kunst in de stad

art in public space

6

artists

6

installations

6

months

ABOUT

The garden of Castle Geeraard the Duivelsteen is the setting for the first edition of Yart; contemporary installations in the (semi-) public space.
During six months this famous and notorious garden functions as a work- and exhibition platform for six selected young artists from home and abroad.

Every month another artist will use the garden and its ambivalent context to present a new work.

WITH SUPPORT FROM

LOCATION

Kasteel Geeraard de Duivelsteen
Geraard de Duivelstraat 1
9000 Gent, België

CONTACT

info@yart.be

THIEF IN THE NIGHT

Yart is an initiative of Thief In The Night, a collective that strives to create a variety of platforms in a surprising way for young artists.

CREDITS

Photography by Matthias Yzebaert
Scenography by Riemer Van Dalen
Artwork by Nina Swaans

PROGRAM — ARTISTS

16.01.17
Conrad Willems
BE
16.02.17
Sibran Sampers
BE
16.03.17
Tamara Van San
BE
16.04.17
Lisa Sebestikova
NL
16.05.17
Jonas Vansteenkiste
BE
16.06.17
Quynh Vantu
US


14.07.17
F I N I S S A G E
15.07.17
F I N I S S A G E
16.07.17
F I N I S S A G E
21.07.17
F I N I S S A G E
22.07.17
F I N I S S A G E
23.07.17
F I N I S S A G E


FINISSAGE

During the weekends of 14th – 17th and 21st – 23rd of July, Yart will be concluded with an exhibition of all the works in the historic crypt of the Devil. Therefore, this extraordinary location will be exceptionally open to the public.

FRIDAY 14th JULY

OPENING EXPO
8pm - 11pm

SATURDAY 15th of JULY
SUNDAY 16th of JULY

FRIDAY 21st of JULY
SATURDAY 22nd of JULY
SUNDAY 23rd of JULY

EXPO
11am - 11pm

Come and visit the closing exhibition, an overview of all participating artists from Yart. Afterwards you can enjoy a drink at the historic garden of the Geeraard de Duivelsteen.

SUNDAY 23rd of JULY

SPECIAL CLOSING
8pm - 11pm

This finissage will be closed by a one-off performance in the crypt.

      Conrad Willems is a visual artist making drawings, sculptures and performances, with interests in construction and deconstruction. Starting from architecture as a reference point of these changing structures, he alienates the recognizable. He uses familiar actions and materials, acquiring on a new meaning through their intensive use and specific context.

      Geometry, repetition and modularity are three basic principles in all of his works, resulting in a unique visual language that is highly recognizable.
The drawings show the repetition of figures, varying in shapes and sizes. They are made with freehand and without a predetermined plan: every drawn line is a permanent one. This method of freehand repetition generates patterns, disturbed by imperfections in the repetition process.
The sculptures share the same basic principles. Earlier works explored simple geometric shapes, blurred or emphasized by adding light. Later sculptural works are constructed with freestanding pieces. These modular installations are often constructed live.The building process thus becomes a performance, the resulting construction an installation work.

      Sibran Sampers studied Art sciences at University of Ghent and autonomous design at KASK. His work can be recognized by a high do-it-yourself-grade, encyclopedism and a fascination for history. Using poor materials, Sampers often creates ironic emblems of the turbulent and utilitarian universe in which the artwork necessarily must take the form of a machine, economic transactions or a scientific process. Animals as well play a crucial role in his work. Thus Sampers is attorney of the Institute of Tripudiometrie founded by himself, an instancy trying to predict the future by using galliformes, especially chicken.

      The work of Tamara Van San is visual and playful. The artist’s universe consists of polyurethane, fluorescent colors, foam, ropes, balloons. Her sculptures fill the space like music, and seem to grow, shrimp or swell ever further. The shapes are reminiscent of eruptions as a powerful alternative for classical forms.

      The work evokes chaos, plurality and complexity. It’s not created from a center, a plan or idea, imposing any order. The piece takes shape during the creation process. Tamara Van San prefers to make art that doesn’t arises from history (even she knows this is not possible) and we are experiencing in a timeless way. Her artwork doesn’t originate from conceptions but surely reminds us of thoughts. As each language exists of meaningless sounds that only start to mean something by arrangement and use, Tamara tells us numerous verses by turning, pushing and pulling forms.

      As a visual artist Lisa, constantly question familiar elements, for example, a house or a wall. After encountering everyday items, she has this urge to rediscover both their tangible and intangible characteristics.

      Familiar objects evoke reflexive and unconscious thoughts in any observer – it's what makes them familiar. To get to the core of these objects, she separates them from their function and deconstruct them to the point where this process is interrupted. The deconstruction results in visions that she approaches in different ways, ranging from instinctive to artificial. Along the way, Lisa creates a new logic, which is used to reconstruct the object to something that evokes both familiar and new thoughts.

      Whitin her work she shows her confidence in the imagination of the observer. When looking at one of her works, one is confronted with a subtle manipulation of the archetype of an object. The object feels familiar, yet suggests a distorted version of reality. The simplicity lies in the line between association and alienation.

      Jonas Vansteenkiste is a visual artist working on and with space. For this he uses different media as installations, video, sculptures, pictures and drawings. In his work, he refers to architectural elements and use them both in physical and psychological way. He builds spaces, places or creates situations best described as 'mental rooms'.

      This word is comparable to the term “Denkraum”, often used in philosophy and architecture. "Denkraum" can be defined as building walls ‘from within’ or ‘from without’ the chaos of your own experience, emotions, thoughts, to make it possible to elucidate and manage all these feelings and experiences. With this reflection of thoughts Jonas creates and shapes his works.

      The medium ‘installation’ he approaches as a medium of the reference and the experience. Therefore he presumes the spectator to play a participative role: he invites them to step in the work and to locate themselves both mentally and physically. He allows the spectators to expand these installations with their personal experiences and stories, by doing so this ‘relevant’ place can be their place as well.

      Trained and licensed as an architect, Quynh Vantu does not discern between architecture and art. Her work explores our physical relationship to the built environment and how we interact with our spatial surroundings. Drawing from her upbringing in the American "South", Quynh’s work stems from influences of porch culture and "southern hospitality", enacting social virtues and exchanges in the architectural interventions she creates. She torques transitional spaces - hallways, thresholds, stairways - into condensed social exchanges, compressed physical negotiations or as a transformative lens to re-evaluate our routine environment.