020

Galerie Laurent Godin, Re-ouverture, Paris, France

Fondation Villa Datris pour la sculpture contemporaine, Recyclage-Surcyclage, L’Isle-sur-la-Sorgue, France

Museum De Domijnen Sittard, Schoonheid En Verval, Sittard, The Netherlands

W.I.E.L.S. Brussels, Risquons-Tout, Brussels, Belgium
 

2019

Infinitive Mutability, Axel Vervoordt Gallery, Hong Kong

'Group Shouw'. Jason Hamm Gallery, Seoul

Gigantisme, FRAC Grand Large, Dunkerque

Genesis, L.A.C. Lieu d'Art Contemporain, Narbonne

Souvenirs de voyage. La collection Antoine De Galbert, Musee de Grenoble
 

2018

Het Vlot-Kunst is (niet) eenyaam, Mu.Zee, Ostend

I-Object, Old courthouse, Ghent

Always Different, Always the Same, Bünder Kunstmuseum, Chur

Reichtum. Schwary ist Gold / Wealth. Black is Gold, Lehmbruck Museum, Duisburg

The Fragrance of Images - Works of the collection olorVISUAL from Barcelona, travelling exhibition

Presentation des Collections Contemporaines, Centre Pompidou, Paris

Color-Blocking, Konrad Fischer Galerie, Berlin
 

2017

Wirikuta. Mexican Time-Slip, Museo Espacio, Aguascalientes

50 Years of Konrad Fischer Galerie 1967-2017, Konrad Fischer Galerie, Düsseldorf

Inextricabilia - Enchevetrements magiques, La Maison Rouge, Paris

Ecce Homo, Geukens & De Vil Gallery, Antwerp

Elbphilharmonie Revisited, Deichtorhallen, Hamburg

Bizarre Spaces. Attacks, Transformations, Explosions, Marta Herford, Herford

On Site, Petit Palas, FAIC, Paris
 

2016

10 Years Anniversary Exhibition - Part II, Gallery Laurent Godin, New Space, Paris

Capital: Debt-Territory-Utopia, Hamburher Bahnhof, Berlin

Peter Buggenhout - Marilous Van Lierop, Crepain House, Antwerp

WITH A TOUCH OF PINK - WITH A BIT OF VIOLET - WITH A HINT OF GREEN - Dorothee Fischer in memoriam, Konrad Fischer Galerie, Düsseldorf

Peter Buggenhout and Didier Vermeiren, Marion De Canniere Artspace, Antwerp

Non figuratif, un regain d'interet?, Abbaye Saint-Andre, Centre d'art Contemporain, Meymac

Streamlines, Deichtorhallen, Hamburg
 

2015

I Belgi – Barbari et Poeti, Espace Vanderborgh, Brussels

Substance, Galerie Laurent Godin, Paris

I Belgi – Barbari e Poeti, MACRO, Rome

Vormidable, Museum Beelden aan Zee, The Hague

Triennial Bruges, Bruges
 

2014

Inside, Palais de Tokyo, Paris

The Divided Body, Predikherenkerk, Leuven

The Promise of Melancholy and Ecology, Fondazione Giuliani, Rome

Expo 1, Museu de Arte Moderna, Rio de Janeiro

The Great Acceleration - Taipei Biennal 2014, Taipei Fine Arts Museum, Taipei

Sculpture Unchaperoned, Galerie Elisabeth & Klaus Thoman, Vienna

Capita Selecta, Broelmuseum, KortrijkVom Dasein & Sosein, Skulptur, Objekt & Bühe, Frankfurter Kunstverein, Frankfurt am Main

Distant Proximity, Centrale, Brussels
 

2013

Passages, Recyclart, Brussels

Artzuid 2013 - International Sculpture Biennal, Amsterdam

EXPO 1: New York, MOMA PS1, New York

Slow Burn, Stichting Fundament, Tilburg

L’arbre de vie, le collège des Bernardins, Paris

Time Space Poker Face, Be-Part, Waregem

Accelerating toward Apocalypse, Daimler Art Collection, Berlin

Monuments, Schloss Sihlberg, Zurich
 

2012

Scripture, De Bond, Bruges

BIOS - Konzepte des Lebens in der zeitgenössischen Skulptur, Georg Kolbe Museum, Berlin

Champ d'expériences, Centre International d'art, Ile de Vassivière, France

Track, S.M.A.K., Ghent

Paris Triennale, Palais de Tokyo, Paris

Accelerating toward Apocalypse, Givon Art Forum, Tel Aviv

Curators’ series #5. Bouvard and Pécuchet’s compedious quest for Beauty, David Roberts Foundation, London

The Spirit Level, Barbara Gladstone Gallery, New York

Le silence - une fiction, Nouveau Musée National de Monaco
 

2011

Ainsi soit-il, Musée des Beaux Arts Lyon

The Second Strike, Herzliya Biennial, Herzliya

From Trash to Treasure, Kunsthalle KielThe Shape of Things to Come, Saatchi Gallery, London

TRA - The Edge of Becoming, Palazzo Fortuny, Venice

Inauguration show, MONA, Hobart, Tasmania

Über die Metapher des Wachstums, travelling exhibition: Frankfurter Kunstverein; Kunstverein Hannover; Kunsthaus Baselland

Flemish Masters - That's Life, Andrea Rosen Gallery, New York
 

2010

Signs of Life, Kunstmuseum Luzern, Lucerne

Christmas Show, Galerie Laurent Godin, Paris

Voyage dans ma tête, La Maison Rouge, ParisWhen will they finally see - the power of drawing, Geukens & De Vil, Antwerp

Xanadu, S.M.A.K., Ghent

Between the Sacred and The Profane, CIAP, Hasselt
 

2009

In-finitum, Palazzo Fortuny, Venice

time, Konrad Fischer Galerie, Düsseldorf

Tracking Traces, KIASMA, Helsinki

Wade Guyton / Peter Buggenhout / Francesco Gennari, Museum Dhondt-Dhaenens, Deurle

Amit Berlowitz, Peter Buggenhout, Tsibi Geva, Ariel Kleiner, Volker Maerz, Steve

McQueen, Oscar Muñoz, Michal Shamir, Herzliya Museum of Contemporary Art, Herzliya
 

2008

Herzliya Biennial 2008, Herzliya

Belgier- Aktuelle Kunst aus Belgien, Figge von Rosen Galerie, Cologne

Qui es-tu, Académie des Beaux-Arts, Paris

Trends 08, Sint Barbara College, Ghent

The Aerials Of Sublime Transscapes, Lokaal 01, Breda

Die Hände der Kunst, Marta Herford

The Hands of Art, S.M.A.K., Ghent
 

2007

New Collection, Municipal Museum Wuyts Van Campen & Baroly, Lier

Paulo Post Futurum 25 years, Lokaal 01, Breda

Vitrti, De Kunstkas, Kemzeke

Artempo, Palazzo Fortuny, Venice

De Schoonheid en de Waanzin/ Beauty and Insanity, cultuurcentrum Brugge, Bruges

Mutatis Mutandis (collection Antoine De Galbert), La Maison Rouge, ParisDrawed, Rectangular Room, Sint Niklaas
 

2006

Gorge(l). Oppression and relief in Art, Koninklijk Museum voor Schone Kunsten, Antwerp

La belleza y la locura/ Beauty and Insanity, Felipe I el Hermoso, Rey de Castilla, Duque de Borgoña, Burgos

Images 2006, Estate Anningahof, Zwolle

Dots, Vierkante Zaal Academie, Sint Niklaas

Déjeuner sur l'herbe, Vlaamse Ardennen, Brakel

BeTekenII, Drawing art, Cultural Centrum Hassel

Ademen en Verstikken, Museum voor Schone Kunsten, Antwerp
 

2005

Soul, Groot Seminarie, Bruges

Watou/ Over the Border, Summer of Poetry, Watou

The Blind Leading the Blind, Lokaal 01, Antwerp

Visionary Belgium, BOZAR, Brussels
 

2004

Vanitas, IKOB, Eupen

Trends04, Sint Barbara College, Ghent

Peter Buggenhout, HAL23, SA Ateliers de Constructions Electriques de Charleroi, Ghent
 

2003

Art / Life, Gallery Cartwright, Ghent

Metamorphosis, De Schrijnwerkerij, Geel, Belgium

Grand Tour, Museum voor Schone Kunsten, Ghent
 

2002

Zinnebeeldig. 7 symbolen in cultureel erfgoed en hedendaagse kunst: een confrontatie, Provinciaal Kultuurcentrum Caermersklooster, Ghent

Station2Station. Vlaanderen & Brussel, Benzinestations, Brussels

Inside Drawing, Galerie Nouvelles Images, The HagueMetamorphosis, Lieu d'Art Contemporain, Sigean

Empty Space/ Blind Spot, Gallery Empty Space, Ghent
 

2001

Gebroed. Dubbelshow Peter Buggenhout and Berlinde De Bruyckere, de Brakke Grond, Amsterdam

Secret Gardens, artmanifestation in Gardens, Village and environment of castle Oud-Rekem

Versus. Contemporary Art and Music, several venues, Oudenaarde

Something is rotten in the state of Europe, Lokaal 01, Antwerp

Metamorphosis. Peter Buggenhout, Berlinde De Bruyckere, Peter De Cupere, Johan

Tahon, Academia Belgica, Rome
 

2000

Metamorphosis. Peter Buggenhout, Berlinde De Bruyckere, Peter De Cupere, Johan Tahon, Galleria d'Arte Moderna e Contemporaneo, San Gimignano

Darmsculpturen / Soft parts. Intestine sculptures by Peter Buggenhout in confrontation with Westafrican Vodunsculptures, Galerie CD, Tielt

Kunst voor kunst/ Art for art's sake, Oude Abdij, Drongen

Children's play. Kindertekeningen actuele kunst, different venues, Waarschoot

Everything needs time...., Thelma Hulbert Gallery, Honiton, United Kingdom
 

1999

De wereld volgens.../ The world according to ..., Stichting Odapark, Venray

Jan Fabre and Peter Buggenhout, Galerie CD, Tielt

Berlinde De Bruyckere Peter Buggenhout, CIAP, Hasselt

Young art of Flanders. Irony & Transitoriness, Cultural Centrum De Werf, Aalst

Art isn't food, about collections and collecting art, De Warande, Turnhout
 

1998

Loplop /re/presents: Back to Basics, Cultureelcentrum, Sint Pieters Abdij, Ghent

The Future Tradition. Peter Buggenhout - Awakening from tormented dreams, Lokaal 01, Breda

Tussenin / In-between, Museum Dhondt-Dhaenens, Deurle

Trends '98. 50 contemporary artists, Sint Barbara college, Ghent
 

1997

Loplop /re/presents: The im/pulse to see, Museum Boymans Van Beuningen, Rotterdam

Straatlopers/ Contemporary art in the Ghent quarter of parrots, Ghent

Multiples, De Slijperij, ruimte voor beeldende kunst, Geel
 

1995

Materia - Scultura, EXMA Centro d'Arte e Cultura, Cagliari

(Cross)roads, Vrije Universiteit Brussel, Brussels

Discours-Metis, Vrije Universiteit Brussel, Brussels

Infections, Park Wolfslaar, Breda
 

1994

Art Neighbourhood Space. Contemporary artists exhibit at different venues, Prinsenhof, Ghent

Sculpturen - Sculptures, Felix Happark, Brussels
 

1993

25ème Festival international de la peinture. Cinquième rétrospective (1989-1992), Château Musée Grimaldi, Cagnes-sur-Mer
 

1992

Modernism in Painting. Ten years of painting in Flanders. Provinciaal Museum voor Moderne Kunst, Ostend

Symposium 92/94. Ten artists in hotel Navarra, Navarra Hotel, Bruges
 

1991

23ème Festival international de la peinture, Château Musée Grimaldi, Cagnes-sur-Mer
 

1990

Summeraccumulation, Gallery Fortlaan 17, Ghent

Berlinde De Bruyckere - Reflecting on Confinement and Death & Peter Buggenhout -Drawings on Plastic and Glass, Museum Dhondt-Dhaenens, Deurle

Sommeratelier. Junge Kunst in Europa, Deutsche Messe, Hannover
 

1988

125 years Sint Lucas, Sint Lucas School of Arts, Ghent

Affinities, Peter Buggenhout, Berlinde De Bruyckere, Mario De Brabandere, Bogardenkapel, Bruges
 

1987

3 young artists from Ghent, Mario De Brabandere - Berlinde De Bruyckere - Peter Buggenhout, Gallery Fred Lanzenberg, Brussels

Kunstexpo - 7nd edition. Sint Lucas School of Arts, Ghent

Peter Buggenhout - Untitled, Art Gallery Vierhuizen, Netherlands
 

1986

Antichambre. Entartete Kunst. Ex Factory, Alsberghe van Oost, Ghent

Berlinde De Bruyckere / Peter Buggenhout, Volvo Cars Europe, Ghent
 

1984

Palmares Gaverprijs, Cultureelcentrum De Schakel, Waregem

2023

Erotism, DISTANZ; Konrad Fischer Galerie

2017

No shades in Paradies, Koenig Books Ltd at the Serpentine Gallery

2015

Peter Buggenhout: We did if before, we will do it again, Paris: Éditions de l’Amateur

Herman Melville, Peter Buggenhout presents Moby Dick: Edition Ex Libris 

2010

Peter Buggenhout, Caterpillar Logic, Dornbirn: Kunstraum Dornbirn

It’s a strange, strange world, Sally – Peter Buggenhout, Belgium: Lannoo

2006

Sincerely, A friend — Peter Buggenhout, Mechelen: Cultuurcentrum Mechelen

2002

Van der meiren, Jean-Pierre; Bex, Florent, Zinnebeeldig : 7 symbolen in cultureel erfgoed en hedendaagse kunst: een confrontatie?, Ghent

2001

Nollet, Lieven, Ateliers d’artistes, Antwerp: Pandora

J. Pas, E. Doove, Wolken zijn geen bollen : Peter Buggenhout. Amsterdam: de Brakke Grond

2000

Kinderspel, kindertekeningen - actuele kunst. Texts by Academie voor Schone Kunsten, Waarschoot

Metamorphosis : Peter Buggenhout / Berlinde De Bruyckere / Peter De Cupere / Johan Tahon. Ruiselede: Phidias

1999

De wereld volgens... België. Deel 1 . België : Een verkenning langs de Europese grenzen op het terrein van de hedendaagse beeldende kunst. Venray: Stichting Odapark -

Peter Buggenhout: Op het ogenblik geen oplossing (monograph), Bruges: Cultuurcentrum Brugge

1998

Bismuth, Pierre, Tussenin/in-between, Deurle: Museum Dhondt-Dhaenens

Berlinde De Bruyckere / Peter Buggenhout, Trends ‘98 : Kunst maakt School. Ghent: Roegiers, Christine

1997

Straatlopers : Actuele kunst in de Gentse Papegaaiwijk. Ghent: Werkgroep ‘Kunstproject 97’

1996

Materia – Scultura, Cagliari: Exma - Centro d’Arte e cultura

1995

Van Den Dorpe, Willy, Discours – Metis, Brussels: Van den Dorpe, Willy

Infections 7.5 - 9.7’95 : Wolfslaar Breda. Temporary art outside. Breda: Stichting Fundament

1994:

Beeld in park : Hedendaagse beeldende kunst ‘in situ’ / Les Arts plastiques contemporain ‘in situ’. Brussels: Jacques Vantomme

Symposium 92/94 : Tien kunstenaars in hotel Navarra, Bruges: Hotel Navarra

1993

Invasie / Invasion.

25ème Festival international de la peinture, Cagnes-sur-Mer: Château Musée Grimaldi

1992

Modernism in Painting: 10 Jaar Schilderkunst in Vlaanderen, Bruges: Stichting Kunstboek

Synergie ‘92: Jonge kunst uit het Gentse. Ghent: Vereniging voor het Museum van Hedendaagse Kunst

1991

23ème Festival international de la peinture, Cagnes-sur-Mer: Château Musée Grimaldi

1990

Berlinde De Bruyckere - Reflecting on confinement and Death / Peter Buggenhout - Drawings on plastic and glass. Deurle: Museum Dhondt-Dhaenens

Peter Buggenhout, Gent: Galerie Fortlaan 17

Sommeratelier: Junge Kunst in Europa, Munich: Klinkhardt & Biermann

1986

Antichambre. Ghent: Antichambre
Infections 7.5 - 9.7’95 : Wolfslaar Breda. Temporary art outside. Breda: Stichting Fundament

1994

Beeld in park : Hedendaagse beeldende kunst ‘in situ’ / Les Arts plastiques contemporain ‘in situ’. Brussels: Jacques Vantomme

Symposium 92/94 : Tien kunstenaars in hotel Navarra, Bruges: Hotel Navarra

1993

Invasie / Invasion.

25ème Festival international de la peinture, Cagnes-sur-Mer: Château Musée Grimaldi

1992

Modernism in Painting: 10 Jaar Schilderkunst in Vlaanderen, Bruges: Stichting Kunstboek

Synergie ‘92: Jonge kunst uit het Gentse. Ghent: Vereniging voor het Museum van Hedendaagse Kunst

1991

23ème Festival international de la peinture, Cagnes-sur-Mer: Château Musée Grimaldi

1990

Berlinde De Bruyckere - Reflecting on confinement and Death / Peter Buggenhout - Drawings on plastic and glass. Deurle: Museum Dhondt-Dhaenens

Peter Buggenhout, Gent: Galerie Fortlaan 17

Sommeratelier: Junge Kunst in Europa, Munich: Klinkhardt & Biermann

1986

Antichambre. Ghent: Antichambre

Die WELT
01.09.2012
Es liegt was in der Luft am Rhein
von Alexandra Wach

Der belgische Bildhauer Peter Buggenhout bekommt bei Konrad Fischer in der Platanenstraße die Gelegenheit, für apokalyptische Schauer zu sorgen - üble Düfte inklusive. Seine Objekte aus Abfall, Haaren, Staub, Tierblut und Eingeweiden lassen niemanden gleichgültig. Sie erinnern an Relikte eines Bombenangriffs. Zu den Höhepunkten dürften das mühsam fixierte Hausstaubgebilde aus der Serie "The Blind Leading the Blind" gehören, eine Hommage an Pieter Bruegel den Älteren.(Auszug)

art - Das Kunstmagazin
SCHNITZELJAGD DURCH DIE STADT

Favelas, beerdigte Museen, umbauter Glockenturm. Ein faszinierender Parcours durch die belgische Stadt Gent führt zu Kunst an überaschenden Plätzen abseits der bekannten Touristenschauplätze. In einem der Kunstwerke lässt sich sogar spektakulär übernachten.
von KERSTIN SCHWEIGHÖFER

"TRACK" ist eine fesselnde Ausstellung – inspirierend, faszinierend, sie wird kaum jemanden unberührt lassen. Es bedarf lediglich Ausdauer, Entdeckerlust und sportlichen Ehrgeizes auf dem Fahrradsattel.Denn die Schau folgt der Tradition der "Chambres d’Amis" von 1986, jener legendären Schau, die Jan Hoet, damals Kurator am S.M.A.K, dem Genter Museum für zeitgenössische Kunst, in den Wohnzimmern seiner Mitbürger stattfinden ließ, und die im Sommer 2000 mit "Over the Edges" eine erste Fortsetzung erlebte: Diese Ausstellung zeigte Kunst im öffentlichen Raum, an überraschenden Plätzen.Das ist nun zwölf Jahre später wieder der Fall: Die Kuratoren Mirjam Varadinis vom Kunsthaus Zürich und Philippe Van Cauteren, Direktor des Genter S.M.A.K., haben rund 40 internationale Künstler ausgewählt, die kreuz und quer in der Stadt ihre Werke zeigen – in Parks und Klostergärten, an Fassaden und Türmen, im Wasser oder in verlassenen Stadtpalästen. Angefangen beim Sint-Pieters-Bahnhof im Süden bis ganz hinauf zum Verbindungskanal im Norden, wo der Belgier Peter Buggenhout in einer verlassenen Boxschule Verpackungsmaterial, Bretter, Blech, Rohre, Wohnwagen- und Schwimmbadteile zu einem fast zehn Meter hohen Ungetüm aufgetürmt hat. Es strahlt eine gefährliche Schönheit aus und droht, den Besucher in sich aufzusaugen. (Auszug)

New York Times, Art & Design13.04.2012Tapping Psychic Undercurrents - The Spirit Level, Group show at Gladstone Gallery, Chelseaby Karen Rosenberg(...) Peter Buggenhout’s hulking sculptures of scrap metals and plastics, covered with a dense moss that turns out to be household dust. They’re repulsive yet tantalizingly tactile, like Chamberlains caught up in a giant vacuum bag. (...)//////////////////////////////////////////////////////////Kunstraum Dornbirn, AustriaPeter Buggenhout, caterpillar logichttp://www.youtube.com/watch?v=ST6jOfslEvgPeter Buggenhout im Gespräch mit der Kuratorin Barbara Martin03.09.2010 -Für seine aktuelle Ausstellung „carterpillar logic“ im Kunstraum Dornbirn – die erste Präsentation in Österreich – entwickelt Buggenhout eine auf eigene Weise erfahrbare In-Situ Installation.Peter Buggenhout, einer der bedeutendsten Künstler der belgischen Szene, findet Analogien und Weltenbilder zu Prozessen der Transformation. Abfallprodukte und organische Materialien wie Staub, gefundene Objekte, Haare, Tierblut oder Eingeweide übersetzt Buggenhout in zeitgenössische Skulptur. Mit einer experimentellen Produktionsweise greift er die immanente Wandelbarkeit von Gegenständen und zyklische Strukturen der Natur auf, die er sich zu Eigen macht.Für seine aktuelle Ausstellung „carterpillar logic“ im Kunstraum Dornbirn – die erste Präsentation in Österreich – entwickelt Buggenhout eine auf eigene Weise erfahrbare In-Situ Installation. Eine organische, scheinbar schwebende Skulptur utopisch anmutender Dimension dringt in eine verborgene Sphäre vor, die für den Betrachter auf verschiedenen Ebenen der Wahrnehmung erfahrbar wird. /////////////////////////////////////////////////////////////////La Maison Rouge. Fondation Antoine de Galbert, Parishttp://www.lamaisonrouge.org/peter buggenhout, it’s a strange, strange world, Sally12 June - 26 September 2010After the first showing in Paris of a work by Peter Buggenhout (b. 1963 in Belgium) for the Mutatis Mutandis exhibition in 2007, la maison rouge now presents the artist’s first solo show in France. Peter Buggenhout transforms discarded material, reclaimed objects and organic residues into sculptures. Both repelling and compelling, these autonomous, solitary, indefinable shapes are as much miniature universes as they are parts of a fantasy macrocosm. They are the "archaeological finds of the future." An important group of works gives insight into the artist’s singular world. Amorphous and escaping classification, three categories of sculpture are represented: those covered in dust (The Blind Leading the Blind) with four large works, an astonishing in situ installation of dust in a 120 sq m/ 1,300 sq ft room, and works impregnated with animal blood (Gorgo) or made from entrails.Catalogue "It’s a Strange, Strange World, Sally," a 216-page hardback monograph in French, English and Dutch, with texts by Sofie van Loo, Michael Amy, Hans Theys, Thomas Rieger and Peter Buggenhout, was published in April 2010 by Éditions Lannoo./////////////////////////////////////////////////////////////////////

Sculpture Magazine, June 2009, Vol.28, No.5
Seizing the Chaos of Life:
A Conversation with Peter Buggenhout (excerpt)
by Michaël Amy
Peter Buggenhout’s large, abstract sculptures force us to re-think the nature of art. They engage with the abject, with formlessness and chaos, preferring a jumbled reality to the order of symbolic systems. Covered with sometimes disturbing organic materials or dust, his works grow from a process of accretion; they are about transformation and, elliptically, about the messiness of life. Carefully planned installations built up of construction materials may resemble cheap structures ripped apart by hurricanes, while sculptural objects recall unknown machines covered in grime or heaps of dust-caked refuse. These works have something of ’50s Art Informel or ’60s post-Minimalism, but with a twist. Buggenhout upsets the status quo. This interview was conducted in Ghent in April 2008, at Buggenhout’s home and studio, which he shares with his wife, sculptor Berlinde de Bruyckere, and their two young sons.
Michaël Amy: What is your work about?
Peter Buggenhout: My goal is to achieve analogies for how I feel our world functions. Imagine yourself on the train, entering Brussels, passing behind all those old houses that have been completely transformed over time. New parts have been added to them, old parts have been torn down, a gabled roof has made way for a flat roof, windows with wood frames have been replaced by windows with plastic frames, and the design of the glass panes has changed. Some window and door embrasures have been sealed shut. New owners have modified these buildings in unforeseeable ways. The same is true of the room we are standing in, which has become my studio. It has gone through a great many changes since it was built over a century ago. It first served as the gym of a Catholic boys’ school. Then, the Neo-Gothic structure was transformed into a puppet theater. Next, it became a neighborhood movie theater, and then, 20 years ago, it became my studio. The space bears the marks of all of these changes. No one knows what transformation it will undergo next. Or take the sea: it washes over the shore, leaves something behind, rolls over the shore again and again, and gradually builds up a beach. Or this conversation: we jump from one point to another. A conversation is unpredictable—it’s chaotic, one has no overview. I am likewise inspired by my working-class neighborhood, where everything is in a state of flux. The flux of reality is one of the principal subjects of my work.
I did not start out with this view. Instead, I discovered my subject once I had produced quite a bit of sculpture.
I studied mathematics. Math uses the language of symbols. Images of things—which are, therefore, symbols for things—fail to seize the totality. That’s why I use analogy. Analogy stands so much closer to reality. My work does not include the least bit of symbolism. It is completely abstract. When we look at an image, we instinctively aim to recognize something in it. My sculptures do not escape this entirely natural impulse on the part of the beholder. However, each sculpture is built up in such a way that any impression one has of a reference is dismantled as one walks around it. After you have finished walking around one of my sculptures, you cannot help but conclude that it resembles nothing other than itself. The materials that I use are all abject—dust, stomachs, innards, blood, and hair. They lose their form and meaning when they are removed from their original context. Once this happens, they become repellent. The act of reading symbols, which is ingrained in all of us, makes us overlook the actual appearance of the object. By dismantling this tendency to work with symbols, I bring the viewer back to the object itself, and to its inherent qualities, which are bypassed by symbolism. That is why I work with abject materials. Bataille said that the abject was invented in order to declassify things. One declassifies by ignoring symbolism.
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Res derelictae II at Warehouse, Mumbai
reviewed by Tara Kilachland
posted on livemint.com on Jul 18, 2008
Were you to mistake his sculptures for junk, Peter Buggenhout wouldn't necessarily be offended. Coated in layers of dust so wondrously thick and layered, his works, careful compositions of discarded material, are indistinguishable from weathered debris you're likely to find rotting in a shipyard. In a sense, your confusion, and maybe even repulsion, would mean that the Belgian artist had accomplished his goal. "My main intention is to declassify thing," he says, standing amid his furry installations, currently showing at Warehouse on 3rd Pasta in Colaba, Mumbai. 
A work from Buggenhout's The Blind leading the Blind series Buggenhout's sculptures are not easy to view. For one, they are monstrous looking, great crumbling relics that would seem more appropriate placed in an archaeological museum, a long-hunted tomb perhaps only just excavated. For another, they escape symbolic projections-metaphors for lost things and moral decay are futile, and not a little bit silly. They are in essence exactly what they are (dust sculptures) or as Buggenhout puts it, "The only conclusion you reach is that the thing you see is the thing you see." 
It is perhaps apt then, that the exhibit Res Derelictae II (a legal term for abandoned assets) will only feature four of his works spread out across more than 3,000 square feet. The viewer is given plenty of space from which to circle and assess the sculptures. Approached from one angle, the works, priced at around €25,000 (about Rs17lakh), and all titled The Blind leading the blind (referencing a painting of the same name by Flemish artist Pieter Bruegel), are vaguely recognizable, bits of metal shards and ceramic pieces that peep through gaps in the dust coating. They might have belonged to a tub or a shelf, objects that Buggenhout chances upon on his way to his studio in Ghent, Belgium. "It belonged elsewhere and has been withdrawn from its original context, lost its original shape, and, in doing so, its meaning," Buggenhout says. "We reject it. It's not classified because when you declassify, you really look at things."

If you approach the works from a different angle, you are tempted to run your hand over the soft crumbling dust (warning: Don’t, it’s been hardened by fixative, despite appearances to the contrary). Buggenhout had made an art of taking unsavoury materials and transforming them into sculptures both repugnant and riveting. The dust procured from cleaning companies by Buggenhout’s assistant, is probably his most benign medium; his other favoured media include blood and hair and animal intestines that are similarly forced into unfamiliar shapes and structures. “My way,” Buggenhout admits, “is not aesthetic.”

Res Derelictae II will run at Warehouse on 3rd Pasta, Colaba, Mumbai until September 7.

—Tara Kilachand
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