Coup de ville

11 september: Opening
12 september – 24 october: Exibition (thursday, friday, saturday and sunday)
1-5 october: Artist’s village

web site coup de ville

Coup de Ville is a city festival and exhibition of contemporary art in private and public locations in the city centre of Sint-Niklaas, Belgium. The title symbolically refers to an ‘occupied city’.

The exhibition features the works of some 50 artists from around the world, and runs from September 12 till October 24. From October 1 till 5, the city’s market square will be turned into an Artist Village: an eating, meeting and working place for international young artists.

Coup de Ville is organised by contemporary art platform WARP and curated by Stef Van Bellingen and Jan Hoet. The exhibition / city festival is inspired by Hoet’s ‘Chambres d’Amis’, and aims to inspire a dialogue between contemporary art and its surroundings, and between artists and city dwellers. Key notions are integrity-led artistic engagement, dialogue, superseding cultures and generations.

with
Stephan Balleux
Marc Bijl (Nederland)
Katinka Bock (Duitsland)
Michaël Borremans
Daniel Buren (Frankrijk)
Johan Creten
Eric Croux
Flavio Cury (Brazilië) (o.v)
Hans Demeulenaere
Fred Eerdekens
Nezaket Ekici (Turkije)
Elmgreen & Dragset (Denemarken / Noorwegen)
Jarg Geismar (Duitsland)
Tue Greenfort (Denemarken)
David Hammons (USA) (*collectie SMAK)
Eisa Jocson (Philippines)
Bren Heymans + Djo Moembo (D.R. Congo)
Silke Koch (Duitsland)
Oliver Lutz (USA)
Wesley Meuris
Nandipha Mntambo (Zuid-Afrika)
Haifeng Ni (China) (o.v.)
Honoré d’O
Hans Op de Beeck (*collectie MUHKA)
Monika Sosnowska (Polen) (o.v.)
ere Recarens (Spanje)
Giovanni Rizzoli (Italië)
Egill Saebjörnsson (Ysland)
Kelly Schacht
Fatou Kande Senghor & Waru Studio (Senegal)
Bart Stolle (o.v.)
Stefanos Tsivopoulos (Griekenland)
Veronika Tzekova (Bulgarije)
Guido Van de Werve (Nederland)
Annemie Van Kerckhoven
Hannes Van Severen
Eva Vermandel (B/ UK)
Angelo Vermeulen & Tine Holvoet
Martin Walde (Oostenrijk)

Few pictures of the making of my wall painting:

The Hermes Project

15.07>15.09.2009
Honk Kong Airport
Hermes Display Window

hermes window

 

Honk kong exceptionnal window

 


Honk kong window 2

 


Honk kong window 3

 


Honk kong window 4

 


Honk Kong window 5

 


Honk kong window, work in progress, Hermes scarfs, 230x90x60cm

 


Video still, 6'55", Computer generated image animation

 


Video still, 6'55", Computer generated image animation

 


Video still, 6'55", Computer generated image animation

 


Video still, 6'55", Computer generated image animation

 


Video still, 6'55", Computer generated image animation

 


notes on the collaboration with Hermes.

First of all, I was thrilled by my visit at the personal museum that the Hermes foundation has in Paris : I understood there that Hermes was more than great fashion or beautiful objects, it was first History.
Through the centuries, Hermes developed its creations according to the origin of his founder.Everything created since respects this identity, and my purpose was to do the same.

In my work, I always tend to create a sculpture, a painting or a video who are animated, brought to life.
No matter if it is a still image, a painting or a drawing, it reveals the living aspect of the medium I am using and the image seems to move.

For the Hermes project, my idea was to bring life to the scarf, chosen for its painterly properties, by manipulating it in a certain way that it looks animated by its own will.
I created a digital scarf that I followed during his movement, exactly like if I would have discover an organic form evolving in the ocean.The results shows a scarf who looks to have his own movement and life.It might be considered as animism, this believe that every object possess soul and spirit.

In the sculptural version, I worked on organic shapes who are familiar in my paintings.
Those shappes are mapped by the scarfs, in order to create a vivid animated skin.
By manipuling the scarf, creating waves and patterns with the own scarf’s color and design, it became the brush and the pigments that are my favorite mediums to work with.
There is a huge history of the drapery from historical painting until contemporary philosphy, and this sculpture is an attempt to work with this historical topic whitin a contemporary object and situation.