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.
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.