art magazine Belgium
Kenny Dunkan gijs milius Britt Vangenechten Vicky Lema
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The Young Talent Exhibition issue by d!ng magazine belgium
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 COPYWRITER GRAPHIC DESIGNER FEATURING
Jolien Dirix Astrid Van Gilse Mariska Dirix Kenny Dunkan Gijs Milius Britt Vangenechten Vicky Lema
COVER AND ENDING IMAGE
A LETTER FROM THE EDITOR Dear reader, Welcome to the fifteenth issue of D!NG magazine! Like all previous issues, we selected four artists we truly believe in. The fifteenth issue of D!NG is released on the fifteenth of April. Together with a special issue we’ve made in collaboration with The Artist and the Others. This issue of D!NG features the work of
Kenny Dunkan. Dukan completed
his studies in Paris, at The École Nationale Supérieure des Arts Décoratifs (also known as Arts Decos’, Ecole des Arts Decoratif ) in 2014. His work is translated into his magic, mysticism, and the surreal world. Next we have the work of Dutch artist Gijs
Milius. Milius, now living in Brussels, is showing his visual
correspondence with Michel Gondry which he made six years ago. The third artist is Belgian photographer Britt
Vangenechten. Since 2013 Vangenechten
is working on her ongoing series “Above the sea lies a sinking ship” about the endless growing city, Shanghai. Last participant of this issue is Vicky
a Belgian painter who uses her imaginative world as an inspiration for her landscape paintings. For this issue I want to thank, once again, my devoted team for the passion and time you are willing to establish. Especially Astrid and Mariska. I also want to give my thanks to the artists for their contribution. At last, I am very grateful for all of you, devoted readers who read, support and view our magazine. Yours, Jolien
from founding editor Jolien Dirix
5 Photo by Julie van derVaart
Kenny Dunka 6
gijs milius 20
Britt Vange 32
Vicky Lema 46
Dunkan refers to his first sculptural experience as a child at the Mardi Gras parade on his native island of Guadeloupe, far from galleries and art centres. His first decisive visual encounters came in the form of extravagantly decked out parade floats - the moving centrepieces of the Carnival. Memories of recycled materials mixed with ostrich feathers, garish and iridescent fabrics and the diverse, on-hand decorated objects which adorned costumes and were animated by frenzied choreographies, continue to haunt his visual vocabulary today. The atmosphere is festive and artificial. This is Dunkanâ€™s first taste of magic, mysticism, and the surreal.
MWEN PARĂ‰ (2014) Armor of metallic nuts & nylon collars. Production awaiting activation (performance).
PARADE 2014 : Mixed medias & technics
Having completed his studies in Paris, at Les Arts Deco in 2014, Dunkan’s practice, which
installation and film, is influenced by fashion,
culture and design. He deliberately construes references and plays with codes. This mixing facilitates a constant repositioning of his identity as it is inscribed in the context of the contemporary moment.
Techniques of collage – assemblage of bits and bobs, elements, memories, cultures,
materials as ideas, and symbols – underline a practice that allows him to operate nuanced critiques and repositions. Mutations and hybridizations are rife. The billowing American flag becomes solid, the stars fall; logos are knives; clamps are transformed into organic matter; a mop stands in for a drag queen, as she is positioned on the ground, becoming a robecarpet. Dunkan compels his sculptures to take their place, to assume their materiality and to parade themselves. In doing so, he develops an almost fetishist
the objects, which evokes a fascination for their aesthetic and expressive potential. Experimentation and a hijacking of the conventional are the basis of his artistic research. For
Dunkan, his excitement in the banal and everyday – whether this is the shelves of a crowded bazaar or the utility of a hardware store – is
an intense moment of realization.
Around the next aisle, the surprise of a tank filled with glittering metal nuts or a golden roll of house-insulation sheeting launches the next creative process.
PARADE 2014 : Mixed medias & technics, motors & light.
QUEEN MOP 2014 Hand knotted fringes of MOP
DEPRESSION TROPICALE 2014 Wood, metal, foam plant, natural and synthetic tropical plants, fogger and motors.â€¨ 150 x 80 x 160 cm
diameter: 3, 40 m UDRIVINMECRAZ 2014 Video of 8’34 min with activated sculpture
I’VE BEEN WAINTING FOR YOU TOO LONG 2014 Digital print on industrial tarpaulin 50 x 60 cm
“The atmosphere is festive and artificial. This is Dunkan’s first taste of magic, mysticism, and the surreal.
Gijs Milius visual correspondence with Michel Gondry
â€œIn 2009, French film maker Michel Gondry advertised on his website that he would draw and send a portrait of a photo of anyone for the price of $20. I found a photo of him online, drew it without looking at the paper while drawing, scanned it and e-mailed him the picture. The same evening he replied with a scan of a drawing of my drawing. I made another drawing of his drawing of my drawing of him and received a drawing of my drawing of his drawing of my drawing. I then sent him a drawing of his drawing of my drawing of his drawing of my drawing, to which he replied with a drawing of my drawing of his drawing of my drawing of his drawing of my drawing, to which I replied with a drawing of his drawing of my drawing of his drawing of my drawing of his drawing of my drawing, to which he replied with a drawing of my drawing of his drawing of my drawing of his drawing of my drawing of his drawing of my drawing. Etc. Free of charge. At 40 drawings
Shanghai, which literally means â€œabove the seaâ€?, is an international metropolis that is drawing more and more attention from all over the world. These days it is known for being the second biggest city in the
world, with more than twenty-five million inhabitants.
Originally, Shanghai was a small fishing village with little hope of advancing past its swampy origins but thanks to the opening of the villageâ€™s port it soon started growing and growing until it became the enormous city that it is today. But, as progress continues in Shanghai,
the city starts sinking due to mass urban
migration, soft soil and global warming. Or how building up Shanghai is bringing the city down.
After the Vangenechten
silence Britt looked up for her
around in a place that is emerging too
graduation project in Tierra Del Fuego,
is a somehow fake world. Even
Argentina, she decided to do the opposite
something as powerful as mankind falls
and visit one of the biggest and loudest
apart in those enormous surroundings.
fast, that is a kind of model world, that
cities in the world. Vangenechtenâ€™s choice brought her to the land
On the one hand Britt Vangenechten
the rising sun: Shanghai drew her
tried to capture the contradictions of the metropolis and on the other hand she tried to capture the desolation she felt as a complete outsider.
attention from the very first moment. But
she immediately felt like an
outsider between the thousands and even millions of people. It was a place where she did not speak the language and where she did not know the right directions. It was a place where she
was literally lost in translation. Vangenechten felt like she was walking
the sea lies a ship.
“A place where I didn’t speak the language, where I didn’t know the right directions. “
Pine 95diameter oil on mtx yellow pine
Vicky Lema www.vickylema.be
2012_obstacle_100x100cm Oil on canvas.
2014_x_out of the blue_35x35cm oil on canvas
Vicky Lema studied painting at the KASK in Ghent. Since 2011 she holds a Master of
Fine Arts. Today she lives and works in Ghent.
In her imaginative world Lema feels free. This freedom enables her to build a landscape. Just as dreams are built with subconscious memories or images, Lema uses conscious mental images as a tool to construct landscapes on canvas.
2014 (in situ) Twin trees at Tank Series, Het Entrepot Brugge
2014_drawing sketch 21x29,7cm_graphite on paper.
The area in which she is most interested in is the area that lies
in between the worlds
of human architecture and natural architecture. A strange atmosphere hovers over the above-mentioned worlds. Something is in progress in this area: for Lema it is the end of nature. As if nature admits defeat. Nowadays it seems that nature needs to be created by men in order to be noticed. It is
this human interference that is the focus point of Lema’s work. Her goal is to obscure the line between nature and contemporary spaces. There is a battle between these two powers, between mankind’s supremacy and nature’s fight. We are continuously confronted with an environment that is too far off from nature. We should ask ourselves:
“How pure is our image of nature today?”
In her works Lema incorporates memories
of her surroundings. Mostly, her
starting point to create something is a form she remembers from impressions and memories. Such forms can be wide landscapes, an interspace, or a detail like a pixel of a landscape picture. There is something in these forms that triggers Lema to further investigate them. To transform the scenery she sometimes uses a computer in between or she proceeds manually in a collage fashion. This depends on her mood. The goal of her art is to create unknown spaces. Lema is constantly collecting ideas, photographs or sketches, so that she always has materials to use in a painting. Lemaâ€™s drawings are
freehand and intuitive. For her, this is only possible
through the use of the right pencil - one with a sharp point - and concentration. It brings her mind at peace. To delineate borders on canvases she uses tape.
2014_miror drawings_at_het Entrepot
Ever since Vicky Lema has had her two children unrest is hidden in
her way of working, which was never the case before. She feels that she now needs to reach a state in which she can become detached of the concept of time. It is only then that she can create. It is in that moment that suddenly the drawing itself takes control. Thus, Lema
loses control over her work and the work itself will take the lead. A logical continuation of what the drawing wants
Vicky Lema works especially with the mediums of painting and drawing. However, last
year she mostly worked in situ, because she was given the chance to work in situ more than to work in an atelier. Lema also noticed that when she works in situ she feels less a struggle with her ideas. The settings and surroundings give her more insight into her works and are an easier starting point. Her recent works can be seen as a search to transfer these in situ experiences to her atelier in a different manner.
2015 vergeten landschap (forgotten landscape) 80x135 cm oil on canvas
2013 'In situ painting' De Vitrine 'De Markt' Ledeberg photo by Joris Vandecatseye
With Kenny Dunkan, Gijs Milius, Britt Vangenechten and Vicky Lema. Editor Jolien Dirix