Fly Ways - Stefaan van Biesen

 

F L Y W A Y S [the perfect imperfection]

 

 

registrations of insect flights since 1990.

 

 

 

[Landscape/Mindsape] Remake portable version 1998. ArtScie Exhibits Berlin Germany 2018.


Curator Mary Patricia Warming [USA] asked Stefaan van Biesen to realize this work from 1998, which no longer existed, in a new portable version for this exhibition. A panorama with a landscape with hundreds of beehives and the flight lines of bees in the air layers.

 

Location: library Humboldt-Universität & Berlin's Thaer-Institut & Campus Nord Branch Library.

Curated by Mary Patricia Warming [USA].

 

Exhibition opening Nov. 2018 for Berlin Science Week ​ International artists working within a wide range of ecosystem thematics: biomimicry, climate change, water systems, agriculture, manipulation, modification, pollution solutions - are welcome to enter! Main gallery at Thaer-Institut is in the very heart of Berlin, next door to the Museum für Naturkunde. The complete program includes a 2D Annex Gallery, Video Screenings, Scientific Lectures, Artists Talks, and more. Chosen participants will be partnered with scientists for virtual, one on one meetings. Results and process work from these partnerships will be presented at the exhibitions.

 

https://www.artscienceexhibits.com/

 

 

 

Flyways “Does the dragonfly leave its skin? And its face can only see the face of the sun?” (Poem of Gilgamesh).

 

 

 

 

 

The flight as a higher definition of the self, a replacement of the illusions´ system of the being, is a continuous flow of human dreaming. The vision on flyways, in an artistic interpretation of Stefaan van Biesen, intends to polarize esthetical and scientifically meanings about the patterns created by dragonflies between water, earth and sky. In fact, this iridescence about ethereal motion reflected on the wings of the dragonfly is also a magical synesthetic approach of the topic: a polyvalent installation including in situ works, video art, sound art, drawings and prints. Inspired by the concept of intermedia, Stefaan van Biesen uses his art as a possibility to expand the awareness through the metaphor of the flight as an incarnated principle that existence is connection. Thus, flyways focuses on the visual and sound imagery of traces of the dragonfly, one of the oldest insects on earth (more than 325 million years ago). Besides, his visual art imbricates philosophical thinking with a biogeometric dimension through which the nature itself creates fractal patterns. In biogeometry, the design of motion and sound design are a spontaneous adjustment of the vibrations of the biotope, or, in other words, a finetuning of the surrounded energy. Throughout this ‘mantra’ of the nature reflected in the vibration of the dragonfly’s aerodynamic - famous in the world of insects for its capacity to move in six directions - , life follows the breath of the wind and becomes a flowing design of transformation. Elevating forces are occurrences of the purity and equanimity, embracing the existence with a subtle wisdom of the nature. Talking of the dragonfly, it are its cycles of life that question the existence as a continuous flow of metamorphosis.

 

 

 

 

 

 

 

 

 

 

Throughout the initial evolution under the water, as a nymph, till the short lifestage in the ethereal space, this old creature of our planet could be considered as a messenger of the human consciousness. Emerged as an island from the pure waters, this amphibious becomes an elegant flying insect, symbolizing a deep and evaluate understanding of the noble purposes of life. Eternal renewing of the existence configures an eutropic flight leading to the lightness, contemplation and unfolded state of the mind. Looking beyond the surface of the water, in a deeper level of the mind and emerging out in a plenary e-motion configures an inner path of the being: making a way is a design of not knowing where to fly. Patterns as the traces of the intuition are the best experiences of catharsis, but also a ‘zoom’ in the dimension of awareness. In other words, we are responsible about what we see in our flyways and almost, about how we feel our physical surroundings.

 

Fly Ways installation with soundscape 'Passages' La Romieu France 2016 [600 cm x 180 cm].

 

 

Inspired by the most complex eyes from all the living beings (80% of cerebral activity of the dragonfly is dedicated to the sight), the metaphor of the total vision gives the sense of a plenary human existence: the wisdom of the fullest phenomenology throughout the body. Connecting this idea with the poetical bed where the dragonfly rests its dreaming wings, the flowers of the waters, we remember the transcendental potential of the nature translated in the Buddhist image of the Lotus.

 

 

 

 

 

Moreover, the cultural odonatology references represent a large archive of the symbolism for almost each country of the world (we remember that dragonfly is omnipresent on all the continents, excepting the poles). Creature of the wind, the dragonfly is a poetical reflection in haiku, a philosophical dimension in martial arts and an esthetical object for visual art within the cultural traditions from China and Japan. The occidental resurrection of this reach symbolism of the dragonfly was occurred with Art Nouveau movement. In particular, the artistic perception of Stefaan van Biesen gives priority to the ‘morphology’ of the flight, as a totem of change and transformation, a shift paradigm of the existence patterns. Therefore, his approach emphasizes three new epistemological dimensions: the biogeometry, the cymatics and the promenadology (Spaziergangwissenschaft). All this emergent sciences focus on the patterns of the energy on the biological level, sound vibration and traces of human walking. For all these modal perspectives about motion, the kinetics of the dragonfly becomes the link between energy and shape, vibration, sound and consistence of the world and design of the human movement.

 

https://b-hive.bandcamp.com/album/dragonfly-movements

 

 

 

Flyways are in fact a conquest of the real balance in the energetic field of living in a symbiotic society. Giving shape of the flight is to design a vibrational dimension throughout the sound. Music becomes a cymatic experience which configures the patterns of the flight, as a cosmic antenna of the buzzing and wheezing sound in the air and the water ripple of the touch of soft wings. The soundscape of Stefaan van Biesen intends to refine the vibration in a visual experience of the flypatterns, ‘committed’ in performance dimension with the public. Thus, resonance makes visible the paths of the human flight in an emotional field. And this subtle dynamic is captured in different patterns of the frequencies flying emerged in drawings of the ‘visual waves’.

 

Text: Dr. Simona Vermeire, Braga Portugal 2015

 

 

Based on a registration of dragonfly movements on the surface of a local water supply pool at the village of Neo Chorio, Akamas Cyprus during Made of Walking (IV) 2018. [the Milena principle]. Camera, video and sound composition by Stefaan van Biesen. Time 04:07.

 

 

 

 

 

 

Score Fly Ways - travelling through Europe since Goethe Institute Athens Greece.

 

 

 

 

 

'A dragonfly does not fly but is flown'.
It is for insects like the dragonfly self-evident that they operate in this vacuum that literally is 'carrying them'. It's their true biotope. A dragonfly is therefore related with the element 'air'. It's a part of their identity and great is our amazement about the playful ease of how they move in space.
Dragonflies are nomads that move thousands of kilometers. Being massive migrations that stretch across the continents and in the layers of air over the earth.

 

'Making a trail Visible' - reconstruction of fly ways.

The recording of flight paths of dragonflies on paper makes you an attentive observer who knows he is bound to fail to make a precise registration due the speed and apparent lack of trace of the route of the animal. At first sight, the registration seems to be a whimsical line-up until you recognize a structure in their flight.
The dragonfly embodies the idea of ​​transformation. During the unfolding, they transform into another being: flying jewels moving in their own territory, having an inseparable relationship with water: animals live according to an inner wisdom, humans search for wisdom.

In situ drawing Fly Ways De Leegte Nieuwolda NL 2010.

 

 

 

 

 

Nomadic museum in a small box. A travelling set of drawings en images. Made of Walking La Romieu 2017.

 

 

 

 

 

D R A G O N F L Y - M O V E M E N T S [ 2 0 1 6 ] .

ISSC 2016 International Conference : The Logics of Image Santorini 2016. Stefaan van Biesen. Sound Composition for art installation 'Fly Ways' 2012-2016 ['Wanderlust' Art borgloon, 'Passages' La Romieu France 2016, 'Fly Ways' Santorini Art Factory Greece 2016. Composed, mixed and produced by Stefaan van Biesen.

 

Flyways, an artistic research by Stefaan van Biesen
Curated / New media by Geert Vermeire
Literary research: Simona Vermeire
SonicPlanet / Geocomposer & Geoplayer : Sinan Bokesoy 


Flyways, in an artistic interpretation by Stefaan van Biesen, intends to polarize esthetical and scientifical meanings about patterns created by dragonflies between water, earth and sky. In fact, the iridescence and ethereal motion reflected on the wings of the dragonfly becomes, in a synesthetic approach, a polyvalent art installation including site specific interventions, video, soundscapes, drawings and prints, integrating biogeometry, cymatics and promenadology. 

Flyways at ISSC 2016 / the Santorini Arts Factory is represented through the art works of the Belgian artist Stefaan Van Biesen and in a creation of augmented reality audio scenes with SonicPlanet, integrating virtual 3D sound sources combining outdoor space, movement and sound, via a site specific sound installation for locative media by Stefaan van Biesen (soundscapes), Geert Vermeire (field recordings) and Sinan Bokesoy. 

The project focuses on the visual and sound imagery of traces of the dragonfly, one of the oldest insects on earth (more than 325 million years ago). 

Besides, the visual art imbricates philosophical thinking with a biogeometric dimension through which the nature itself creates fractal patterns. In biogeometry, the design of motion and sound design are a spontaneous adjustment of the vibrations of the biotope, or, in other words, a finetuning of the surrounded energy. Throughout this ‘mantra’ of the nature reflected in the vibration of the dragonfly’s aerodynamic - famous in the world of insects for its capacity to move in six directions - , life follows the breath of the wind and becomes a flowing design of transformation. 

Biogeometry departs from a perspective about the natural paths of the all living beings, but also about the matrix of all life matter is an epistemological new turn to make us understand the constant universal transformation originated by vibration. The sound and its translation in visual patterns, a fractal graphic of the life or the primordial text of the bio-symmetry is the fundamental act of reluctance against the chaos, dispersion and annihilation. 

New technologies, as as well means of creation in this project, are today the resultant of a bio-translation in digital and mechanical fields of the symmetry of these living patterns. Epistemologically, within Environmental Humanities, evolves a deep understanding of the living landscape, trying to find valid solution to preserve the original bio-vibration of the nature against the deep alteration that the Human configured in this new era of the Anthropos. Our project focuses on a very poetical and philosophical part of this complex landscape of the biosymmetry: the dragonfly, a passenger between the dinosaur’s era and our human vibration dominating the biodiversity. Making a relation between ethereal paths of the dragonfly and the human paths, printing the landscape with poetical steps onto walking (and the principles of promenadology) is our artistic and ecological proposal.

 

 

 

 

 

 

 

 

"Flyways" flowing - flying, walking and sound inspired by flyways of insects, their trajectories and traces... Flyways is composed by an indoor installation and augmented reality audio scenes, integrating virtual 3D sound sources combining outdoor space, movement and sound, in a site specific sound walk. It focuses on the visual and sound imagery of traces of the dragonfly. Besides, it imbricates philosophical thinking with a bio-geometric dimension through which the nature itself creates fractal patterns. In bio-geometry, the design of motion and sound design are a spontaneous adjustment of the vibrations of the biotope, or, in other words, a fine-tuning of the surrounded energy. Throughout this ‘mantra’ of the nature reflected in the vibration of the dragonfly’s aerodynamic – famous in the world of insects for its capacity to move in six directions – life follows the breath of the wind and becomes a flowing design of transformation,
Photographs-drawings: Stefaan van Biesen
Sound installation and augmented reality audio scenes in collaboration with Geert Vermeire

 

http://athensanimfest.eu/2017/en/multimation/43/

 

 

 

 

 

 

 

Early works > Fly Ways / Beehives [since 1993].

 

 

S U M M E R H U M / Z O M E R Z O E M E N [ 1 9 9 3 ] .

Silkscreen on Japanese paper 1993. This print was made in limited edition for VZW Rasa (art education) and it was an early start of the 'Fly Ways' project. The photo of the orchard (in the middle of the print) is taken around 1967 during childhood days. A magical place but sadly it no longer exists.

 

 

 

 

 

 

B I J E N W E G / B E E W A Y [ 1 9 9 4 ] .

Panoramic landscape with hundreds of beehives. Length: 140 cm [acqrylic paint,wax, photographs on paper, on wood].

 

 

L A N D S C A P E / M I N D S C A P E [ 1 9 9 6 ] .

Panorama made out of wood and paper on a wooden tripod.

 

 

 

 

[Landscape/Mindscape- Dance of bees] Silkscreens: print on Japanese paper.

 

 

 

 

 

L A N D S C A P E / M I N D S C A P E [ 1 9 9 4 ] .

Landscape on my wallking shoes. [acqrylic paint, wax, propolis, photographs on paper].

 

 

 

 

 

 

 

 

 

 

L A N D S C A P E / M I N D S C A P E [ 1 9 9 4 ] .
Triptych. Landscape on cylinders. [acqrylic paint, wood, wax, propolis, photographs on paper].

 

 

 

 

 

[L A N D S C A P E / M I N D S C A P E ] .

L A N D S C A P E / M I N D S C A P E  [ 1 9 9 8 ] .

Installation/panorama with landscape & beehives [An Ear on the Grass] Park Ter Beuken Lokeren Belgium.

 

 

 

 

 

 

F L Y W A Y S / F A N [ 1 9 9 7 ] .

[Fly Ways] exhibited in a display case with anthical fans. Art project Nature Morte. Museum Van der Keelen [Museum M] Leuven Belgium 1997. Curated by Johan Pas.

 

 

 

 

 

 

 

Every beehive is a world on its own, just like every human being. There is not one world that is the same, not one human being that is the same. At the end of the twentieth century a lot of artists were active as bee-keepers. The important German artist Joseph Beuys often referred to the animal world and not in the least to the honey of bees. Just like them I consider a beehive as the embodiment of a utopian world. It is a longing for a society that takes care of everybody. It is a search for a balance within different groups of society, a demand for tolerance, a request for engagement.


The commotion due to the nature of this institution and the fact that the place is a crossroads between different cultures and communities has been the inspiration for the ‘beehive culture’, the two panoramas and the ears in the different rooms.

 

On the ground floor and the first floor there are two panoramas in colour of 5 metres long. They are elongated pictures of a landscape with countless beehives and residents from the neighbourhood of ‘De Sleep’ who are looking at this special event. They are standing with their back towards us. They are all persons from different cultures who have something to do with ‘De Sleep’ as local residents or possibly as patients. For example a child from a mixed marriage and a Flemish schoolmistress, who taught in a school nearby, are portrayed.


Bijenweg [Bees way] digital panorama on the wall (II). 5m x 1m.