dis—play brings together three artists who explore the photographic medium: its material and spatial qualities, its processes, its reception.
Katrin Kamrau (°1981) engages in the processes of image-making and perception in relation to the medium of photography. Alongside the fundamental questions she puts to the technical image, the artist is interested in both the current and historical use of optical images in our society. In particular, she looks into the social interactions, power structures, role models and networks of relations that form around printed images. Kamrau’s artistic practice, in one sense a visual examination of photography, arises from the encounter between images derived from cameras and their transformation in the exhibition space.
In dis—play, she shows SPEKTRUM*objekt18 (portrait), an installation of 59 lambda prints from 2014, based on the schematic representation of a color chart used in a publication of the Eastman Kodak Company named The Joy of Photography. The scheme on page 263 visualises how the density of the filters yellow (Y) and magenta (M) in a color print enlarger influences the printed photograph. Back in analogue times, such a set of images was used by laboratory technician to produce neutral photographic prints as fast as possible. In the installation SPEKTRUM*objekt18 (portrait) this scheme is turned into a physical experience for the visitors.
Ives Maes (º1976) has been experimenting with the photographic medium as a sculpture for a while now. For his exposition The Future of Yesterday – where he documents sites of past World Expositions – he already made a few ‘photo sculptures’, photographs in bended or folded shapes. Currently Ives Maes is working on a new experimental photo series focussing on his native village Zonhoven. He ironically named the project Sunville, a loose translation of the name of this nondescript Flemish village. Back in the nineteenth century, the region already attracted scientists, artists and early photographers. Ives Maes, who is interested in historical photographic techniques, revisits to the ‘heliographic engraving’ made by Nicéphore Niépce in 1825. This ‘sunprint’ would become know as the first photographic print. Maes adds a dimension of his own to the technique Niépce developed. Sunville consists of a series of two- and three-dimensional heliographs in various formats.
For dis—play he selected five 3D titanium photo-sculptures from Sunville. These are the result of panoramic 360º x 180º pictures of the area known as ‘kempenland’, projected to a 3-dimensional graph. These were then printed as titanium sculptures, and titled with the geographic co-ordinates of the original photographic origin. Through this process, the images return to a mineral form, bearing a remarkable resemblance to rock formations, crystalline structures or desert roses.
For this project, Ives Maes co-operated with Melotte, a Zonhoven-based business specialised in 3D printing and direct digital manufacturing. Melotte is one of Belgium’s international top businesses developing state-of-the-art technological products for NASA and nuclear, pharmaceutical and medical industries.
Adriaan Verwée (º1975) makes objects and installations that are caught in the middle ground between the literal and figural, between construction and image. It is as if that decision is still under consideration, or left hanging in the air. Yet many of Verwée’s objects appear nevertheless to have a specific function, and as a result are an integral part of the here and now. The temporal and spatial character of his work is enhanced through the tension that the artist quite literally puts on his combinations of different objects: by, for example, giving gravity an active role, or by introducing elements that look incomplete or redundant. These elements often seem more like 'remnants' of the picture rather than a true part of it. Additionally an enormous amount of attention is lavished upon certain materials and their relationships. This lends these objects an aesthetic clarity and quality, which in turn appears to completely contradict their suggested functionality. (Frank Maes)
In dis—play, Verwée shows the photo-installation Frayed Edge Sequences (2014), a series of fourteen photos in which he juxtaposes various types of spaces. For example, they depict a corner in a neutral exhibition space, a view of a studio, a work at the artist’s home, street views in São Paulo (Brazil) and Bet Shemesh (Israel). The artist arranged the photos in two series one above the other so that the various pictures can be read as one single image. A monochrome black print occasionally interrupts the rhythm of the composition. Adriaan Verwée considers these photos to be complementary residual materials. They capture fleeting everyday events or impressions that indirectly contribute to the artist’s work.
Opening 22.04.2015 6pm–9pm
Ives Maes – 50°58'56"N x 5°22'17"E (2014)