Gezien: Summer of Love in Art Space Pythagorion, Samos

Gepubliceerd op: 18 August 2017

Dat de Summer of Love, de memorabele zomer van 1967, vijftig jaar geleden plaatsvond, zal wellicht weinigen zijn ontgaan. Binnen de tsunami aan gedenktentoonstellingen vindt in de privé stichting Art Space Pythagorion van de Schwarz Foundation op het Griekse eiland Samos een tentoonstelling met een gelijkaardige thematiek plaats. De door Katerina Gregos samengestelde expo kijkt hoe ideeën en concepten uit dat maatschappelijke en politieke scharnierjaar doorleven in 2017 en welke lessen men daar uit kan trekken. Met werk van Melanie Bonajo, Johan Grimonprez, Nicolas Kozakis & Raoul Vaneigem, Marge Monko, Uriel Orlow, International Institute of Social History, Tomomi Itakura, Mikhail Karikis en Marko Mäetamm.

 Tot 15 oktober in Art Space Pythagorion, www.schwarzfoundation.com

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Dat de Summer of Love, de memorabele zomer van 1967, vijftig jaar geleden plaatsvond, zal wellicht weinigen zijn ontgaan. Binnen de tsunami aan gedenktentoonstellingen vindt in de privé stichting Art Space Pythagorion van de Schwarz Foundation op het Griekse eiland Samos een tentoonstelling met een gelijkaardige thematiek plaats. De door Katerina Gregos samengestelde expo kijkt hoe ideeën en concepten uit dat maatschappelijke en politieke scharnierjaar doorleven in 2017 en welke lessen men daar uit kan trekken. Met werk van Melanie Bonajo, Johan Grimonprez, Nicolas Kozakis & Raoul Vaneigem, Marge Monko, Uriel Orlow, International Institute of Social History, Tomomi Itakura, Mikhail Karikis en Marko Mäetamm.

 Tot 15 oktober in Art Space Pythagorion, www.schwarzfoundation.com

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In het Groninger Museum is op dit moment een tentoonstellingsproject te zien van Gabriel Lester (°1972, woont en werkt in Amsterdam). Lester bouwde voor het museum – eentje zonder de voor kunstmusea zo tekenende ‘white cubes’ – uit piepschuim de installatie ‘Ripples’ met drie cilindervormige ruimtes, waarin hij de video trilogie 'Aeon' toont. De ruimtes staan symbool voor de thematiek en beelden van het drieluik ('aeon' betekent zowel leven als oneindigheid) waarin drie bestuurders de hoofdrol vertolken. In een eerste deel ‘Event Horizon’ zien we een buschauffeur in het holst van de nacht zijn shift draaien in een donker bos: hij is ‘travelling a black hole to the point of no return’. Als hij pech krijgt aan zijn bus, zien we de cirkelbeweging van de drijfriemen van het vehikel. In ‘Multiverse’ is het de vrouwelijke chauffeur zelf die rondtolt, in een auto, soms in nevelen gehuld. En in ‘Eternal Return’ draait een stuntman in India in hypnotiserende beelden rondjes in een grote stuntattractie, een houten ton op zijn kant waarin de auto tegen de zijkant geplakt zit dankzij de middelpuntvliedende kracht.

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Gabriel Lester 'The Return of Lester’s Loops' tot 29 oktober in Groninger Museum, Museumeiland 1, Groningen, NL. www.groningermuseum.nl

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Op zaterdag 2 september opent de solotentoonstelling ‘A See Of Green’ van Willem Boel (°1983, Sint-Niklaas) in Dacca, Temse. In 1990 ontdekte Jan Hoet deze locatie, een zolderverdieping in de voormalige fabrieksgebouwen van de NV Dacca in Temse tijdens de voorbereidingen voor zijn legendarische tentoonstelling Ponton Temse. Sindsdien worden hier op regelmatige basis tentoonstellingen georganiseerd, ondersteund door de gemeente en een groep geëngageerde kunstliefhebbers.

In deze eerste solo ‘A See Of Green’ in België toont Boel vier monumentale werken, drie recente stukken en één werk dat hij specifiek voor deze locatie heeft gemaakt. De solo geeft een stand van zaken van Boels oeuvre waarmee hij in 2015 geselecteerd werd voor de Grand Prix op het prestigieuze Salon de Montrouge; daarna volgde een tentoonstelling in Palais de Tokyo in Parijs. Hij presenteerde in 2016 onder meer het veelbesproken werk ‘Cage John’ op uitnodiging van de organisatie 123-piano onder de Stadshal in Gent (nu geïnstalleerd op het dak van Dok Noord in Gent). In 2018 staat een residentie in Casa Wabi in Mexico op het programma.

In zijn werk hanteert Willem Boel industriële onderdelen zoals metalen platen, buizen, draad, betonijzer en stukken hout. Hij assembleert ze tot verrassende installaties die het midden houden tussen esthetische objecten en gebruiksvoorwerpen - of eerder nog zichzelf genererende, in feite nutteloze machines. De titel van de tentoonstelling verwijst naar Sea of Green, een kweekmethode waarbij planten dichtbij elkaar worden gezet om te voorkomen dat ze al te veel overbodige takken of bladeren produceren, en bijgevolg sneller bloemen dragen en rijpen. Na verloop van tijd verkort de termijn tussen de oogstmomenten en wordt de plant zelf steeds puurder. Dit doorgedreven kweekproces is naar analogie met de manier waarop Willem Boel werkt en leeft: te midden zijn voortdurende groeiende en transformerende objecten in zijn atelierruimtes die rechtstreeks verbonden zijn met zijn woonst brengt het ene kunstwerk het andere voort. De vier sculpturale installaties die Willem Boel hier toont en die de volledige ruimte innemen, worden gecombineerd met kleinere stukken aan de muur.

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Willem Boel, ‘A See Of Green’ van 2 tot 24 september in Dacca Temse, Kasteelstraat 74, Temse. Open za van 14-18 u., zo van 10-12 u. en 14-18 u.

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