Agenda 2020 - Stefaan van Biesen

A G E N D A : 2 0 2 0 > >

 

 

Due to the consequences of the Corona virus, upcoming projects may have been postponed to another date of the second part of 2020 or to the next year 2021.

 

 

 

E X H I B I T I O N S :

 

[Nomad Memories & Arca] summer presentation of two installations ⋈ S&H De Buck Gallery ⋈ Ghent Belgium ⋈ 01.07 > 30.08.2020.

 

MOZAÏEK [Mijn naam is Vijd] CC Ter Vesten Beveren Belgium ⋈ An artistic & multi-disciplinairy research ⋈ 01.07 > 11.10.2020.

 

[Verbinding / Connection] travelling educational art project ⋈ RASA Belgium 2020 > 2021.

Artists: Agnieszka Lepka (PO), Annemarie Maes (BE), Bronwyn Katz (Z-A), Daniel Steegmann Mangrané (SP/BR), Gino Rizzi (IT/BE), Jalila Essaidi (NL), Koen Vanmechelen (BE), Ledell Moe (Z-A), Lizan Freijsen (NL), Otobong Nkanga (NI/BE), Rosana Paulino (BR), Shaakira Jassat (Z-A/NL), Solanga Pessoa (BR), Stefaan van Biesen (BE), Thijs Van der Linden (BE), Tinka Pittoors (BE).

 

[Kroniek van een Ongewilde Tijd / Chronicle of an Unwanted Time] Drawings ⋈ CAS [Contemporary Art Space] Zottegem Belgium ⋈ 19 > 20 & 26 > 27.09.2020.

 

 

 

M A D E O F W A K I N G :

 

[Tell Me Your Name] a performative walk ⋈ MOW VII ⋈ Minho University Guimaraes Portugal 2020.

 

 

P U B L I C A T I O N S :

 

[Le parole, le immagini del desiderio] Corona project S&H De Buck Gallery Ghent Belgium 2020.

 

MOZAÏEK [Mijn naam is Vijd] CC Ter Vesten Beveren Belgium ⋈ Artistic multi-disciplinairy research 2020.

 

 

P R O J E C T S :

 

[Fingers Don't Know What The Hand Will Do] an ongoing joint project with Annelies Slabbynck 2020.

 

 

S O U N D S C A P E S :

 

[The Forjaz Variations] 4 compositions for 'caminhando à flor da pele' ⋈ Museu Nougueira da Silva, Minho University Braga ⋈ exhibition Rosario Forjaz ⋈ Portugal 2020.

 

[The Garden That Carries My Name] 'MOZAÏEK [Mijn naam is Vijd] CC Ter Vesten Beveren 2020.

 

[Utopia] Made of Walking (VII) ⋈ Minho University of Guimaraes Portugal 2020.

 

 

 

 

 

Projects postponed:

 

 

 

A G E N D A : 2 0 2 1 > >

 

 

E X H I B I T I O N S :

[Zichtbaar & Onzichtbaar] Group show at the psychiatric hospital garden of RC Sint-Amandus ⋈ Beernem Belgium 2021. Curated by Frans Vercoutere.

 

 

 


 

 

 

More info about the projects in 2020 > >

 


chronologically: scroll to the bottom for the projects in the beginning of the year 2020 until now > >

 

 

 

 

MOZAÏEK [Mijn naam is Vijd] CC Ter Vesten Beveren Belgium 01.07 > 11.10.2020.

A multi disciplinairy project ⋈ Drawings - Photos -Video.

 

 

At the invitation of the Ter Vesten cultural center, Stefaan van Biesen is conducting an artistic investigation into the figure of Joos Vijd. Using drawings, photos, video and texts, he reads the layered meanings in attitudes, forms and symbols in the famous painting by Van Eyck. The Mystic Lamb is thus lifted from medieval Ghent and brought to a contemporary Beverse context.

 

Joos Vijd ordered the triptych of 'Het Lam Gods' (the Mystic Lamb) 1432 by Jan Van Eyck. The project/research by Stefaan van Biesen was given the working title: 'Mozaiek [My name is Vijd]'. This exhibition starts at the beginning of July and runs until mid-October 2020. Location: Cortewalle Castle, the former home of Joos Vijd (this castle is depicted as a miniature in the painting of the Lam Gods). Proof that Joost Vijd and Jan Van Eyck moved in the same cultural and diplomatic circles.

 

On Facebook [Dutch language] : Vijd Awa

 

 

Presentation of the first result of the 'Vijd Mozaiek' during a work meeting for the exhibition.

 

Outside of historical facts and observations, we can only be guessing about the intentions and aspirations of Joos Vijd. This sometimes leads to different views and interpretations. Nevertheless, it seems somewhat plausible that Joos Vijd had a great affection for the circles from which the painters Van Eyck purified their knowledge and can therefore not be seen solely as the client and financier of the Ghent Altarpiece. The fact that, given the size and duration of this work, Filips De Goede agreed to 'lend' Jan Van Eyck (who was responsible for the glamor of the Court) to a subject such as Vijd, is nevertheless curious and indicates on a great affection towards Joos Vijd. There is also the fact that on the Ghent Altarpiece his residence in Beveren (castle Cortewalle) is depicted on the central and main panel. The next question is: did Jan van Eyck visit Beveren to make a sketch of Cortewalle? A plausible assumption?

 

In his artistic research for the figure of Vijd, Stefaan van Biesen wants to focus on the timeless and universal gestures and their symbolism, in their layers meaning, in order to translate these into our own time and thus make them visible again in a contemporary context. What is still present and recognizable in our current, everyday life and how have they retained their ritual, spiritual or social function? Timelines have no hold on the essences of life. Art can be an instrument in a quest to situate someone like Vijd as a person from our own social, interpersonal experiences.

 

So, what links can be made and are still relevant and are therefore experienced as timeless? Or how is the time and environment in which Vijd lived in still relevant in our human, social and intercultural relationships?

 

This exhibition consists of different parts. 1. The drawings as a contemporary commentary > 2. An installation with photos "The Sacred Landscape" > 3. A video > 4. A music composition & soundscape.

 

 

Photo: second presentation of the project with the artistic and heritage team of CC Ter Vesten Beveren [Christl Van den Broucke, Bert Verwerft, Carine Goossens, Björn Pinxten] 23.01.2020.

 

 

 

 

 

 

 

[Nomad Memories] & [Arca] Summer presentation Gallery S&H De Buck Ghent Belgium 2020.

 

 

[Nomad Memories]

 

During the summer period of the Gallery S&H De Buck there will be a presentation of two indoor installations of Stefaan van Biesen in cooperration with Annemie Mestdagh. The first installations 'Nomad Stories/Memories' was shown the first time at Platform Projects in Athens 2017 [curated by Artemis Potamianou, Tate London en Moma NY] and during 'Hands Don't Know What The Hand Will Do' at CAS Oostende 2018, a duo exhibition together with artist Annelies Slabbynck (B).

 

Letters written by several people who came here to Europe as refugees since the 1990s. Their handwritten letter was written by them personally in their own original language and contain an anecdote, a story from their childhood or family or the account of their flight to Europe. The hope of a safe life with better living conditions. The contents of the letter remain with the artist and the writer. What remains is the image of a handwriting letter, a silent witness of suffering or joy. handwritten layered letters in hand shape.

 

 

[Arca]

 

The Second installation 'Arca' is a new work and it is a tribute to the Portugese Poet Fernando Pessoa. Based on a study by Stefaan van Biesen for the Fernando Pessoa Museum Lisbon 2012.

 

After the death of Fernando Pessoa, his friends and literary executors opened a trunk in his study and discovered thousands of pages of works of every sort: a collection of unfinished angst-ridden texts: poems, prose poems, essays, translations, short stories, plays. The fragmentary nature of these writings (jotted on scraps of paper, the backs of envelopes, the reverse side of other manuscripts and other odd places), makes Pessoa a prime postmodern figure, and the trunk, whose contents are still being catalogued (it contained some 25,000 items) has taken on the same mythical character as the valise Walter Benjamin carried on his fateful escape from Vichy France. Pessoa’s posthumous celebrity, like Benjamin's, is founded in many ways as much upon his life as upon his work. In Benjamin's case, his life embodies the myth of the Jewish intellectual on the run from the Nazis. In Pessoa's the story is less political; he embodies the disjointed, fractured postmodern ethos not only in his work, but in his very psyche.

 

 

 

 

 

 

[Verbinding / Connection] Travelling educational art project RASA Belgium 2020 > 2021.

Artists: Agnieszka Lepka (PO), Annemarie Maes (BE), Bronwyn Katz (Z-A), Daniel Steegmann Mangrané (SP/BR), Gino Rizzi (IT/BE), Jalila Essaidi (NL), Koen Vanmechelen (BE), Ledell Moe (Z-A), Lizan Freijsen (NL), Otobong Nkanga (NI/BE), Rosana Paulino (BR), Shaakira Jassat (Z-A/NL), Solanga Pessoa (BR), Stefaan van Biesen (BE), Thijs Van der Linden (BE), Tinka Pittoors (BE).

 

 

The same place 6 months later

 

 

 

 

 

 

 

[Kroniek van een Ongewilde Tijd / Chronicle of an Unwanted Time] Exhibition of drawings at CAS (Contemporary Art Space) Zottegem Belgium ⋈ 19 > 20 & 26 > 27.09.2020.

 

This exhibition, [curated by Nadine Prieels, CAS Ostend Belgium] is focusing on the drawings of Stefaan van Biesen. They have always been very important in his work. As a study or as a philosophical discourse, they are considered as an important part in his work. Although he is known as an artist with his installations, video, performances, walks and multimedia projects, these drawings are an underexposed part of his artistic activities.

 

 

Drawing, a tool for learning.
Researchers, teachers, and artists are starting to see how drawing can positively impact a wide variety of skills and disciplines. Doing so helps people to perceive the world more accurately, remember facts better, and understand their world from a new perspective, as a tool for seeing and to understand it better.


In many ways, human beings are built to draw. Charles Darwin wrote: 'Man could not have attained his present dominant position in the world without the use of his hands'. Drawing is an ancient human activity, practiced for centuries by manifesting things visually. Drawing talent is based on how accurately someone perceives the world.


Cultivating drawing talent can become an essential tool to improve people's observational skills in fields where the visual is important. In biology, for example, describing and categorizing the shape and form of living things is critical. Prior to the invention of the photograph, biologists were trained draftsmen; they had to be in order to show the world the details of a new species. Now, some biology professors are reintroducing physical drawing in their biology courses. The reasoning is that actively deciding to draw helps people see the world better.

 

 

 

 

 

 

 

 

 

[The Forjaz Variations] 4 music compositions for 'caminhando à flor da pele' 2020.

 

The Forjaz Variations by Stefaan van Biesen for the exhibition 'caminhando à flor da pele' of Rosario Forjaz [Made of Walking III at La Romieu France 2017] at Museu Noguiera da Silva, Minho University Braga 2020. Slow walks.

 

 

https://b-hive.bandcamp.com/album/the-forjaz-variations

 

 

 

 

 

 

 

[Libraries as Gardens] CGeomap 2020.

 

The Library of Walks is an artistic trajectory by the Belgian artist Stefaan van Biesen since the 1990ies, elaborated with Geert Vermeire since 2003, when they undertook their first group walk together to read a forest as a library, during the Art Biennale Beeldig Hof ter Saksen in Beveren in Belgium. Their approach expanded in the years after with collaborative texts, a corpus of letters to each other, works of art and performances, continuing till today. On a parallel and convergent way, they develop the concept of archiving walks into projects that transform outdoor spaces into libraries, suggesting new ways of reading the landscape and rewriting it, but equally transforming also indoor libraries in augmented spaces, uniting sound and silence, outside and inside, the mental and the physical, knowledge and nature, and by creating local and global networks of people. Their works unfold around human connections, text and space, resulting in works of arts, site-specific interventions, locative media and creative walks engaging both with the landscape and with those walking through the landscape.

 

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©stefaan van biesen-annemie mestdagh 30.05.2020