Ignorance Never Settles a Question

source: frieze

Since the 1990s, Dedobbeleer’s primary subject has been the relationship between making and showing and the impossibility of isolating sculptural objects from their forms of presentation and display. In this show, he focused on the nature of the exhibition as a ‘repeat performance’, with works either resembling each other or bringing to mind the memory of previous exhibitions. ‘Events show themselves more clearly through repetition’, the artist writes. Embarking on a somewhat conflicted attempt to stage and restage incarnations of what he refers to as the ‘ideal’ sculpture, he replicated elements and forms that appear in several works.

Remodelling materials into vaguely recognizable forms that suggest functional objects, Dedobbeleer’s 13 sculptures refer primarily to each other: the rounded forms of a non-functional furnace in Thought Apart From Concrete Realities (all works 2010) mimic a bulbous replica of large, outdoor planters – abstracted, conjoined and multiplied three times in The Gradual Formation of a Landscape. Similarly replicated, a series of ineffectual doorknobs in various materials including painted foam and metal, were placed on the gallery’s floors and walls. They are all copies of a brass handle on the exterior of the gallery door. The wood of a hexahedronal piece resembling a fountain, The Subject of Matter (for Vm), painted as faux-marble, mimics the actual marble surface of a neighbouring piece, That Which Is. Set into a niche carved into the bench-top of pink marble on that piece, in a depressed area perfectly-sized to contain it, a book titled Already Uttered on Numerous Occasions in Various Places contains images and exhibition documentation of possible sculptures that, save for one (the book’s introduction informs us) were never made or materialized beyond the trial phase. The one work that was realized, pictured on the paperback’s small cover – a branched and colourful length of wood suspended by cords entitled Human Existence Resides in Utter Superfluity – hangs low to the ground precisely where it was photographed.

With some of his sculptural works being actually present and some only pictured or imaginary, Dedobbeleer’s interest in the apparition of forms, repeated or borrowed from other works, and the paranormal aspects of exhibition-making (works and arrangements of works that are possible, but not selected), becomes clear. Like headstones marking space but not commemorating entities, only suggesting traces of other works or presentations past, Dedobbeleer’s sculptures lay with the almost crypt-like silence of one ghost talking to another. Likewise, a faint print on paper, It’s Only As Clear As Its Image Gets, the only non-sculptural work in the exhibition, pictures one of Dedobbeleer’s proposals for a sculpture, a small model of spherical forms, outside of the gallery, on a coffee table in what could be the artist’s studio. Like the mock-exhibition in the book Already Uttered on Numerous Occasions in Various Places, the reference to a pre-exhibition space of experimentation, pictured here as an informal presentation, suggests all the possible works that could be included in the show. In this sense, Dedobbeleer manages to display entities and concepts outside of the exhibition space here as well.
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source: usinadeafetoswordpress

1975, Bruxelas, Bélgica; Bruxelas

O artista belga Koenraad Dedobbeleer utiliza – desde suas primeiras exposições no final dos anos noventa – a desconstrução e a manipulação no intuito de revelar relações entre espaços e objetos. O seu processo atua confrontando o observador com objetos e espaços que passam por transformações banais. O pensamento sobre o modo de apresentação é uma das questões mais importantes de seu trabalho: para o artista, a apresentação é o fato “de oferecer ou propor algo que é deliberadamente aberto e disponível”.
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source: http://b-come-blogcomunitaunitait

“Gli eventi si manifestano con maggior chiarezza tramite la ripetizione” afferma l’artista belga Koenraad Dedobbeleer, che torna a esporre le sue “sculture disfunzionali”: oggetti che l’artista preleva in maniera duchampiana dalla sfera domestica e quotidiana per immetterli nello spazio espositivo con lo status di scultura.

Al Centre d’Art Contemporain d’Ivry, Le Crédac, seconda tappa dell’exhibition tour dal titolo Workmanship of Certainty, ritroviamo le opere: Tradition Is Never Given, Always Constructed, 2012, una struttura tubulare dipinta di un tenue rosa e bianco in grado di far strabuzzare gli occhi del visitatore quando questi vi riconosce le gambe di un monumentale sgabello senza seduta; Consisting An Actual Thing, 2010, un sacco di plastica nera, con fori ricavati per i manici, che se ne sta in mostra impettito e rigonfio. Incappandoci, il visitatore si chiederà se ammirarlo in quanto opera o considerarlo una presenza in cui non inciampare – che secondo Barnett Newman, pittore statunitense, potrebbe essere proprio la definizione di scultura – “è ciò contro cui si va urtare quando si indietreggia per guardare un quadro da più distante”.
È sullo scarto, sull’incertezza tra ciò che si percepisce e ciò che si riconosce che gioca la sensibilità dell’artista. Talvolta però Koenraad Dedobbeleer preferisce l’evidenza dell’apparenza e lo suggerisce fin dal titolo in modo quasi provocatorio, come nel caso di That Which Is, 2010, talaltra sceglie toni più ironici, come in The Gradual Formation Of A Landscape, 2010: un principio di paesaggio contenuto in un vaso rosa a forma di trifoglio.

Se il grado di straniamento e trasformazione cui sono sottoposti gli oggetti li rende “disfunzionali” c’è anche chi, però, conserva la sua funzione: Ignorance Never Settles a Question, 2010, è una scultura che ricorda una stufa. La forma piuttosto originale con quei profili di pentagoni sporgenti a copertura di una struttura organica, potrebbe insospettirci, ma la presenza della canna fumaria lo conferma: funziona anche come un caminetto.
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source: xuku-vablogspotcombr

“Esculturas disfuncionales”
Las esculturas de la artista belga Koenraad Dedobbeleer (n. 1975) funcionan como simulacros de objetos funcionales de hoy en día. Debido a que se colocan en un contexto de la exposición y por lo tanto, liberados de su función útil, que existen como soportes ambiguas que se ponen a disposición para la interpretación. Cada pieza se presenta tanto como un objeto cotidiano, que pertenece a la esfera doméstica (una pieza de mobiliario, utensilios, herramientas), y un objeto estético, que corresponden a los criterios que rigen en el diseño y la escultura. Tablas o columnas están excesivamente agrandados, por ejemplo, o desmontados y reconstruidos de manera diferente.