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Rashomon

Jean-Pierre Temmerman


Rashomon

Plus One 15.09.2016 — 15.10.2016

Jean-Pierre Temmerman


Exhibition text

by Marc Holthof


In 1951 the Golden Lion, the first prize at the

get caught; a web that mirrors the maze of

Venice film festival, went to Rashomon by

their own versions of the truth. Kurosawa turns

the Japanese film maker Akira Kurosawa.

nature, the forest, into a mental landscape

The film had a big influence in the West.

echoing the central theme of Rashomon.

It turned Kurosawa and actor Toshiro Mifune into international stars and it started a

Jean-Pierre Temmerman's work was, and

wave of films, plays and books about 'the

still is, clearly influenced by cinema. In this

relativity of truth'. In the film, based on two

exhibition he is showing a series of three

stories

Akutagawa,

watercolour paintings ('Whispers in the Forest

a woodcutter tells of a series of horrific

I-III') that form a sequence in which - by means

events: an ambush, rape and murder. The

of a shifting horizon - a 'camera movement' is

four protagonists of the story however give

visible. Some 20 years ago Marc Ruyters wrote

contradictory statements of what actually

about an exhibition of Jean-Pierre Temmerman

happened. Is anyone of them telling the truth?

in Art Box in Waregem, and stated that

by

writer

Ryunosuke

“the mental landscapes of Temmerman are For this exhibition Jean-Pierre Temmerman was

combinations of reality and abstraction which

inspired by the very expressive nature scenes that

can lead to both chaos, wishful thinking or

play an important role in the film by Kurosawa.

nightmares�. Temmerman indeed was and is a

Famous in Rashomon is the scene in which the

master of the 'mindscape'. He paints fascinating

woodcutter walks into the woods and we see a

landscapes, environments full of details. You

quick succession of moving images showing

can take them in at a glance (as the small

the treetops, viewed from the ground. These

watercolour paintings invite you to), but you can

nature scenes are more than the background

also endlessly dwell in them; especially in the

against which the drama unfolds. They almost

enlargements. They form worlds by themselves,

literally form a web in which the protagonists

with their own laws. Even gravity doesn't


apply here: many of them have no fixed up- or

Seghers. But different from Seghers, the world

downside. You can turn them around, hang

of Temmerman is largely abstract with only a

them vertically or horizontally, or upside down.

recognisable horizon or a cloud as a figurative reference. Seghers' work suggests a virtual

These works are the result of a long, technical

dream world, an immeasurable space. In

and conceptual process that took more than 15

Temmerman's work we are being fully emerged

years. In this period Temmerman developed a

in that space, in that dream. Often we seem

whole new technique that allowed him to explore

to be underwater, in a submarine world, in

certain themes already present in his earlier

which the fixed coordinates of our world are no

work. Part of this evolution was accidental: as

longer valid, in which we lack reference points.

he no longer had a studio, Temmerman had to develop a new way of working. He started

In Rashomon the nature scenes reflect the

making small watercolour paintings at home.

relativity of truth which is the central theme

These magnificent little works excel because

of the film. The strange, endlessly fascinating,

of their subtle variations of azure green and/

mental

or pale brown tints. Some of the new work was

'Rashomon'-exhibition inevitably also touch

also possible thanks to technology: photography

on the central theme of the film: reality is

and UV printing techniques make it possible to

lost in a web of interpretation. But more than

enlarge these small watercolour paintings and

that: we have lost our reference points, and

turn them into large and imposing canvases.

are submerged into the dream world of our

landscapes

of

Temmerman's

observations and emotions. Temmerman's These works recall not only the nature scenes

works are backdrops for a new, unknown and

in Rashomon but also the work of another

unwritten film – that of our own imagination.

master of the mental landscape: the coloured etchings of 17th century Dutch artist Hercules

Marc HOLTHOF


RashĹ?mon

by Werner Van dermeersch


Rashōmon has become synonymous with the

collection of over 1,000 stories written during

relativity of ‘truth’. All stories of the witnesses

the Heian Period (794-1185). The themes are

seem perfectly logical and defensible, but

very recognizably contemporary, often dealing

still there appears to be an underlying

with human selfishness and the importance of

motive to tell 'the reality' different from their

art. Ryunosuke Akutagawa stressed that moral

own perspective. The black and white film

considerations are of little importance when

Rashōmon, 1950 by Akira Kurosawa based on the

survival is at stake. He sees truth and reality as

stories of Ryunosuke Akutagawa (1892-1927).

relative terms.

Rashōmon (羅生門, 1915 and only 10 pages) provides with the first page, the opening scene

In the last phase of his life Ryunosuke

for the film and Yabu No Naka (In a grove" 1922,

Akutagawa suffered from insomnia, physical

also 10 pages) forms the source for the main

and psychological problems. At the beginning

story of the film. The final scene with the

of 1927 he attempted an unsuccessful suicide

foundling added by Akira Kurosawa becomes a

with his friend. In July of the same year he took

Deus ex Machina, a tool for the ultimate truth,

an overdose of Veronal that he received from his

the element that mounts our perception back

friend Mokichi Saito, a poet and psychiatrist.

on point; as completion. However in the story

He was only 35 and left 150 written stories.

Chuto (Rovers, 1917), the story ends under the Rashō Gate, the southern gate of Kyoto (794-

Veronal is the name of the first tranquillizer

1185), where Akogi, the retarded maid gives

and hypnotic, discovered by the German Nobel

birth to a baby.

Prize winner Emil Fischer and physician Joseph von Mering in 1882, launched commercially in

These stories the Ōchō-Mono are based on

1903. The name Veronal would be derived from

historical

the

the fact that von Mering took a dose of the drug

Konjaku Monogatari (Tales of long ago now), a

during a train ride and woke up on arrival in the

Japanese

sources

such

as


“The Rashōmon-effect is the effect of subjectivity of perception on recollection.” Karl G. Heider, visual anthropologist, 1966

city of Verona. Veronal has hypnotic properties

The

miniatures,

so

called

watercolour

and a half-life greater than 100 hours. As a result

paintings, are much more than that, completely

all body functions slow down substantially, for

soaked, saturated with pigment and self-made

several days. Continued use leads to addiction

recipes. Intuitive and autonomously without

and an overdose leads to death. Veronal is no

predetermined conception. They arise and

longer being sold.

grow, sometimes over a period of 10 to 15 years until the oxidations become independent

In the oeuvre of Jean-Pierre Temmerman the

universes. The titles are given afterwards

medium of film is recurring. As medium by

as a concretization of the subconscious. By

itself, as reminiscence, as visual element and

magnifying up to 625 times (189 million pixels)

not in the least in the references of the titles.

the miniatures become infini’s on a monumental

That what served as backdrop in his earlier work,

scale in which every microscopic detail becomes

as infini, became independently autonomous to

visible for the first time. Rashōmon's gates on

the foreground in his work of the last 15 years.

Jean-Pierre Temmerman's parallel reality.

Initially out of necessity, ultimately as essence. Made as miniatures where, once you zoom in

One untitled work (of the Cosmo Ocean series)

on, you start to disappear into infinity; infini.

initially was horizontal and subsequently became

Horizontal, Cosmo Oceans, Vertical, Event

a vertical work of the Event Horizon series and

Horizons. An event horizon in cosmology is

thereby got the title Rashomon Forest. A gate at

the boundary behind which information, in the

the bamboo forest, the Samurai, the wife of the

form of matter or light, can no longer reach a

Samurai and Tajōmaru the robber, in colour.

certain or another point; neither in time, nor in

Each one his own imagination.

space. The perception horizon is relative and in different places or times it can be different for different observers.

Werner Van dermeersch


Artworks


Event Horizon, Study Raincloud III Rashomon

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 127 x 178 cm, unframed 124,4 x 175,4 cm


Event Horizon, Study Raincloud II Rashomon

Ink, watercolour & crayon on paper, 2000 - 2016, framed 31,4 x 38,9 cm, unframed 24,3 x 17 cm


Event Horizon, Study Raincloud I Rashomon

Ink, watercolour & crayon on paper, 2000 - 2016, framed 31,4 x 38,9 cm, unframed 24,3 x 17 cm


Event Horizon, Study Raincloud IV Rashomon

Ink, watercolour & crayon on paper, 2000 - 2016, framed 31,4 x 38,9 cm, unframed 24,3 x 17 cm


Vibrations in the Forest

Ink, watercolour & crayon on paper, 2000 - 2016, framed 23,8 x 29,4 cm, unframed 12,4 x 17,3 cm


Ocean Vibration

Ink, watercolour & crayon on paper, 2000 - 2016, framed 23,8 x 29,4 cm, unframed 12,4 x 17,3 cm


Movement in the Forest

Ink, watercolour & crayon on paper, 2000 - 2016, framed 46,5 x 38,4 cm, unframed 25 x 15 cm


Cosmo Ocean, There will be...

UV curable ink & crayon on evergreen textile, 2000 - 2016, 310 x 432.9 cm


Cosmo Ocean, Blue Hope

Ink, watercolour & crayon on paper, 2000 - 2016, framed 31,4 x 38,9 cm, unframed 24,3 x 17 cm


Cosmo Ocean, False Idyll

Ink, watercolour & crayon on paper, 2000 - 2016, framed 31,4 x 38,9 cm, unframed 24,3 x 17 cm


Traces of Architecture

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 174,5 x 127 cm, unframed 171,9 x 124,4 cm


Spring - Summer - Autumn - Winter ... and Spring again

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 248 x 178,8 cm, unframed 245,4 x 176,2 cm


Whisper in the Forest I, II & III

Ink, watercolour & crayon on paper, 2000 - 2016, each framed 31,4 x 38,9 cm, unframed 25 x 15 cm


Cosmo Ocean, Rashomon Forest

Ink, watercolour & crayon on paper, 2000 - 2016, framed 23,8 x 29,4 cm, unframed 12,4 x 17,3 cm


Traces of Perspective Rashomon

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 248 x 184 cm, unframed 245,4 x 181,4 cm


Event Horizon, Study Raincloud V Rashomon

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 127 x 178 cm, unframed 124,4 x 175,4 cm


Cosmo Horizon

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 127 x 178 cm, unframed 124,4 x 175,4 cm


No Nobori Flags

UV curable ink & crayon on evergreen textile, 2000 - 2016, framed 127 x 178 cm, unframed 124,4 x 175,4 cm


Exhibition

Views


Curriculum

Vitae


Jean-Pierre Temmerman Born in Leopoldstad (Congo) in 1957


Education 1985 - 1986 Staatliche Kunstakademie Düsseldorf, Düsseldorf (DE) 1979 - 1984 Koninklijke Academie KASKA, Antwerpen (BE)


Solo exhibitions 2016

Rashomon, Plus One Gallery, Antwerpen (BE)

2003

The Desire to Be a Cloud, Gallery Al Segno, Zaventem (BE)

Lost in Transition, Gallery Benoot, Knokke (BE)

Temmerman - Vermuyten, Gallery De Ziener, Asse (BE)

1997

Gallery Artbox, Waregem (BE)

1996

Endless Dreams of Endless Scenes, Ecole des Beaux-Arts,

Gallery Fortlaan, Gent (BE)

Gallery Artbox, Waregem (BE)

Grenoble (FR)

1995

Bataille d'Oreillers, Cinema Savoy - International Filmfestival of Flanders, Gent (BE)

1992

Endless Dreams of Endless Scenes, Gallery Plateau, Brussel (BE) Endless Scenes of Endless Dreams (Take Two), Gallery Joost Declercq, Gent (BE)

1991

Gallery Joost Declercq, Gent (BE)

Kunst RAI' 91, Gallery Joost Declercq, Amsterdam (NL)

In the Beginning There Was an Image and the Image Was Ours... A Sequence, Gallery Joost Declercq, Gent (BE)

1990

Endless Dreams of Endless Scenes, Gallery Florizoone - Fine Arts, Nieuwpoort (BE)

1988

The Schoolroom, Gallery Ronny Van De Velde, Antwerpen (BE)


Group exhibitions

2016

Next Level, Pakt, Plus One Gallery, Antwerpen (BE)

2016

The Cutlery show, Valerie Traan, Antwerpen (BE)

2015

Zomerexpositie, Archief voor de toekomst, Verbeke Foundation, Kemzeke (BE)

Objet Oblige, Verbeke Foundation, Kemzeke (BE)

2009

Voyage Sentimental, Montpellier (FR)

2004

P. Van Roy, E. Derac, Scruvo, D. Mathieu, Bolenz, D. Dassiez, S. Rousseau, J.P. Temmerman, Gallery Benoot, Knokke (BE)

Van Stof tot Asse, Gallery De Ziener, Asse (BE)

2003

Gallery Benoot, Knokke (BE)

Gallery Benoot, Lineart, Gent (BE)

Black & White, Gallery Benoot, Knokke (BE)

Kunst uit Brussel, Gallery Benoot, Oostende (BE)

1998

Alice in Wonderland, installation in Fort Hoboken in the

Gallery Annie Gentils, Antwerpen (BE)

context of the summer of Antwerp (BE)

1996 - 1997 The Event Horizon: H. Almeide, Michelangelo Antonioni, A.-E. Bergman, Marie-JosĂŠ Burki, A. Egoyan, S. Farrell, Anne Veronica Janssens, S. Landou, C. Newman, M. Spigel, N. Pasic, Michelangelo Pistoletto, T. Robinson, Sam Taylor-Wood, J.P. Temmerman, M. Tusek, Museum of Modern Art, Dublin (IRL) 1994

Petit Format, traveling group exhibition, various cultural institutions

1993

XIV Contemporary Art Fair, Gallery Vega, Brussels (BE)

Le MusĂŠe du Petit Format, Fevecq, Etterbeek (BE)


1992

Belgien zu Gast: Jean-Marie Bytebier, Michel François, Jean-Pierre Temmerman, L. Vandevelde, Gallery Schröder, Mönchengladbach (DE)

Art Fair Köln, Gallery Vega, Köln (DE)

Kunstwerken Verworven door Nordstern Versicherungen, Köln (DE)

Basel Art Fair, Gallery Joost Declercq, Basel (CH)

1991

J. Brown - Rap, Jean-Pierre Temmerman, Koen Theys, Robert Devriendt, Gallery Van Krimpen / Kunst Rai '91 met Declercq, Amsterdam (NL)

XII Contemporary Art Fair, Gallery Vega, Brussels (BE)

Kunst in Vlaanderen, Nu, een Keuze uit Tien Jaar Aankopen van de Vlaamse Gemeenschap, M HKA - Museum of Contemporary Art, Antwerpen (BE)

Art Fair Köln, Gallery Vega, Köln (DE)

1990

Robert Devriendt, Lili Dujourie, Juan Muñoz, Jean-Pierre Temmerman, Narcisse Tordoir, Gallery Joost Declercq, Gent (BE)

Basel Art Fair, Gallery Joost Declercq, Basel (CH)

Tempels, Zuilen, Sokkels, C.C. de Werf, Aalst (BE)

Monochromie: Charlton, Hamak, De Keyser, Spaletti, Danner, Welling, Temmerman, Brandl, Wery, Richter, Mees, Dorner, Gallery Lucy Jordan, Oostende (BE)

1989

Carte Blanche à Jan Hoet. Pauvreté et Baroque, Musée des Beaux-Arts, Le Havre (FR)

Basel Art Fair, Gallery Joost Declercq, Basel (CH)

Art L.A., Gallery Joost Declercq, Los Angeles (USA)

1988

Lineart, Gent (BE)

Gallery Ronny Van De Velde, Antwerpen (BE)

1986

Julius in der Landschaft, Galerij Lohrl am Abteiberg, Mönchengladbach (DE)


Film and videography

2001

Science Fiction, feature film, preparatory studies and production design, Gent (BE)

2000

Les Enfants de l’Amour, feature film, directed by Geoffrey Enthoven, production design, Gent (BE)

1998

De Boeren en Casa Poetica, VPRO, Amsterdam (NL)

De Wannabees, pilot project, directed by Kris de Meester, art direction, Gent (BE)

Het Trappenhuis, short film, directed by Yves van Opstaele, art direction

1997

Charlotje, short film, directed by Lien Willaert, art direction

De accordeon, short film, directed by Mariano van Hoof, art direction

1996

Video documentary, about the work of Jean-Pierre Temmerman commissioned by Nordstern Versicherungen

Fugitive Cinema, stage by Robbe de Hert, Antwerpen (BE)

Gaston’s War, feature film, directed by Robbe de Hert, stage, Antwerpen (BE)

De Bal, feature film, art direction

1995

Recording for the BRT program Affiche, following Bataille d'Oreillers, Savoy Cinema in Gent (BE)

1991

Recording for the BRT program Kunstzaken, following Temmermans first individual exhibition in Gallery Joost Declercq, Gent (BE)

1984

Totaalspektakel voor Sabena, directed by Jef Cassiers, design

1979

Geruchten, directed by Ivo van Hove, staging and scenery


Bibliography

Bibliography, catalogues and publications in book form

2016

Temmerman, J.P. (2016). Endless Dreams of Endless Scenes, Endless Scenes of Endless Dreams. Antwerpen: Jean-Pierre Temmerman

2001

Bex, F., Baudson, M., Smets, I., and Van Calster, P. (2001). Kunst in BelgiĂŤ na 1975. Antwerpen: Mercatorfonds

1991

Temmerman, J.P. (1991). In the Beginning There Was an Image and the Image Was Ours: A sequence. Gent: Imschoot

1990

Temmerman, J.P. and Tarantino, M. (1990). Jean-Pierre Temmerman. Gent: Imschoot


Colophon

Artworks Jean-Pierre Temmerman Text Marc Holthof Werner Van dermeersch Photography Plus One Gallery & Mirror Mirror Design Mirror Mirror Plus One Gallery Jason Poirier dit Caulier Sint-Hubertstraat 58+ 2600 Berchem - Belgium www.plus-one.be @plus_one_art


plus-one.be

Jean-Pierre Temmerman  

Catalog of the solo exhibition Rashomon at PLUS ONE gallery

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