Page 1


02 | Ephemera

Portland, England

Odder, Denmark

Zory, Poland

Baie-Saint-Paul, Canada

Uster, Switzerland

Ubud, Bali

Havana, Cuba

Venice, Italy

PolyU, Hong Kong


Artist statement in the catalog of the 1 5th International Lausanne Biennale 1 992

"And the whole earth was of one language, and of one speech. Until the people made bricks to build a city, with hanging gardens and a tower with a flag which reached unto heaven..." Babel notwithstanding, the world was to be washed by a tide of artistic rhetoric, of works of art that were made to last forever. The dead weight of this legacy has grown heavier from generation to generation. And thus the classical precepts have come to be a millstone round the neck of the living artist. Only transient structures can give him back the freedom he Top Secret, Odapark Venray 1 993 h40m has lost. A fragile object will eventually disintegrate, like some organic time bomb, or be wrecked by vandals. The artist's dynamic creation can only truly come to life outside the hierarchy of the museum. In the urban environment it ceases to be an objet d'art, and instead becomes a focus for discussion. At the same time, there is interaction between the freestanding textile sculpture and the elements. Plants, growing upwards, overrun the wind, which the artist has made visible. His flags are transformed into garlands.

Antoon Versteegde

Preface Bomba Organica a Orlogeria, Miniartextil Como 1 993 h20cm

Ephemera | 03


Wind

Flags on Hanging Gardens, 1 5th International Lausanne Biennale Switzerland 1 992 h3½m

Our life is dependent on air. And yet we are really only aware of air when it makes its presence known, visible and palpable in the form of wind.

Borderland, Autour de Vincent Zundert 1 987 h3½m

04 | Ephemera


Flags on Haning Gardens • Hortus Botanicus • Haren 1 993 h3½m

Ephemera | 05


Waving rhythm The wind blows and carries light materials with it in its flow. Tissues, anchored down bend in its path. Heavy objects appear to undergo its caress quite unmoved. Fragile materials acknowledge their survival to their ability to flutter and wear in the wind. So time flies in eternity. Mainstage Welcome To The Future Festival, Twiske Amsterdam 201 2 h1 3m 1 000 Flags One Flow 2008

Eyes on Stalks, Gallery Ann's Art Groningen 1 996 h3½m

06 | Ephemera

Tripod Tower, 4th Wuhan Design Biennale China 201 7 h28m


"There are various systems for indicating from which direction the wind blows, but the most beautiful one remains that of the flag."

Cérémonie des Couleurs • Bicentenaire da la Révolution • France 1 989 h3½m

e. ibl vis be st mu nd wi e th of e rc fo al ion at pir ins The Ephemera | 07


Swirling ideas It happens too often that a work of art appears out of the blue and catches people by surprise. Even when the inhabitants rather like the object they still tend to regard it as an intrusion in their own surroundings. They realize that it is never going to go away: a vandal-proof, easily maintainable sculpture radiates that at every turn. A temporary installation however, turns out to be itself rather like a celebration, like an event that blends briefly with the festivities. 9x T City with Color, Tilburgse Heuvel Tilburg 201 7 h9m

Winged Words in the Wind, Doetinchem 1 994 h3½m Inside Out, Provinciehuis 's-Hertogenbosch 1 993 h4½m 08 | Ephemera


"Such a fleeting project should run like a rumor through the streets. Go like this: "Have you seen it yet?" It should all of a sudden be there. As if it had appeared out of thin air."

Geostationary Banana Over Texas • Baie-Saint-Paul • Canada 2006 ø2½m

. ge en all ch l ua et rp pe a s ide ov pr s es sn ou ici pr The winds ca

Ephemera | 09


Venus Lighting, Licht Vormgevers Dwingeloo 1 995 h3½m Novib Ring, Festival Mundial Tilburg 1 997 ø1 2m

The counterbalance The delicate structure is attached to the ground. The wind flows through the construction causing a fluttering of the soft and pliable materials as though they were about to take flight. But because they are held down, floating away remains a dream. Their bid for freedom causes the ruin of their dwelling. This too appears brief and short-lived. Silver Flag Parade, Kunst in Ootmarsum 2008 h3½m

1 0 | Ephemera


Iconoclasm in Monastery Garden • Congregation of the Franciscanessen • Veghel 1 994 h3½m

beforehand, intention wi know their You never th what ey are going to do th it. Ephemera | 1 1


Festival Buitengewoon Doetinchem 2007 h6m TU/e Guardians, University of Technology Eindhoven 1 992 h3m

Soaring flames Just as the wind plays with fire, so too does it play with flags. Adhering to the same choreography, they dance their dance of death. And yet: it is the wind that emerges every time as the sole conqueror. It fans the fire and converts energy into movement.

1 2 | Ephemera

Test set-up for hinged flagpoles, Lutteltuin Volkel 1 988 h3½m


“The wind is the invisible opponent of my constructions. Flags provide a visual shape; witnessing its strength, binding it tightly to the installation."

Top Secret • 93 Geheimen, Odapark • Venray 1 993 h40m looking upwards

n hear e wind yoingu ca und of thof In the so the crackling a blaz fire. Ephemera | 1 3


Land

Splash Down, a journey from the arts, Schijndel 1 990 ø1 00m h2½m

The ground, the solid earth under our feet is the foundation of our territory, the starting point for exploring our surroundings.

Uden Titel Odder, Wirework Odder Museum Denmark 1 997 h6m

1 4 | Ephemera


Parthenon Part 1

(work in progress) • Kunst aan

de Maas • Megen 201 5 h1 0m

Ephemera | 1 5


Background Art only supplies a positive contribution to its surroundings when those involved really are involved in the realization of the work of art. The place and the surroundings where the work will take its shape are more than just a foundation for the ultimate work. They provide the only significant link in a meaningful form of communication. PentAne, NOO9.O4 Ane-Gramsbergen 1 995 ø1 2m

Business Procession, Teambuilding Landgraaf 2006 h9m

1 6 | Ephemera

Rebirth of the Zeppelin, Traces in the Valley, Laar Germany 1 997 ø1 2m


"With each project I seek a confrontation with the surroundings. I want to develop the value of the experience at the project's location. My instrument is artistic intervention."

Bamboo Arena • Festival Mundial • Tilburg 1 996 h1 2m ø20m

e. vat lti cu d an ild bu we ich wh on d, un gro me sa It is the

Ephemera | 1 7


Building and cultivating The crust of the earth is the territory on which we live because - in contrast to water - it is solid and not impassable. We build houses and cultivate crops. And furthermore we are just there because we are living. And as long as we live on, we are able to create objects to give a form of expression to our existence and doing so communicate with each other. Colosseum Festival, Rotterdam 2011 ø30m h9m

Oak with 11 Stones, Gouverneurstuin Assen 1 993 ø8m h2½m Staketsels '84 Willem II Fabriek 's-Hertogenbosch 1 984 h2½m 1 8 | Ephemera


"Only the ribs of the spaces are indicated, or occasionally a single surface. The most important thing is the action, the moment in which the image of the fantasy becomes reality."

Bamboo Super Circle • Domaine de Boisbuchet • France 2000 ø1 2m

nrise. rked on ata su ould be embrbaou A project itshsh ght to close. ould be At dusk

Ephemera | 1 9


Stonehenge in Bamboo, Midsummer Festival Rotterdam 2002 ø30m h8m Entrance Gate, A Day At The Park Amsterdam 201 4 h1 3m

Shadows on land Placed on land and anchored to the ground, a piece of art provides us with a durable gauge for indicating that time is passing. Transient projects make us aware of the place or position that we hold in the cycle of existence. And so art stimulates our powers of imagination. Poetry night in the Last Cathedral, Odapark Venray 1 999 h1 3m

20 | Ephemera


Big Big Bamboo • Wirework, Sint Truiden • Belgium 1 996 h1 0m

rst out t had buac e work ofofarits It is aseaifrtth own cord. of the h’s crust Ephemera | 21


Bamboo Super Circle, Hannover World Expo 2000 ø1 2m Beek-Schip-Brug-Hof, BBKK Water Biennial Bathmen1 993 h3m

Autonomy The setting up of temporary constructions leads to an object that can amaze or inspire. Sometimes the public is expressly invited to color the work of art from own experiences. But just as frequent, active participation on the part of the public is expected in the building of the work of art. The celebratory character of the event strengthens the perception of the work. 22 | Ephemera

Between Two Walls, KEG Beeldenroute Schijndel 1 990 h3m


"The public is obliged to take on continually changing stances. Every single person's presence is unique and that bestows on each spectator his own significance within the project."

Fortified City Gate • Vestingstad van Europa • 's-Hertogenbosch 2005 h1 0m

e of existence ious cirrclch t: the vicno Art generatespearrm its us othe oice. Ephemera | 23


Water

Portland Screw, Memoproject on the Isle of Portland for the Summer Olympics 201 2 ø8m h21 m

Water is the most important constituent in all living organisms. Man, in his being, is more liquid than solid.

24 | Ephemera

Portland Screw, Memoproject 201 2 ø8m h21 m


Wigwamsterdam • Vondelpark • Amsterdam 1 985 h1 6m

Ephemera | 25


Floating on the reflection Water is a liquid substance in which one is able to drown. The surface of the water forms a natural boundary. Yet man has an ancient pact with water. This boundary is in our imagination less rigidly present. Floating constructions are not accessible, but exactly because of this inaccessibility they stimulate the conception of a new dimension: the silhouettes of Utopia. Dutch Days Pyramid, Culture Festival in Chengdu, China 201 7 h7½m

Staketsels '84, Vondelpark Amsterdam 1 984 h2½m

26 | Ephemera

Floating Quartet, Gouverneurstuin Assen 1 990 h3m


"Imagination and reality flow into one, providing the beholder with an image of another world, one in which he can lose himself."

1 2 Days in the Dessert • Unesco, Bad Urach • Germany 2008 h3m

ment. The public’s enthusiasm is an indispensable ele

Ephemera | 27


Dropping a drop in the ocean The flash of an idea forms the core around which the project concepts can condense themselves. The different fantasies congeal as one during a process of selection and preparation. Only then does the work of art take on its true form. The only thing that counts then is the act, the moment in which fantasy becomes reality. Staketsels '84, Contre Escarpe Ravenstein 1 984 h2½m

Gambamboe Project 001 Geestmerambacht 2007 h9m Aeolus Island, Kunstestafette Zomermuseum Vlaardingen 1 996 h2½m 28 | Ephemera


"Climbing plants have a singular goal, an individual pattern. They overrun mobile installations and will eventually render them immobile."

Negative Navigation • Floating Islands • Leiden 1 991

h2m

d days ed, I canflespctenion t has beteenr’scoedmpgelet When a prceojec . , lost in re in silen at the wa Ephemera | 29


Luminous Pyramid Lightpopper, Stratumseind Eindhoven 201 3 h1 2m You can't sit down under this chair, Art and Seating Slot Zeist 1 990 h1 0m

The world reflects The starting point lies in the surroundings. Human size plays a crucial part, equally so that of the beholder's perception of the environment. Some images will fit into an artist's head but not into an artist's studio. A vision out of a dream, a spatial experience that is to be undergone by others at a later stage. By using depictive constructions thoughts can be indicated. Bamboo Pavilion Sonsbeek MMKA Arnhem 2008 h3m

30 | Ephemera


1 000 Flags, One Flow • Live Dialogue • Wageningen University 2008 h3½m

r terminates the watewa rd forcerfof The upwa at the su ace of the ter.

Ephemera | 31


Concentric Circles, Summer Festival Belgrade Serbia 2002 ø1 2m Horst d'Oeuvre, Horst aan de Maas 2003 h1 3m

A vortex The onlookers can take part in the construction of a work of art, actively contributing towards the realization of a vision from a dream. Their physical participation is an essential element in the whole process. The work does not consist only of ideas and materials but also embraces the physical energy contributed, required to effect the realization. 32 | Ephemera

Uden Titel Odder, Wirework Odder Museum Denmark 1 997 ø6/9/1 2m


"It is far more exciting to make fragile constructions and wait for the storm to break than it is to play safe. To resort to attempting to safeguard it, drives all the life out of it."

Water Rings • Waterpop • Wateringen 1 997 ø1 2m

The reflection forms an irrevocable symmetry. Ephemera | 33


Fire

Millennial Existence of the City Zoetermeer 2007 h1 3m

By building and burning the artwork on the spot, you will interest the public in the happening and actively involve them in the creative process.

Fire projects in collaboration with Compagnie Doedel

34 | Ephemera


Roman Watchtower • Leidsche Rijn • Utrecht 2005 h11 m

Ephemera | 35


Point of view Most of the interactive projects illustrate geometric shapes and structures, working with large groups of people who want to cooperate spontaneously. Each spectator adds emotions from his own experiences to the image of the artist and associates them with his own relation to the surrounding. Bamboo Wheel, 1 0DAYFEST School of Design, Hong Kong 201 3 h9m

Casalini's Cultural Pyramid, Lago Trasimeno Italy 201 3 h1 2m

36 | Ephemera

Olm O'Tower, GEA Expo Villa Olmo, Como Italy 201 4 h20m


"I concern myself with the artistic ritual, projects of mine are like celebrations: lots of people, lots of emotions and much work achieved at one particular moment and then it is all over."

Opus 54 • Gallery Art Show • Martinihal Groningen 1 993 h3m

n of the participatio ere the gh art is whion Community local populat is hi ly valued. Ephemera | 37


Lifetime memories Public artistic happenings create a memory of solidarity and creativity in every person involved, the skills developed last a life-time, for fun, moments of reflection and times of real need. All energy that is put into it, gives heartwarming heat and understanding between the different groups of participants. Together One, Dam Amsterdam 201 5 h9m

Mysteryland Tower, Haarlemmermeer 201 3 h25m Emplacement Wildervank, Star & Arts Groningen 2002 h1 3m 38 | Ephemera


"Even when the transient installation has passed from sight, the afterimage of the project lives on in the thoughts and tales of those who were involved."

Monumentaal Feesttuig • University of Technology • Eindhoven 1 992 h30m

the small flame guishes big Communityanexd tin fuels the fire.

Ephemera | 39


You & Me, Villa Carlotta Tremezzo Italy 201 4 ø4m Building the Last Cathedral, Odapark Venray 1 999 h1 3m

Wild beauty Bamboo expresses verdant geometric beauty as it grows in nature. Both artistic vision and appreciation for human interaction transforms wild bamboo into temporary structural art. Many of the structural sculptures have become social events with spontaneous public participation. Transparent Globe, TU/e Eindhoven 201 4 ø5m

40 | Ephemera


Teahouse Two • Beeldige Kleding Odapark • Venray 1 991

h5½m

s and es oc pr e tiv ea cr e th in ved ol inv ely tiv ac be ld ou sh e work. th The public of e nc rie pe ex eir th to t en er iff ind be er ng lo thus no Ephemera | 41


Uden Titel, opening highway A50 Uden 2003 h1 3m Bamboo dome, concept for a tiny house, Pnem Uden 2008 ø6m

From the outside Educational and solidarity projects with artists and amateurs, children, students and professionals has taught that we all benefit from the insights of others; outsiders, for example, often suggest surprising approaches to structural solutions.

42 | Ephemera

No one is sailing without illusions, Odapark Venray 1 995 ø1 2m


"Artists have to look for a direct confrontation with the public in order to break the prevailing contradictions between active art-creation and passive art consumption."

Afterwards, it's just a part of you • Willy-Brandt-Haus • Berlin 2002 ø1 2m

t ar al on iti ad tr at th ns tio ita lim e th of t ou y d a wa on both the artist and his audience. Let’s finim poses Ephemera | 43


A tradition of bamboo art that runs in the family

Curriculum vitae of Antoon Versteegde (1 953)

Antoon Versteegde is a Dutch artist who seeks to express his creative vision outside the established institutes and exhibition spaces of the art world. His work can typically be seen in public locations with free access for everyone. He conceives of, and brings into being, larger than life structures - transient outdoor installations that are constructed with lightweight materials such as bamboo, flags, rope and rubber bands. Versteegde has throughout his career gained extensive experience with large-scale interactive projects. His working process involves the bringing together of groups of artists or volunteers in order to create huge community sculptures in a short time period. His construction technique has been developed over many years in a way that makes it easy to be learned quickly by people who want to co-operate spontaneously. In order to achieve this coming together of people, Versteegde designs spatial experiences as descriptive constructions that he wishes to share with others. Because the public take on an active role by the action of the project, the necessary creative energy is released during the collaborative process. The structures created as a result, appear only to disappear. They are by definition ephemeral. What remains is the afterimage: the echo of the shared experience as well as the memory of the object itself. The bamboo installation leaves its strongest impression behind in the participant’s memory. Versteegde’s imagined vision becomes the afterglow of a collective memory. The majority of his works are characterized by their transience: they are made for temporary display and are not intended to be long term or permanent.

1 978 Graduated from Royal Academy of Art ’s-Hertogenbosch,

Antoon Versteegde is the founding father of a bamboo-art family, with his wife Sylvia Dekker and their two sons Valentijn and Bram who grew up surrounded by bamboo sticks and giant short-lived artworks and they have evolved from participants in such projects to shapers and designers of new and diverse projects that remain true to Antoon’s original and guiding passionate vision. Forged in the fire of this passion and steeped in the tradition, the sons are now gradually taking over the family business. The Versteegde family have gained global recognition with international exhibitions in numerous countries across Europe and beyond, including Canada, United States of America, Cuba, Chile, Hong Kong, China, Indonesia and many other countries.

44 | Ephemera

specializing in ephemeral installations and interactions.

1 982 Study-trip during one year trough France, Spain, Morocco, Algeria, Tunisia, Italy, Yugoslavia, Greece and Egypt.

Major exhibitions, installations and interactions:

1 984 Staketsels ’84 Part 1 , NL-Centrum Amsterdam 1 985 1 986 1 987 1 988 1 989 1 990 1 991 1 992 1 993

Staketsels ’84 Part 3, Oerol Festival Terschelling Staketsels ’84 Part 8, Willem II ’s-Hertogenbosch Wigwamsterdam, Vondelpark Amsterdam Le Kiosque à Musique, Nieuw Herlaer St. Michielsgestel De Zes Windstreken, Beelden in de Delftse Hout Delft Vechtvloot, Expo op de Vecht Hardenberg Schansskulptuur, 1 3x Vorm Vlissingen Droomkolk, Autour de Vincent Zundert La Fugue Toute Nue, Beeld-en-Route Diepenheim Expo Hedendaagse Kunst, Gemeentehuis Uden Vlaggeninstallatie, Grensland Zundert GeoGenese II, Vondelpark Amsterdam Memoires de Mort, Stadsbeelden Emmen Inventer 89, La Grande Halle - La Villette Paris (F) Cérémonie des Couleurs, la célébration du Bicentenaire de la Révolution française, Bar-le-Duc, Ibos-Tarbes, Bruay-la-Buissière, Pau, Chamalières (F) You can’t sit down... Kunst en Zitwerk Slot Zeist Floating Quartet, Gouverneurstuin Assen Between Two Walls, KEG Beeldenroute Schijndel Bouwkunde Bibliotheek, TU/e Eindhoven Negatieve Navigatie, Floating Islands Leiden Tweehuis, Beeldige Kleding Odapark Venray Biënnale Internationale de la Tapisserie, Lausanne (CH) Monumentaal Feesttuig, TU/e Eindhoven Gekooide Weemoed, Aa Kunst 92 Groningen Bomba Organica a Orologeria, Miniartextil Como (I) Beek-Schip-Brug-Hof, BBKK Waterbiënnale Bathmen Binnenstebuiten, Provinciehuis ’s-Hertogenbosch


1 994 Gevleugelde Woorden in de Wind, OB Doetinchem

2007 Bambus Brücken Bauproject, Mülheim an der Ruhr (D)

1 995

2008

1 996 1 997 1 998 1 999 2000 2001 2002 2003 2004 2005 2006

50th anniversary of Mondrian's dead, Brabants Dagblad Beeldenstorm in Kloostertuin, Franciscanessen Veghel Le Mobile à Musique, Museum Speelklok Utrecht PentAne, Kunst in het Vechtdal Ane-Gramsbergen Zonder illusies vaart niemand wel, Odapark Venray Ogen op Steeltjes, Galerie Ann’s Art Groningen Big Big Bamboo, Wirework Sint Truiden (B) Vuur onder de Wereld, Gallery Art Show Groningen Uden Titel Odder, Odder Museum Denmark (DK) Sporen in het Vechtdal, Nordhorn (D) - Dalfsen (NL) WaterRingen, Waterpop Festival Wateringen Sarong Sculptuur, Buys Business Events Groningen Quartimond, Artimond Kasteel Helmond Poorten naar Mundial, Festival Mundial Tilburg Brandmeester Marinus van der Lubbe, CBK Leiden Observatorium De Vijf Windstreken Assen Kathedraal Bouwen, Odapark Venray Afterwards..., European Parliament Brussels (B) Raising the Bamboo Wheel, EBS Carwinnion (GB) Bamboo Super Circle, EXPO 2000 Hannover (D) Rotterdamse Kunstdagen, Blaak Rotterdam Zonnewendehappening TNO Apeldoorn Kunstproject bij opening Informatiecentrum Hoogvliet Emplacement Wildervank, Star & Arts Groningen Stonehenge in Bamboo, Euromastpark Rotterdam Concentric Circles, Summer Festival Belgrade (RS) Follies, Kunstpassie 2000drie, Natuurtheater Best La Promenade des Arches,Tempus Arti Schijndel Landart Horst d’Oeuvre, Horst aan de Maas BamBoekel, opening St. Agathaplein Boekel TheHATERT, Colorfull City Festival Nijmegen Bamboo Expo, i + i Centre Delft Afterwards..., UN Headquarters New York (USA) Pettelpoort, Europese Vestingstad ’s-Hertogenbosch Romeinse Wachttoren, Leidsche Rijn Utrecht Int. Symposium d’art contemporain Baie-Saint-Paul (CA) Kansen aan de Kust, Hotels van Oranje Noordwijk Kwartiermakersfestival Midden Brabant, Waalwijk

2009 201 0 2011 201 2 201 3 201 4 201 5 201 6 201 7 201 8

1 7° Mostra Internazionale d’Arte Tessile Como (I) Chassé Park Project, Breda 1 2 Days in the Desert, Unesco Bad Urach (D) University of Surabaya + Linda Garland Ubud (ID) Konstrukcje Bambusowe Yatanga Museum, Zory (PL) Bamboo Gates to Circo Paradiso, Heusden-Zolder (B) Ubuntu openluchtspektakel, Goes Bamboo Skeleton Shelter, Lutteltuin Volkel Bamboo Building Bash, Mediamatic Amsterdam Geulpoort in Bamboe, Valkenburg aan de Geul Het provinciedomein van Kessel-Lo (B) Colosseum Festival Rotterdam Bambuster - Bamboo on the Move, Uster (CH) BABEL Tower, Wildworks Battersea Park London (UK) Libelle Zomerweek Almeerderstrand, Almere Mysteryland Tower, dance-festival Haarlemmermeer Portland Screw, Memoproject Portland (UK) Casalini's Cultural Pyramid, Lago Trasimeno (I) Burg Giebichenstein Kunsthochschule Halle (D) Social Innovation Festival 1 0DAYFEST Hong Kong (HK) GEA miniartextil, Arte & Arte Villa Olmo Como (I) TetraTower in Ehrenpark, Gliwice (PL) & Bottrop (D) Bamboo intervention, Plaza de Vieja Havana (CU) Parthenon Part 1 , Kunst aan de Maas Megen Xpeditie Blauwestad, Oldambt Groningen Samen Eén op de Dam, Amsterdam Echo Cultural Centre, Dalian (CN) Wiesenviertelfest Stellwerk Witten (D) Roof4humanity, Biennale Architettura Venezia (I) E-njen openluchtspektakel, Goes 9x T stad met kleur, Tilburgse Heuvel Tilburg Dutch Design in Chengdu, Beijing and Wuhan (CN) Zoemmm Provinciedomein Het Vinne Zoutleeuw (B) Global Bamboo and Rattan Congress, Beijing (CN) Bamboobiz project Santiago de Chile (CL)

Address: Zeelandsedijk 34, NL-5408SM Volkel, The Netherlands E-mail: ephemera@versteegde.nl • Website: www.versteegde.nl Ephemera | 45


Prelude • Kunst aan de Maas • Megen 201 4 h24m Staketsels • NL-Centrum • Amsterdam 1 984 h2½m

Ephemera is published by ArtWorksAndMore, NL-5408SM 34 Copyrights © Antoon Versteegde, 1 984-201 8 c/o PictoRight NL, Amsterdam • ISBN 90-800898-1 -8

In 1 984, Staketsels was the first solo exhibition for Versteegde where he showed his construction technique of bamboo sticks, attached to each other by means of rubber bands, to build a frame structure in which his paintings could be exhibited.

All Rights Reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

46 | Ephemera


London, Great Britain

Antwerp, Belgium

Bruay-la-Buissière, France

New York, America

Hannover, Germany

Belgrade, Serbia

Santiago de Chile

Surabaya, Indonesia

Dalian, China Ephemera | 47


Antoon Versteegde, Sylvia Dekker and their sons Valentijn and Bram

Monumentaal Feesttuig • University of Technology • Eindhoven 1 992 h30m

Ephemera The definition of ephemera comes to us through Latin from the Greek epi (about), and hemeris (day). Ephemera is pronounced “efem’mera”. The contemporary definition of ephemera is 'something shortlived or transitory' especially all types of transient structures and installations, produced for a specific purpose and intended for special events. They are made from lightweight materials such as bamboo, rope and rubber bands and appear only just to disappear. What remains is the afterimage: ephemera leave a strong impression behind in the spectator’s memory. Rubber bands for ephemeral connection

Cover: Geostationary Banana Over Texas, Canada 2006

www.versteegde.nl

Ephemera: transient structures of bamboo. Antoon Versteegde 2018  

Antoon Versteegde is a Dutch artist who seeks to express his creative vision outside the established institutes and exhibition spaces of th...

Ephemera: transient structures of bamboo. Antoon Versteegde 2018  

Antoon Versteegde is a Dutch artist who seeks to express his creative vision outside the established institutes and exhibition spaces of th...

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