Koenraad Dedobbeleer
Koenraad Dedobbeleer bases his work, ever since his first shows in the late 1990s, on the presentation of objects and spaces which accommodate very tenuous transformations. For him, presentation is the fact “of offering or proposing something that is deliberately open and available”. In “The Poetics of Space” (1957), Gaston Bachelard describes the spaces of his house by revealing therein the many different links to both myth and daydream. Otherwise put, the real cannot be separated from the different representations that we produce of it. Over and above this already old reference, the artist, who is fond of describing his work as “on stand-by”, is interested in the inability to exhaust the real. It is probably in this unhampered phenomenology that we should see Koenraad Dedobbeleer’s experiment.
A Privilege of Autovalorization, 2008
87 x 48 x 48 cm
metal, styrofoam, concrete
Memories Are Motionless, 2008
70 x 59,5 x 53 cm
formica on wood
In the Passing Hour That We Recognize Its Benefits, 2008
46 x 49 x 49 cm
formica on wood
An Adequate Matter, 2008
23 x 30 x 30 cm
formica on wood
Councils of Continuity are Unceasing, 2008
55 x 77 x 50 cm
formica on wood
Retreats Have the Value of a Shell, 2008
95 x 89 x 72 cm
metal, enamel
Unable to Relive Duration, 2008
1 minute
16mm transferred to HDV
An Exterior Destiny to the Interior Being, 2008
64 x 105,5 x 60 cm
wood, formica, enamel
Earthy Paradise of Matter, 2008
87 x 60 x 109 cm
mdf, metal, rubber balls, enamel
Time Ceases to Quicken Memory, 2008
63 x 52 cm
c-print in wooden frame
Space Calls for Action, 2008
variable dimensions
granite
Koenraad Dedobbeleer
Koenraad Dedobbeleer bases his work, ever since his first shows in the late 1990s, on the presentation of objects and spaces which accommodate very tenuous transformations. For him, presentation is the fact “of offering or proposing something that is deliberately open and available”. In “The Poetics of Space” (1957), Gaston Bachelard describes the spaces of his house by revealing therein the many different links to both myth and daydream. Otherwise put, the real cannot be separated from the different representations that we produce of it. Over and above this already old reference, the artist, who is fond of describing his work as “on stand-by”, is interested in the inability to exhaust the real. It is probably in this unhampered phenomenology that we should see Koenraad Dedobbeleer’s experiment.