Bas van den Hurk, residency Los Angeles

MFA tutor Bas van den Hurk is currently on a two-month residency in Los Angeles, at 144 LaBrea, together with AKV|St.Joost BFA graduate, Thomas Swinkels.

Follow their working period here:

144 LABREA

Bas van den Hurk

Thomas Swinkels

Solo exhibition Marjolijn Dijkman, Fotokuu Biennal Talinn

MFA tutor Marjolijn Dijkman has a solo at Rundum, as part of the Fotokuu Biennal in Talinn, Estland.
The film installation In Our Hands is based on research into hand gestures that were developed to influence, heal, predict – or ward off – the future. The final choreography includes a range of gestures from diverse sources – from spiritual to political to military – that have become removed from their original context. The film consists of a with motion capture produced animation of two virtual transparent hands. In Our Hands relates to current debates around Artificial Intelligence, it’s often anthropomorphic character and the concept of singularity with a form of super intelligence that we will or won’t keep in control.
 The accompanying sound piece in the exhibition is a composition made of 18 computer generated binaural tones or brainwaves.

The exhibition opens tonight, thursday oct 22, and runs until november 8th.

www.marjolijndijkman.com

http://www.fotokuu.ee/2015/

Politics of Installation II, P/////AKT Amsterdam – opening sat june 13, 20.00 h

MFA tutor Bas van den Hurk exhibits at P/////AKT, Amsterdam with Hans Demeulenaere (B) and guest artists Koenraad Dedobbeleer (B) and Lorelinde Verhees.

“By taking aesthetic responsibility in a very explicit way for the design of the installation space, the artist reveals the hidden sovereign dimension of the contemporary democratic order that politics, for the most part, tries to conceal.” – Boris Groys

Politics of Installation is a two-part dialogue between Bas van den Hurk and Hans Demeulenaere, in which they examine their own and each other’s practice, in order to form a new series of works and presentation models together. After the first part in Loods 12 in Wetteren (B), the final part is now presented in P/////AKT. A combination of new works and parts of the previous show, will be displayed in a new arrangement.

Bas van den Hurk’s work is on the verge between painting, fashion, sculpture, installation, architecture and performance, by which he addresses the process of making in its various forms. Hans Demeulenaere plays with the perception of space. His work consists of objects, constructions and frames which integrate both sculptural and daily elements. In Politics of Installation, a title that is derived from a text by Boris Groys in 2009, the artists ask themselves to what extent the making of an installation can attach certain (political) meanings to a space. How do we relate to a shared space? How do we negotiate its use and meaning?

The binding factor in the work of Van den Hurk and Demeulenaere is the changing relation between autonomy and heteronomy. For this reason, they offer multiple points of view in this exhibition. They invited guest artists Koenraad Dedobbeleer and Lorelinde Verhees to make a contribution, as well as several text writers and especially the audience. In this way, the physical space of P/////AKT becomes a ‘place for negotiation’, where the artists engage in a dialogue on the work and the arrangement of the space. Art work and exhibition element will merge somewhere between showing and looking.

Also, an art historical line will be drawn by means of architectural interventions. Bas van den Hurk (re-)constructs a concrete circular element, based on the work of Belgian architect Juliaan Lampens, who introduced the ‘open plan living’ in the 1960’s. He will also present clothing works in collaboration with Sanne Jansen, paintings and bottles with remains from the painting process. Hans Demeulenaere shows a combination of existing and new work, amongst which a reconstruction of a part of the Sonsbeek-pavilion from 1965-’66, built by Aldo van Eyck. Recently, this pavilion was rebuilt in the sculpture garden of Kröller-Müller Museum.

Politics of Installation, part 2 is the third exhibition in the series Not Making Sense As Something Else, which is reflected upon by Freek Lomme (moderator) and Marnie Slater (writer).

http://www.pakt.nu

Neighbours Vol. III

Neighbours Vol. III, an exhibition curated by Whatspace, including MFA tutor Bas van den Hurk, former MFA tutor Koen Delaere and current MFA student Giulia Cenci.

Opening 16.04.2015 at Studio Manor Grunewald, Ghent

Keep the fire burning: inhale/exhale trip New York blog

After a great trip in New York, we are back in the Netherlands. Read back on our experiences in New York at the blog of our trip:

https://mfanewyorktripinhaleexhale.wordpress.com

High Life Low Profile

High Life Low Profile

A 50 min presence and presentation of participants of MFA AKV|St.Joost

Location:

Whitney Museum construction site (Highline, corner Gansevoort St/Washington St.) NYC

Sunday March 22, 4 PM

Participants: Dorina Kappatou, Piffin Duvekot, Adriano La Licata, Marta Maseiro, Maud Oonk, Maarten Spons, Tyas Leeuwerink, Katherina Heil, Mohadeseh Rahimitabar, Nguyen Quang Vinh, Katrein Breukers, Danni van Amstel, Lorelinde Verhees, Thomas Bakker, George Korsmit, Erik Hagoort

(The High Line runs from Gansevoort Street – Meatpacking district / West 34th between 10th and 12th avenues

Map available at both ends of the line). 

You are cordially invited. 

Symprovisation on Art and Empathy & A Lived Practice, Erik Hagoort in Chicago

MFA tutor Erik Hagoort is in Chicago for the following events;

Symprovisation on Art and Empathy:

a Public Rehearsal followed by a Private Performance 

November 5, 2014

Sector 2337, Chicago IL

Featuring Kirsten Leenaars, Jason Pallas, Caroline Picard, Tricia Van Eck, and Erik Hagoort

On the evening of Wednesday November 5th, five people met privately at Sector 2337 for an improvisatory conversation on art and empathy. 

Prior to this symprovisation (symposium + improvisation) a rehearsal took place from 3 to 6 pm. This rehearsal was open to the public. 

Don’t ask questions, don’t give answers. Those two conditions guided the symprovisation. 

During the afternoon the five participants practiced to speak according to those conditions, with which they approached the theme of art and empathy. 

As the gallery closed at 6pm, the symprovisation was created privately, behind closed doors; the piece was recorded and soon will be distributed via digital recording, and only then become accessible to the public.

 

For conversational directives and more about the participants, see:

Symprovisation–directives_and_bio’s.pdf

Concept: Erik Hagoort

Thanks to Sector 2337 for hosting the event.

Thanks to Threads etc. for throw rug assistance!

And thanks for support by:

Royal Academy of Fine Arts Antwerp

University Antwerp

———————————————————————————————————-

A Lived Practice

November 7, 2014

Sullivan Galleries, 33 South State Street, 7th floor

Chicago IL

Kirsten Leenaars and Erik Hagoort will set up a join-in conversation on art and empathy during one of the afternoon “Breakout Discussions”, 2.30-4pm, as part of the ‘A Lived Practice’ symposium. 

‘A Lived Practice’ is an initiative of Mary Jane Jacob for the School of the Art Institute of Chicago. 

http://blogs.saic.edu/alivedpractice/a-lived-practice-symposium/

Launch print editions – conversation Alex Bacon, Bas van den Hurk, RH Contemporary Art NYC

RH invites you to a conversation between Alex Bacon and Bas van den Hurk, moderated by Carol Kino, to celebrate the launch of RH’s new print editions – featuring new prints by Bas van den Hurk and Tom Owen.

Thursday nov. 6, 6.30 – 8.00 PM

George Korsmit – Informal artist talk at at Ellen de Bruijne Projects

George Korsmit 

Sending Out The Gods

Informal artist talk with slides and video: 3 July 2014 at 8pm

Please join us and George Korsmit next Thursday at Ellen de Bruijne Projects! Due to limited seating, get there on time to guarantee your seat.

 Exhibition: 28 June – 02 August 2014

www.edbprojects.com

Bas van den Hurk – residency in New York

Bas van den Hurk , one of the Tutors of the MFA, will live and work in New York from June 16 till August 26 2014 to do a residency for RH Contemporary. During this period he will be producing new works for a solo show opening on September 19th

In a daily base, Images will be uploaded @ 53pearlstreet to give impressions of NYC, visits and happenings that will influence the production of the new works

http://www.basvandenhurk.com

 

 

George Korsmit – Sending Out The Gods

George Korsmit, Tutor at the MFA AKV/St.Joost is presenting his work at Ellen de Bruijne Projects in Amsterdam.

Exhibition: 28 June – 02 August 2014
Opening : 28 June 2014, 3-5 pm
Informal artist talk with slides & video: 3 July 2014 at 8pm

press release:

Ellen de Bruijne Projects is proud to present Sending Out The Gods, an exhibition of new work by George Korsmit.

In the autumn of 2013 George Korsmit left for Seoul to work with several female South Korean shamans (mudang) and in large part hand his artistic decision-making over to them.
In his work Korsmit usually reduces his role of author to that of intermediary. His part in the creation of the work is limited to establishing a set of rules to follow, using dice to determine the dimensions of the colour fields and a blindfold to select the colours. The outcome is unknown and unpredictable.

For this exhibition George Korsmit has relinquished his authorship to the shamans who conduct their rituals and ceremonies on Mount In Wang in Seoul. The shamans use attributes such as coloured flags, costumes and knives to make contact with spirits of ancestors and gods. Colour plays an important part in these shamanistic rituals, signifying messages from the spirits. The shamans themselves are merely intermediaries in the process. Korsmit asked the South Korean shamans for advice and invited them to choose colours for him, instead of making his usual blind selection.For two weeks Korsmit worked on Mount In Wang. He felt a kinship with the shamans in his own ritualistic experience as an intermediary between the uncertain and the concrete physical work. As with the Korean shamanistic ceremonies, the procedure of executing his rules involves endurance and accuracy, requiring a dedication and concentration that is at least as important as the final result.
The role of the artist here is not as the prosecutor of meaning but as the witness of phenomena – waiting, listening and accepting the uncertain outcome. Meaning emerges as he follows the plan.

The works in the exhibition breathe this concentration on process. On viewing the work you become mesmerized. Whether you look at the round drawings, the video, or sculptures based on previous paintings, the image is elusive, disorienting and impossible to remember. The work involves the viewer, who is caught up in an experience that is difficult to pinpoint. It generates a sense of irrationality, irreducibility and inscrutability. No formal or meaningful analysis makes sense; the colours and shapes captivate the viewer, constantly revealing new relationships. There is no rationale for their configuration. Any contest between form and process, form and anti-form or reason and madness seems ultimately irrelevant. Korsmit’s work allows us the pleasure of participating in a delirium, a deadening of the reasoning faculties, a loss of ‘self’ in the Western sense of the term.

 

for more details: http://georgekorsmit.com/
http://www.edbprojects.com/

Club Solo at Kunstvlaai

Art & Reciprocity

Art & Reciprocity: a workshop by Erik Hagoort

Time: April 12 & April 13, 2014

Location: tranzit.ro / București, Str. Gazelei, nr. 44, sector 4

“If I take care of you, others will take care of me”.
Joseph Beuys

“What I demand of myself doesn’t correspond with what I have the right to demand of someone else”.
Emmanuel Levinas

A hands-on workshop to explore reciprocity in social art practice. The aim is to develop a sensibility for the dynamics of reciprocity, in three sessions:
Theory > Practice > Play

To give, to accept and to reciprocate – the combination of these three activities constitutes our social life, according to sociologist Marcel Mauss’ famous essay “The Gift” (1925). Reciprocity, he states, helps us to balance extremes of over-generosity or communism on the one side, and individualism and capitalistic egoism on the other. For Mauss reciprocity is society’s “eternal morality”.

Mauss’ concept of reciprocity has been widely discussed among sociologists, anthropologists, and philosophers. Especially Mauss’ pupil, anthropologist Claude Lévi-Strauss, has contributed to the conviction that reciprocity pervades our society, as a “total social fact”. Lévi-Strauss hailed the transformative power of reciprocity to make people communicate and integrate, and in doing so creating social cohesion.

Recently reciprocity increasingly appeals to artists. Especially in social art practices reciprocity has become something of a strategy. To reciprocate creates situations in which “all participants will be, at once, giver and receiver, producer and consumer, artist and audience”, in the words of curator Michael Brenson. Reciprocity makes, that all participants in the art work are equals and that their roles are reversable, transferable. Art then turns into the social process itself, as Joseph Beuys advocated already: “If I take care of you, others will take care of me”. At least, that is the promise of reciprocity.

Yet, social art practices also generate moral experiences, which are not necessarily reciprocal: generosity, hospitality, responsibility. “What I demand of myself doesn’t necessarily correspond with what I have the right to demand of someone else”, philosopher Emmanuel Levinas has pointed out. So, in daily life, and also in social art practices, reciprocity is contested by other-than-reciprocal, asymmetrical experiences in our relations to others. How do these asymmetrical experiences relate to the experience of reciprocity?
– What is reciprocity? How does it work? What are its dynamics?
– Why does reciprocity appeal so much to contemporary artists?
– Do social art practices indeed hold the promise of reciprocity?
– Do social art practices also question, criticize, or contest reciprocity? And if so, how?

This workshop will explore art & reciprocity in three sessions:
Theory (evening) > Practice (day) > Play (evening)
Participants are offered a compact reader of crucial texts on reciprocity and social art practices.

www.erikhagoort.nl

http://ro.tranzit.org/

www.bucharestair.com

ONCE UPON A TIME, YOU DRESSED SO FINE Solo Show – Bas van den Hurk

Bas van den Hurk one of the Tutors of our master program is having a solo show in London at the Rod Barton Gallery

Solo- Rod Barton, London. Private view 21.03.2014

Exhibition 22.03.2014 – 26.04.2014                                                                                 Address: 41-45 Consort Road, SE15 3SS London, United Kingdom

http://www.basvandenhurk.com/

ECHOES : DiARTgonale Special Edition #2

Launches and events relating to
ECHOES: DiARTgonale Special Edition #2

12 February 2014
SMBA
Amsterdam

13 February 2014
Wiels & Enough Room for Space HQ
Brussels 

21 February 2014
Mutant Matters/SAVVY Contemporary
Berlin

www.enoughroomforspace.com

Hosted by the Cameroonian artist magazine DiARTgonale, the two special editions JAMAN (2012) and ECHOES (2013) present the outcome of a long-term curatorial endeavour, initiated in 2009, for which Cameroonian and European artists collaboratively produce new, research-based artworks. The upcoming launches continue a series started in Cameroon during the triennale Salon Urbain de Douala 2013.

Editors: Marjolijn Dijkman and Annette Schemmel
Assistant Editors: Amélie Bouvier and Bathilde Maestracci
Contributors: Anschaire Aveved, Stefaan Dheedene, Marjolijn Dijkman, Beate Engl, Nicolas & Rose Eyidi, Em’kal Eyongakpa, Meschac Gaba, Justine Gaga, Andrew Gilbert, Matthias de Groof, Christian Hanussek, Nav Haq, Paul Hendrikse, Dunja Herzog, Ernst Ludwig Kirchner (DE, 1880–1938), Achilleka Komguen, Koyo Kouoh, Salifou Lindou, Lionel Manga, Vincent Meessen, Michaela Oberhofer, Joachim Oelsner-Adam, Nyemb Popoli, Louis-Marie Pouka-M’Bague (CM, 1910–1992), Garba Tanko, Pascale Marthine Tayou, Didier Schaub, Annette Schemmel, Bisi Silva, Patrick Wokmeni, Hervé Yamguen, Maarten Vanden Eynde
Support: Arts Collaboratory
ECHOES: Launch with presentations and a discussion
12 February, 19.30h

SMBA
Rozenstraat 59
Amsterdam

Speakers: Pauline Burmann, Lucy Cotter (moderator), Bassam El Baroni and Annette Schemmel

In a context like Cameroon, access to relevant archives, books and education is not a given. On the basis of her PhD project at Freie Universität Berlin, Annette Schemmel will lead her talk to the following questions: how to engage in projects of artistic research together that touch, for instance, upon our shared history? Should we extend the notion of archive to bodies of knowledge that lay far beyond the reach of traditional archival premises? Are we ready to relate to this peculiar knowledge from the universalist point of view of contemporary art?

The Alexandria-based curator Bassam El Baroni will contribute a brief sketch of his theory of contemporary art to this reflection, while Pauline Burmann (Amsterdam) will share her experiences from teaching the history of contemporary African art in various African countries. Lucy Cotter, a curator and writer specialized on the discourses on Artistic Research, Globalisation and the Postcolonial, will moderate the discussion and the Q&A.
ECHOES: Launch and lecture
13 February, 19h

Wiels
Avenue Volxem 354 Volxemlaan
Brussels

Lecture: “Sharing Knowledge, a Perspective on Contemporary Art Made in Cameroon”
By means of selected art works, Annette Schemmel will sketch out the complex network of references on which the informally taught artists in Cameroon rely.

Exhibition
13 February, 20:30–24h 

Enough Room for Space HQ
Sterstraat 10 Rue de l’Etoile
Drogenbos

Works by Jean Pierre Bekolo, LucFosther Diop, Beate Engl & Justine Gaga, Salifou Lindou, Maarten Vanden Eynde & Alioum Moussa, Patrick Wokmeni
Curated by Marjolijn Dijkman and Annette Schemmel

Partly produced by Enough Room for Space, some of the works on display feature in the two special editions of DiARTgonale. They reflect political issues that mark everyday life in Cameroon and artists’ experiences upon leaving this country. Although explicitness calls for trouble back home, these artworks deal with urgent concerns.
ECHOES: Launch, presentations and discussion
21 February, 19h

Mutant Matters at Savvy Contemporary
Richardstraße 20
Berlin

Speakers: Lorenzo Sandoval, Luis Berrios-Negron, the editors of DiARTgonale Special Editions and further contributors to be announced

Set amidst the particular archive device designed by Lorenzo Sandoval and S.T.I.F.F. as second part of their project “Mutant Matters” at Savvy Contemporary, this evening will raise questions with regard to the accessibility of knowledge resources and public archives for contemporary artists working outside of Europe.
Enough Room for Space (ERforS) is a non-profit organization that initiates and coordinates residencies, research projects and exhibitions worldwide.

Club Solo / Art Initiative in Breda

Club solo is a proposal to re-launch the Breda initiative Lokaal 01. The plan is developed by a group of artists with as main leaders:
Thomas Bakker (Tutor of the Mfa Akv StJoost)
Laurent Malherbe

Comrades of Time | Comrades of Time

One of the tutors of the AKV / St. Joost MFA, Bas van den Hurk, is featured in the following group exhibition.

7 Nov 2013 to 22 Dec 2013

at Cell Project Space in London

Comrades of Time Comrades of Time features emerging and established contemporary artists whose work re-negotiates modernism from a renewed position of globalisation, technological advancement and high-speed communication.

Artists: Gabriele Beveridge • Paul Cowan • Bryan Dooley • Koen Delaere • Matias Faldbakken • Nikolas Gambaroff • Wade Guyton • Bas van den Hurk • Marlie Mul • Magali Reus

Bas van den Hurk’s installation view.

‘ SEE YOU WHEN YOU GET THERE ‘ – Bas van den Hurk at Hopstreet Gallery

‘SEE YOU WHEN YOU GET THERE’                                                                        02.11.2013 – 21.12.2013

Bas van den Hurk, one of the tutors of the AKV / St. Joost MFA , is having his solo exhibition at the Hopstreet Gallery in Brussels.

The title of the exhibition stems from the Coolio song featuring 40 Thevz ‘See You When You Get There’, which is based on Johann Pachelbel’s Canon in D Major. It was released in 1997 as the first single from the album My Soul. For Van den Hurk the title refers to the possibility of organising along lines of sensibilities and becoming each other’s witnesses. “I guess, I’ll see you when you see me” sings Coolio at the end; this experience of breaking open a dimension which would not be accessible if it was not possible to share a reality by becoming mutual witnesses, a dimension that is only accessible through a caesura in time and understanding, is at the core of his practice.

 

www.basvandenhurk.com             www.hopstreet.be

30.11.2013 – 19.01.2014 | SELF-TITLED SPACE | Tilburg , The Netherlands

Thomas Bakker , one of the tutors of the MFA AKV/St.Joost is featured in the following exhibition. SELF-TITLED SPACE is Park’s second exhibition, and first with an outside curator – Colin Huerter Participating artists: Thomas Bakker [NL] , Jan van den Dobbelsteen [NL] , Andreas Greiner & Armin Keplinger [DE], Nan Groot Antink [NL], Simon Kentgens [NL], John Knuth [US], James Krone [US/DE], Antonia Low [UK/DE], Flavio de Marco [IT/DE] , Alexander Skorobogatov [RU/DE], Colin Snapp [US], Evi Vingerling [NL], Jonas Wijtenburg [NL]

For more details : http://www.park013.nl/en/

Point de Vue

Some pictures from (ex) participants and teachers of the MFA program at the exhibition Point de Vue

opening, George Korsmit on the right

Gijs van Lith

Bas van den Hurk

Marjolijn Dijkman

Peggy Franck

‘POINT DE VUE’ at the former SM’S

The exhibiton ‘Point de Vue’ at the former Stedelijk Museum s’-Hertogenbosch opens on the 02/10/12 and runs until 18/11/12.

‘Point de Vue’ celebrates the 200 years of existence of the College of Art in Den Bosch (currently called and part of AVANS Hogeschool)

With a.o; Bas van den Hurk, Gijs van Lith, Marjolijn Dijkman en George Korsmit..

For more info visit www.avans200.nl and www.avans.nl/nieuws

Symprovisation

How to improvise on a symposium?

This question becomes practice during an ongoing event at ExtraCity, Antwerp from 17 to 20 April 2012. Participants of the master courses of St. Lucas, Artesis, and AKV/St. Joost work together in finding out what “symprovising” could be.

Let’s approach reflection through improvising. Trying to reflect and work on the spot: à l’improviste. By using skills, work, prcedures, ideas, texts, inventions and coincidence.

Please join in the closure of this experiment at ExtraCity:
Friday April 20th, 13.00 – 15.00 hours, starting and ending with lunch.

With: Kasper Bosmans, Elsbeth Ciesluk, Remy Habets, Pim Kersten, Theodora Kotsi, Saori Kuno, Raphael Langmair, Tanya Long, Piotr Piskozub, Nelleke Schiere, Anna Stergiou, Timothy Van de Laar.
Advisors: Nico Dockx, Erik Hagoort, Bas van den Hurk

Many thanks to: ExtraCity – Salon 2060

Have a look at some “symprovisations” here:
Remy Habets, “Piece of me, 1” at ExtraCity, Antwerp, 19-4-2012.
Remy Habets, “Piece of me, 2” at ExtraCity, Antwerp, 19-4-2012.
Video: Raphael Langmair

Remy Habets, Piece of me at ExtraCity, Antwerp, 19-4-2012

George Korsmit shows at De Pont, Tilburg, 28 May – 18 September

George and MFA participant Nelleke Schiere begin work on the wall murial.

George and MFA participant Thomas I'Anson midway through painting the mural.

Final stages of the mural (Thomas waiting for paint to dry).

Complicated setting-up of the looping 18mm projection with specially built film carrier for 'long loops'!. Not available in a store near you.

George Korsmit, Thomas I'Anson and Alexander Korsmit. Construction begins on George's final piece - a sculptural work with rotating base.

For the second time now De Pont has organized a triennial exhibition titled Brabant Now. Eleven, mainly younger artists who have some connection with Brabant—having been born here, having studied here or residing here—are each given a ‘wool-storage room’ in which to present their work. In 2008 the selection was made by Alex de Vries, former director of the art academy in Den Bosch. This year De Pont has invited Het Wild Gillende Schildersgilde consisting of Aaron van Erp, Wycher Noord and Frank Peeters, to curate the exhibition. These three painters are responsible for the selection of the artists and have moreover provided the exhibition with a theme. All of the participating artists will create new work and use their favorite pop song as the point of departure.

“Aren’t musicians lucky to have such progressive art!” Wassily Kandinsky wrote to the composer Arnold Schönberg back in 1911. By way of color, form and line Kandinsky wanted to move the viewer as directly as music did so with sound. The early abstract paintings of Kandinsky bear little resemblance to the narrative works of Aaron van Erp, Wycher Noord and Frank Peeters. But like Kandinsky a century ago, these artists share a similar fascination with the impact of contemporary music.

Pop concerts draw thousands of people. Television programs on pop music are watched by millions of viewers. In pop songs many discover what moves them and expresses their own emotional concerns. Why does visual art have much more difficulty in appealing to a broad audience on a personal level? Could pop songs offer a way to experience contemporary art? Though these questions basically remain unanswered, they provide a rich basis for an exhibition aimed at giving us a musical perspective on visual art.

The artists whom Aaron van Erp, Wycher Noord and Frank Peeters have invited as fellow participants in this exhibition are largely of their own generation, born around 1975. Many of them have known each other since their art-school days at the Sint Joost in Breda or the art academy in Den Bosch.

Aside from paintings by Van Erp, Noord and Peeters, the exhibition includes work by painters Ibo Pompe and Stijn Peeters, as well as a wall painting by George Korsmit. Added to this is a large sculpture by Maartje Korstanje and an installation created by Peggy Franck and Lobke Burgers. Erik Sep conjures forth a parallel world in architectonic sculptures, made partly with found materials. Stan Wannet makes use of advanced technology in order to set in motion a human figure situated in a room-like environment.

The musical preferences are as diverse as the artists themselves. These often display clear parallels with the work shown. Maartje Korstanje has chosen Tom Waits’s Big Black Mariah, Erik Sep the energetic pounding sounds of Liberty City by Mark Stewart & the Maffia; and Wycher Noord used Johnny Cash’s melancholy Hurt as his point of departure.

What happens when artists take inspiration from their favorite pop song? How do they convey the connotations of the music in a visual image? Ultimately, their concern is the work of art. This will come to have its own power of expression, independent of the music which prompted it. At the same time, the theme does call for music at De Pont. That will be provided with the aid of an audioguide. While looking at each work, visitors can listen to the pop song chosen and experience the chemistry between two forms of art.

WWW.GEORGEKORSMIT.COM

WWW.DEPONT.NL

Bas van den Hurk shows at Rod Barton, London, May 12 – June 11

Bss van den Hurk, advisor to the program, shows at Rod Barton, May 12 – June 11.

WWW.RODBARTON.COM

WWW.BASVANDENHURK.COM

PROPAGANDA WARNING at EXTRAPOOL NIJMEGEN, APRIL 20, 18.00 – 22.30