DD’yeux I S S U E 2 2 0 1 3

o n l i n e a r t m a g a z i n e b y J o l i e n D i r i x a n d D e b b y T h i j s

LIESJE DE LAETMAXIME DE COCKKAROLIEN CHROMIAK

ART MUST BE BEAUTIFUL ARTIST MUST BE BEAUTIFULmarina abramovic

DD’yeux

4LIESJE DE

LAET

14MAXIME DE

COCK

26KAROLIEN CHROMIAK

40NVT

GALERIE

LIESJE DE LAETIn B-Line Liesje and Erika Pirl

worked together on different projects. Starting both from their own practic-es, Erika is as a performer / dancer and Liesje is a visual artist.

Their projects combinend is like a collaboration that can be seen as a search for exchange and comple-ment between different expressions and media.

For their new work an exhi-bition will be the startingpoint for the performance. A bodily answer to the still lifes of the exposed matters. The images that Liesje is showing are taken during the first try-outs. They show us a possible dialogue between object and subject.

a second look on previous gestures and taken paths

More information about their upcoming festival and B line on their facebook

w w w . f a c e b o o k . c o m / b l i n e p r o j e c t s

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raamwerk.tumblr

.com

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12Their next performance will take place during the villanova-festival v i l l a n o v a f e s t i v a l . b e

12 13Their next performance will take place during the villanova-festival v i l l a n o v a f e s t i v a l . b e

v i l l a n o v a f e s t i v a l29 30 31 a u g u s t u s 2013D e s t u d i o i n A n t w e r p

Documents for translating experience

by maxime de cock

Maxime’s photograpic images are the result of solitude walks in the woods. Through walking she creates here landscapes. Her legs bring her closer and carry her around the inside of the forest, but it is her mentally state that makes her study nature on a intense level.

On the ritme of her isolated steps, without distractions of daily life, she sinks into a foggy trance. Her senses are blooming and she experience nature in her purest form.

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A jungle of branches and trunks deny her the horizon, caus-ing little wounds. These scratches reminding her of the fact that this natural environment is no place like home.

On the ritme of her isolated steps, without distractions of daily life, she sinks into a foggy trance. Her senses are blooming and she experience nature in her purest form.

MAXIME DE COCKmaximedecock.com

memoirefertile.wordpress.com

“With my nocturnal portraits of tree tops and brushwood, I call up the experience of the lonely walker, submerged in his dream-like state.”

A space which was both in language but yet not quite in language. Her images depict an experience were language fails.

A space which was both in language but yet not quite in language. Her images depict an experience were language fails.

“When I think back to when I’ve had an experience, I got confronted by a world which is difficult to articulate in words.”

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KAROLIEN CHROMIAK

KAROLIEN CHROMIAK

These last steps are especially shown in the more recent work – while working in an atelier can be compared to producing music, showing work at an exhibition is the equivalent of a live performance, in front of the public. In the producing process, the artist has al the control, whilest at an exhibition, there are more conditions that need to be kept in mind before reaching the final moment that the work is done.

The surrounding space, architecture and time frame are especially important to employ in the final artpiece.

The artistic practice of Karolien Chromiak arose from an investigation into the media of photography and vid-eo, and the question whether they can be more than functional arts. This led to a thorough investigation in terms of tech-nique and material, whilst also exploring the potential of photograpy, video, light and sound as a form of in situ art.

“ My artistic practice arose from an investigation into the media of photography and video”

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This work deals with the tension that is inadvertently created when a 2d work is shown in a three dimensional space. The, for now untitled piece, consists out of two elements:

“There's a found dia, that shows a rough landscape, consisting out of a rockformation and sea.”

This dia is rotated 90 degrees, and than projected partly on a pillar, partly on the wall behind. Due to this presentation, the architectural features of the building, as well as the space in between these features are becoming part of the work – rather than hiding the 'flaws' of the building, the artist integrates them in her work.

Untitled

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“They integrations are also shown in the work Pillar”

'Pillar' consists out of a black acrylic sheet, placed in the narrow gap between two pillars. Due to the placement of the sheet, the image of the opposite pillar seems a bit bend, almost carved out, and makes the whole look like an unstable, architectural flaw. The reflection also emphasizes the earthlike residu on the inside of the pillar, which adds to distorted image of this architectural interven-tion.

Pilar

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“Reverberation is a collaboration between Karolien Chromiak, Stef Klerckx and Dennis Ra-maekers.”

This collab resulted in a a hanging kinetic sculpture made from thin ornamental laths of wood. These laths are often used to decoratively line the edges of a room, – the total length of the wood used in 'Reverberation' is based on the measurements of the floor plan, and so it's enough wood to line the room the work is integrated in. The sculpture is connected to a small engine via a thin wire. This makes the whole sculpture vibrate and tap rhyth-mically against the glass window. The room the work is displayed in is closed off so the work can only be viewed from the outside – this results in an intrusive presence.

Like a reverbed sound the shape of the work refers to the space its made in.

Reverberation

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The photograph shows an object, that on second thought seems to be a Durer's solid, laying on a sandy, desertlike scenery. This solid, as well as the title are both a reference to the gravure 'Melen-cholia' by Albrecht Durer. The artists, inspired by this work, tried to capture the alchemical ideas and symbolism shown in Durers original.

The image is accompanied by a low pitched, looped sound – the sound off the image itself. By using a digital synthesizer, the shape of the image gets translated into an audiofile. Through a process wich uses an algorithm to store a image as a sound and vice versa. Hereby refering to the magical use of mathematics in Durer's work.

k a r o l i e n c h r o m i a k . p o r t f o l i o b o x . m eMore work of Karolien you can find on her online portfolio

“Melencholia' is a photographic installation, made in collaboration with Dennis Ramaekers”. Melencholia

“Melencholia' is a photographic installation, made in collaboration with Dennis Ramaekers”.

At whAt point wAs it thAt you wAnted to open An Art gAllery?

When I finished art lab at the Royal Academy of Arts in Ghent, I still had some theoretical courses to do before grad-uating. This also meant I started to get more free time. And I know myself well enough to know I get mental without a full schedule. So I had to come up with something that was going to keep me in the world of arts. And eventually on a blue monday I noticed a building in the Dampoortstraat and the thought finally struck me. ‘Hallelujah, I’ll just start an art gallery for up-coming talent right here!’ I immediately called the proprietor and signed the contract. Then I contacted Elske Jansen, my cur-rent colleague, who I didn’t know very well but enough to be quite sure she might be interested in my plans. We met, talked, laughed, cried, connected and pulled it off : NVT Galerie was born.

n v t g a l e r i e . b e

the nVt gAllerie is A relAtiVely new gAllery in ghent.

Elske Jansen, Lucas Straetmans and Tom Maeseele, three young artists themselves, give young artists of all ideologies the opportunity to present their work in theire gallery. When I first was there I saw how quicly you could make new contacts. They create a self-opinionated at-mosfere where everybody can enjoy some good art work !

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NVT GALERIEinterview met Tom Maeseele

whAt is your ultimAte Vision About the relAtionship between the Art-ist And your gAllery?

It’s a cliche but it’s all about first impressions. You have to feel passion throughout the work of the artist. It’s in the way the artist talks about his work and how it all connects us. (we’re running the gallery with the three of us at the mo-ment; Elske Jansen, Lucas Straetmans and myself). That’s what’s important to us. We all had an education in visual arts and if two of us don’t feel it, then there will be no exhibition.

You need to feel like a toddler in a candy store or like a elephant in a porce-lain shop. The bottomline is that feelings are the most important. I can go to an art exhibition and get angry. Or I can fall in love. Or I can feel completely indifferent. The details that make you remember the exhi-bition are important. There are many things that could make it memorable yet it’s far from obvious.

Are there Any secret plAns for the future thAt we cAn know About?

Of course, and I won’t tell you anything about it. Just keep in touch with us on our website or facebookprofile of the gallery and you’ll see for yourself.

n v t g a l e r i e . b e

whAt do you think A good Art exhibition needs?

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