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“In selecting the photographs for this publication, Lisa Spilliaert (b. 1990) was adamant that the image of a sunrise should be among the first in her book. It is, indeed, an emblematic image. For anyone with a camera, such a splendid sunrise is an irresistible trope: a visual motif that simply begs to be captured and fixed on film. In reality, however, the magic of this scene resides in the fleeting, subtle changes in colours and vibrations. This is the dynamic that captivates us. Photography is usually understood as a technique for ‘stopping’ the flow of time. But as Spilliaert here demonstrates, the impact of photography can also be used to manifest an awareness of time and transience. By accentuating the photographer’s fixed position vis-à-vis the endlessly changing light source, Spilliaert evokes a correlation between stasis and movement, between the cosmic and the mundane. This duality is echoed again in the confrontation of the two equivalent silhouettes: that of the photographer and of his alias or ‘partner’: a life-size technical camera.”From ‘Time and Tide’ Edwin Carels

video art --- art [fine art] --- kunst --- Spilliaert, Lisa --- eenentwintigste eeuw --- kunstenaarsboeken --- artists' books --- Spilliaert Lisa --- 7.071 SPILLIAERT --- 77.092.07 --- 778.5.07 --- Fotografen ; 2010-2014 ; Lisa Spilliaert --- Belgische kunstenaars --- Spilliaert, Lisa °1990 (°Tokyo, Japan) --- Kunst ; van vrouwen ; 21ste eeuw --- Fotografen A - Z --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- Spilliaert, lisa --- Exhibitions --- Photography [Artistic ] --- 21st century --- Art, Belgian --- Photography, Artistic --- Spilliaert, Lisa, --- Photographie --- Japon --- art [discipline]

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hedendaagse kunst --- Contemporary [style of art] --- Art --- anno 1900-1999

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Since the mid-70s, Daniel Dewaele (Knokke, 1950) has followed a consistent course comprising numerous socially-engaged and -inspired art projects. On the basis of descriptions and illustrations of 43 projects, Daniel Dewaele, Selected Projects provides an almost complete survey of his work. Which makes this publication the standard work on this artist. In addition, the book offers a thorough insight into the conceptual tendencies that presented themselves in art as from the mid-70s. This unique book was created in close cooperation with the artist and appears on the occasion of an exhibition of the same name at Be-Part, Platform for Contemporary Art, in Waregem. The authors, Johan Pas and Pascal Gielen, each interpret the artist's oeuvre on the basis of their own background, an artist who has always continued to ask how social participation could be achieved from an artistic position which by definition lies on the fringes of society.

performance art --- installatiekunst --- installations [visual works] --- public spaces --- photography [process] --- video recordings --- Dewaele, Daniel --- Dewaele, Daniël --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Dewaele, Daniël --- Exhibitions --- Art [Modern ] --- 20th century --- Belgium --- 21st century --- Beeldende kunst ; 2de helft 20e - 1ste helft 21e eeuw ; D. Dewaele --- Conceptuele kunst --- Beeld en woord ; beeld en tekst --- Dewaele, Daniël °1950 (°Knokke, België) --- art interventions --- video recordings [physical artifacts]

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Tiré du site Internet http://shop.riot-ghent.org: "Artistic interventions in architecture at specific sites or in public spaces are problematic exercises that regularly exceed the concepts of adornment, distraction or embellishment. Be-Part in Waregem is an arts centre located in a former spacious architecturally eclectic villa. Transformations and modernisations behind existing (banal) facades have become a general trend since contemporary art took over the "standard habitus of social distinction" from "antique and typical Flemish interiors". This was especially the case in the eighties, when our country was suddenly caught up in the swirl of the post-chambres d'amis era when the Ghent museum director Jan Hoet was appointed curator of Documenta IX (1992) in Kassel. This instantly made contemporary art socially acceptable for the upper wider layers of the population. As a centre for contemporary visual art, Be-Part radiates the peace of urban mainstream on the outside ; the stately conventional façade and the walled garden with its monumental entrance do not immediately create the impression of drastic "modern" renovations carried out with an eye to running a private gallery. The utopian idea that art can provide the living environment with (permanent) interventions capable of improving the quality of society is even an institutionalised and accepted fact today through the Art Cell of the Flemish Government Architect's team. Artists see public tenders as a new challenge and source of income. Certain schools such as "La Cambre" in Brussels even organise specialised educational programmes that study art in public spaces in depth. The fact that a permanent assignment granted to Pieter and Robin Vermeersch does not result in the addition of a new image, but in a new interpretation of an existing situation, namely the gate providing access to the Be-Part garden, is a relevant point of departure and enables art to maintain the double status of visual and functional object."

Vermeersch, Pieter --- Vermeersch, Robin --- 7.07 --- Beeldende kunst ; 1ste helft 20e eeuw ; Pieter en Robin Vermeersch --- Vermeersch, Pieter °1973 (°Kortrijk, België) --- Vermeersch, Robin °1977 (°Kortrijk, België) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z

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Graphic arts --- graphic design --- Contemporary [style of art] --- hedendaagse kunst --- grafische vormgeving --- Matthé, Pol --- Rombouts, Guy --- Herman, Gerard --- Pacquée, Ria --- Nys, Sophie --- Morrens, Peter --- Vanhoe, Reinaart