Th 15 Feb to Su 4 Mar 2018 ///
#AMP6: Keepsake | Kunstpodium T, Tilburg
Kees Koomen (master)
Yolande Deckers (Tilburg)
Ruth Devriendt (Ghent)
Steven Manes (Ghent)
Nora de Decker (Ghent)
At this sixth exhibition in the Apprentice Master program of 2017/2018, Yolande Deckers, Ruth Devriendt, Steven Manes and Nora de Decker will be exhibiting with Kees Koomen as their master.
The exhibition will take place from Thursday 15 February to Sunday 4 March 2018 at Kunstpodium T in Tilburg. The opening will be on Thursday 15 February at 20.00 to 23.00. During the opening, the artists will be present to give an introduction about their work. Come join us at the opening or visit the exhibition during our regular opening hours.
In science, ideas exist that there are not just three dimensions in which our world reveals itself, but that there are multiple. The string theory even assumes that there are more than ten dimensions. The fourth dimension then is time. From these kind of theories, you can think that everything happens next to eachother instead of in chronological order. This is an inspiring thesis that also surfaces in the ideas of John Cage and Merce Cunningham, who applied it in music and dance, and in the work of Jackson Pollock, where we can also recognise this. The entire world history becomes an equal field from which you can get inspired as an artist. In addition, you can also see your own life experiences as a field with equal memories. Memories however fails to properly capture everything, many memories are supplemented and reappreciated.
From these ideas, the context can be seen as equal to the work itself in any artwork. John Cage in his famous piece 4’33” isolated the surrounding noises of a concert situation and presented it as a piece which the pianist sits behind the keys doing nothing. In his choreographies, Merce Cunningham avoided from any storyline or chronology by letting different movements take place on stage, in different spots at the same time; this way every spot and every movement becomes equal. Jackson Pollock dripped his paint on the canvas until he had an equal field in which the classical ideas of composition and subject of the image were no longer relevant.