About

Biography (short)

Born in Antwerp, Belgium
Moved to London, England
Moved to West Africa
Settled in Paris, France

Lives (now) in Paris, France

Instagram: @alexvangelder
Mail: vangelder@wanadoo.fr

Alex Van Gelder: Photographer, Collector and Explorer of the Human Condition

Alex Van Gelder is a contemporary photographer and a prominent collector of 20th-century African photography, whose artistic and curatorial practice is deeply rooted in exploring themes of death, disintegration, and transformation. Based in Paris, he spent several years in Africa, a period that significantly shaped his artistic vision. His photographic work, characterized by a visceral and contemplative approach, invites reflection on corporeality and the transitory nature of existence.

Van Gelder is particularly recognized for his distinctive photographic series, including "Meat Portraits," "Line of Inquiry," and his close collaborations with artist Louise Bourgeois. His work has been exhibited widely internationally in renowned galleries and museums, such as Hauser & Wirth and Cheim & Read. Alongside his artistic practice, his collection of West African photographs has been the subject of institutional exhibitions, notably at the Fotomuseum Winterthur, and has been published in significant works such as

Life & After life in Benin. His collaborative projects with Louise Bourgeois, in particular the series on her hands and the book

Mumbling Beauty Louise Bourgeois, are considered major contributions to the understanding of the artist's late work and his perception of aging.

Van Gelder's collecting practice is not simply a sideline to his artistic work; it is a fundamental component of it. His deep interest in West African portrait photography, particularly the "deathbed portraits" of Benin, is directly reflected in his own photographic explorations of the themes of death and transformation. This connection gives his work conceptual depth and thematic coherence, anchoring his images in rich cultural and philosophical contexts.

Biography (long)

Alex Van Gelder currently resides and works in Paris. Before settling in Paris, he spent several years in Africa, a formative period where he devoted himself primarily to collecting African art, particularly 20th-century photography, before concentrating on his own photographic projects.

It is noteworthy that the available information does not provide specific details regarding the date or place of birth of Alex Van Gelder, the photographer and collector. Similarly, his formal educational background in art is not specified in the sources consulted. This absence of personal biographical details, particularly his age, is an aspect that Van Gelder seems to have deliberately maintained, as suggested by one review that describes him as "mysterious about his identity; his age is not revealed."19This discretion can be interpreted as an artistic choice aimed at directing the audience's attention to the universal themes and impact of his photographic work, rather than his personal narrative. It could also align with the themes of anonymity and human experience explored in his "Line of Inquiry" series, where the subjects' identities are blurred by time and degradation.

Artistic Practice and Themes

Alex Van Gelder's photographic practice is characterized by a constant exploration of the themes of death, disintegration and decay. He is particularly interested in the transitional state between life and death and examines the effects of transformation, often referring to the ultimate transition from life to death. His work also addresses notions of individuality and identity, particularly when confronted by external forces or the passage of time.

Technically, Van Gelder frequently uses platinum prints with subtle tones. His images are often described as haunting and evocative. He uses re-photography, particularly re-photographing sepulchral portraits, to comment on the role of photography in the construction of identity, mourning and memory.

Van Gelder's artistic influences and comparisons with other artists are notable. His images are often compared to the blurred black and white canvases of Gerhard Richter and the poignant, almost pointillist photographic works of Christian Boltanski, sharing a sense of introspection and nostalgia. A fundamental influence on his work comes from his deep interest in West African portrait photography, particularly "deathbed portraits." This cultural immersion allows him to infuse his images with talismanic qualities, in keeping with the West African belief that the soul of the photographed subject is "trapped" within the image, thus imbuing the photograph itself with powerful connotations. This philosophical perspective elevates his exploration of death and decay beyond a mere aesthetic quest or shock value, giving it a spiritual or metaphysical dimension that transcends visual documentation.

Key Photographic Series

Meat Portraits

The "Meat Portraits" series is a collection of visceral photographic studies of animal remains from an open-air slaughterhouse in Benin, West Africa. Van Gelder worked on this series for about a year, photographing raw meat and entrails as he found them in the market, or after arranging them in contorted compositions, as if they were formal portraits.1The images focus on textural details such as nerve ligaments, taut, semi-transparent flesh, torn and sagging muscles, joints, and even excrement.

Despite the title "Meat Portraits," Van Gelder considers these works to be still lifes, a distinction that emphasizes that the fleshy remains are inanimate objects rather than living organisms.1The red, bloody, pinkish color of these objects acts as a sign of recent life, reflecting the artist's interest in the transitional state between life and death.1This series is reminiscent of the traditional African deathbed portraits that Van Gelder collected, where a photograph of the deceased is placed beside their bed during a commemorative ritual. Some compositions allow for the discernment of human profiles or gruesome faces, while others eliminate anatomical clues to create stripped-down images. Other compositions are more figurative and tend towards taxidermy, resembling anatomical studies that one might find in a surrealist zoological museum.

Critics often point to a dual reaction to the "Meat Portraits": an initial disgust or nausea, followed by a recognition of their strange beauty. A review of

The Independent even stated: "The overwhelming feeling is one of nausea... However, even I... felt like vomiting," while noting that "many elements of these photographs are beautiful, tender, voluptuous."19This tension between attraction and repulsion is an intentional artistic strategy. Van Gelder uses the sharpness of a black background and a near-forensic level of detail to elevate gruesome subjects into aesthetic objects, forcing viewers to confront the raw reality of life and death while appreciating the visual qualities. This approach aims to transcend mere shock value, inviting deeper contemplation on the nature of existence, the body, and mortality, and positioning Van Gelder in the lineage of artists who use provocative imagery to explore profound philosophical questions.

Two additional series were exhibited alongside the "Meat Portraits": "Organized Crime" and "Painted Paint." "Organized Crime" features even more dismantled animal carcasses, with an explosive sense of violence and butchery, creating abstract compositions from distinct textures such as muscle, bone, skin, teeth, and fur.1In "Painted Paint," Van Gelder photographs containers filled with blood, entrails, and other remnants of animal carcasses, evoking paint pots brimming with potential.

Line of Inquiry

The "Line of Inquiry" series consists of subtly toned platinum prints of sepulchral portraits printed on glass, found on headstones, mausoleums, and family graves. Van Gelder often retains the oval shape of the original portraits, referencing the engraved cameos.

This series is a meditation on death, disintegration, and decay, reflecting how original images distort over time, their surfaces becoming pitted and cracked, once-sharp features fading like apparitions.These portraits serve as memorials not only to the deceased, but also to the grief of those left behind.By re-photographing these time-altered images, Van Gelder comments on the use of photography as an aid to identity, mourning, and remembrance, while removing the circle of intimacy from which the initial images were born. The uncontrolled manipulation of cemetery portraits by external, unseen forces confronts notions of individuality and identity, adding layers of psychological depth.

The "Line of Inquiry" series highlights the duality of photography as a medium of preservation and degradation. By rephotographing degraded images, Van Gelder not only documents decay; he actively engages with the photographic medium itself. He "freezes" the subject once again, commenting on the ways in which photography is used for identity and memory, but also highlighting its vulnerability to time and the elements. This creates a meta-analysis on the dual nature of photography: its capacity to preserve and its susceptibility to degradation, thus reflecting the human condition it often seeks to capture. This series elevates Van Gelder's work beyond simple thematic exploration to a critical examination of the photographic process and its philosophical implications.

Collaborations with Louise Bourgeois

Alex Van Gelder had two significant collaborations with artist Louise Bourgeois in the later years of his life.

"Hands" Series (ARMED FORCES)

Van Gelder created a portfolio of 18 photographs of Louise Bourgeois's hands during the last years of her life. Bourgeois herself invited Van Gelder to photograph her in her New York townhouse to produce this series.More than just a portrait project, Bourgeois considered this collaboration an "extension of his own work," focusing on his hands as his artistic tools.1The images are described as austere, showing gnarled, nervous, and wrinkled hands on black fabric, conveying intimacy and warmth. This series was exhibited at Hauser & Wirth Zurich in 2011 and was accompanied by the catalogue

Alex Van Gelder – Louise Bourgeois. ARMED FORCES.

Mumbling Beauty Louise Bourgeois (Book)

From 2008 to 2010, Louise Bourgeois allowed Alex Van Gelder access to her private world, including her studio and home, where he photographed her while she worked, rested, or posed. The photographs capture Bourgeois in various states: mischievous, lost in thought, weary of decrepitude, enraged and defiant, offering a profound portrait of an artist at an extreme age.The book is described as Bourgeois's "chosen epitaph," expressed through his gestures, expressions, and posture, defying vulnerability despite his fragility. The book contains 81 uncaptioned color photographs and was published by Thames & Hudson in 2015.

Critics note how the portraits challenge conventional notions of aging and femininity, with Bourgeois using performance and masquerade to resist being perceived as an abject "other." The collaborative aspect is emphasized, with Bourgeois considered an "accomplished artist in front of the camera" who shaped her own representation.An "Artist Dialogue" event at the New York Public Library in 2016 celebrated the book, featuring Van Gelder and Bourgeois's longtime friend Jerry Gorovoy.

These collaborations with Louise Bourgeois represent profound artistic dialogues. The repeated insistence that Bourgeois "invited" Van Gelder and considered the project an "extension of her own work" is fundamental. This indicates a high artistic agency on the part of Bourgeois, transforming the photographic act into a collaborative performance. Critics of Mumbling Beauty reinforce this idea, highlighting how Bourgeois became an "accomplished artist in front of the camera" and used "performance, masquerade and displacement strategies" to shape his portrayal in his later years. This elevates Van Gelder's role from mere documentarian to facilitator of Bourgeois's final artistic statements, highlighting his ability to establish deep trust and co-creation with a major figure in modern art. It also underscores Bourgeois's creative perseverance and use of photography as a means of expression, even in his later years.

Role as Collector

Alex Van Gelder is a renowned collector and expert on 20th-century African photography. His interest in this genre developed during his several years spent in Africa, where he initially focused on collecting African art, including sculptures, before turning to photography.

Exposition and Publication "Life & Afterlife in Benin"

Works from his collection were exhibited at the Fotomuseum Winterthur, Switzerland, in 2006. The exhibition was titled "Life and Death in Benin – African Photographers from the Alex Van Gelder Collection". Phaidon has published Life & Afterlife in Benin, a book from the collection, to accompany the exhibition in 2005. The book is described as a "haunting and historically important collection of black and white portrait photographs taken in Benin, West Africa, in the 1960s and 1970s, printed and published for the first time." It presents works by photographers such as Benoît Adjovi, Jean Agbétagbo, Joseph Moïse Agbodjélou, Bouraïma Akodji, Léon Ayékoni, Jean Dotonou, Christophe Mahoukpé, Sébastien Méhinto (known as Pigeon), Edouard Méhomé and Camille Tchawlassou.

The collection highlights the cultural significance of these portraits, which were often the only ones the subjects could afford and were used in deathbed ceremonies due to the belief that the soul was "trapped" within the image. The book Life & Afterlife in Benin received positive reviews, being described as "Remarkable" by the Sunday Telegraph magazine and "Fascinating" by Amateur Photographer.

Van Gelder's collecting activity, particularly the "Life & Afterlife in Benin" project, represents a significant act of cultural preservation and a scholarly contribution. The documents indicate that these photographs were "historically important" and that they were "printed and published for the first time." Exhibition details further explain the context: these portraits were often the only ones people could afford and held profound spiritual significance. By collecting, exhibiting, and publishing these works, Van Gelder played a crucial role in bringing international attention to a previously underexposed and culturally rich body of work, thus contributing to the art historical discourse and preserving a unique aspect of the visual culture of postcolonial Benin. This positions Van Gelder as an influential figure in the art world beyond his own photographic production, highlighting his role in the understanding and appreciation of non-Western photographic traditions.

Alex Van Gelder occupies a unique position in the contemporary art world as a photographer with a thematically distinct practice focused on death, transformation, and corporeality, and as a significant collector of 20th-century African photography. His dual approach—both creative and curatorial—is intrinsically linked, as his collecting activities have deeply informed his artistic practice and provided a rich cultural and philosophical foundation.

The "Meat Portraits," with their provocative beauty, and the collaborations with Louise Bourgeois, offering intimate and profound insights into aging and artistic agency, have generated significant critical and public engagement. Van Gelder's work is distinguished by its ability to challenge conventional perceptions, particularly the tension between the repellent and the beautiful.

Van Gelder's body of work demonstrates a singular ability to bridge contemporary artistic practices with deep historical and anthropological perspectives, particularly through his engagement with African photographic traditions. This interdisciplinary nature of his work enriches his reputation, suggesting that his contributions transcend a single artistic genre. His work contributes to a more nuanced understanding of the role of photography in human experience and cultural memory, solidifying his lasting impact on the art world.