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Tinus Vermeersch reveals his own surreal universe to us, by means of drawings, paintings, sculptures and ceramics. In this uni-verse we often find traces of a human presence, yet it is characterized by a sense of seclusiveness. Both his visual language as well as his chosen materials, remind us of a long-lost time. His technique recalls the drawings and paintings of Jheronimus Bosch and Pieter Bruegel. The origin of the figures who inhabit his paintings and drawings can be found in anthropology and more specifically in the old animistic and shamanic traditions of the indigenous peoples. Tinus Vermeersch calls these figures 'Tegumen', meaning 'cover' or 'shell' in Latin. Tinus Vermeersch distinguishes himself from many other contemporary artists by his affinity for the craftsmanship that is so specific to the traditional media he works with. The hundreds of ceramic tiles, all drawn by hand, prove this craftsmanship. Exhibition: Be-Part, Kortrijk, Belgium (28.07.-06.10.2019).

738.07 --- 75.07 --- Schilderkunst ; keramiek ; 1ste helft 21e eeuw ; T. Vermeersch --- Vermeersch, Tinus °1976 (°Kortrijk, België) --- Belgische kunstenaars --- Keramiek ; keramiekkunstenaars, pottenbakkers --- Schilderkunst ; schilders --- Exhibitions --- Art --- art [fine art] --- studio ceramics --- shamans --- ceramic tile --- hay [material] --- human figures [visual works] --- landscapes [representations] --- Vermeersch, Tinus --- art [discipline]

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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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Imschoot, Van, Jan --- Art contemporain --- Hedendaagse kunst --- Peinture --- Schilderkunst --- Figurative painting, Belgian --- Appropriation (Art) --- Peinture figurative belge --- Exhibitions --- Expositions --- Imschoot, Jan van, --- Exhibitions. --- Van Imschoot, Jan --- Exposition --- Peintres --- Waregem --- Jan Van Imschoot (° 1963, Gent, B.) --- Schilderkunst ; 1992-2003 ; Jan Van Imschoot --- Belgische kunstenaars --- 75.07 --- Schilderkunst ; schilders --- redactie door Kurt Vanbelleghem --- kunst --- schilderkunst --- twintigste eeuw --- eenentwintigste eeuw --- Van Imschoot Jan --- 75.071 VAN IMSCHOOT --- painters [artists] --- Painting --- 75.036 --- 75.036 Moderne schilderkunst (na 1900) --- Moderne schilderkunst (na 1900) --- Art, Belgian --- Figurative painting

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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]