Poster zine: Fabric of Life

FABRIC OF LIFE BEAUFORT24 CURATED BY ELS WUYTS

From March 27 through November 3, 2024, the Belgian Coast welcomes the eighth edition of Triennial Beaufort. Beaufort24 is an invitation to explore various perspectives and familiar expressions, and to unravel aspects of an intricate web of relationships, threads, loops, braids, cables, swarms, and scales at specific places at the Belgian coastline. From In this publication, we want to focus on these surWest to East, from roundings, the specific places, streetnames, legends De Panne to Knokkeor histories and bring some words and imagery toHeist we found - together gether in an envelope sustainably made from corn with the artists and in dextrose. The texts are written by curator Els Wuyts dialogue with the local and are complementary with all the information that communities - spaces in is accessible in print or online during the exhibition transition, places with Beaufort24. The nine collages are created by Gus an intense atmosphere, & Stella, a creative duo that made abstract atmosopen fields, dunes or pheres tangible in a beautiful way. They brought with parcs, dense marketall their senses details of forms and colours of places places or vivid hotspots and artworks together in a certain grid. Every sheet that welcome an artis woven with the villages and cities, and can also be work or installation for seen on its own, like a poster, one jigsaw piece of the Beaufort24. puzzle that Beaufort24 likes to imagine.

The artists docked in and connected with De Panne, Koksijde Oostduinkerke, Nieuwpoort, Middelkerke - Westende, Oostende, De Haan - Wenduine, Blankenberge, Zeebrugge and Knokke-Heist.

HOW TO 1. COVER.

2. SKIP TO THE MIDDLE.

3. CHOOSE THE PLACE YOU WANT TO VISIT.

4. READ ABOUT THE ARTISTS, THE ARTWORKS AND WHERE TO FIND THEM.

5. FLIP AND REVERSE TO USE AS A POSTER.

FABRIC OF LIFE

Beaufort24 is rooted in the idea of natural connections. ‘Fabric of Life’ serves as the point of departure, a common thread, a wickerwork of various lines and fibers, directions, and patterns. Simultaneously, this weaving metaphor provides an avenue to comprehend certain facets of our present reality, to reassess our immediate, communal public space, and to connect it to numerous potential worlds, predictions and desires.

What is going on in the many municipalities along this North Sea coastline? What’s on people’s minds? Which legends, histories, and stories enshroud particular sites? Which artistic movements have flourished and continue to resonate in the realm of contemporary arts? And who, from the past or the present, whether or not people, flora, or fauna, still leave their indelible imprint? The string of distinct locales between De Panne and Knokke-Heist offers perfect opportunities to make seemingly invisible connections, construct unexpected bridges and allow a distinctly tangible network to articulate itself.

Because, even in the present moment, it appears that everyone is fundamentally interconnected, and it seems as though everything can exist everywhere simultaneously, seamlessly woven together in harmony with distant and nearby elements and beings.

Although there may be outlines around narratives of nature, heritage, architecture, or vivid recollections of historical events, the boundaries of social, cultural, and ideological components flow into one another. There is space to navigate within tentacles, in the web of care, where all life forms dynamically engage with one another in a dynamic process of interdependence.

In essence, this exhibition underscores that both the local context and minute details, as well as broader reflections on our contemporary society, can be cherished and lovingly remembered. The sculptures delicately touch on innovative worlds, inspiring encounters and changing thoughts.

Beaufort24 ventures a bit further inland, offering a series of visual proposals along the coastal tramroute that seamlessly connects ports, village centres, markets, dikes, fields and parks.

Beaufort24 moves along this coastal strip, which is simultaneously open to the vibrant life of recreation and relaxation, and also possesses the capacity to strike universal chords. Beaufort24 reaches for a continuous process of shaping and provoking, whether as a person among people, en route, or in a crowd, battling against the wind or going with the flow.

ELS WUYTS, CURATOR BEAUFORT24

Introduction

SELVA APARICIO ALEXANDRA BIRCKEN SARA BJARLAND JOHAN CRETEN RICHARD DEACON MAËLLE DUFOUR LUCIE LANZINI JORGE MACCHI JEF MEYER IVAN MORISON LUCY + JORGE ORTA FEMMY OTTEN MARIUS RITIU DRITON SELMANI MONIKA SOSNOWSKA FILIP VERVAET PEI-HSUAN WANG ROMAIN WEINTZEM

The eighth edition of the Beaufort Triennial is, therefore, an invitation to explore various perspectives and familiar expressions, and to unravel the intricate web of relationships, threads, loops, braids, cables, swarms, and scales. Just as in a seashell, feather, or leaf here are traces of lines and life to discover, much like a keepsake or a beautiful thought. Similar to a grand monument or an intimate artwork, you’ll encounter more than one storyline, with versatile memories and undiscovered values rising to the surface. The new installations will consciously, meaningfully and humbly influence existing points of view and thought processes, and in their imaginings, they will be accessible, tangible, or even obstinate.

Whether at a crossroads, a rolling dune, a quiet area or a simple roundabout, by a lighthouse or the waterfront, or amidst the foamy tides and shallow puddles along the beach, within the furrows of the rich farmland, or near the joints of those distinctive dike tiles along the Belgian coast.

Els Wuyts (BE) was part of the curatorial team for Triennale Brugge 2021 and was in 2022-2023 involved with HISK / Higher Institute of Fine Arts as general coordinator. Besides her work as a freelance exhibitionmaker on various projects on contemporary visual arts, Els Wuyts is co-initiator of Salon Blanc in her home base Oostende.

Colofon www.triennalebeaufort.be/en Realisation of the Beaufor t24 Team: Mieke Dumont, Renee Grimmelprez, Lise Keirens & Els Wuy ts.

Printed in only 1.000 copies.

Art direction and artwork I Gus & Stella Text I Els Wuy ts, Valerie De Wit te Translation I Yasmin Van ‘t veld and Wilkens c.s.

Lay-out I Laurie Vansteelant Coordination I Lise Keirens Printed in Europe In case of comments on the content, thank you to contact West toer. ©2024 - No par t of this publication may be reproduced and/or published by print, photocopy, electronic medium or any other means without the prior writ ten permission of the publisher. WD/3029/2024 /17

De Panne

Maerebr ug, 8660 Adinkerke

MAËLLE DUFOUR CAPSULE

A STAGE FOR THE SEA

T he S aint Peter ’s Church was the ver y f irst church in De Panne (then c alled Josephsdor p or Kerckepanne ) and was built in the late 1870s for the inhabitants of this f ishing hamlet of STAGING SEA - The Saint Peter’s Church was Adinker ke. O ver time, it surrounded by dunes when it was built at was ex tended to bec ome a the end of the nineteenth century. In 2024, three -aisled, yellow br ick the church square undergoes a transforneo-Gothic hall-church, mation: the church will be converted into with distinctive flying a library, and the stone square is replaced buttresses, arches and by a dune landscape. Seven lanterns with window-sills which break blue-green glass orbs now adorn this area, up the planes with air y referencing the peculiar painting Paysage vaults. aux lanternes (1958) by Paul Delvaux .

The church was deconsecrated in 2 0 21 an d w il l b e r ep ur p o s e d as a library and meeting place, based on a contemporary design by architects TM Juxta-Fallow.

T h e s qu ar e r e f l e c t s t h e same metamorphosis, with artistic, social and ecologic al touches T hanks to Staging Sea by Filip Vervaet (BE), the fishermen’s church will once again be an inviting, unpaved and biodiverse environment.

Staging Sea is a Gesamtkunstwerk: an in t er pl a y b e t w e en t h e l an d s c ap e , l an t er n s an d a p a v il ion w i t h a f o un t ain . T h e pie c e’s c ol o ur s an d l igh t c h an ge s l ik e t h e s e a . T h e f o un t ain v i s u al ly r epr e s en t s t h e t id al r an ge on t h e B el gian c o a s t , w hic h i s a s ub s t an t ial f i v e m e t r e s . T h er e f or e , i t en c omp a s s e s b o t h a n a t ur al an d high t e c h a s p e c t . W hil e t h e s e a’s pr ox imi t y i s ann o un c e d , i t c ann o t (y e t ) b e s e en f r om t hi s l o c a t ion . Tw o o f t h e p a v il ion’s t w elv e p an el s ar e op en , in v i t in g v i s i t or s t o t ak e a s e a t . T h e w or k n o t only s er v e s a s an o de t o t h e s e a , b u t al s o a s a c om m en t ar y on t h e hum an imp a c t on n a t ur e .

The square will become an open communal park in a renewed dune landscape with sand, shelves and grasses in which the existing trees and rhythmically arranged lampposts alternate. T he Panneboot P.1 Schar billie and the bust of priest Alfons Mervillie (who once composed the dune song Leve De Panne) remain nearby. The fountain depicts the rhythm of the tides, representing the sea, and is surrounded by a twelve-sided pavilion. Reflections of light, colour and shade enhance the heavenly scene with a blue and pinky glow, a moment of calm, an oasis or some respite before the stress of everyday life.

C A PSULE - The shape of Capsule evokes a storage silo or a bioreactor. Maëlle Dufour (BE) comes from a family of farmers. Until recently, pesticides were still used frequently and widely, as a miracle potion to safeguard production. Today, biotechnological research is used to modify crops, which also raises (ecological) objections. Maëlle Dufour questions our human urge for complete control of nature by contrasting the artificiality of Capsule with the surrounding landscape. Through the reflective surfaces of the square glass panels, the artwork both distorts and confuses us. Similar to a kaleidoscope, the images shift based on your vantage point. This prompts contemplation on the meanings of progress and the future. In the eyes of designer Le Corbusier, silos are the ultimate symbols of progress and fundamental architectural forms.

On the French border, the Maerebrug-bridge over the Nieuwpoort-Duinkerke Canal in Adinkerke connects the Moeren with the Coast.

The name of the bridge refers to the connection it creates with both parts of Maerestraat. These were once united, but were literally cut in two when the canal was built in the 17th century.

The steel bridge links networks for cyclists, horse riders and walkers on either side of de schreve and was integrated into the rural setting with a picnic area on the Smekaertpad.

At the end of the Middle Ages, De Moeren (or ‘Les Moëres’) consisted of a low-lying marshland that was increasingly drained in the 17th century. Today it is an agricultural area with rectangular plots accessed by a grid of canals and ditches with straight connecting roads lined by trees or hedges. Rather like the bocage landscape which forms a patchwork of meadows and fields and which inspired Maëlle Dufour’s work during a residency at La Chambre d’Eau in Favril, Avesnes-sur-Helpe in France.

And of course the coast is not far away, both in the name Maere which incorporates the word ‘mer’ or ‘mar’ meaning sea, but also in the reflection of the water on the banks of the canal. The watercourse continues almost parallel to the coastline, between two and four kilometres from the sea, ending in the North Sea past Bray-Dunes and Zuydcote (FR). In the rectangular transparent and reflective surfaces of Capsule , not only does the wind move, but so does the activity of agriculture, the swell in the current and the announcement of various border areas.

DE MAERE, DE MOEREN AND THE COAST

MAËLLE DUFOUR

Kerkstraat 53, 8660 De Panne

FILIP VERVAET

FILIP VERVAET STAGING SEA

Koksijde Oostduinkerke

Zeedijk at the end of E . Vanlangenhovestraat, 8670 Koksijde

JORGE MACCHI ALL THE WORDS IN THE WORLD

SINTANDRÉ DUNES

Koksijde not only has the Hoge Blekker , the highest dune on the B elgian c oast , but also the Schipgatduinen , De Door npanne and the Noordduinen , where gr as slands, dune valleys, thickets, bushes and old f isher men’s c ot tages alter nate. T he S aint-A ndré dune zone is another special area where you c an feel the tr ansition f rom dunes to beach and sea beyond the yellow buoy on Gilles Scottlaan.

This is not only the place THE HERRING - T h e s c ul p t ur e t i t l e d T HE to see yellow-clad shrimp HE R R ING pl a y s w i t h t h e d o ubl e en t en fishermen on horseback dr e o f ‘ l a m er ’, t h e s e a , an d ‘ l a m èr e’, passing by, but also where t h e m o t h er. T h e s e a an d l i f e ar e in e xthe sperm whale Valentine t r ic ably c onn e c t e d . D ur in g t h e S e c on d stranded on 14 February Wor l d War, B el gium’s w e s t c o a s t w a s 1989. In autumn 2024, his abl e t o s ur v i v e t h ank s t o an unu s u skeleton will be displayed al ly big h er r in g c a t c h . T h e b e s t h erat the nearby revamped r in g y e ar e v er w a s dur in g t h e w in t er NAVIGO-museum, which o f 194 2-194 3 . S o muc h h er r in g w a s h e d presents the history of a s h or e p e opl e c o ul d s c o op i t up w i t h sea and coastal fishing. t h eir b ar e h an d s . I s t h e r e s o ur c e o f t h e s e a in e x h au s t ibl e? T h e ar t w or k T h e hi s t or y o f S ain tc on f r on t s u s w i t h t h e c on t emp or ar y André-sur-mer oscillated i s s ue s o f s u s t ain abil i t y an d e c ol o g y. between golf course and F i s h h a s t r a di t ion al ly s y mb ol i s e d l i f e allotments. Eventually, it an d f er t il i t y in c o un t l e s s c ult ur e s . has become a tranquil E v en t o d a y, t h e s pir i t u al a s p e c t o f r e spot where, just past the bir t h c ann o t b e s ep ar a t e d f r om t h e beach bar Dock Plage , s e a: w e o f t en r e c h ar ge o ur b a t t er ie s you can enjoy the sura t t h e c o a s t . T h e m e t er- high s t a t ue roundings with your feet r e v e al s i t s elf t o u s a s t h e en dp oin t a fin the sand. Because this t er a br i s k w al k in t h e dun e s . T h e s e a is where you can find THE gi v e s an d t ak e s , an d t h a t i s al s o i t s HERRING , Johan Creten’s t r a ge d y. In s t or m y w e a t h er, t h e s t a t ue (BE/FR) tall bronze sculpw il l en d up w i t h i t s f e e t in t h e w a t er. ture depicting a figure holding a fish. And although André, Andreas or Andries might seem a man’s name, it is definitely a woman who is boldly standing there. With her feet in the sand, the naked woman fixes her gaze on the horizon, holding a herring in front of her belly and sex.

Not f ar away, the imposing ar t wor k Acqua Scivolo

by A nne and Patr ick Poir ier (B eaufor t edition 2003) is also near Ster der Zee . T he t wo French ar tists took inspir ation f rom the r uined c omplex of the near by church of the for mer abbey, A bdij Onze L ieve -Vrouw Ten Duinen. A s a basis for their steel str uc ture, they plac ed the architec tur al f loor plan of the old church ver tic ally as a beac on along the c oastline sinc e 2003.

Jorge Mac chi depic ts another geometr ic pat ter n of lines, gr ids and voids: a c oncrete keyboard set per pendicular to the edge of the seawall pavement and the sof t beach. A nd while such a keyboard with keys for let ters, numbers and symbols is univers ally rec ognis able, here the push but tons have been omit ted and plac ed in a loc al c ontex t . Along one side, there is a sof t and f r iendly beach and a possible sunset on the hor izon. Along the other side, there is obvious movement of people and animals along the road, at the windows or on the ter r ac es of their apar tments. A nother gr id so to speak .

JORGE MACCHI

Beach Sint-André, at the end of G. Scot tlaan, 8670 Koksijde

JOHAN CRETEN

JOHAN CRETEN THE HERRING

For each wor k , ar tist Jorge Mac chi ( A R) star ts with an image r ather than an idea. A nd for All the words in the wor ld , it was immediately impor tant to be able to detec t a c ompletely dif ferent atmosphere along both sides of the ar t wor k . T he edge of the seawall , bet ween the residential and beach areas on Emile Vanlangehovestr aat in Koksijde, therefore proved an ideal spot for the keyboard. A n image that seems to tell a dif ferent stor y f rom dif ferent angles.

ALL THE WORDS IN THE WORLD - A keyboard without the keys – does it indicate the inability to express an image through language? Is our language inherently limited, or is there a sea of unknown possibilities? Today, we digitally connect with the world, which has both advantages and disadvantages. Some argue it leads to alienation from others, while for others, it allows for new possibilities and a more inclusive society. This work of art was brought to life thanks to the assistance of students from V TI Brugge school for science and technology , while the artist guided them digitally.

The sea is visible through one side of the concrete carcass, and the urban landscape through the other. The structure is reminiscent of a stripped apartment building.

Nieuwpoort

Koning Alber t I-Monument, Kust weg 2, 8620 Nieuwpoor t

ALEXANDRA BIRCKEN TOP DOWN / BOTTOM UP

Near by, the Front zate has sinc e bec ome a busy c ycleroute. Dur ing the F irst Wor ld War, however, it was the r ailway line bet ween Diksmuide (I Jzerdijk ) and Nieuwpoor t (Onze L ieve Vrouwstr aat). It was here that the enemy advanc e was halted in 1914 . It then be c ame the f irst f ront line of the B elgian ar my and the border of the f looded IJzer vlak te area. Dur ing the Sec ond Wor ld War, the Ger mans built sever al machinegun-posts along this str ategic r ailway-line. You c an still f ind relic s of the war in this open landsc ape, 1.7 k ilometres f rom Nieuwpoor t-Stad.

AT R E S T - S e l v a Selva A par icio’s sculpture at Rest c onnec ts the A p a r i c i o ’s ( E S / U S ) vibr anc y of the near by town c entre with the creation isn’t the hor ror of wars and the changing seasons. L ives accomplishment of are c onnec ted in a mos aic of bronze palmpr ints, an individual, but a their visible past and their pos sible f uture, as collaborative ef for t links of a per petual chain. Sheltered f rom the with the residents of wind, the metal screen resonates with the red Nieuwpoor t. To bring br idge and has bec ome a peac ef ul memor ial this work to life, she site embr acing stillnes s, mour ning, rememcraf ted moulds from br anc e and longing. hund r e d s o f p a l m s from people, young and old, across Nieuwpoort. Within the bronze lines, we can decipher both life lines and the intricate veins of leaves. Only when you step inside the artwork, you become enveloped by countless handprints, creating a sensation of being embraced.

What may appear beautiful at first glance also carries a dark under tone, prompting reflection on commemoration.

As time passes, those who lef t their handprints will no longer be among us, much like the elements of nature will weather the tiles and blur the lines. Here, death is a tangible presence, considering the Koolhofput-area w a s t h e w a r f r o n t d u r i n g t h e F i r s t W o r l d W a r. T h e t i t l e at Rest carries multiple layers of meaning, signif ying both the oppor tunity to relax in this intimate space, a n d a c k n o w l e d g i n g t h e p a s s a g e o f t i m e a n d m o r t a l i t y.

FROM HEAD The King Albert I-memorial was erected in 1938 at the initiative and with the support of the veterans’ associations of the First World War near the Ganzenpoot -lockcomplex. Together with architect Julien De Ridder, sculptor Karel Aubroeck built this imposing equestrian statue in a circular brick construction.

Twenty brick-columns from the IJzervallei support a ring beam 100 metres in circumference, with bas-reliefs referring to miners or construction-workers or the economy and science. Below the monument is the Westfront-visitor centre which tells the story of the flooding of the polder plain that halted the German invasion in October 1914.

In that rather military and masculine setting of kings, soldiers and workers, Alexandra Bircken’s (DU) two bright green figures seem to span the entire monument. Top down / Bottom up consists of two sculptures of young gymnasts, one doing a handstand, the other rising up on her toes, seemingly contrasting with the atmosphere of the monument.

TO TOE

T he Koolhof put was created around 1980 as a s and ex tr ac tion pit dur ing the c onstr uc tion of the E4 0 -A18 Jabbeke -Veur ne - C alais motor way.

T he name Koolhof refers to a f ar m of the s ame name on the Koolhof vaar t- c anal . Meanwhile, the nature reser ve not only at tr ac ts water birds and f ish, but also anglers, hikers and nature lovers. T he landsc ape architec ts at Studio B asta created a new dynamic around the water feature of this provincial estate with spontane ous, green and lively lines.

ALEXANDRA BIRCKEN

Koolhof wandelpad, 8620 Nieuwpoor t

SELVA APARICIO

SELVA APARICIO AT REST

TOP DOWN / BOTTOM UP A young gir l def ies the laws of gr avit y, ef for tles sly executing a handstand on the tower ing edge of the K ing Alber t I-monument . A nother gir l stands below her, balancing on her tiptoes, ar ms outstretched. Much like Atlas c ar r ied the vault of heaven on his shoulders, this girl bears the weight of today’s and yesterday’s wor ld. Societ y of ten c ommodif ies the bodies of y o u n g w o m e n a s t h e e p i to m e o f y o u t h a n d b e a u t y.

The concepts of top-down and bottom-up appear in f ields like sociology and marketing. Do societal evolutions occur because influential figures at the top orchestrate and propel change, or is it the individuals at the gr as sroots-level who initiate and dr ive tr ansfor mation? This artwork prompts us to ponder: is the girl standing on her head, or is our world flipped upside down? It’s all a matter of perspective.

One of them ( Bottom up ) balanc es on top of the monument , forget ting to admire the panor ama but apparently more focused on her f ingers balanc ed on the edge. T he other gir l ( Top down ) is c onnec ted to what is happening on the ground, the visitor c entre and the memor ial par k designed to mar k 100 years of war. T he t wo f igures are linked f rom head to toe, A to Z and bottom to top. Yet their dialogue is not entirely in tune. You could compare their lines of communication with approaches to heritage and histor y that of ten prove incomplete and even questionable.

Middelkerke Westende

Beach at the end of Louis Logierlaan, 8 4 30 Middelkerke

JEF MEYER UNTITLED

SYMBOL OF CONNECTION

I n 19 2 8 , a r a d i o s t a t i o n w a s i n s t a l l e d i n Middelkerke for aviation communications, with t wo 60 -metre masts added in 1937.

T his bec ame a tr ansmit ter for mar itime r adio c ommunic ations, sending r adio signals to f ishing boats, mail ships or oc eanliners and var ious ves sels s ailing towards C ongo.

Due to r apid techno logic al developments, GAZING BALL: REFLECTIVE DIALOGUES the station was even- In t hi s ar t w or k b y L uc y + Jor ge O r t a tually abandoned and (UK /A R / F R ), w e f in d o ur s elv e s in a the last mar itime r ag a t h er in g s p a c e w i t h f o ur en t r an c e s . dio mes s age was sent I t ’s an op en , b o un dl e s s , an d in v i t in g on 11 Dec ember 2005. pie c e t h a t pr o v ide s f r e s h p er s p e c T he demolition of the t i v e s on t h e s ur r o un din g l an d s c ap e . pylons mar ked the end T h e m a s s i v e , r e f l e c t i v e s ph er e t h a t of this histor ic site. To c r o w n s t h e ar t w or k c ap t ur e s t h e c on bid f arewell to more s t an t ly s hi f t in g pl a y o f l igh t an d s h a d than 85 years of r adio o w. T h e r e f l e c t ion s i t pr e s en t s ar e mulhistor y, sever al r adio t ipl e , o f f er in g v ar io u s p er s p e c t i v e s on amateurs organised a t h e l an d s c ap e w hil e humbly s i t u a t in g ‘L ast Farewell ’ on 22 u s , t h e v ie w er s , w i t hin o ur s ur r o un d and 23 Januar y 2016. in g s . S e a t e d w i t hin t h e in s t al l a t ion , v i s i t or s ar e gi v en a m om en t f or c on Close to the for mer Radio t empl a t ion , s elf- r e f l e c t ion , an d e v en a Ostend station you will c h an c e t o en g a ge in c on v er s a t ion w i t h a f ind Luc y + Jorge Or ta’s t o t al s t r an ger. I t ’s ar t on a hum an s c al e . artwork, Gazing Ball: G a z ing B al l : Re f l e c t i v e Dial o gue s al s o Ref lec tive Dialogues in p a y s h om a ge t o R a dio O o s t ende , w hic h Nor mandpar k , that was u s e d t o h a v e a s t a t ion c l o s e b y. T hi s n o t c onc eived as a green only e s t abl i s h e s a t an gibl e c onn e c t ion ‘Quartier Normand’ b e t w e en p e opl e , b u t al s o a s y mb ol ic around 1930. B esides the c onn e c t ion b e t w e en h e a v en an d e ar t h , r adio station, the sculp p a s t an d pr e s en t . ture is also inspired by the S aint T heres a’s Chapel , an A r t Dec o chapel f rom the 1930s with a plain inter ior, c oncrete f r ame str uc ture and inf ill of yellow br ick .

T he chapel ’s architec ture therefore resonates in the ar t wor k in the for m of a cros s with four entr anc es f lanked by seats. In the nave, a tower unfolds where a ref lec tive sphere mir rors the wor ld, symbolising c onnec tion both tangibly and metaphor ic ally. At the s ame time a spirit has appeared in the for m of a female and bronze ‘genius loci ’. She is the personif ic ation of a Greek pr inc es s who choses to mar r y a migr ant s ailor. She eludes a feminine power as the union is her choic e and symbolizes the opennes s to embr ac e cultur al dif ferenc e.

UNTITLED - Jef Meyer (BE) has a preference for concrete, a material that allows for endless variations of the end product. This artwork is far from polished; instead, it is rough and alive. The entire piece was created with just one mould.

To form the doorway, the mould was turned over, and the contours of the door are still visible – a celebration of imperfection’s beauty. Because the work is, or appears to be, unfinished, the viewer’s imagination is all the more stimulated.

The darkness draws you in, making you follow the twilight towards the brightness until you are rewarded with a sea view. This idea emerged after a visit to the tower of the Cathedral of Our Lady in Antwerp, where one enters feeling a bit cramped, to then climb the stairs, and ultimately behold a wide panorama of the city. The work also resembles a bunker with viewing holes, similar to an observation post found further along.

An impressive sculpture called Untitled by Jef Meyer, which you can also enter, appears on the beach area at the seawall. This abstract concrete structure initially seems uninviting.

However, once you get past the oppressive feeling of the first steps up the stairs and the oppressive walls, a window looking onto the beach and sea appears. From this lookout point, you realise all the more how special and fragile the environment actually is, taking into account the rising water levels and climate change.

To a certain extent, this lookout point also resonates with the nearby Atlantikwall Raversyde bunker complex, one of the best-preserved parts of that German defence line. Batterij Aachen was built during the First World War. In the former Royal Domain, which had been established by King Leopold II in 1903. And in the Second World War, battery Saltzwedel-neu was expanded, with a central observation and command post and artillery emplacements to defend the flanks. The ‘nameless’ troops stayed in personnel bunkers and barracks, which were interconnected by an oppressive system of corridors.

Less than 500 metres from Untitled is another observatory, the Warandetoren , a tower whose long curved blades are reminiscent of the marram grass typically found in the Warande dunes. And Middelkerke is also famous for the Dronkenput , a concrete structure that was initially built to provide the town with potable drinking water, but which subsided into the soggy ground. With its skewed walls and floors which make you feel drunk, it later became a tourist attraction.

WATCH TOWERS

JEF MEYER

Normandpark , 8 4 30 Middelkerke

LUCY + JORGE ORTA

LUCY + JORGE ORTA GAZING BALL: REFLECTIVE DIALOGUES

In ar t histor y, the motif of the ‘reclining nude’ mainly seems to be chosen by male ar tists.

F u r t h e r m o r e , female figures were mainly painted or sculpted, featuring masculine interpretations of beaut y and sensualit y.

There are examples of this in Oostende too, such as the Zeemeermin in Leopold Park, the patron saint of sailors Santa Devota at the Librar y or De Bron near the Japanese Garden.

MOEDER - Femmy Otten (NL) worked for nine months, the entirety of her pregnancy, on making a wooden version of this sculpture.

By taking her time, she was able to establish some distance. Femmy Otten noticed a scarcity of representations of pregnant women in art history, and particularly within contemporary art. This renewed version in marble is again preceded by nine months of precision work. The sculpture wasn’t shaped through the male gaze. Her nudity isn’t meant to be erotic, but rather disarming. Stripped of clothing, we all stand on equal ground – a reassuring notion. You can sense the tenderness and care the artist infused into the portrayal.

The woman extends her hand to touch the water’s surface. She’s in an uneasy position. A block seems tethered to her leg: a tangle of body parts at her feet. At the same time, she appears to maintain a delicate balance. The mother-figure embodies the primal strength of giving life while simultaneously emanating vulnerability.

For tunately, the perspec tive of gender equalit y and the objec tif ied representation of the female body in public spac es is now c oming under scr utiny wor ldwide. Femmy O t ten therefore chooses a clas sic por tr ayal of a reclining woman in mar ble, to which she adds a c ontempor ar y t wist .

She por tr ays herself while pregnant with her daughter, as a strong image of fer tilit y, love and v ulner abilit y At her feet lies a sphere, like a wor ld she must c ar r y or that she wants to k ick away, as a star ting point for a discus sion about choosing parenthood, c onscious childf reedom, bir th c ontrol or involuntar y childles snes s.

Bet ween the Spuikom and Bredensesteenweg, 8 4 00 Oostende

MARIUS RITIU AT THE MERCY OF NATURE (SISYPHUS PART X)

Moeder lies in the ashes of the Kurs aal , designed by architec t L éon St ynen (1950 -1952), which not only houses par ties, per for manc es and gamehalls but also an ex tr aordinar y c ollec tion of ar t treasures, such as a mur al (with naked women) by Paul Delvaux . In the water-basin, she gives a nod to the long-standing tr adition and esteemed reputation of under water bir ths in this cit y and to De Zee (195 4) by George Gr ard. T he r avishing Dikke Mathille was or iginally intended for a plinth on the Oosthelling of the Kurs aal . However, it was deemed too voluptuous and c ontroversial in the 1960s and has sinc e been loc ated in a green zone near De Grote Post and L eopoldpar k .

Close to Fort Napoleon and the Spuikom , an island has been created in the Vuurtorenwijk (Opex – Ostende Phare et Extension ), as a green zone on the Vicognedijk and the school for fishin g , K onink l ijk Wer k IBIS . Originally, the aim of this institute was to provide maritime trainin g t o di s a d v an t a ge d children and orphans of fishermen. IBIS refers to a series of school ships (from IBIS I to IBIS IX ) until pupils could move into the buildings on Prinses Elisabethlaan in Bredene.

Today, the boarding school remains a home for learning maritime trades.

However, with Part X of the Sisyphus series , Marius Ritiu allows a very different kind of ship to dock: At the Mercy of Nature descends from the cosmos. Along the coast, the outermost edge of this country, the artist seeks the borders, which he then tries to bridge, as a migrant or newcomer, as a non-native speaker or a dissenter, as a person among people. It is a powerful volume of copper plates that - at the mercy of coastal weather conditions - has nevertheless proven to be resilient. It is therefore a challenge to defy wind and water here, not just as a sculpture but equally for the users of the Spuikom, like the students of IBIS , the scouts, the members of the watersports-clubs and the Naval Sea School .

The communal park is not only an open-air classroom with large stones that you can see on the breakwaters, washedup yellow buoys and an abandoned bunker, but also a route used by cyclists of the Groene Lint . Initially, it seems a somewhat forgotten place. Nevertheless, it is a popular site for walkers and locals to have a picnic or barbecue, for birds and birdwatchers and oyster f ar mers ( L’Ostendaise ).

MARIUS RITIU

Oostende

MISS PLAGE

MOORED

Leopold II-laan 28, 8 4 00 Oostende

FEMMY OTTEN

FEMMY OTTEN MOEDER

AT T H E M E R C Y O F N AT U R E (SISYPHUS PART X) - The artwork appears as though it’s from another universe – like a meteoroid that collided with various objects on its journey to Earth, and could as well have crushed us. Our destiny ultimately rests in the hands of nature.

Marius Ritiu (RO/US/BE) strategically places his meteoroid artworks in several locations worldwide, akin to a modern-day Sisyphus persistently pushing a boulder uphill. Copper is a material that’s literally binding the world together because of its role in transport and communication. Copper has not only played a role in human history, it also shares a connection with the cosmos. Already since ancient times, alchemy has associated seven materials with what they considered to be the planets, linking copper to Venus. Copper repoussage involves an extremely labour-intensive, artisanal approach. Marius Ritiu places copper plates around a stone, initiating a months-long process subjected to millions of hammer blows.

De Haan Wenduine

Zeedijk De Haan at Koninklijke Baan 4 , 8 420 De Haan

PEI-HSUAN WANG AL MET DER TYD

FREE OF RUBBISH

Sustainabilit y has high pr ior it y in De Haan, with initiatives aimed at ac tively c ombat ting lit ter, for example, to ensure a c ompletely clean beach. Incidentally, one of the f irst 100% ec o -sur f clubs is housed in Wenduine, the Sur f ing M ON OB L O C M OME N T S - S ar a B jar l an d (F I / Elephant , with a stimuNL ) a s k s e s s en t ial que s t ion s ab o u t o ur lating slogan: “L et those t hr o w - aw a y s o c ie t y. W h a t h ol d s v al ue : who want to set the wor ld s om e t hin g n e w, or an i t em t h a t b e ar s t h e in motion f irst take ac m ar k s o f h a v in g b e en u s e d ? S h e i s in tion themselves”. A nd on t r igue d b y t h e m a t er ial r emn an t s p e opl e the way to Blankenberge, l e a v e b ehin d . P l a s t ic M on obl o c - c h air s ar e a br idge was built with a gl ob al s umm er s t apl e . Ye t , t h e y al s o washed-up wood, Het Wraks er v e a s a s y mb ol o f o ur di s p o s abl e s o hout , on a nar row str ip of c ie t y. In t o d a y ’s w or l d , pl a s t ic i s n e ar ly dunes and the Uitker kse omnipr e s en t , an d t h e t er m i t s elf h a s t akPolders. en on a n e g a t i v e c onn o t a t ion – s igni f y in g s om e t hin g quic k , e f f or t l e s s , an d c h e ap , While those blocks of b u t f ar f r om s u s t ain abl e . In M on obl o c wood from the bridge form M om ent s , S ar a B jar l an d ar r an ge s t h e s e a chaotic and horizontal c h air s in a c h a o t ic an d pl a y f ul m ann er, line, Sara Bjarland’s stack c r e a t in g a d y n amic an d or g anic app e arof chairs is more likely to an c e , a s i f t h e s t a c k h a s b e en s h ap e d b y rise ver tically and gracea s e a br e e z e an d i s on t h e v er ge o f f al lfully. Monobloc Moments is in g o v er. B y t r an s f or min g t h e c h air s in t o a tower of Monobloc-chairs br on z e , S ar a B jar l an d imp ar t s a t im el e s s cast in resistant bronze and qu al i t y t o t hi s e v er y d a y obje c t . H er c h oic e characteristically patinatdel ib er a t ely h eigh t en s t h e c on t r a s t w i t h ed. Such a typical plastic pl a s t ic , el e v a t in g a mun d an e i t em t o t h e garden chair is obviously a s t a t u s o f a high - qu al i t y ar t obje c t . familiar piece, a universal item that is also commonly used on the coast, from snack bars to campsites and from beach tents to garages. It’s a democratic chair that is easily available, but which soon adds to our waste problem.

And a roundabout also has something banal about it. Much has already been said and not said about roundabout ar t, with proponents praising its abilit y to transform boring roundabouts into landmarks, and opponents highlighting the often mediocre qualit y of such ar tworks. Monobloc Moments responds to those contrasting perceptions and could pay tribute to the mundane, the common or the vulgar. It is as if that dance of chairs at this intersection for cars, bikes and the coastal tram by the Manitobahelling puts us even more in holiday mood.

A L ME T DER T Y D - Flanking a bench with a sea view, two discreetly present statues provide company for those seeking moments of solitude.

We see two mythical creatures, guardians who are usually placed at entrances to ward off disasters or evil. Here, they are positioned along the dune path’s seating area. Drawing inspir ation f rom my thic al f igures and deities in the Chinese-speaking world, these hybrid beings serve as protectors for waterways and coastal communities. The standing figure cradles a fox, a nod to the local legend of Mong de Vos, a beachcomber from De Haan. In bringing this piece to life, Pei-Hsuan Wang (T W/BE) sought guidance from the De Haan Heritage Society Tussen Noordee en Noordzee and local residents. The title, Al Met Der Tyd , refers to an inscription on a facade stone from a Belle Époque villa, one of the first in De Haan dating back to 1890. The phrase conveys the importance of allowing time to facilitate growth in life. Poetically, it also alludes to the cyclical rhythm of seaside living: visitors come and go in waves with the passing seasons.

In De Haan, the legend of Mong De Vos is remembered and celebrated during the annual Vosseslagfestivities. It is said that Mong De Vos and his father would scour the beach looking for wreckage, fishing nets, bales of cotton and barrels of wine. As a beachcomber, he spent hours peering over the horizon, wanting to be the first to reach the washedup rubbish and beat the other beach thieves. And he did not shy away from stealing other people’s finds or provoking fights. However, his lifestyle led to him being accused of witchcraft. He was dragged to the beach by locals and burned at the stake.

There are also many stories about the naming of De Haan, such as the one where a rooster is said to have crowed loudly enough for boats in distress to find their way to a mooring on land. Until 1976, it was even a tourist name for the seaside hamlet that was part of the polder villages Klemskerke and Vlissegem. The emergence of coastal tourism and especially the construction of the steam tramway-line that opened in the summer of 1886 brought sweeping changes. After 1889, an AngloNorman-style villa-district grew up and was given to private individuals on a long lease (concession). And in 1924, one of the first social holiday centres and children’s homes arrived: the Zeepreventorium .

In the dunes between this sanatorium and the concession, ar tist Pei-Hsuan Wang adds more stories. At a bench on the paved footpath, there are two ‘guards’, an installation referring to universal and local my ths and sagas. With its Eastern origins and this Western context, a mix of fragments from chronicles, fair y tales and parables appears: Al Met Der Tyd .

A MOMENT IN TIME

PEI-HSUAN WANG

Roundabout at Manitobahelling, 8 420 De Haan

SARA BJARLAND

SARA BJARLAND MONOBLOC MOMENTS

Blankenberge

LOOK RIGHT

LOOK LEFT

Blankenberge has quite a her itage f rom the B elle -Époque per iod (1870 -1914). T his was a time when the resor t enjoyed great prosper it y and var ious major c onstr uc tion projec ts were c ompleted, like the C asino and the Pier , beautif ul c oastal villas and large hotels for the emerging tour ism. T here is a B elle Époque - c entre near the S aint-Rochus church, where you c an lear n about the A r t Nouveau and A r t Dec o -movements and the eclec tic st yles of loc al architec tural histor y and holiday pleasures of yester year.

T he three editions of At tentif s ensemble by ar tist Romain Weint zem are therefore f unc tional sculptures, which seem to pay homage to those dec or ative pat ter ns, as in the f loor and wall tiles, unique tile panels, dec or ative stained- glas s windows in f ine joiner y and or nate wrought-iron.

In keeping with the exotic greener y of the Par avang (the histor ic windbreak ), these are three seats loc ated around the cit y which enc our age you to look around: look lef t , look r ight , just as you are instr uc ted to do when get ting of f the c oastal tr am and s afely cros sing the road.

One of the sculptures is now loc ated in the lef t bulge half way down the Pier. One of the most unique buildings on the B elgian c o a s t , B l a n k e n b e r g e P i e r, w a s c o m p l e t e l y r e s t o r e d i n 2 0 2 3 . A s e c ond sculpture can be found at the lighthouse on the Zeedijk, where you can follow from afar the wor ks on the new break water aimed at reducing the silting up of the har bour channel . A nd the third ar t wor k c onnec ts the green pas s age past the station, the town hall and the f isher men’s church dedic ated to S aint A nthony.

Dune path at Zeedijk 24 5, 8370 Blankenberge

DRITON SELMANI LOST FOR WORDS

LOST FOR WORDS - When Driton Selmani (XK) first arrived in Blankenberge, he was struck by the tranquillity of the dune path’s entrance. The silence offers a stark contrast in experience, sound and view compared to the festively fizzing promenade. As if drawn towards a lighthouse, we find ourselves captivated by the rotating artwork Lost For Words . In the quest for poetry amidst challenging times, this piece becomes a weather vane for empathy. The artist believes that the residents can not only connect with each other, but also aspire to higher goals by tapping into the emotions lingering in the air. Driton Selmani’s art is intricately tied to the geopolitical nuances of his roots: Kosovo, a place on the brink of international recognition. Different languages and cultures coexist in isolation – not due to the residents’ unwillingness, but due to political intrigue. In Lost For Words , he navigates this complex terrain with finesse, employing his artistic language to temper the harsh tones of difference.

One municipalit y that is br imming with energy is Blankenberge. T he promenade is a par ticular ly at tr ac tive and enter taining plac e whilst also be ing one of the noisiest and most c olour f ul along the c oast . T he wide promenade resembles a f airground, while the crowded beach is popular for picnic s, sunbathing or enjoying a dr ink at one of the many beach bars. A nd last in line is the O’Neill Beachclub , which ac tively of fers and promotes waterspor ts like windsur f ing, supping, k itesur f ing and wave -sur f ing.

Yet you are ‘lost for words’ when, having navigated the sensor y over load of c olours and noises, you reach De Fonteintjes Nature Reser ve (Zeebr ugge).

Par allel to the Koninklijke B aan, this is a long dune area with f reshwater lakes and wet gr as slands, created by the sea break ing through the dunes and the Gr aaf Jansdijk in clay holding back the water.

T he name does not liter ally refer to fountains but to four dune pools: the Rietfontein , Bosfontein , Orchisfontein and Eendenfontein .

A nd in that restored silenc e, three words appear in a self-made font , tur ning with the wind: Lost For Words . Although the black lines in the blue sk y are clear ly visible, they also give a sense of boundles snes s, look ing towards the abstr ac t hor izon of the open sea with the glow of the light and the clouds dr if ting by. W hile Dr iton S elmani himself c omes f rom a c ountr y still not f ully rec ognised by the inter national c ommunit y, he is ver y f amiliar with the is sue of identit y, representation an d l an gu a ge . S o L o s t F or Wor d s c an be about who we are, where we c ome f rom and what we are tr ying to achieve.

BOUNDLESS

DRITON SELMANI

Franchommelaan 2, 8370 Blankenberge Pier, 8370 Blankenberge Scarphoutstraat, 8370 Blankenberge

AT T E N T I F S E N S E M B L E Romain Weintzem (FR) grew up in Paris, where Art Nouveau graces the streets, including iconic metro entrances. Today, the Paravang , remains an elegant relic of the Belle Époque in Blankenberge. At first glance, Romain Weintzem’s work appears as a beautiful sculpture with nostalgic, elegant shapes inspired by Art Nouveau. The title, Attentifs ensemble , brings a second reading that is harsher and tinged with violence. This excerpt from a fear-inducing message broadcast on French public transport, urging passengers to look out for each other, inspired the artist to create his work. The structure, consisting of eight chairs separated by steel partitions, invites the user to observe the environment without interacting with their neighbours, revealing the dystopian nature of our surveillance societies. Three such artworks were placed in the city, intensifying the panopticon effect. In the oeuvre of Romain Weintzem, biting humour and social criticism are never far away.

ROMAIN WEINTZEM

ROMAIN WEINTZEM ATTENTIFS ENSEMBLE

Zeebrugge

Beach at Zeedijk 35, 8380 Zeebr ugge

IVAN MORISON STAR OF THE SEA

SINTDONAAS

S aint-Donaas is not only the patron s aint of the cit y of Br ugge, but is also invoked against lightning, drought , hailstor ms, thunderstor ms, f loods and stor ms. It is therefore ideal to have church, par ish and par k at the hear t of dense ur banFAÇADE - Monika Sosnowska (PL) witnessed is ation and por t-industr y her home-country of Poland transform due near by. T he church has to the disappearance of modernist buildbeen built sever al times ings after the fall of the Soviet regime.

(1910) and rebuilt (1950), Communist ideas literally and figuratively and inside, sc ale models gave way to capitalism, ushering in a new of f ishing boats rec all the era of architecture. As buildings crumbled custom for pr aying for a to rubble, something new emerged, akin to s afe tr ip. Outside, there urban weeds. Monika Sosnowska replicates is a militar y c emeter y the windows of the Foksal Gallery Foundation with 175 Ger man and 30 in Warsaw. Simultaneously, she carefully seBr itish gr aves and a par k lects hinges and windows from the facade, for spor ts and games with cutting them out of paper. She molds this panative c oastal vegetation. per-prototype with her hands, compressing it into a compact wad. The steel is then bent Day-trippers and local by heavy machinery, as if colossal hands are residents are not the exerting force upon it. Subsequent paintonly people who come to ing adds an element of elegance, concealrelax on the benches or ing the violence inherent in the fabrication by the pétanque court. process. The material not only experiencPolish, Romanian and es metal fatigue, but the shapes also turn L i t h u a n i a n t r u c k- d r i v e r s lifeless. One can envision a breath of wind also meet up here after causing this tumbleweed to go on endlessly. a h a r d d a y ’s w o r k . A n d while the locals may not be familiar with M o n i k a S o s n o w s k a’s i n t e r n a t i o n a l f a m e , y o u w o n’ t b e a b l e t o l o o k p a s t h e r a r t w o r k .

Faç ade is a monumental sculpture in a green str ip that seems to def y all tr af f ic . It no longer depic ts a f ront view, but looks like a three - dimensional scr ibble or doodle that is ac tually a one -to - one c opy of the window sec tion of a Wars aw moder nist building: Foksal Galler y Foundation (1966). A nd while in Poland this moder nism is r ather a reminder of the oppressive Soviet regime, there is never theles s a re newed interest in this architec tur al movement around the pr inciple of ‘les s is more’. T his growing interest also applies to (the outsk ir ts of ) Br ugge, and on the sea- dyke you will f ind a timber-f r amed holiday home f rom 1962 by architec t Peter C allebaut that ref lec ts that sense of simplicit y and auster it y.

S TA R OF THE SE A - Conceived specifically for the beach of Zeebrugge, Star of the Sea attracts attention from afar with its voluminous, concrete structure and curious chimneys. With its cylindrical tubes, triangular inspection chambers and modular parts, the work echoes architectural structures typical of the coast: a bunker, a pavilion or even a sandcastle. Star of the Sea opens possibilities for subtle and spontaneous connections. It invites passers-by to enter, to explore and appropriate its different spaces.

Inside, one may experience interplays of light and shadow and sense specific sounds and smells. The varied landscape of Zeebrugge can be viewed through the openings.

The work will gradually transform through its constant interaction with the elements while on display in Zeebrugge. The concrete temple – surrounded by sand – reflects time and impermanence. Star of the Sea as a barometer for change.

An hour’s cycle ride from the centre of Brugge, through neat suburbs and along the industrial canal, past scrap yards, cement factories, warehouses for building materials, past car parks and distribution centres, along main roads and railway lines, you finally arrive in Zeebrugge.

In the beach district is the Stella Maris chapel ( Our Lady Mary , protector of sailors and travellers), which now also holds services for the Romanian Orthodox community. Of the 4,000 or so inhabitants, one-third are from Eastern Europe, often working in the port area which is largely surrounded by fences. In fact, migrants are discouraged from attempting the illegal crossing via ships and containers but still seek temporary shelter. And next to the Port of AntwerpBruges, there is a marina, the cruise terminal, a naval base and the outer port with its huge locks, train tracks, busy roads and infrastructure works.

Amid these movements and changes in village, beach and port Star of the Sea by Ivan Morison (UK) will appear as a beacon for shelter and hope, a star-shaped sandcastle inspired by the spirit of a monumental temple. It is a sculptural space of subtle connections, accommodation for humans and animals, a place that intimately changes with the surrounding landscape. It is part of the self-forming one-kilometre-wide beach that is already expanding through the perpendicular arm of the harbour wall, where there are even finds from days gone by, such as sticks and bones, vertebrae and shells.

STELLA MARIS

IVAN MORISON

Sint-Donaaspark , 8380 Zeebr ugge

MONIKA SOSNOWSKA

MONIKA SOSNOWSKA FAÇADE

NORTH EAST WEST SOUTH Knokke-Heist

Directeur-Generaal Willemspark , Frans Welvispad, 8301 Knokke-Heist

LUCIE LANZINI TROUBLE SEA

Jonk heer Jan B aptist de Gheldere was mayor of Heist f rom 194 6 to 1971. It was thanks to him that the merged municipalit y is c alled K nok ke -Heist and that the borough was not relegated to oblivion. Together with the municipal executive at the time, he cleaned up post-war Heist and made himself par ticular ly usef ul in designing the woods at Heist and a smooth pas s age for the reloc ation of the r ailway station and the layout of Heldenplein.

T h e n e w p ar k c r e a t e d in 2 0 2 3 w il l n o w b e c al l e d N / E / W/ S - T h e or g anic s h ap e s o f t hi s ar tthe Burgemeester Jonkheer w or k r e s embl e s p e e c h b ubbl e s , l ik e t h o s e Jan-Baptist de Ghelderepark , in c omic b o ok s . P e opl e g a t h er an d c h a t t er or Burgemeester De Gheldereo v er e a c h o t h er, m ak in g t h e l in e s o v er l ap . park for short.

T h a t ’s w h y t h e ini t ial t i t l e o f t hi s pie c e w a s E v er y b o d y is Tal k ing . B e c au s e t h e A nd where the green str ip ar t w or k h a s f o ur s ide s an d i s p o s i t ion e d bet ween K nok kestr aat and on a s qu ar e p e de s t al , i t al ign s w i t h t h e Elis abetlaan is being up c ar din al dir e c t ion s o f a c omp a s s . T h e gr aded, the open spac e e t y m ol o g y o f t h e w or d ‘n e w s’ s ugge s t s has been used to enhanc e a c onn e c t ion b e t w e en s h ar in g n e w s an d the landsc ape and ex tend or ien t in g on e s elf. A c c or din g t o p op ul ar into the ur ban f abr ic . T hat b el ie f, ‘n e w s’ w a s on c e c on s ider e d an a c inter mediate zone fear on y m , r epr e s en t in g n or t h , e a s t , w e s t an d tures new paths and var is o u t h . A n o t h er or g anic f or m app ar en t in ous cros sings that provide t h e s c ul p t ur e’s s h ap e i s t h a t o f c l o ud s , a smooth c onnec tion be e v er- c h an gin g w i t h t h e w in d – a s ub t ween the c entre and the t l e n o d t o t h e B e au f or t w in d f or c e s c al e . dyke. T he dif ferent areas C r a f t e d f r om s t ainl e s s s t e el , t h e s urare c onnec ted by a par k f a c e f e a t ur e s del ic a t e , s w ir l in g l in e s promenade and f lanked by gen er a t e d t hr o ugh a r ep e t i t i v e abr a s i v e a wide wadi that c an c olm o t ion , a pr o c e s s t h a t m ak e s a p a tlec t r ainwater. t er n app e ar s er v in g a s de c or a t ion , i t s app e ar an c e s hi f t in g w i t h c h an ge s in A n d in t h a t f r e e ar e a l igh t an d t h e v ie w er ’s m o v em en t s , muc h where passageways, bridgl ik e t h e e v er- c h an gin g n a t ur e o f n e w s . es, roads, trees and bushes intersect, Richard Deacon’s (UK) N/E / W/S is anchored like a beacon. It looks like a direction finder, a landmark to explore the terrain from all sides. From the nor th, east, west and south, that gleaming sculpture gives the location real meaning. In the midst of life, between beach and busy roads, the undulating tree structure is like a compass to continue on an adventure.

TROUBLE SE A - Drawing from her passion for architecture, Lucie Lanzini (FR/ BE) gathers details from buildings. Here, the structure Trouble Sea evokes a window. Isolated and taken out of context, it forms a frame that allows us to view the landscape in a different way. The incomplete and disoriented glass leaves space in the frame: you can step through the sculpture, as if it were a gateway.

The work, situated in the park near the dunes, serves as an opening to the sea.

The pastel blue tint of the glass refers to the surrounding landscape. Lucie Lanzini skillfully invites us to forge a new connection with familiar objects through nuanced interventions. The steel gleams, resembling a mirror, while the glass, in contrast, takes on a cloudy “ocean glass” appearance, rippling like the sea.

Consequently, our perspective is somewhat unclear. The rope in bronze refers to fishing rope, to the port. It is a familiar object of the seaside. Its unsettling realism draws you into the work. Here the rope loses its flexibility and function, but it takes on a more symbolic dimension by evoking the idea of connection.

In 1949, when the bunkers, trenches and wire-fencing of the past two world wars were demolished, the dune remnants between Heist and Duinbergen were redeveloped under the name Directeur-Generaal Willemspark , after the official who had made the park’s creation possible. In this new park, seven paths are named after political prisoners who had not survived the war: Pierre De Jonghe, Charles Jacobs, Frans and Damien Welvis, Camiel Ollevier, Robert Vanhulle and Edgard Tonneau. The Bosje van Heist is clearly a place with references to difficult times, often forgotten tragedies and the impact they have had on local history.

The park itself then also included two ponds, tennis courts and a bench with a platform on which there was originally a stone goat that was later replaced by a jaguar. And in this context, Lucie Lanzini brings the installation Trouble Sea , a sea-view composed on a human scale with coloured hammered glass flanked by a black frame and a fishing rope in bronze.

Indeed, along the coastline, the artist often saw glass walls or windows, in which sometimes the sky and sometimes the sea reflected, just like the colours of the stained-glass windows in the Visserskapel . The texture of the glass directly reflects the surface of the water, depending on the perspective and sunlight, it touches both the intimate and individual story and the public and communal life.

In a way, Trouble Sea can be a metaphor for potentially challenging situations or braving storms and adventures at sea.

STIRRING AND TOUCHING

LUCIE LANZINI

Burgemeester De Ghelderepark , 8301 Knokke-Heist

RICHARD DEACON

RICHARD DEACON N/E/W/S