Marion de Cannière Gallery, Pourbusstraat 3, Antwerpen (BE)
Opening: 2015/10/10 18:00
Finissage: 2015/11/29 18:00
Steve Van den Bosch
Tirtiaux will be showing two sculptures in mariondecanniére artspace. ‘Gleichgewichtkonstruktion ( Das Land mit sechs Parlamenten)’ (2014) refers to the Belgian political structure, which it depicts in a way that is simultaneously accurate and sculptural. The six parliaments of different size and color position themselves amongst each other in a construction of balance. The second sculpture ‘One Nail’ deals with the same subject matter of delicate structures. As long as the sculpture remains untouched it is stable. But the whole construction of beams is anchored by a single nail. The work originates from, and rests upon this one point. During the finissage this nail will be removed.
For numerous years Christoph Fink has been working on his magnum opus, ‘Atlas der Bewegingen’ (‘Atlas of movements’). The composition chosen for this exhibition could be interpreted as chamber music. ‘Amicale Succursale’ (2012) for piano, is a work comprised of the sound of thunder, occasional bells, speech, singing and strings, to be played by two stereo cd players.
Besides this he will be showing drawings, studies dealing with his personal experience of the world through the internet (plotting flight trajectories/ a study in simultaneousness) and by bicycle (twee nachtelijke fragmenten uit beweging #90 or La Cransacienne #5, Brussel-Cransac-Picos d'Europa-Cabo San Vicente-Cabo da Roca- Lissabon) and the first sketches for his study ‘ Black September/boek 1’, a first attempt at mapping the fields of tension in the Middle Eastern region. These works can be linked to earlier work which studied the history of Istanbul and the link between daily life and the larger geo-political contexts.
The minimal sometimes stale interventions created by Steve Van den Bosch balance between invisibility and undeniable materiality. His work questions the inherent conditions of the artistic praxis, within which aspects like production, exhibiting, interpretation and representation form a web of constantly shifting relations and interferences. The work this produces, often takes misleadingly recognizable shapes, which seem to adhere to the conventions of the exhibition, only to dismantle them from the inside.
For ‘Prescriptive’ (2015) a gobo-dia was made with the sentence ‘AS SEEN FROM ACROSS THE ROOM’ captured on it, it was specifically made to be as sharp as possible, from the furthest possible distance. This detached the projected image from its source, while the projected sentence ties them back together. The process of looking at this work, can thus be seen as an autonomous object or a closed circuit.