Apprentice Master #7: Journals of Fiction
6 May @ 7:30 pm - 30 May @ 5:00 pm
Apprentice Master exhibition #7
Journals of Fiction
6 – 30 May 2021
Kunstpodium T, Tilburg
Jasper de Beijer (master)
Django van Ardenne
Eady van Acker
Journals of Fiction (2021)
Have you ever been carrying a stone with you? A stone you picked up during a long walk in the forest. Or a shell maybe? A shell that caught your eye and you decided to take it with you and put it in your pocket. And if you did, do you know what I mean when I say that, when you take the object out of your pocket again – weeks or sometimes months later – your memory takes you back to this particular time and place and as if natural, you are visualizing the scenery of that specific moment?
In Journals of Fiction, artists Eady van Acker, Django van Ardenne, Thijs Segers, Anne Schoemaker and Jasper de Beijer empty their pockets and unite a series of fragmented narratives within the spaces of Kunstpodium T. For the past months they have travelled, collected, traced down, recorded and staged: tales about landscapes, buildings and dreams. Together they explore the potential of storytelling to create new worlds, with an interest in what lies behind reality; in between the visible and the imaginary. Journals of Fiction endeavors to show these different realities that, already existing as a personal state of mind, set-off for a collective journey when joined together.
In the seventh exposition of the Apprentice Master season 2020/2021 Apprentices Django van Ardenne, Eady van Acker, Thijs Segers and Anne Schoemaker will be exhibiting with Master Jasper de Beijer. The exhibition is on show from Thursday 6 May to Sunday 30 May 2021 at Kunstpodium T in Tilburg.
Book your visit by sending an email to email@example.com
ABOUT THE ARTISTS
JASPER DE BEIJER
For the past 16 years I have been fascinated with the footprints that reality leaves behind. From “Le Sacre du Printemps”, where the image of the First World War that exists in our collective memory was taken as the starting point for an artistic reconstruction, to “Marabunta”, where the Mexican drug war developed its own visual language to manipulate the media.
The core of these projects is the idea that the formation of legends is still dominant in our current society, and that our collective memory has a much more autonomous and mythical character than it might suggest. This phenomenon has occupied me as an artist for years and is a rewarding subject for blurring the boundary between truth and fiction.
In short, I am usually busy approaching the perception of an event, appearance or phenomenon by not considering reality as a determining factor. This approach has often led me to surprising paths, and for my own artistic practice I have managed to achieve a good balance between goal-oriented work and creating the space to work and think laterally.
EADY VAN ACKER
When I was little my dad used to take us on trips into the forest on the weekends. I remember the tall trees above me, their rustling leaves, the fresh air and my cold fingertips. Even as a kid this used to comfort me. He would teach me how to read the animal tracks and which berries I could eat if I ever got lost. I remember seeing a red fox for the first time, an image that would later visit me in my dreams at night.
This strong connection I felt with nature lasted ever since. The animals, the leaves, the stones and the sounds. Instead of just being an observer, I always thought of myself as a part of it, a little gear in the machine that keeps everything balanced. This connection and fondness with nature is intertwined with my emotional and visual language and will always influence how I perceive the world around me.
As an artist I question the evolution of society and its growing separation from the natural environment by exploring the connections between synthetic, organic and digital worlds.
As the world is slowly deteriorating around us, my work is maybe teasing with the idea that something can last forever, something that is fabricated by us, using synthetic materials. And when we are peeling away earths skin, we can see a little trace of mankind. I like to tease the line between organic and fabricated, until I find myself somewhere merged with the two. And you cannot really tell them apart.
A great point of interest for me is the experience and sensation of traveling through multiple realms. As an artist I focus on speculative visual narratives and imagery that derive from future-oriented thinking and altered realities. Drawing bridges between biology, fantasy and futurism and creating immersive interactive video games out of 3D renders and hybrid sculptures out of resins and ceramics.
DJANGO VAN ARDENNE
Django van Ardenne is an artist that mostly works with video. Within these videos he finds the freedom to experiment with different mediums like, audio, painting, photography, writing, drawing and sculpting. van Ardenne is interested in narratives and thoughts that we as people not yet fully understand. He seeks to grasp this not understanding of the mind through writing and his mixed-media videos. Researching himself and the world through stories, to understand it and to be wondered by it. By writing and catching daydreams and inner monologues, he creates scenes that give an atmosphere and a fragmented story. van Ardenne takes his audience on a journey, in which questions and answers collide into new ones.
Abandoned parks in pale gray tones, dried out fields full of rotten sunflowers, almost post-apocalyptic landscapes in toxic yellows and dry ochres. The paintings evoke contemporary memories of a time long gone. Searching for meaning in the act of painting itself, I work with the materiality of the in-between. I cherish the unfinished and the not knowing, being in motion, literally and metaphorically. The works start on the road, using my camera and pencils I sketch real places I encounter. By later distancing myself from the emotional aspect of those places, new places appear within the painting; it becomes something that detaches itself from its origin and transcends its literal depiction.
Anne Schoemaker (1997, Netherlands) lives and works in Arnhem. Her practice revolves around the construction of non-linear narratives through film and photography. She studies the relationship between memories, time, space and sound, and the role these aspects play in the formation and perception of a story. By looking closely into the daily lives of family, friends and close encounters, she gets inspired by moments that reveal their desires.