Michaël Borremans: Horse Hunting was published on the occasion of the artist’s second solo exhibition at David Zwirner in 2006. Amongst the fourteen new paintings on view was the eponymous work Horse Hunting (2005), which portrays a young man, fashionably attired, holding two twigs from each of his nostrils. Available in hardcover, this catalogue includes a text by Belgian artist and curator Hans van Heirseele.

Text by Jeffrey Grove.

The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence. Known for his ability to recall classical painting, both through technical mastery and subject matter, Borremans’s depiction of the uncanny, the perhaps secret, the bizarre, often surprises, sometimes disturbs the viewer. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness. In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both English-only and bilingual English/traditional Chinese editions.

Belgium-based Michael Borremans creates absurd and sometimes ominous paintings. "Horse Hunting" (2005), for example, depicts, in a muddy palette, a pale and moody-looking man in a suit jacket and crisp white shirt shoving two twigs up his nose. He stares straight at us, and the wall behind him is filled with his shadow. Borremans has said of his paintings, "I use clichés and other elements that are part of a collective consciousness... my work would be perfect on biscuit tins." At the 2006 Berlin Biennale, Borremans showed a film on a small LCD screen, which he had framed like a painting. The piece was based on a 2002 drawing of a girl, which he reproduced in three dimensions, so that the girl slowly spins around. Whatever the medium, Borremans' work bears this trademark sense of absurdity verging on menace. Weight is published concurrently with an exhibition at De Appel in Amsterdam.

The Matter of Piety provides the first in-depth study of Zoutleeuw’s exceptionally well-preserved pilgrimage church in a comparative perspective, and revaluates religious art and material culture in Netherlandish piety from the late Middle Ages through the crisis of iconoclasm and the Reformation to Catholic restoration. Analyzing the changing functions, outlooks, and meanings of devotional objects – monumental sacrament houses, cult statues and altarpieces, and small votive offerings or relics – Ruben Suykerbuyk revises dominant narratives about Catholic culture and patronage in the Low Countries. Rather than being a paralyzing force, the Reformation incited engaged counterinitiatives, and the vitality of late medieval devotion served as the fertile ground from which the Counter-Reformation organically grew under Protestant impulses.

Since the late 1990s, when he first began to produce drawings and paintings, Michaël Borremans has created an extraordinarily mature body of work that has captured international attention. The disparate spaces he imagines in his paintings, drawings, sculptures and films are unified by an uncanny sense of dislocation and an often unsettling beauty. Rendered in complex palettes and exquisite techniques, Borremans' works in all media embrace a rich legacy of artistic progenitors, but remain firmly anchored in the present. Presenting over 100 works created by the artist over a 14-year period in all media, this publication includes many works not previously reproduced in books or catalogues, offering the most complete overview of Borremans' oeuvre to date. Contributions include a concise and incisive overview of Borremans' practice; a revealing, in-depth interview between the main author of the book, Jeffrey Grove, and the artist, addressing process, influence and philosophical and critical issues; as well as more than 50 individual entries and mini-essays on individual works in the artist's oeuvre by notable writers, curators, filmmakers and musicians. Described by the artist as the mother of all Borremans books, Michaël Borremans: As Sweet As It Gets is published on the occasion of a major mid-career retrospective. Initially trained in photography and graphic design, the Belgian artist Michaël Borremans (born 1963) turned to painting at the age of 30. Work by the artist is held in numerous public collections, including The Art Institute of Chicago; High Museum of Art, Atlanta, Georgia; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis, Minnesota. Borremans lives and works in Ghent.

For nearly two decades, Belgian artist Micha�l Borremans has created an ambitious and mesmerizing oeuvre that continues to simultaneously fascinate and unsettle viewers. As the art critic Laura Cumming writes in The Observer, "Borremans's gift is for snaring you, enthralling you with all sorts of characters, strange scenarios and possibilities." His works display a concentrated dialogue with previous art historical epochs, yet their unconventional compositions and curious narratives defy expectations and lend them an indefinable character. Painting has remained central in his pursuit to construct a deceptively simple visual world where figures often seem to elude the passage of time. Micha�l Borremans: Black Mould documents the artist's first exhibition at David Zwirner, London in 2015 and his first solo presentation in the city in ten years. This intimately scaled catalogue, which has been designed by the artist in collaboration with Kim Beirnaert, includes thirty-two small- and large-scale paintings from his new series, most of which feature anonymous, black‐robed characters. Alone or in groups, they perform mysterious acts within monochromatic spaces reminiscent of an artist's barren studio. Seemingly behaving according to a symbolic language of their own, they pose alone or interact in communal dances, with some figures holding torches and others exposed naked from the waist down. Their facelessness opens up ambiguous narrative possibilities, like empty canvases with which to construct meaning. Like archetypes capable of embodying shifting meanings, the blank figures become a mold for the human condition, at once satirical, tragic, humorous, and above all, contradictory.