La pratique de l'Atelier Kempe Thill est réputée pour ses conceptions neutres et économiques ainsi que pour ses conceptions agréables et innovantes en matière d'architecture et de design urbain. Pour y parvenir, les architectes n'hésitent pas à discuter sans fin avec leurs clients et à utiliser des matériaux non conventionnels. La "neutralité spécifique" est ce qu'ils appellent l'équilibre entre des conceptions uniques et une architecture la plus flexible possible depuis la publication de leur manifeste de conception sur l'habitat collectif en 2004. Dans le monde d'aujourd'hui, où la situation économique, la demande d'espaces et ses usages peuvent évoluent rapidement, cette approche est plus que jamais d'actualité. Les deux architectes présentent 23 projets des 12 dernières années dans leur deuxième monographie, complétés par des essais thématiques par les auteurs et des experts reconnus dans le domaine de l'architecture.
We often say that photography captures a moment in time. It is static and doesn't change, like an immovable mountain. Bastiaan van Aarle shows us a different way of thinking about both time and the mountain. Not as something fixed, but ever changing. He does this by capturing the change in light, caused by the rotation of the planet. It appears as a soft color palette in the images. It transforms the mountain and forces us to look differently. The book takes us on the same journey as the photographer. Past the details of erosion and the tree line to the beautiful vistas. We are given the time to stop and think what both the mountain and time can mean to us.
Rinus van de Velde réalise au fusain de grands tableaux dans lesquels il se met en scène, accompagné parfois de personnes de son entourage, créant ainsi une fausse autobiographie. Sa peinture existentielle et empreinte de solitude, très reconnaissable à son style réaliste et son implacable noir et blanc, fait de lui une figure montante de la scène artistique belge.
The photographers Inez van Lamsweerde and Vinoodh Matadin have been inseparable from the fashion and art scene since the 1990s. Very early on they made use of digital processing and distortion. Sometimes a delicate retouch was enough, and sometimes they took it to the apex of gross contortion. Through their strongly expressive manipulations, the couple developed a pictorial vocabulary of their own, and they continued to develop it in their themes. Their work is extravagant and gaudy. At the same time, however, they deal with cryptic questions about superficiality, gender, and identity. This book of photos presents a kind of retrospective "director's cut," as it were. The artists look back at their works of art, compiling a wealth of selected photos that represent their best work. Despite the variety of themes, each photograph bears the inimitable signature of its creators. This large illustrated volume celebrates the authentic diversity of this outstanding pair of artists.
In his last large-scale project, curator and museum director Jan Hoet (1936-2014), devoted himself to the phenomenon of the sea-fascinated by the constantly alternating impressions, the vibrant play of weather, the elements, and light. The soothing beauty of this force of nature finds expression in his selection of works, as does its threatening unpredictability. Hoet died before completing his maritime tribute, which likewise became a homage to the Belgian "art pope." The Sea looks back on Western art history from the mid-nineteenth century to the present day, and the way in which it portrays and interprets the sea. The publication begins where academic thinking is thrown overboard, where artists move beyond the dramatic, often narrative, maritime genre with its typical scenes of storms and shipwrecks in search of the wide, free artistic vision of endless water that blurs into the horizon. Bilingual edition (English and German).
In Drifting Studio Practice, artists Lonnie van Brummelen and Siebren de Haan discuss their participatory documentaries Episode of the Sea (2014) and Stones Have Laws (2018), which they made in collaboration with the Dutch fishing community of Urk and with the Saamaka and Okanisi maroons of Suriname, a former Dutch colony in the Amazon. The artists outline how they experimented with collective script writing and performative storytelling, including both human and other-than-human actors. Starting from their earlier artwork Monument of Sugar (2007), the account develops into a practice-driven exploration of co-authorship and (non)human rights as strategies to cope with the plantationocene.
In this publication, Bart van der Heide argues that techno music can not only function as an ecstatic and collective experience, but can also serve as a platform for socio-critical discourse. Which cultural phenomena and social changes can derive from the techno scene? How can identities be experienced and how do they intertwine? The authors of this anthology examine techno music and its scene on the basis of current social issues. In doing so, they elaborate tools and discourse strategies on how subcultural platforms can be used politically. The reader TECHNO is a call-to-action to question the status quo and strive for social change.
