303 research outputs found
Bis ich deine Träume in Dunkle leuchten seh
No full textThis visual essay and accompanying text explores the work of the Belgian assemblage artist Camiel Van Breedam through a series of dialogues: between Van Breedam’s personal archive of waste material, and the works that he has shaped out of it; through the very different works that Remco Roes has himself made using that same archive; through the relationship between the two-dimensional images that make up the visual essay, and the complex three-dimensional spaces they seek both to articulate and to conceal; and through the ensuing conversation between Roes and Peter Snowdon, which itself simultaneously explicates, complicates, revises and evades the visual modes of knowledge developed by the images. In this dialogue, it is suggested that none of these spaces – whether tacile, visual or verbal – can exist apart from the particular bodies that engage them as their “sole locus of reference,”and that the dark space where the raw, fragmentary material is collected and conserved is never exhausted by the emergent work, but persists and insists as its ground and its condition. The result is not a commentary or an analysis, in images or in words, but a form of resonance between interiority as a sensory practice, and the exposed surfaces of the always-provisional artistic work
Bis ich deine Träume in Dunkle leuchten seh
No full textThis visual essay and accompanying text explores the work of the Belgian assemblage artist Camiel Van Breedam through a series of dialogues: between Van Breedam’s personal archive of waste material, and the works that he has shaped out of it; through the very different works that Remco Roes has himself made using that same archive; through the relationship between the two-dimensional images that make up the visual essay, and the complex three-dimensional spaces they seek both to articulate and to conceal; and through the ensuing conversation between Roes and Peter Snowdon, which itself simultaneously explicates, complicates, revises and evades the visual modes of knowledge developed by the images. In this dialogue, it is suggested that none of these spaces – whether tacile, visual or verbal – can exist apart from the particular bodies that engage them as their “sole locus of reference,”and that the dark space where the raw, fragmentary material is collected and conserved is never exhausted by the emergent work, but persists and insists as its ground and its condition. The result is not a commentary or an analysis, in images or in words, but a form of resonance between interiority as a sensory practice, and the exposed surfaces of the always-provisional artistic work
Conversations between Interiors
No full text The point of departure of this article is a collaborative installation work in whose creation one of the authors (Remco Roes) participated. The article combines a visual essay, composed from images documenting both the final exhibition and the process leading up to it, and a written commentary that attempts to point at—or point out—how knowledge or thinking may occur within or through a sequence of images such as this. These two essays, and the oblique relationship between them, are designed to shed light not only on one specific work of art but, more generally, on how we may inhabit different kinds of interiors, whether or not they are purely “physical.” It also reflects on the visual essay genre as itself a way of thinking through artistic, design and philosophical problems. </jats:p
Visual essay: recollections of an allegorist
No full textThis visual essay departs from an artistic practice and explores a number of collections, various spatial contexts they were sourced from and a retrospective exhibition that united them into one large installation. Through visual argumentation the essay sheds light on the way a series of objects and interior spaces interacted over a period of several years
Until I See Your Dream In Dark Skies: About spaces and intentions, real and virtual
No full textThis visual essay and accompanying text explores the work of the Belgian assemblage artist Camiel Van Breedam through a series of dialogues: between Van Breedam’s personal archive of waste material, and the works that he has shaped out of it; through the very different works that Remco Roes has himself made using that same archive; through the relationship between the two-dimensional images that make up the visual essay, and the complex three-dimensional spaces they seek both to articulate and to conceal; and through the ensuing conversation between Roes and Peter Snowdon, which itself simultaneously explicates, complicates, revises and evades the visual modes of knowledge developed by the images. In this dialogue, it is suggested that none of these spaces – whether tactile, visual or verbal – can exist apart from the particular bodies that engage them as their “sole locus of reference,”and that the dark space where the raw, fragmentary material is collected and conserved is never exhausted by the emergent work, but persists and insists as its ground and its condition. The result is not a commentary or an analysis, in images or in words, but a form of resonance between interiority as a sensory practice, and the exposed surfaces of the always-provisional artistic work.Global Challenges (FSW
Transcoding Structural Ornamentation: A track-report of migrating characteristics around Villa Empain
No full textThis visual essay reports on an artistic research residency that took place in and around Villa Empain in Brussels. The various explorations that were undertaken over a one- month period oscillated between the villa, the Vossenplein that houses a large flea market, and the studio space of the residency. A crucial part of the collaborative process was the continuous production and (re)adaptation ? the ‘transcoding’ ? of works across these various contexts.
The term ‘transcoding’ refers not only to the jumping back and forth between ornament and structure, rest material and essence, but also between locations, scales and configurations. Where ? like in video transcoding ? the effect can be minimal or substantial depending on the settings. Our visual essay attempts to organise the (spatial, physical, material) results of these movements back and forth. It visually depicts the dialogues that took place across three sites and three artistic practices
Wandering in what remains: Exploring an environment for embodied spirituality
No full textThis visual essay approaches the concept of religious ‘environment’ in a literal sense: as the physical places in which we worship. The basis for the images stems from an artistic project that Remco Roes initiated in a 13th century chapel in the small Belgian city of Borgloon, in collaboration with fellow artists Sara Bomans and Tom Lambeens. Over the course of two residency periods, Roes and his colleagues worked on a series of spatial installations in the Gasthuis Chapel, whilst visiting a host of local churches – all of which are suffering from shrinking rural congregations and thus facing questions surrounding their future purpose. The process inside the (deconsecrated) Gasthuis chapel ran parallel to the exploration of the local churches. The new installations mirrored the morphology of the found religious environments. The purpose of this essay (in its original sense, from the French verb essayer, to try, to attempt) is an experiment of ‘embodied thinking’, by using aesthetics, in the broadest sense of the word, as an instrument. It wants to explore a series of complex and interacting meaningful experiences that are evoked by these (post-)catholic environments. In order to do this, the essay combines different image-spaces and artistic media: the photographs of existing chapels and churches, the photographs of the installations by Bomans, Lambeens and Roes and the imaginary of some religious poems by Kris Pint, resonating with elements of the visual artwork
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