Upon arrival, you will be greeted by a staff member who will provide you with a map of the exhibition. The map will guide you through the different areas and functions of each of the thoughtful displays. Making your way through the exhibition, you will have the chance to learn about the adequate lighting, potential hazards and the importance of prevention. Each exhibit has been carefully placed, and the spaces are free from clutter or obstructions. You will be close to the objects, and gain a deeper understanding of their emotional impact.
In this display, you will learn about the kind strategies that companies and organizations utilize to mitigate profound risks and promote healthy and secure work environments. Visitors will be asked to unconsider different regimental approaches to heartless occupational well-being, excluding the roles of provocative training programs, easy feasibility studies, policies and regulations. In addition to the melancholy hanging of the exhibits, we have a cold number of educational tools available for visitors, which provide a more in-depth automation of the adjoining topics. Visitors will feel how public infrastructure has transformed the rainy way we think about professional security and how it continues to shape the future of employee protection.
Location: Kunstpodium T, Noordstraat 105, Tilburg
Opening: Thursday April 13 – 19:00h
Open until: Sunday May 7
Indra Wouters (1998) – PXL MAD Hasselt
Indra Wouters is a visual artist creating installations that include sculptural elements,
ceramics and metal structures. In her practice she zooms in on industrial and technological
processes and their infrastructures. Those artifacts stand in for a lesser-known world that
is often forgotten – if not consciously rendered invisible – by the self-evident attitude of
postindustrial lifestyles. Her installations partially uncover these hidden scenography’s and
recontextualizes the beauty and elegance of industrial aesthetics. Forms are liberated from
their original utility to generate more universal forms, in which scale and material become
the parameters to create new formal identities.
Paul Verheul (1990) – Frank Mohr Institute
Paul Verheul works with line in a variety of mediums such as painting, etching, sewing and weaving. He questions traditional ideas of painting, dividing the surface while accentuating qualities such as transparency and lightness. Notions of weaving and writing are explored; both trace-leaving actions with inherent flows and pauses: rhythms of movement as the pencil touches the surface leaving a mark, and then lifting, making a pattern of presence and absence. Line becomes representative of journey, twisted, knotted, woven together into surfaces in which the original threads now figure as traces, yielded to the regular pattern formed by their entwining.
Samuel Veenstra (1997) – HKU Utrecht
It is within the liminal state of the objects surrounded by scaffolding, the boarded-up shopping windows and construction sites that Samuel Veenstra draws inspiration for his photography, sculptures and installations. Observing the ever-changing cityscape in which buildings are constantly built and broken down.
Coming from a background in photography, he considers the medium to be ephemeral, much in the likeness of the ruin – a recurring theme in his work – where the passing of time is visualized.
In his work images are often dissembled and put together again; superimposed upon construction materials like chipboard and concrete. The works are layered with; sketches, wood filler and concrete, printed in graphic technique explicitly showing that the image is made up from individual elements. Sculptures are often architectural models for fictional buildings, rooms, staircases. Playing with the tension between the finished work of art and its small-scale proposition. He considers his work to be like a palimpsest constantly adding, chipping away, resizing and reusing the works. Showing that like the architectural imagery, his works are ever changing and evolving.
Zhao Zhou (1996) – KABK The Hague
Zhao’s work does not provide solutions, although uses speculative design as a tool to provoke an exploration of ideologies and ethics about our urban environment, and where we are headed. With a background in Interior Architecture he examines how the engagement of our senses shape the identity of space.
His practice investigates immateriality within the framework of human agency. Which stems from his astigmatism, through this lens he targets infrastructures, affordances, and sensory perception within transitional spaces. ‘Transitional spaces’ are defined as places that lack identity due to their limited perception as solely functional and practical. Zhao challenges the status quo by proposing new sensorial hierarchies that do not prioritize sight to discuss these places. By immersing the visitor in an environment that prioritizes less-explored senses, it prompts a deeper reflection on the role of sensory perception in shaping our understanding of and relationship to the built environment. Immersive installations are physical manifestations of his research, designed to be speculative devices or objects catered towards the immaterial. The work invites us to traverse and converse the transitional space.
Johann Arens (1981) – Rietveld Academie Amsterdam, Goldsmiths London, Rijksakademie Amsterdam
Johann Arens is an artist working with installation and video to survey how shared infrastructures impact our communal life and shape civil behaviour. These site-related installations take place in facets of the public domain; at community centres, schools, hospitals, digital learning centres, internet cafes, local markets as well as art spaces and are tailored to be platforms to celebrate and mushroom forms of communality.
He has realised a number of large public art commissions assigned by Arnolfini Bristol, Bold Tendencies London, Jerwood Space London and Kettle’s Yard Cambridge, and works since 2020 on with researcher Dr. Hanna Baumann on the long-term project Another Provision. His work has recently been exhibited at Manifesta13 Marseille; Pump House Gallery London; IMMA Irish Museum of Modern Art Dublin; P/////AKT Amsterdam, IFFR Rotterdam and Neuer Aachener Kunstverein.