Lives in Antwerp (BE), born in Mechelen (BE).
Narcisse Tordoir (°1954, Mechelen, Belgium) starts his career with experimental performances, alternative actions and spatial installations. Gradually, he elaborates a genre that might be called 'spatial painting', in which he plays with the potential to break through the painting's plane.
In the 1980s, Tordoir integrates pictorial and three-dimensional components to enhance the overall effect: paintings hung together at right angles, voids between painted panels, small objects and mirrors that reflect fragments of images in the works. Tordoir plays visual games, often borrowing strategies from art history. A recent example is the series with large-scale tableaux vivants that combine stage photography and painting and in which he refers to the 'empty' allegory of Giambattista Tiepolo (1696-1770).
In these and other works by Tordoir, time and memory play an important role. They are visual puzzles that evoke a multitude of associations and possible interpretations.
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The collection XXXII – Pe...
07 December 2012 - 21 April 2013.
2013 was the ‘year of the collection’. Two large exhibitions and an extensive book put the contents of the M HKA collection on the map and po
Narcisse Tordoir – The Pi...
13 March 2014 - 25 May 2014.
In the exhibition The Pink Spy, artist Narcisse Tordoir (°1954, Mechelen) tells stories in an intuitive and associative way about the existen
14 August 2015 - 31 January 2016.
The M HKA collection is always expanding. With Recent acquisitions, M HKA showcased purchases that help shape our excisting collection. When
Narcisse Tordoir – MQ
15 September 2019 - 05 January 2020.
This archival presentation comprises of a selection of scale models by Narcisse Tordoir (Mechelen, 1954). These scale models – made between 1
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Since the end of May 2002, the M HKA has strayed from the beaten track of museum catalogues. The M HKA does not consider a systematic thereof
Werk van Narcisse Tordoir...
Narcisse Tordoir once said “I am going to paint in a fashion that is in no way reminiscent of painting”, thereby locating himself outside the