Piazza's Artspace in Brussels
Photos by Chloë Delanghe
Stefan Cammeraat (1993) is a Dutch artist based in Utrecht, the Netherlands. His work challenges our relationship to (art) history. We tend to regard history as an objective, dead or static realm on which can simply look back or contemplate. Cammeraat’s interventional re-encactments now presuppose an active relation with history – a history which, comparable to websites and technology, needs to be updated or revisioned in order for us to be responsive to today’s challenges. In Horror Formalism he re-interpretes two – from a historical standpoint – important art works by exploring the tensions between the manual and the unpredictable.
Mike Cleary (1969) works and lives in Limerick, Ireland. Developing from research of local landscapes, his work repurposes architectural fragments or Spolia into the construction of objects that are without an obvious use or provenance. In Horror Formalism he gives us a viewing of those mystery-‐objects through the presentation of black and white photography and a projection.
Chloë Delanghe (1991) lives and works in Brussels where she recently graduated at Luca School of Arts. She mainly works in the areas of photography and film. The images on display in Horror Formalism stem from the immediate environment of the artist. She is continually searching for a sense of tenderness and insight into the complexities of interrelations and things that are seemingly mundane. Upon entering InBetween Delanghe’s ‘Mum’s Rose’ immediately sets the tone by this vision of a stranglehold.
Antoinette van Beers (1994) is currently studying Fine Arts & Education in Tilburg. Her work constitutes an interplay between light, shadow and space. She is interested in the ways a different locality creates new opportunities. In the context of Horror Formalism she explores the boundaries between inner and outer space, redefines the formal relationship with the exhibit space InBetween and recasts the physical connection with the visitor. An alluring corridor both seduces the visitor to enter a new space and turns into something supportive with regards to the work of others.
Bas Sillekens (Sevenum, 1992) delivers spatial work through assemblage and installation. He finds interest in groping with the boundaries between materiality and immateriality. Light plays a crucial double role in his sculptures – light as both the artificial application of material and as a natural phenomenon contributes to minimalist and raw installations where the hand of the craftsman is still quite tangible. In Horror Formalism he showcases a serie of three different but interrelated ‘light-‐sculptures’ that bring new immaterial relations to life.
Juan Pablo Plazas (Bogota, 1987) lives and works in Brussels, where he just graduated as a master at Luca School of Arts. He develops installations and sculptures which are characterized by re-‐interpretations and combinations of existing objects that lead to new narratives. In Horror Formalism he’s attracted by the word ‘horror’ itself. How can something dead (or material) acquire a soul and claim life in our midst? Pablo Plazas changed the entrance of InBetween forever. Besides creating a kind of ‘red carpet’ for this show, Pablo Plazas seemingly adds little, disparate ‘stuff’ (drawing, sculpture, objects) to Horror Formalism.
Axelle Stiefel is a swiss artist based in Brussels. She is currently enrolled in the master program in Fine Arts, at Luca School of Arts. She was asked to show again her film ‘Nonesuch’ (2008) in the context of Horror Formalism: 25 minutes travelling through the interspaces of the University Hospital in Lausanne (CHUV). The camera alone is capturing the journey. The unique human intervention was to determine a duration and choose a destination according to that initial data. Stiefel has this time chosen to show her older video in a different way by reversing the projector and showing only a fragment of the video. The projector is now directed at the visitor and turns into a kind of headlight of a car. Her work also becomes part of a more experiential installation in dialogue with Bas Sillekens intervention.