The artist Adrien Tirtiaux created his work Boven de Muur especially for the art itinerary of Tracing the Future. His art installation arises many interesting questions. To what extent are we willing to render private property open to the public? To what extent would we divide private property into common goods? Could we reach an ideal community by abandoning our individualistic way of dwelling, as described in More’s Utopia, or would this engender a reversed effect? Adrien Tirtiaux, Wouter Hillaert and Thomas Decreus will engage in a discussion with this subject matter.
Studies in Iconology is a peer-reviewed series, published by Peeters Publishers and directed by prof. dr. Barbara Baert, member of our scientific board. Studies in Iconology accepts original and interdisciplinary contributions in the broader field of art theory and art history. The series addresses an audience that seeks to understand any aspect and any deeper meaning of the visual medium along the history of mankind in the fields of philosophy, art history, theology and cultural anthropology.
In mines and ports across the world, human labor sustains our industrial and globalized economies. Allan Sekula imagined and set out to realize an artwork, The Docker's Museum, which makes the struggles of miners, dockworkers, and seafarers visible through networks of metonymic objects that embody these workers' imaginaries. The collaborative notes gathered in this publication accompany the presentation of the "Mining Section (Bureau des mines)" of The Docker's Museum at the Anatomical Theater in Leuven in the Fall of 2016.
The role of photography in Belgian visual art
Stefanie De Winter first studied conservation of paintings at the Royal Academy of Antwerp, where she focused on conservation problems related to fluorescent paint layers. After a stint as a conservator in NYC, where she worked on contemporary American paintings (mostly Frank Stella), she went on to study Art History at the KUL, focusing on fluorescence in the work of Herb Aach and Frank Stella. She is currently FWO PhD fellow in Art History, working on the impact of fluorescent materials in New York art of the 60’s and 70’s.
FOREST LAW | 2014 I 38 '
IN COLLABORATION WITH PAULO TAVARES
Please Join us on September 29, 2016 between 6 and 7:30 PM for an informal book launch event of Allan Sekula: Mining Section (Bureau des mines). Collaborative Notes. This publication accompanies the research presentation Allan Sekula: Mining Section (Bureau des mines) at the Anatomical Theater in Leuven, curated by Anja Isabel Schneider. It gives a provisional glimpse into Allan Sekula's compulsive collecting of more than 1200 objects for his last work: The Dockers' Museum, now part of the collection of M HKA, Museum voor Hedendaagse Kunst Antwerpen
Is Thomas More’s Utopia still a source of inspiration for artists today? This project gives an often spectacular answer to this question. The exhibition showcases how artists today treat the concept of ‘utopia’ in their work. Faithful to Thomas More, they depict both the success and failure of the search for an ideal world.
This conference takes the US artist, theoretician, critic, teacher and poet Allan Sekula’s Ship of Fools / The Dockers’ Museum (2010-2013) as its point of departure. At the very end of his life Sekula produced this unfinished, multifaceted and variably installable work of art, which contains ca. 1250 objects.
Le deuxième événement organisé dans le cadre du programme Embassy of Uncertain Shores est une conférence-performance présentée en français par le collectif Slavs and Tatars. Dans 79.89.09, le collectif explore deux moments clés de l’époque contemporaine: la Révolution iranienne de 1979 et le mouvement Solidarnosc en Pologne au début des années 80. 79.89.09 est le résultat de leur recherche des points de convergence improbables entre les histoires économiques, culturelles et politiques de Pologne et d’Iran.