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Keyser, Raoul De --- De Keyser, Raoul °1930 (Deinze, België) --- Schilderkunst ; 20ste eeuw ; Raoul De Keyser --- Belgische kunstenaars --- 75.07 --- (069) --- Schilderkunst ; schilders --- (Musea. Collecties) --- Keyser, Raoul de, --- De Keyser, Raoul 1930-2012 (°Deinze, België) --- De Keyser, Raoul --- Exhibitions --- Bern. Kunsthalle --- De Keyser, Raoul. --- Painting --- paintings [visual works] --- Keyser, de, Raoul
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No sooner had the first Dandy entered the scene at the beginning of the nineteenth century than he was declared dead. This enigmatic yet immediately iconic figure would remake an entrance again and again in the decades that followed. Like an elegant harbinger, Dandys arrive in times of crisis when societies are undergoing transformation. Like the hands of a clock, their silhouettes become messengers of change. But they are contours of change that carry no message. While everything is already in flames, they debate the shape of their shoes and sip oysters to combat their depression. For a long time, literature was their playing field. Marcel Duchamp transferred their attitude into the realm art. It is there that Dandyism has to this day run rampant--but as if it were an embarrassing illness to which almost no one wants to admit, yet with which many people are itching to at least flirt. This essay traces out the masked ball of the Dandy and his manner of playing with its rules up to the present day and produces a unique narrative from it: one that offers a view into the future.
Dandy --- Dandyismus --- Kunst. --- Geschichte. --- Dandies --- Dandyism --- Exhibitions
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It is already three years since the Belgian artist Anne-Mie Van Kerckhoven (AMVK, b. 1951) expressed the wish to assemble material from her extensive HeadNurse Project which she describes as a Sex and Technology project in a publication that puts the whole project into perspective. This was made possible by intensive cooperation between AMVK, the NeuerAachenerKunstverein (NAK), the Kunsthalle Bern and objectif\_exhibitions of Antwerp. The publication is the result of a research project, carried out by Patrick Van Rossem for objectif\_exhibitions in co-operation with Anne-Mie Van Kerckhoven over the last two years. It accompanies the exhibitions How Reliable is the Brain? (NAK) and AMVK EZFK (Kunsthalle Bern). The two exhibitions are dealt with separately at the end of the publication. The publication of the HeadNurse-files responds to the international interest in a body of work that is unjustly still little-known. The layers of content and interdisciplinary work and the multimedia experimentation AMVK has been carrying out since the Seventies form a major point of reference in relation to the ever more pressing enquiries regarding the specific character of a contemporary medium-specific way of thinking. By means of installation shots, film stills and artistic images, the HeadNurse-files present an overview of the project's development from 1995 to 2004 and beyond. They are interspersed with articles, quotations and film scripts by AMVK, by theoretical reflections published in the course of the HeadNurse activities (Filip Luyckx, Corinne Melin, Renate Puvogel, Ronald Van De Sompel and Wim Van Mulders) and new articles (Susanne Titz, Dorothea Olkowski, Philippe Pirotte, Patrick Van Rossem). The extensive amount of theoretical contributions gathered in the book is the result of a well-considered decision. The aim was to create a dialogical situation between different theoretical interpretations of the HeadNurse project and its visualisation in the book. The accumulation coincides with the concept of the 'file' in its archival use. The book is designed by the artist herself, conceived as an aesthetic bath from which the many theoretical contributions unfold. The files should be seen rather as an in-depth questioning of the artistic significance of AMVK's visual idiom and the complexity of content her media experiment involves. Throughout it the authors explore drawing and painting, pictorial thinking, the digital, multimedia working method and the spatial negotiation between image and support, architecture and installation, viewer and work of art. The positioning of the artistic identity throughout AMVK's style, her fascination for the image of woman and the many references to her own self in image and words form an enduring outline of an artist's position. Incarnation is in this instance located between existence and artistic creation. This too is one of the main focuses of this publication.
Van Kerckhoven, Anne-Mie °1951 (°Antwerpen, België) --- Beeldende kunst videokunst 1995-2005 A-M. Van Kerckhoven --- Fotografie digitaal gemanipuleerde --- Belgische kunstenaars --- Kunst van vrouwen --- 7.07 --- (069) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- (Musea. Collecties) --- installations [visual works] --- mixed media --- art [fine art] --- public spaces --- Art --- Kerckhoven, Van, Anne-Mie --- Belgium --- Konzept = concept Anne-Mie Van kerckhoven ; herausgegeben von = edited by Patrick Van Rossem --- kunst --- twintigste eeuw --- installaties --- eenentwintigste eeuw --- Van Kerckhoven Anne-Mie --- kunst en technologie --- film --- erotiek --- 7.071 VAN KERCKHOVEN --- Beeldende kunst ; videokunst ; 1995-2005 ; A-M. Van Kerckhoven --- Fotografie ; digitaal gemanipuleerde --- Kunst ; van vrouwen --- Van Kerckhoven, Anne-Mie --- art [discipline] --- Artists --- Book
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