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http://hdl.handle.net/1942/44699| Title: | What Remains#2. Transience as a new beginning. | Authors: | CAIMMI, Jo | Issue Date: | 2024 | Source: | KADOC KULeuven (Ed.). What Remains#2, p. 18 -21 (Art N° 4) | Series/Report: | KADOC/EXPO 35 | Other: | FOREWORD Patrick Ceyssens What Remains is an artistic research project on transience as a new beginning. It brings together artists and academics from Belgium and Italy for a confrontation-dialogue with the many visual and content layers of buildings and sites with a very long and turbulent history, with many visual remnants of various events in time. They are pictorial ‘ruins’, frozen in different moments. The first edition of What Remains took place in the wonderful San Mattia Church in Bologna, a sixteenth-century former monastery church. For this second edition, the chapel and other spaces of KADOC-KU Leuven are a perfect architectural and historical invitation for an artistic encounter, not only with the site – an eighteenth-century pilgrimage and cloister church – but also with the rich and diverse heritage that KADOC, as a documentation and research center on religion, culture and society, preserves. The mix of different relics over time inspires the artistic response and theoretical reflection. What can be read into visual history? How can semiotic additions and iconographic investigations lead to new insights? What layers are released in thinking about the loosened matter? What remains? These questions form the basis of the FRAME: IMAGE THINKING research group of PXL MAD School of Arts and Hasselt University, of which Giovanna Caimmi, Nadia Sels, Dominique Somers, Griet Moors, Tom Lambeens, Aline Verstraten and Patrick Ceyssens are members. For them, architecture and the arts generate a new form of knowledge that requires an adequate language, verbal, visual and spatial. This entails a certain rigor. It means slowing down and taking time to think, to observe carefully and attentively.The artists revisit, project and commemorate. Impermanence thus becomes a new beginning, ‘what remains’ as a driving force, a new desire that even creates a new connectedness and readability of place between the links of various artistic interventions. In this way, art will always be a way of (visual) thinking. Moreover, there are the various artistic links between Italy and Flanders, most notably those between the fifteenth and seventeenth centuries. Can we link a contemporary problem to the patient analysis of reality shown by Flemish and Italian artists at that time? There is also the aspect of the artist as traveler, who uses travel as a methodology in his work and research. Travel is a basis for all of us, the diversity of landscape (north/south), cultures, art history, light.... the moving subject. The traveler as a moving subject is guided primarily by his destination: the unknown. In this way, intellectual horizons can be broadened. | Document URI: | http://hdl.handle.net/1942/44699 | ISBN: | 9789078192596 | Category: | C2 | Type: | Proceedings Paper |
| Appears in Collections: | Research publications |
Files in This Item:
| File | Description | Size | Format | |
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| Cataloge Expo_What-Remains#2.pdf | Published version | 2.6 MB | Adobe PDF | View/Open |
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