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18/9/2003

Tilman

CCNOA Center for Contemporary Non-Objective Art, Bruxelles

sound: Johan Vandermaelen
Christoph Dahlhausen
Freddy van Parys

CCNOA is pleased to announce its 5th anniversary and to start the new season with the presentation of 2 large-scale spatial interventions and a projection by 3 visual artists and one composer : Tilman (*1959, D/B), Johan Vandermaelen (*1963, B), Christoph Dahlhausen (*1960, D) and Freddy van Parys (B).

In space, Tilman will execute in space 1 a spatial intervention consisting of a wall structure (375 x 720 cm) set 10 cm away from the existing wall, 3 floor structures - the wall structure deconstructed - as well as the treatment of floor, remaining walls and ceiling in the same colour tone as the constructed painterly 'objects'. His exhibition will be accompanied by an audio-visual DVD, produced in co-operation with the composer Johan Vandermaelen (B). A full-colour offset publication, featuring the DVD, photos of the installation and a text by René Kokelkorn (NL/L) will be presented at the end of the exhibition.

In space 2, Christoph Dahlhausen will execute an in situ installation with a series of c-print on glass sheets in various dimensions.

For the project room, Freddy van Parys has conceived a DVD featuring a frame, which slowly vanishes and reappears. The dimension of this frame as well as the passing time stand in relation to van Parys' perception of the two main CCNOA exhibition spaces. His exhibition will be accompanied his new limited edition, entitled Five Frames, featuring five prints

Since Marcel Duchamp's reappearance after WW II and a slowly revived understanding for the work of the founding fathers of Non-Objective Art - Kazimir Malevich, Vasily Kandinsky and Piet Mondrian - the romantic image of the isolated artist working in an unheated garret on a masterpiece of oil on canvas has changed. The work of Blinky Palermo, Daniel Buren, Robert Ryman, Frank Stella, Ellsworth Kelly, Sol LeWitt among others, contributed to a broader comprehension and more accurate perception of abstraction, its forms, functions and presentations, and has had a major impact on recent generations of artists. Artists' interest and involvement with the public realm, their exploration of exhibition sites other than galleries and museums, their experimentation with formerly non-artistic-materials & techniques have resulted in a more integrating and embracing approach toward location (architecture & function), materials (visual & tactile aspects), process (artistic action & treatment) and the time factor (duration & change). The curatorial choice for the forthcoming exhibitions reflects these changes in artists' approaches and concerns. The featured artists in these exhibitions are at various stages of their careers and do not belong to one group, but rather pursue individual investigations of various issues and aspects of painting. Working in an area between painting, sculpture, and architecture, they attach special significance to the retinal, the sensuality of perception and the relationships among the viewer, architecture and art objects, on an experiential level. In their spatial interventions, the artists take their experience with painting into the architectural realm, asking the viewers to go beyond their expectations, finding and redefining their intellectual as well as their physical stand points. Their works are x{201A}site specific' only in the sense that the artists adjust or set the tone of the space to reveal its conditions and accessibility. Taking the form of a proposition, their interventions work as vehicles for interaction, a place for symbolic exchange, an arena for reflection and discussion. All featured artists have been widely exhibited in Europe, North America and Australia. Their works are included in private, corporate and public collections.

Since his early experiments in photography in the late '70s, the investigation of the element 'light' has been the primary focus of Tilman's artistic practice. His works can be understood as a carrier, a mediator of light in its physical quality. Exploring continuously more refined ways of presenting color as transmitter of 'light' while seeking a more concrete dimension of perception, Tilman's choice in the form/color debate has always been clear: form and structure are a vehicle for the interaction of colors. His decisive break from gestural abstractions in the move to an apparent hard-edge style along with his transition into the three-dimensional realm amounts to a 'painterly' translation of light and a new way of exploring the nature of color relationships while simultaneously recontextualizing the 'practical', daily object. With his use of more 'practical' materials (Polyurethane, industrial lacquer, aluminum, MDF, plexi etc) extends his palette as he brings up the common connotations of color for review. Tilman's specific overtures towards the architecture of a given (exhibition) space determine the space as a framing component for the featured 'elements', whose inner relationships often mimic the overall installation strategy. In refining the intellectual as well as the physical stand points of his audience, Tilman's spatial interventions invite participation, projection and reflection in the realm of the visible - light, its potential and its impact. Tilman's practice includes two- and three dimensional works, spatial interventions, works on paper, multiples and editions.

'Since 1997, Christoph Dahlhausen has assigned an increasingly important role in his work to the material which is glass. If the origin and the central concern of his artistic production lay for many years in the experimental examination of photography as a medium for making light visible, glass now brings a new and enriching dimension into his work. Glass becomes for him a go-between, a catalyst whose function is to coax into visibility that immateriality which lies within light as innate 'sound': The spectrum of color.' (Helmut Wenzel, Kunstverein Göttingen, in Christoph Dahlhausen, Glassworks, Göttingen 2000) Dahlhausen's practice includes two- and three dimensional works, spatial interventions, and public commissions.

Freddy van Parys started originally from an observation of reality. Sensitively reproduced etchings and drawings with almost no apparent relation to the origin. His eclectic, purely visual language evolved from certain states of geometry and minimalism into an expression, which can be characterized as reductvist and poetically austere. Van Parys' aim to manipulate the concepts in space, led him, however, to explore other media and materials then the one mentioned above. The space in which his objects / forms - mainly executed in scrubbed, brushed and polished metal - are placed, defines their function. Although van Parys emphasizes meticulous execution and installation of his work, he consciously involves chance in his investigation. 'Van Parys work does not intend to seduce or to trap the viewer. It does appeal to perceptivity and sensitivity. The means offered have been chosen with care and accuracy. The intellectual handling evolves parallel to the emotional experience and the experience of that emotion lies on a different level than that of dramatic theatricality.' Van Parys' practice includes two- and three dimensional works, spatial interventions, works on paper, editions and books. He is also the founder of White-Out Space, an artist-run exhibition space in Knokke-Heist (B).

CCNOA is pleased to celebrate its 5th anniversary and to start the new
season with the following exhibitions:

Tilman (D/B)
spatial intervention + video
Johan Vandermaelen (B)
sound
Christoph Dahlhausen (D)
spatial intervention
Freddy van Parys (B)
DVD projection

publications - publicaties
Tilman & Johan Vandermaelen audio-visual DVD
Freddy van Parys 'Five Frames', printed edition

opening - receptie - vernissage
19 09 2003, 16.00 - 18.00

opening hours - openingsuren - heures d'ouverture
Friday - Sunday / vridag - zondag / vendredi - dimanche, 14.00 - 18.00

center for contemporary non-objective art
OLV van Vaakstraat 2
2 Rue Notre Dame du Sommeil
B - 1000 Brussels
Telephone (32-2) 502 69 12
Facsimile (32-2) 502 69 12

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