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‘Bootleg Paintings’ is a series of works based on classics of 20th-century painting. In his own way, Durinck translates well-known and lesser-known 20th-century works by repainting them in a combination of bright green and black oil paint. 

This collection has since grown to 36 works by very different artists: including Picasso’s Les demoiselles d’Avignon (1907), L’usage de la Parole (1927-29) by Magritte, Le movement des billes (1926) by Fernand Léger, Zig-zag Zigzag (1987) by René Daniëls, The Studio (1969) by Philip Guston, Käthe Grüsse (1990) by Luc Tuymans, …. In doing so, Durinck not only pays homage to this history of art but also questions how we come to know and experience these works today, as reproductions rather than originals.

The book ‘Bootleg Paintings’ is an overview of the significant collection of paintings, with texts by Céline Mathieu, Gabriela González, Simon Delobel and Alex Deforce reflecting on Durinck's interpretation of art history. 

In the book, Durinck combines the green-and-black paintings with grids he recovers from old transfer films from the pre-computer era or repetitive patterns he finds in objects and assembles into graphic backgrounds.

Beschrijving

‘Bootleg Paintings’ is a series of works based on classics of 20th-century painting. In his own way, Durinck translates well-known and lesser-known 20th-century works by repainting them in a combination of bright green and black oil paint. 

This collection has since grown to 36 works by very different artists: including Picasso’s Les demoiselles d’Avignon (1907), L’usage de la Parole (1927-29) by Magritte, Le movement des billes (1926) by Fernand Léger, Zig-zag Zigzag (1987) by René Daniëls, The Studio (1969) by Philip Guston, Käthe Grüsse (1990) by Luc Tuymans, …. In doing so, Durinck not only pays homage to this history of art but also questions how we come to know and experience these works today, as reproductions rather than originals.

The book ‘Bootleg Paintings’ is an overview of the significant collection of paintings, with texts by Céline Mathieu, Gabriela González, Simon Delobel and Alex Deforce reflecting on Durinck's interpretation of art history. 

In the book, Durinck combines the green-and-black paintings with grids he recovers from old transfer films from the pre-computer era or repetitive patterns he finds in objects and assembles into graphic backgrounds.

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