The Young Talent Exhibition issue by d!ng magazine belgium
Affordable Art Fair
The artist and the others
16 â&#x20AC;&#x201C; 19 APRIL 2015 Tapijnkazerne Sint Hubertuslaan 12 Maastricht Netherlands
D!NG is an online art magazine featuring artists from around the world. D!NG focusses on young, multidisciplinary artists who are at the beginning of their artistic career. In English ‘ding’ is literally translated as ‘thing’. ‘Ding’ mostly refers to an object. However ‘ding’ can also stand for the unknown and it can be translated as a substance of things.
FOUNDING EDITOR GRAPHIC DESIGNER COPYWRITER FEATURING
Jessica Capra Griet Moors Vincent Vreeke Mike Moonen Jeroen Jaenen Willem van Kempen Jerome Daly Evelien Mattheij Joep Hinssen
5-6 7-8 9 - 12 13 - 16 17 - 20 21 - 24 25 - 28 29 - 32 33 - 36 37 - 40 41 - 42
Letter from the editor, Jolien Dirix
Guest letter from The artist and the others, Jesscia Capra
Willem van Kempen
Info + program
A LETTER FROM THE EDITOR Dear reader, Welcome to this special issue the ‘The Young Talent Exhibition’ issue. This issue is a collaboration issue with The artist and the others for the Affordable Art Fair Maastricht 2015. The artist and the others is a dynamic initiative based upon the simple idea that the importance of artist in this society are undermined and that we benefit from sharing our common knowledge. The foundation supports young creative minds at the beginning of their career in the cultural world. What makes The artist and the others so warm hearted is their sincere significance for other creative souls. They organize events, workshop, lecture al for the benefit of the others. The Affordable Art Fair if founded by Will
experience through diverse mediums?’
Ramsay first in 1996 as he opened an Art
Next artist is Vincent Vreeke a Dutch artist
Warehouse in south west London. Today
who is now doing a Temporary residence
Will’s Art Warehouse still stands and is
at ‘Het Wilde Weten’ in Rotterdam.
transformed into the Affordable Art Fair
Besides painting and photography, he
and takes now place in cities all over the
also has a dedicated passion for music.
world, including Maastricht.
Mike Moonen is a mixed media artist who lives and works in Maastricht.
In this issue, we see eight young artists
Looking at his artworks thought his
from different countries. First, Griet Moors
eyes you will understand that everyday
a Belgian Ph.D. artist who is researching
banality can create complexity. Jeroen
the connection between painting and
Jaenen is an artist whose work refers
space. Moors has a background in
to abstractions that are a part of our
architecture and uses her knowledge
current consumer society. He searches
to define questions like ‘How can we
for the perfect combination of beauty
understand and describe complex visual
and movement. Next artist, Willem
WELCOME from founding editor Jolien Dirix
van Kempen is looking for the hidden
issue is Joep Hinssen, a mixed media
power of meaningless and neglected
artist with a broad range of subject.
objects that reflect our everyday life. Jerome Daly has a special interest in
I want to make special thanks to the
everything living. In his research, he
Affordable Art Fair Maastricht for their
emphasises the idea that everything
collaboration. I also want to thank
living is doing a singular performance
the artist for their contribution and
until the end is its life, despite the fact
confidence. My thank goes also to The
that we are more and more living in a
artist and the others, especially to you
world of machines. Second female artist
Jessica. And at last, I am very grateful
of this issue is Evelien Mattheij. Her work
for all of you, devoted readers who read,
is often not â&#x20AC;&#x2DC;site-specificâ&#x20AC;&#x2122;. She confronts
support and view our magazine.
every space with different questions. However, these questions are based on how the environment can relate to her interferences. Last participant of this
GUEST LETTER FROM THE ARTIST AND THE OTHERS Dear reader, A research on viewer’s different behavior(s) highlighted that people spend less than a minute look-ing at an artwork. Most of us spend no more than 5 seconds. It’s absolute fine to browse and wander in an art space, since people’s attention requires an over-view of their surroundings in order to finally choose the object of their curiosity. Have you ever stopped in front of an artwork to enjoy the tiniest particular? When you stop for 5-10 minutes to
artists, curator and collectors.The Young
talk about an artwork, that’s make the
Talent Exhibition displays artworks –
difference. In this moment you really
never exhibited before- of 8 talented
start seeing what is in front of you. By
artists, grad-uate from academies in the
sharing your vision, your first impression
Euregio. In this exhibition, the audience
might change. Your way of thinking and
is invited to open up their eyes, reflect
your perception of the artwork could be
on how they see and look at artworks,
especially, art made by young talented contemporary artists.
Let something catch your eyes! Start seeing….
The young talent exhibition is curated by an artist and curator Joep Vossebeld. His
The Affordable Art Fair 2015 gave, once
position enables him to take into account
again, The Artist and the Others the
at once the position of the artist regarding
opportunity to show-case young talents
his artwork and the expectations of
through the Young Talent Exhibition,
viewers when attending an exhibition.
and create, next to it an educational
Reconciling in this way the demand of
pro-gram. In the Lab project space,
aware-ness that requires artworks and
contemporary art issues of artists and
the demand of understanding expected
the cultural scene are reflected thanks to
a series of interviews with the exhibited
co-founder Jessica Capra
The exhibition mirrors the contemporary
are exhibiting in the Young talent space.
cultural scene on two levels.
Thanks to Mike, Vincent, Joep, Jerome,
First, the relationship between the
Griet, Evelien, Wil-lem & Jeroen. Grazie
viewer and the artwork is highlighted.
to Jolien and the D!NG team for realizing
How do we observe art? Are we aware of
this special issues dedicated to the
what we see?
Affordable Art Fair Maastricht.
On the other side, how much visibility does an artist need to be noticed? Is this visibility useful for the development of
their career? Will the gained spotlight allow them to stand out? We wish you a pleasant visit and let us know if you have noticed any differenceâ&#x20AC;Ś A warm hearty thank you to Clarisse, who is helping the foundation in realizing this project, Joep, all the team of the Affordable Art Fair, Lotte, Stefanie, Anna, and all the amazing artists that
The Painting and Beyond: Erasing Boundaries. Communication in the network of hybrid visual languages
As a painter it is natural to have passion for painting. And as an architect it is natural to have a fascination for space. Being both, thereâ&#x20AC;&#x2122;s no doubt about it: I am fascinated with painting and space, and more particularly with the way in which those two connect. I am absolutely intrigued by the use of color in space, and by the definition of space in a painting. But I am even more curious about how they both intertwine. In a pretty ungraspable way, they flow into each other. They communicate on a level which sometimes seems obvious, but I am inclined to think there are so much more connections in many different ways. As an exponent of the previous, the network I am especially interested in is the one that exists within one hybrid work of art (consisting of a painting and/or a sculpture and/or an installation and/or a video and/or photography and/or digital art). How can we understand and describe this complex visual experience? In my artistic approach â&#x20AC;&#x201C; and closely related to my architectural background - I donâ&#x20AC;&#x2122;t consider a painting as an end product but as an analysis and
design instrument. Using paint like an architect uses his pencil, the act of painting is comparable with sketching and in that way exploring all preconditions of a given problematic situation. Once the essence of the problem becomes clear, the painting gives enough information to solve the problem and to create the solution. The painting becomes a 2D plan, containing all necessary information to design and to build the appropriate response, which is mostly not a painting but - for instance - a spatial construction. And in many cases some specific characteristics of this spatial construction are key to solve the pictorial conflict that was remaining in the painting. The internal references that emerge from this approach highlight the ability for the painting to act as a causer of interdisciplinary communication and the ability of the creator to design a visual and transdisciplinary communicative network, sending enigmatic messages by using pictorial elements. A part of my artistic research examines this visual network, the nature of its connections and the potential of its communicative character. Another focus point lies within the artistic process and highlights the
evolution from knowing by doing (unconsciously) to knowing by thinking, and then doing (consciously). In this context I want to explore the key point where the mind-set of the artist (who knows ‘wildly’) starts to transform in the mind-set of the (artistic) designer (who knows ‘exactly’). It is my belief that, during the artistic process, the Bricoleur turns into the Engineer, overcoming his limitations of pre-existing regulations and tools that are ‘at hand’. He consciously starts to solve the problems that he encounters by broadening his view and using every possible technique, knowledge and material that can serve the image that is created during the process.
12 As the result, he becomes a wanderer in the expanded field of his discipline. The visual result of this artistic process is not only (or not even) a painting, but a composed construction in which the visual language is multidimensional and transdisciplinary.
VINCENT VRE E K E www.vincentvreeke.nl
Vincent Vreeke examines the medium of painting and other media. His latest examinations are fundamental; they are about the carrier of the painted surface. Why stretch a canvas if you can paint on the stretcher itself or even directly on the wall? In search for a more profound connection between the painted subject and the actual carrier, Vincent explores these carriers as an animal would explore its territory. Where are the borders and what are the margins of these borders? These fundamental questions result in a reduction of actions within the actual working process in order to show an ambiguity that has something subtle and clumsy at the same time. This reduction of actions also results in seemingly recognizable forms within illegible but attractive works.
MIK E MOONEN 17
Blank Dog, from poster series, 2014
Iâ&#x20AC;&#x2122;m looking for moments where the familiar and the alienating meet. Itâ&#x20AC;&#x2122;s these border regions that always attract my great interest. I find this dichotomy in artistic inaccuracies as deformity, distortion, the needy, the weak, banality, the accidental or the arbitrary. I try to put a same kind of experience in my work, in all its
MIK E M O O
manifestations. Itâ&#x20AC;&#x2122;s the unsuccessful attempts, and subtle drama within these that ensure disruption and play games with expectations and perceptions.
20 N EN. CO M
J E R O E N
J AE N E N
My work refers to abstractions that are part of our current consumer society. As an artist, I let myself be guided by an incessant quest for the perfect combination of beauty, each image must be immediately understood and processed. My imagery offers a possibility to activate a commonly known image, and thus to shift the context.
WILLEM VA N KE M PE N In my works Iâ&#x20AC;&#x2122;m looking for the hidden power of the meaningless and neglected objects that enricht our everyday life. By highlithing their potential, by alienating and giving them an ambitious, erotic and alienated new look. The results are unique memories that create new artistic landscapesâ&#x20AC;Ś
J E R O M E DALY www.jeromedaly.net
I have always had a special interest into everything living. In fact life in it’s expression always has a singular character. One could say that everything living is doing a singular performance until it ends it’s life. Thereby life is never a repetition and stands in contrast to the world of machines where even a random process is repeating itself constantly until eternity, not being able to break out of it’s patterns. But what does this mean for the relationship between the human and the machine world? Isn’t a machine living too in it’s dependence on humankind? What does life mean in terms of a machine? What does individuality – which is also an expression of singularity – mean in terms of artificial life? In the virtual world of machines where the accident doesn’t exist, a machine is a standardisation, a repetition of a repetition of a repetition. But if there are hundred clocks running properly and one of it just breaks out of this standardisation in performing a mistake because of it’s misconstruction, is this one clock more of a „living being“ or more of an individual in terms of life than the other 99? And what does this have to do with the reality and it’s accidents? In questioning myself about the interaction between the machines and the humans I am trying to subvert the inherent standardisation within the machines to make the moment of mistake transparent. In this process I am making an attempt to breach the dictatorship over the computer and each pixel on the screen. At the moment I do software performances. Jerome Daly is my avatar within the room at no space at no time (the white cube as the laboratory). He is the body that brings the accident into the randomness of virtuality. My camera-software reacts onto colours and movements within the laboratory and paints the picture. Different layers of software create unrepeatable glitches as the representative of the creative power of the machine that exceeds in it’s variations and complexity the human possibilities of expression.
EVELIEN MATTHEIJ 34 www.stjoost.nl/portfolios/evelien-mattheij
The works that I make are often â&#x20AC;&#x2DC;site-specificâ&#x20AC;&#x2122;. Every place where I am confronts me with diffrent qualities and questions. I concider a new location as an invetation to realise a new work for. In my work I show or question static structures that might look definite. It are structures who are based on assumptions that can determine how we can relate to things in our environment. An important motivation for me to make work is to create an enviorment where you can still be yourself within all the structures that we live in. By making work I look again to where I stand, and how I position myself in this world.
JOEP 37 HINSSEN www.joephinssen.com
Pixel Constallation 2
Joep Hinssen (째1988, Venlo, Netherlands) is an artist who works in a variety of media and with a broad range of subjects. In his recent work he tries to amplify and share experiences of a blissful confusion, in which phenomena seem to break out of their normal frame of reference and infiltrate other contexts.
When, for instance, a railroad-crossing or a soccer match suddenly sound like a music composition or when trash in a river looks like a constantly changing painting. Via different outputs he then tries to purify and sharpen the effect of these experiences. So far, this resulted in installations, videos, performances and interventions in the public domain.
I N FO The Young Talent Exhibition Displayed are artworks - never exhibited before - of 8 talented artists, graduate from academies in the Euregio. In the exhibition, the audience is invited to open up their eyes, reflect on how they see and look at artworks. The exhibition is curated by Joep Vossebeld. By being an artist and curator at the same time, enables him to take into account at once the position of the artist regarding his artwork and the expectations of viewers when attending an exhibition. The exhibition mirrors the contemporary cultural scene on two levels. First, the relationship between the viewer and the artwork is highlighted.
How do we observe art? Are we aware of what we see? On the other side, how much visibility does an artist need to be noticed? Is this visibility useful for the development of their career?
Will the gained spotlight allow them to stand out?
Buy a painting because you like it, not because you think itâ&#x20AC;&#x2122;s what you should be buying. - AAF Founder, Will Ramsay
PROGRAM Lab Project Space
Saturday 18, April: How to start your own collection 14:00 Interview with Nikos Geropanagiotis, Ceo of Later is Now. 16:00 Interview with Julie Hanique, responsible for the SPACE collection.
Sunday 19th April: The young talents & the fair 14:00 Interview with the young talents artists & curator Connecting with Contemporary Art
Jerome Daly, Joep Hinssen, Jeroen Jaenen, Willem van Kempen, Evelien Mattheij, Mike Moonen, Griet Moors, Vincent Vreeke 16:00 Interview with Jolien Dirix, director of D!NG: Promoting the young talent
artists Griet Moors Vincent Vreeke Mike Moonen Jeroen Jaenen Willem van Kempen Jerome Daly Evelien Mattheij joep Hinssen