Represented by Trampoline - Antwerp

www.trampolinegallery.com


NOW

Feb. 04 - March 04, 2017: Half an optimist, a brand new rocker box and a blow on broad daylight - Solo exhibition at trampoline - Antwerp

a blow on broad daylight from stefaan dheedene on Vimeo.


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

 

UPCOMING


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------


RECENT

Nov. 13 - Dec. 18, 2016: Stefaan Dheedene / Freddy Van Parys - Galerie EL (BE)



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

September 2016: Solo exhibition at P/////AKT - Amsterdam

In 2016 P/////AKT is focusing on the conceptual legacy of Marcel Broodthaers’ 1964 work Le Pense-Bête and its relevance in current discourse. 
P/////AKT has outlined six aspects of this key work, each of which comprises a solo exhibition, a public event, and an essay.

Stefaan Dheedene – Slapstick
Opening Saturday 27 August, 20-24 hrs

Reflected upon by Saskia Noor van Imhoff: Sunday 18 September, 17-19 hrs
Slapstick Orchestra: Sunday 25 September, 17-19 hrs
Essay by Brenda Tempelaar: available from August 27

28 August – 25 September 2016
(Thu-Sun, 14-18 hrs)





Slapstick, a type of physical comedy characterized by broad humour, absurd situations, and vigorous, usually violent action. The slapstick comic, more than a mere funnyman or buffoon, must often be an acrobat, a stunt performer,
and something of a magician—a master of uninhibited action and perfect timing.Outrageous make-believe violence has always been a key attraction of slapstick comedy, and, fittingly, the form took its name from one of its favourite weapons.
A slapstick was originally a harmless paddle composed of two pieces of wood that slapped together to produce a resounding whack when the paddle struck someone.
The slapstick seems to have first come into use in the 16th century, when Harlequin, one of the principal characters of the Italian commedia dell’arte, used it on the posteriors of his comic victim.

The discourses that erode our ‘everydayness’ through an unstoppable flow of media, evoke the longing for a clear language, a literal language, a 1:1 relation, the-thing-to-the-thing, striving towards a correct,
regular breathing or a univocal metallic taste, like Japanese sake gradually losing its initial sumptuous sweetness. One could long or wish for, or even just agree upon, things being like this.
Stefaan Dheedene’s work situates itself in the foreground of this longing. It is the longing itself, or the agreement, that characteriseshis work.

Dheedene shows a particular interest for the aesthetical and political connection between forms, objects and their craftmanship qualities. His work investigates the intimate relationship between similarity and difference,
mostly originating from repeting andreorganising signs and objects that are highly recognisable.
As far as Dheedene is concerned, they should remain just that, but by a careful rearrangement also take on a physical and visual autonomy of their own.
While each of them is created individually, together – in the form of an exhibition – they constitute a regulated apparatus, an organised place.

The works distance themselves from the unconditional new. Art is a subjective interpretation, translation, disappointment; first and foremost a construct that is reminiscent of solutions and organisational structures in the ‘real’ world.
It is precisely this relationship between the work and the real world (the usual order of things) that Dheedene means to activate. 
The work, in its careful and precise construction, has references to both conceptual and minimal art, yet it is far from the minimalist notion of the expedient deconstruction of artistic expression in order to arrive at the world of ideas.
Likewise, Dheedene’s works are not material ideals as such, but rather the expression of an end. The search-modus is abolished. What is found here was not to be searched for, is not an invention nor a discovery, but a finding. 
Each exhibition is a tangible proposal to arrive at a highly charged and ambivalent mood.


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

May 1 - Sept. 26 2016: Swing the bat, throw a ball - White out studio - Knokke (B)



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

May 8 - July 2, 2016: Furniture. Sculpture. - Art Center Hugo Voeten - Herentals (B)

Opening May 8: 3pm - 5pm

Group exhibition curated by Simon Delobel on the 2d floor of the Art Center with works by:
Nel Aerts, Atelier Pica Pica, Hans Demeulenaere, Stefaan Dheedene, Pieter Engels, gerlach en koop, Vedran Kopljar, Jacques Lizène, Erwan Mahéo, pelican avenue, Helgi Thorsson, Dennis Tyfus,
Michael Van den Abeele, Herman Van Ingelgem, Elise Van Mourik, Frederik Van Simaey, Henk Visch, Leen Voet, Franz West.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

March 10 - June 26 2016: Water. War. - Buda - Kortrijk



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Feb. 23 - May 08 2016: Uit de collectie, S.M.A.K. - Gent



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

April 21 - 24 2016: ATC*, Martin Van Blerk Gallery - Antwerpen (B)

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

March 06 - 26, 2016: Kung fu - Solo exhibition at trampoline - Antwerp




---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Oct.
3 - Dec. 13, 2015: A new spirit in booking - CC Strombeek - Bever (BE)

Curator: Luc Derycke

Named after the infamous exhibition A New Spirit in Painting, held at the Royal Academy in London in 1981, A New Spirit in Booking addresses shifting practices related to the book as medium.
Whereas the digital revolution challenges the existence of classic book since the past decennium, artists now increasingly engage with this specific medium as a core mode of expression.
The artists invited for the exhibition show work in which the book as medium is key. Contrary to the classic artist book, A New Spirit in Booking defines the book in a non-book space,
opening its layered registers in a hitherto unseen way. The outcome is their work, not the reproduction of their work. With works by Remi Verstraete, Ruth Sacks, Annie Vigier and Franck Apertet (les gens d’Uterpan),
Stefaan Dheedene, Sébastien Capouet, Dimitri Vangrunderbeek, Ištvan Išt Huzjan, Jochem Vanden Ecker, Diedonné Cartier, Diego Tonus, Erik Van der Weijde, Reinaart Vanhoe, Jerry Galle and Johan De Wilde.



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Permanent installation of "Clap hands" in the Bijloke building in Ghent where the School of Arts is housed.



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sep. 24-27, 2015: P/ART fair in Hamburg, as part of the POPPOSITIONS Off-Fair booth.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

July 4 - Aug. 8, 2015: Me, myself and I - Trampoline, Antwerp

Group exhibition with the artists of the gallery



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

April 23-27, 2015: POPPOSITIONS
, Brussel
 
Canal Warf, Brussel, Belgium
More info here



The work of Stefaan Dheedene attempts to activate a relationship with the regular order of things. In this, he shows a particular interest in the aesthetic and political relationship between forms.
With the title Things for two and things done twice, he shows various works that delve deeper into the intimate relationship between similarity and distinction.
The title winks on the one hand to the work of art as a mediator between the creator and the viewer and, on the other hand, to the tipping point of the uniqueness of the work of art in mirrored and similar
objects and images. Furthermore, the title of the proposal refers to a movement that the artist would like to activate, he will install the various works throughout the building and thus denies a fair as a happening
where the various players (read: galleries) are positioned next to and across from each other.

This allows him to engage in a real relationship with the building and the other actors. As a natural consequence, the disperse of the works lead to the instruction for the gallerist to go on an ever-repeating walk
(and discourse) from one work to another and engage potential buyers and spectators on his walk. In that way, the gallerist doesn’t wait on as a grocer in his shop for customers but gives space to unforeseen
encounters and circumstances.The various proposals for this late modern office complex can thus be interpreted as footnotes, punctuations and comments to support a reading of the building and engage in
various relationships with the other works of art. Opposite the totalitarian, holistic and universal rhetoric of the late modern office complex, Dheedene places the fragment, the trace and the hybrid.
In this respect, interest and even tenderness for the building plays an important role. In a sense, the office complex in its outdated design and choice of materials can be interpreted as a remnant,
a monument or even a ruin of a defunct ideology.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sept. 17, 6pm: Return to sender (vzw KAOS)

WIELS - Project Room
Avenue Van Volxemlaan 354
1190 Brussels

Kunstenaars/Artists/Artistes:
Yves A., Nel Aerts, Daniel Baumann, Nico Beddeleem, Guillaume Bijl, Florian Bijloos, Paul Blockx, Aline Bouvy, Wim Catrysse, Vaast Colson, Leo Copers, Jana Cordenier, François Curlet, Anne Daems,
Karel De Groef, Jos De Gruyter, Marijke De Roover, Lut De Vogelaere, Ilke De Vries, Koenraad Dedobbeleer, Ronny Delrue, Marleen Devos, Stefaan Dheedene, Nico Dockx, Fabienne Dragonetti,
Dieter Durinck, David Evrard, Jerry Galle, Dora Garcia, Pieterjan Ginckels, Dan Graham, Sofie Haesaerts, Veerle Hemmerechts, Paul Hendrikse, Gerard Herman, Krijn Hermans, Lien Hüwels, Sanchita Islam,
Henri Jac obs, Ekaterina Kaplunova, Franciska Lambrechts, Sabina Lang, Bart Leus, Gorik Lindemans, Myriam Loyens, Brian Maguire, Erwan Mahéo, Valérie Mannaerts, Wendy Marijnissen, Dirk Martens,
Lara Mennes, Mike Michiels, Rufus Michielsen, Kenneth Andrew Mroczek, Kim Musschoot, Shelly Nadashi, Rob Nouwen, Sophie Nys, Oiseaux sans tête, Jurgen Ots, Ria Pacquée, Albert Pepermans,
Benoît Platéus, Denis Roche, Guy Rombouts, Kurt Ryslavy, Sarah&Charles, Benjamin Saurer, Kelly Schacht, Bela Silva, Helmut Stallaerts, Timothy Stappaerts, Isabelle Stockmans, Elly Strik, Indra Struyven,
Christophe Terlinden, Koen Theys, Erik Thys, Harald Thys, Adrien Tirtiaux, Sven Unik-ID, Michael Van den Abeele, Hans Van der Borght, Dries Van Doorn, Benoît van Innis, Elke Van Kerckvoorde,
Lieven Van Meulder, Sarah Van Woerden, Martine Vancaldenhoven, Willemjan Vandenplas, Richard Venlet, Benjam in Verdonck, Katja Verheyen, Gert Verhoeven, Pieter Vermeersch, Koen Vermeir, Leen Voet,
Michael Vosté, Peter Wächtler.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sept. 5 - Sept. 27 - 2014: More of the same - Trampoline, Antwerp

Opening Sept. 04 - 6-9 pm



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Summer break (Les invisibles #2)

 
UZ Ghent, Belgium
22.07.2014 - ongoing
 
Summer break
The basis for Summer Break is a sequence of magazines. The magazines are made by re-ordered pages of several kinds of carefully dismantled magazines.
The magazines are placed one by one in the waiting rooms when visiting the University hospital in Ghent on appointment.
 
Les Invisibles
Les Invisibles is a series of exhibitions you've missed, without opening or finissage, by artists trampoline works with, outside of trampoline's gallery space,
existing only through documents, extending the definition of an exhibition.




---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Aug. 18 - Aug. 27 - 2014: Heyokas - Stadslimiet, Antwerp

Opening Aug. 18 - 8 pm


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Dec. 15, 2013 - Feb. 09, 2014: Im & Explicit - Tatjana Pieters Gallery


Curated by Luc Derycke

Marie Angeletti / Raf Buedts / Ricardo Brey / Mark Cloet / Luc Coeckelberghs / Stefaan Dheedene / Jimmy Durham / Ida Ekblad / Nick Ervinck / Michael Fullerton / Joris Ghekiere /
Ištvan Išt Huzjan / Jan Van Imschoot / Willem Oorebeek / Lore Rabaut / Juliao Sarmento / Richard Serra / Lawrence Weiner




CURATOR STATEMENT

‘A line passes through our perception, a horizon as it were, which requires us to indicate certain things as implicit or explicit.
What lies on the horizon could be described as neutral, or normal, although it is not easy to explain what this normality is made of.

Derived from the Latin word “plicare” which means folding or creasing, implicitly points out what is in the folding, and explicitly in what is unfolded.
These two words can therefore only relate to what is foldable. A handkerchief, for example, is foldable, but in this case the words implicit or explicit are not immediately applicable.
Rather than the things themselves, these words indicate the representations of these things, or - what are representations otherwise? - what we make of them in our brains.

The model of the handkerchief however does teach us that a folded and unfolded representation should essentially be the same.
What plays tricks on us here is the extent of visibility. We know that we must replace the invisible by our own representations, but therefore, clouded by these very representations, often do not notice the visible.’

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Nov. 11 - Dec. 15, 2013: CARL (Luc Derycke, Stefaan Dheedene en Dries Verstraete) - 'I need to protect my family'

Mensen communiceren frequent met elkaar doorheen objecten. Vormen van sociaal tekort, dat wat er nodig zou zijn om volledig tot elkaar in verhouding te staan of elkaar toe te behoren,
wordt omgezet in gesprekken over voorwerpen, en tactiele experimenten.
Deze neurotische drang om de ruimte, de kamer, het huis en het leven zelf in te richten wordt gevoed door allerhande angsten omtrent identiteit, affirmatie, veiligheid, netheid, en isolement.
Onze ethische gezondheidstoestand werkt in op ons gedrag en onze omgang met voorwerpen.
Daardoor is er een soort verhoogd bewustzijn ontstaan omtrent de aard en het nut van objecten en kunnen we ze gaan gebruiken als code.
Het object als product van een gedeeld individueel handelen staat centraal en gelijk aan het begrijpen en controleren van het verschil van het object met ons.
We begrijpen objecten door zintuiglijke gegevens en ze mediëren onze sociale verhoudingen.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------


Sept. 28 - Dec. 15, 2013: Published by Mer. Paper Kunsthalle - De Kabinetten van de Vleeshal, Middelburg (NL)

Opening Sept. 28 - 16h00


As books, catalogues and publications become increasingly important as places to exhibit art, the "Published by" exhibitions initiated in 2010 by De Vleeshal, Middelburg (NL)
show that publications and exhibitions have always been closely connected with the artistic practice.
After Roma Publications (NL), Åbäke (UK) and Castillo Corrales (FR), MER. Paper Kunsthalle will wrap up De Vleeshal's library and display its own titles,
along with books and works by artists Lore Rabaut, Frank Depoorter, Koenraad De Dobbeleer, Rita Mc Bride, Stefaan Dheedene, Kelly Schacht, Pieter Huybrechts, Erki De Vries,
Toon Van Borm, Reinaart Vanhoe, Istvan Huzjan, Guus van de velde, Johan De Wilde, Willem Oorebeek, Nico Dockx, Jan Mast, Ann Veronica Janssens and Jochem Vanden Ecker.

Come join us and browse through all MER titles.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Oct. 13 - Nov. 17: [Manœuvres] - Voorkamer (Artists Initiative for Contemporary Art)

opening: Oct. 12, 20u

Jesse Cremers (BE), Stefaan Dheedene (BE), Theo de Feyter (NL), Harmen de Hoop (NL), Andreas Exner (DE), Robert Otto Epstein (US), Benoît Felix (BE), John Wood & Paul Harrison (UK),
Jin-Kyoung Huh (KR), Tim Knowles (UK), Marijn van Kreij (NL), William Lamson (US), Bart Lodewijks (NL), Ane Mette Hol (NO), Tony Orrico (US), Alexandra Roozen (NL), Egill Sæbjörnsson (IS),
David Shapiro (US), Helmut Smits (NL), Ante Timmermans (BE), Joris Van de Moortel (BE), Kris Vleeschouwer (BE)

[Manoeuvres] brings together works that resulted from procedures the participating artists did not fully control. Against the grain of a romantic and subjective tradition that is still influential today,
the artists consciously chose for a ‘mechanic’ mode of production that, to a certain extent, generates itself.

Instead of starting from a personal style or insights, the works apply all sorts of automatisms and compulsive strategies — ‘manoeuvres’ that work autonomously and engender a certain degree of objectivity.
By partly distancing themselves from whatever the final result could be, the artists ask questions about the laws inherent to the medium they work in, the way a work is received and the unconscious mechanisms that play a role in any production process.

The mechanical starting point of [Manoeuvres] thus takes on many different forms, but what connects the works presented, is that they proceed from random parameters that were decided on beforehand and weren’t abandoned afterwards.
Drawings that were literally produced by a machine, copies of thoughtlessly drawn doodles, an installation that builds itself through breaking down, interventions in public space that are defined by the context in which they take place,
or performative actions that are limited by what you can do with a body: cut loose from the artist’s subjective standpoint, all these works involuntarily explore their own limits in their own ways

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

June 14 - Sept. 15, 2013 - (Re)source, 10th edition of 'Beelden op de berg' - Arboretum, Wageningen (NL)


www.beeldenopdeberg.nl

Atelier NL (NL), Agentschap (INT), Maria Barnas (NL), Stefaan Dheedene (B), Driessens & Verstappen (NL), Nick Ervinck (B), Tue Greenfort (DK), Koen van Mechelen (B),
Barbara Visser (NL)
, Eric Klarenbeek (NL), Christien Meindertsma (NL), Anne Holtrop (NL), Ernst van der Hoeven (NL), Simon Martin (UK)



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
April 06 - June 16, 2013: Up close and personal - CC Mechelen (BE)

Koenraad Dedobbeleer / Stefaan Dheedene / Koen Leemans / Ben Meewis / Kristof Van Gestel / Herman Van Ingelgem / Leon Vranken



---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Dec. 08, 2012 - March 10, 2013: Watch that sound - Netwerk / Center for contemporary art, Aalst (BE)
Opening Dec. 08 - 20h00 (closed: Dec. 22 - Jan. 07)


Pierre-Laurent Cassière / Stefaan Dheedene / João Onofre / Mira Sanders / Sarah van Sonsbeeck

In the Orfield Laboratory (Minneapolis, USA) one finds the unprecedented, quietest room in the world, an anechoic or "dead" room.
Steven Orfield, founder of the lab, challenges people to experience a period of darkness within this room. The quieter the environment, the more sensitive the ear.
In the anechoic chamber one can only hear the sounds of the body, as if they are being magnified many times.
One cannot orientate themself in this darkness, because normally that is achieved on the basis of environmental sounds. People start to hallucinate in the anechoic chamber.
So far no one could endure longer than 45 minutes.

The exhibition brings together five artists that translate silence, absence and limitation of noise into sculptures, images and installations.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Feb 16 - Feb 17, 2013: I think this too shall pass
Opening Feb 15, 20h00

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Dec. 01, 2013 - 18h00: Scherven brengen geluk als je ze lang genoeg koestert - Secondroom Antwerpen (BE)
Opening Dec. 01 - 18h00


Greet Billet (BE) / Raffaella Crispino (IT) / Stefaan Dheedene (BE) / Adrien Lucca (FR) / Rachel Zanders (NZ) / Sofie Haesaerts (BE)


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Oct. 07 - Dec. 09, 2012: Fade to Gray - EI Huis, Gent (BE)

EXPERIMENTAL INTERMEDIA vzw
Window Gallery
Sassekaai 45, B 9000 Gent - Belgium
http://www.experimentalintermedia.be



De werken van Stefaan Dheedene (1975, BE) zijn gebaseerd op sociale en architecturale observaties, op toevallige ontmoetingen of op gevonden beelden en objecten.
Hij verwerkt ze in objecten, ruimtelijke constructies en videowerken. De werken ontstaan zo meestal vanuit een mimesis, een reconstructie en het herordenen van uiterst herkenbare tekens,
objecten en gedragingen en confronteren de toeschouwer met vragen over de visuele taal van de dingen.
In zijn artistieke praktijk biedt de mimesis een gelegenheid tot vergissing en opent zo mogelijkheden en heroverwegingen en kan daarom in een productief proces worden omgezet.
Kunst is subjectieve interpretatie, teleurstelling, vertaling, in eerste instantie een bouw. De formele kwaliteit van zijn werk en de nomadische, exploratieve kant pogen elkaar te ontmoeten in één onberedeneerbaar brandpunt.

'Fade to Gray' is een reeks van 11 sculpturen (2003 - 2012) die steeds een kachel nabootsen vanuit zijn herinnering aan de plaatsen waar hij zelf woonde.
De twee sculpturen die nu in het EI-huis getoond worden zijn de 2 laatste uit de reeks.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sept. 06 - Dec. 19, 2012: Re-opening - Deweer Gallery

Vernissage on Sunday 16 September 2012
14:00 Welcome Drink




“Re-opening” is a group show in three chapters with which Deweer gallery will open its doors after a thorough renovation and rebuilding of the entire gallery.
An entirely new exhibition hall was added to the two existing ones, and the gallery now boasts more than 1200m² of exhibition surface.
But “Re-opening” is also meant as an artistic statement by Gerald and Bart Deweer, who have taken over the gallery from their father Mark Deweer.
The show brings together some 25 young, emerging and established artists from the Deweer gallery’s programme and from the international scene.
Each part or chapter of “Re-opening” is a group show in its own right and takes up one of the three exhibition halls Deweer now has. Two of the three shows are curated thematic entities.

In the new exhibition hall and lobby, new or rarely shown works by a number of individual positions are presented:
Michaël Aerts, Stephan Balkenhol, Sergey Bratkov, Jan Fabre, Günther Förg, Tatjana Gerhard, Melissa Gordon, Enrique Marty, Benjamin Moravec, Yehudit Sasportas, Jorinde Voigt and Norbert Witzgall.

Room II, the renovated hall downstairs, will host a group show on contemporary sculpture. Focusing on the use and re-interpretation of the object as one of the dominant shifts within contemporary sculptural practice,
it addresses how the object has become the primary matter and how the prevailing form in sculpture has become essentially installational. It does so through a diverse range of mentalities and approaches,
featuring works by Nina Beier & Marie Lund, Monica Bonvicini, Stefaan Dheedene, Kasia Fudakowski, Simon Dybbroe Moller and Andy Wauman.

The group show in Room III, the hall upstairs, elaborates on narration - literary or personal – as a generating principle. Works by artists who use the autobiographical, tales and personal mythology and with whom
Deweer gallery’s programme is associated, like Panamarenko and Ilya Kabakov, are confronted with works by Athanasios Argianas, Keren Cytter, Matthew Lutz-Kinoy, Gerda Scheepers and Alexandre Singh.

A two-volume catalogue will be available.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sept. 22 - Nov. 18, 2012: Façade - Netwerk / Center for contemporary art, Aalst (BE)

Stefaan Dheedene (1975, BE), Dirk Zoete (1969, BE), Alice De Mont (1985, BE), Sofie Van der Linden (1986, BE), Anna Malagrida (1970, ESP), Lucie Renneboog (1976, BE), Charlotte Moth (1978, UK), Veerle Michiels (1965, BE),
Piki Verschueren (1958, BE) & Liesbet Verschueren (1961, BE)



A ‘façade', is the outer surface of a building. It serves as the boundary between the private and public, between the interior and exterior, between the inner and the outer.
Just as often, it is a mask that hides something or someone. The artists in the exhibition each give an answer to the following questions: what lies behind the façade?
Can a building be understood as a body and thus do the windows serve as eyes and the façade serve as a face? How does architecture represents the dreams, hopes and fears of mankind?

The artists have been inspired by the façades of the city of Aalst, its industry in the centre, its major urban renewal, as well as its politics of demolition: specifically,
a newly built office building on the edge of the E40 (Piki & Liesbet Verschueren), the tereos-syralfabriek (Alice De Mont and stefaan Dheedene),
old postcards (Dirk Zoete) or an empty shop showcase in the city (Veerle Michiels). the local is confronted with the international: Charlotte Moth presents modernist Paris façades as protagonists,
Anna Malagrida investigates the illusion of space in the interior of a shelter in the Jordanian desert.
And the in- sane is not far away: Jurgen Ots depicts the door of Hell, the mouth through which mortals are to be devoured as the ultimate, apocalyptic facade.

The exhibition thus offers a peculiar look at the city and the relationship between its people and architecture.

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

June 1, 2012 + - Sept. 2, 2012: WAS IST IST ...!! - Manifesta9 parallel program by BEL ETAGE
public space, outdoor area to Media Academy, Genk


Marc Bijl / Ronald De Bloeme / BNNT / Agnieszka Brzezanska / Stefaan Dheedene / Michael Hakimi / Renata Kaminska



This exhibition brings together the work of artists, who in different ways explore the integration of preliminarity, or more precisely, the possibilities of the artwork and its instability, in the occupation of public space.
This is not so much of a theme, or a subject matter (although it sometimes can be) but much more a constitutional element of the artwork, the design accommodating its own fragility,
which arises from the typical “weathering” on site. This of course also refers to the “involvement” of the exhibition-goers.
Who does public space belong to?
How much of it is mine?
All the works, regardless of whether their primary motivation is political, or aesthetic, incorporate this time-limited existnce into their structure in its original form.
With the knowledge that no intervention in public space can be apolitical, every artwork takes the local socio-economic, historical and political contexts in to account,
which are inherent to the specific topography in question.Vandalism is a phenomenon, which initially expresses itself in the form of “meaningless” destruction or damage.
But when you look closely, however, these activities are by no means without a motive. The transformation of depression into action, out of which is born a desire to break social taboos,
is a psychological reaction. The deeper lying motivation is therefore a confirmation that even powerless people, who are normally controlled by powerful institutions and authorities,
can sometimes flee their powerlessness, rebel, and… control their own environment.
The exhibition will be subject to the “weathering” circumstances specific to this particular area and the particular time span (from several days to a couple of weeks).
These circumstances then in turn result in the regional influence of the current public mood on the artworks themselves.The structure and aesthetic of the artworks will also doubtless show
progressive signs of change and decay with the passing of time. Visible ageing, and the traces left by visitors are included as a creative, vandalistic exchange within the exhibition.


---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

New publication:
Stefaan Dheedene: Against the sun - 2011
36 p. pages / 210 x 280 mm




Published by MER. Paper Kunsthalle
Language ENG / Text by Johan Pas / Design Studio Luc Derycke / Print Cassochrome, Waregem
ISBN 9789490693336
Buy: MER. Paper Kunsthalle

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

June 21 - ... 2011: Tomorrow is the question / Collection S.M.A.K. - S.M.A.K., Gent (B)

A selection of recent acquisitions, 2005-2011

Tomorrow is the Question addresses the new acquisitions in an ever-changing kaleidoscope of presentations.

Current presentation:
John Baldessari, Peter De Meyer, Stefaan Dheedene, Masashi Echigo, Vincent Geyskens,
Kees Goudzwaard, Suchan Kinoshita, Lee Kit, Joachim Koester, Adam Leech, Mark Manders,
Werner Mannaers, Oksana Pasaiko, Wilfredo Prieto, Peter Rogiers, Nedko Solakov,
Pascale Marthine Tayou, Ed Templeton, Ante Timmermans, Koen van den Broeck, Jan Van Imschoot,
Herman Van Ingelgem, Lois Weinberger, Kelley Walker

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

November 17 - December 18, 2011: DREAMS OF POWER. POWER OF DREAMS. - Centrum Kultury Zamek, Poznan (PL)



preview: November 16, 2011 at 20:00|

Miros?aw Ba?ka, Hubert Czerepok, Stefaan Dheedene, Nina Fischer & Maroan El Sani, Sejla Kameri?, Grzegorz Klaman, Susanne Kriemann, David Maljkovi?, Oliver Ressler,
Fabian Seiz, Sebastian Stumpf, Johan Thurfjell, Ania i Adam Witkowscy, Piotr Wyrzykowski..

curated by Agata Rogo?

The international exhibition „Dreams of Power. Power of Dreams” is a research-visual project associated with the history of the imperial castle (the present day seat of the Zamek Culture Centre),
in which Polish and German history combine. 11 artists have been invited to take part in the undertaking; they became the researchers of various stories and accounts associated with this place,
examined the relations between two nations and delved into issues related to the concept of power and its exposure in the communal awareness.
The works prepared for the exhibition create new interpretations, new readings of history and architecture of this singular edifice and demonstrate that contemporary art can be a uniquely interesting tool in interpreting history and society.
The experience of the exhibition will simultaneously be an experience of the place and history. It will become a search for the successive layers of the castle’s history.
Finally, it will be an attempt to confront the narrative themes of the exhibition: failure – inevitability – unfulfillment.

The exhibition may be visited twice with the curator’s commentary: on 20.11.11 and 4.12.11 (starting at 11:00). Maciej Szymaniak will talk about the history of the castle in the context of the exhibition on 24.11.11 at 18:00.

http://www.zamek.poznan.pl/index.php

---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Sept. 17 - Oct. 23 2011: Done. Finished. - Deweer Gallery - Otegem (B)

Opening: Saturday 17 September 15:00–18:30



DEWEER gallery Tiegemstraat 6A
B- 8553 Otegem, Belgium
T +32(0)56 644 893
Open on Wednesday, Thursday, Friday and Sunday,
from 14:00 to 18:00, or by appointment.
Closed on Monday, Tuesday and Saturday
www.deweergallery.com/exhibitions

The works in ‘Done.Finished.’ all arise from a repetition and reorganisation of extremely recognisable signs and objects.
Although they were created separately, they come together in an exhibition structure that takes the form of a regulated apparatus,
of a place that reminds us of an order.
While being pluralistic and heterogeneous in attitude, they distance themselves from the avantgarde credo of the unconditionally new.
Here, art is treated as an interpretation, a disappointment, a translation, and, before anything else, a construction.
The process of repetition – as an artistic practice to which the aesthetic principles of chance, the incomplete and the irrational are crucial –
also implies using the credit of thoughts that have condensed into ideas only recently.
By dodging reality, imitation creates opportunities for reconsideration, thus becoming a mode of production in its own right.

Due to the care and precision manifested in the finish, the works seem to relate to minimal and conceptual art. But at least as far as minimalism
is considered - by which we mean the systematic reduction of expressive means in order to approach the pure idea - they do not.
Accordingly, the works in ‘Done. Finished.’ are not materialized ideals, but expressions of an ending.
They are moments, in which the carefully constructed could collapse and turn into decay.
At a given moment, the experiment is stopped by a finding, not an invention. In other words, what is found at that moment could not be looked for,
it could only be found. The show is a concrete proposal to the audience to get into a highly ambivalent mood.