Search results for 'architecture'

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  • Item:MER-1212

    Parallellen 1975-2016, Werner Cuvelier

    The artist's book Parallellen presents an overview by Belgian artist Werner Cuvelier (° 1939) of a thousand years of western culture, through presenting significant and indispenable figures within the domains of architecture, philosophy, literature, music, the visual arts, film and photography, and science. Parallellen puts 300 characters to the fore, that to Cuvelier have had a major impact on western culture. In this intriguing book, men and women that shaped and altered history chronologically pass the revue; through their portraits and their main realizations. 

  • Item:MER-1194

    Libretto, Daniel Buren: une fresque

    On reconnaît l’œuvre de l'artiste français Daniel Buren (°1938) surtout par ses fameuses interventions de bandes verticales blanches et colorées, qui sont inspirées par les stores de magasins et bistrots parisiens. Due au caractère temporel de ses œuvres in situ, une rétrospective classique semble impossible. Pourtant Buren n'a pas hésité d'accepter le défi proposé par BOZAR, Le Palais des Beaux-Arts à Bruxelles. C'est là que l'exposition Une Fresque est née. L'exposition est pensée en deux parties intégrées: tout d'abord un film que Buren a composé et qui évoque toutes ses interventions désormais disparues. La deuxième partie comprend une grande installation qui connecte ses célèbres bandes à de nombreux artistes (en total plus de cent) du vingtième et vingt-et-unième siècle qui ont, de près ou de loin, influencés et inspirés l'artiste. Sont entres autres inclus dans l'exposition pensée par Buren: Paul Cézanne, Fernand Léger, Pablo Picasso, Jackson Pollock, Sol LeWitt, Pierre Huyghe, Pascal Marthine Tayou, … et Daniel Buren. Avec l'exposition Une Fresque, l'artiste a créé une intervention unique et nouvelle qui est en interaction constante avec l'architecture du Palais des Beaux-Arts. Ce sont tous ces éléments qui sont au cœur de cette exposition insolite à visiter du 19 février jusqu'à 22 mai 2016. La publication associée est pensée et conçue comme un journal conforme Le Buren Times, un journal créé par Buren consacré à son exposition dans le Musée Guggenheim à New York en 2005. Une Fresque contient des contributions d'entre autres Daniel Buren, Joël Benzakin, Bernard Blistène, Rudi Fuchs, Luk Lambrecht, Frederik Leen et Paul Dujardin.

  • Item:MER-1132

    Towards the soul of the wine bottle, Adriaan Verwée

    Artist edition specially designed on the occasion of MER. Station 11, held at Netwerk, Aalst (B) in the Spring of 2015. Each of the 20 boxes contains Verwée's artist book 'Under a poor cloak you commonly find a good drinker' and a signed and numbered silk-screen print. 

    In his MER. Station 'Towards the soul of the wine bottle’, artist Adriaan Verwée (°1975) explored the possibilities for translating his artist’s book back into a spatial intervention. Starting from the individuality of his practice, which is characterized by a particular interest in architecture, a startling process of transformation takes place. With a powerful physical gesture, the artist demolished the sculptural contours of Netwerk and allowed a new installation to rise from the ruins. The remains of the presentation material were reorganized in the new order and supplemented by new works created specifically for the site. These objects in turn relate to the soul of his publication, the hollow space in which artistic sediment accumulates. 

  • Item:MER-1055

    Eurasian Academical Tour 2017-2018 for the Mobile Medium University, Luc Deleu

    Luc Deleu is a Belgian conceptual architect, urbanist and artist. He studied and teaches at the Higher Architectural Institute Sint-Lucas, Brussels. Together with Laurette Gillemot he created T.O.P. Office (Turn on Planning) in 1970, a studio for urbanism and architecture, which won the 2014 Flemish Culture Prize for Visual Arts. He launched numerous proposals to rethink the use of space throughout the globe, and reflects on the occupation by man of the earth's surface. Deleu's thoughts are manifested in his anarchistic-utopian models. He filters his thoughts in drawings and models, which propagate his fresh vision on a reorganisation of an overcrowded world. 

    Digital C-print (80 x 80 cm) signed and numbered from 1 to 50, production MILO PROFI Photography, Duffel (B).

    This artist edition is an imaginary voyage for the project Mobile Medium University (from 1972 on three recycled aircraft-carriers), which is planned for October 1st 2017 until June 30th 2018.  

  • Item:MER-1054

    GNI_RI_2014, Nick Ervinck

    Fostering a cross-pollination between the digital and the physical, Nick Ervinck (°1981, Belgium) explores the boundaries between various media. As a pioneer in 3D-printed sculptures the artist takes a vanguard position in the field of digital technology while at the same time his works hold numerous references to the tradition of sculpture and architecture. This first monograph focuses on this tension between innovation and tradition and gives an inside to the artist’s abundant archive. The concepts body, building, history and nature that are crucial for the artist’s oeuvre, are the leitmotifs in the book. The authors explore Ervinck’s work from different angles while a great quantity of images show the genesis of form, some of his most succesfull works and futuristic ideas that till this day were impossible to create.

  • Item:MER-988

    Book #1 L01 2018, Pieter Huybrechts & Erki De Vries

    With Book #1 L01 2018 Erki De Vries and Pieter Huybrechts present the first result of their enquiry into the spatial potential of a book. In line with their earlier work that focused on spatiality considered from installation art and photography, in Book #1 the two artists explore an extra layer by integrating the medium art book. Can the architectural use of this art form possibly result in new images and experiences?

    Starting from an in situ installation that literally positions the environment, scale model and photography on a single line, the transformation into an art book creates a particularly hybrid experience of space. Immaterial trompe l’oeils and the material dimensions of the book are literally built on top of each other. Virtual images, the essence of architectural elements and type page fade into each other as a material montage on the interface of film, photography and mental architecture.
  • Item:MER-765

    Capturing the Sensible, Lara Mennes

    Lara Mennes has photographed three empty buildings. Her photographs raise questions about the meaning of these ruins and what they stand for today. The naked architecture, forgotten objects,... The photographs show us that which remains, but also that which is absent, that which people thought was important enough to take with them. It’s just small, insignificant things, traces of human activity, which draw Mennes’ attention because of what they suggest. Footprints on dusty floors, worn tiles, curled photographs, solitary posters on the wall... Each time every inhabitant has added multiple layers of meaning, all of them silent witnesses of bygone times. Like windows on the past, they take us back through time, back to the moment the building was constructed. Mennes’ photographs are still lifes in which objects transcend their physical appearance: they become expressions of memories.

  • Item:MER-667

    Architectures 2000-2012, Marc Corbiau

     « L’architecture de Marc Corbiau propose des lieux privilégiés où l’espace et la lumière, grâce à une interaction fondamentale avec la nature qui l’entoure, jouent comme des miroirs entre l’extérieur et l’intérieur, créant un espace pour l’intimité de l’habitat. La sérénité née de la proportion des volumes, du minimalisme des formes et de l’utilisation de matériaux naturels, met en valeur l’écho harmonieux entre la vie et l’art, d’une beauté presque imperceptible. »

    Introduction du livre « Marc Corbiau Architectures » par Luk Lambrecht, 2012

  • Item:MER-510

    Anello. Naga. Sunyata, 3xCD


    CD-1. Anello

    CD-2. Naga

    CD-3. Sunyata


    Review in Vital Weekly 757 by Frans de Waard

    Obviously I can't review this 3CD by the for me unknown Mireille Capelle. Let me explain. Each CD has one piece of music, but to play the complete piece you will have to play two CDs on four speakers at the same time. Such elaborate set up is not allowed here in the Vital HQ building, but I understand that each can also be heard individually. Phew, that's a relief. From the extensive booklet I gather Capelle, who has a training in classical music, in singing, as well as appearing in various films and she composes her 'Sonic Architectures' with natural elements and this three (two?) works are part of that. It all sounds very zen inspired, both the music and the written aspect of this. I'm not sure how her compositional techniques work, but on 'Naga' I think she uses mainly laptop and perhaps some sort of Max/msp patch, in a very tranquil way. A bit like Christoph Charles on his Ritornell CD. On 'Anello' the sound sources seem to be more of an acoustic nature, but also treated with the aid of the computer. It has, like 'Naga', a fine open sense of open space. 'Sunyata' is on the other hand a very closed work. It takes a long time before one hears anything at all, and it slowly turns out to be a work for flute and cello. Each of the three pieces has an entirely different length, so I'm not sure what the idea is when you are playing these together, but I could very well imagine that playing all three at the same time might bring further enlightenment. Nice one.

    Review in Gonzo Circus

    Ik ben de bezitter van een wankele slaap. Ik zoek houvast en regelmaat en ben toe aan een kruidenthee die ik niet eens graag drink. Het smaakt me niet en ik worstel na een jaar nog steeds met een dijk van een koffieverslaving. Ik ben aan de winnende hand. Alleen hoe lang nog voor ik het onderspit delf? Ik heb mijn principes aan de kant geschoven en heb een nacht gereserveerd voor ’Anello–Naga–Sunyata’ van Mireille Capelle: zonder twijfel een van de belangrijkste Belgische zangeressen of kunstenaressen tout court. Capelle schitterende in opera’s van Purcel, Bruckner en Mozart en werkte intensief samen met Jos Van Immerseel. De laatste jaren maakt ze de bocht naar de klassieke hedendaagse muziek, John Cage, Henryk Górecki en Maxwell Davies om er slechts enkele te noemen. Voor ’Anello–Naga–Sunyata’ liet ze zich bijstaan door een uitmuntend en vooraanstaand gezelschap van muzikanten. Marc Tooten op viool, Karin Defleyt speelt fluit en Arielle Valibouse speelt harp. (De namen van de rest van dit uitstekende gezelschap staan vermeld in de uitgebreide hoesnota’s.) ’Anello–Naga–Sunyata’ bestaat uit drie cd’s, drie composities die elk afzonderlijk kunnen worden afgespeeld, maar ook samen op twee cdspelers en vier luidsprekers beluisterd kunnen worden. We hebben de platen eerst apart beluisterd. Ze bleven overeind staan, als een degelijk huis, gebouwd op een stevig fundament, in weer en wind, de tijd trotserend. Ik heb een nacht gereserveerd. Heb slaapdronken in mijn zetel plaatsgenomen en ik heb de verschillende composities in verschillende combinaties doorgenomen. Het was een sacraal moment, nog het meest toen ik eerste zonnestralen, het ochtendgloren, mocht aanschouwen. ’Anello–Naga–Sunyata’ is een meesterwerk, boeiend en verrassend van de eerste tot de laatste noot. Ik heb vaak gedacht aan het werk van Morton Feldman, vroege Cage, de korrelige ambientsound van Deathprod en de donkerste kant van Diamanda Galás. Het middaguur lonkt. Ik zit aan de ontbijttafel met een kop kruidenthee en de zoete herinnering van een nacht die ik nooit vergeten zal.

    Review in Foxy Digitalis

    An ambitious collection of three contemporary classical music CDs composed by Mireille Capelle, an actress, opera singer, and professor and director of the singing department at the Royal Conservatory of Ghent, there are hours of material here, often composed of bleak tones and atmospheric chimes. Although well-packaged and intellectually engaging, the music and project can be weighed down by a sense of abstraction and vagueness within some of its ideas.

    The strength of these recordings comes through Capelle's creation of an expansive mood and the slowing down of the changes within her music so that the listener is able to focus on small, specific aspects of sounds, and is therefore in a sense able to become aware of the passage of time and the idea of passing time (the concept of time appearing to be the subject of the project).

    Liner notes written by Belgian art collector, curator, and designer Axel Vervoodt mention that "[Capelle's music] symbolizes an osmosis with the universe" and "knowing that one will never reach ultimate knowledge," although I'm not sure what to make of these ideas on their own terms or in relation to the music itself. Similarly, Capelle writes that the pieces "are constructed geometrically according to a mathematical scheme which is based on the symbolism of numbers. On the basis of whatever drives my senses, I gather together a great mass of recorded sounds from everyday life: the street, the wind, streams, the noise of cars, of conversations, of birds, of singing... [and] I compose thematic phrases which are interpreted by musicians." The last idea seems to make more sense than the first, which seems overly complicated and confusing. As a subject time is a difficult, although, if properly approached, rewarding subject for art, but it is difficult to tell if Capelle's project matches up to its aims. Music is a temporal form and should be able to express ideas of time, but it is also such an abstract type of art and thought that it would be extremely difficult to express these concepts formally in any case, although the music here does seem to achieve an expression of this idea. One problem with Capelle's mathematical approach seems to be that, for her method to work, there would need to be an intrinsic connection between geometry and the symbolism of numbers, but this seems to be a value added between the two by Capelle. It is arguable, for example, that the "symbolism of numbers" is not particularly meaningful in itself. Aldous Huxley once described James Joyce as having an extremely problematic "magic view of words"--"an approach to words as having some intrinsic value apart from their references"--and it seems as though there is a similar problem here. 7/10


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