(c) Silvia Cappellari
ROTATOR triggers a funnel-shaped reproduction mechanism which propagates and reduces itself by inertia.
ROTATOR is a precarious mimic device armed to synchronize the breathing of the basement with the city. In this game of relations and dimensions, magnitude and tangibility, the dweller is called to surrender.
Boris Steiner and Ricardo Van Eyk are united to build a new choreography of the space in motion. Their project mirrors the constructional elements inside the Pool to turn the street underground through a physical reversal process.
The common experience of mixed feelings towards this city’s paradoxes is a particular inspirational engine to this collaborative installation. Brussels has made of its no-unity its uniqueness. Its fragmentation is immediately captured in its urban and social aspects which tend to adhere to each other. The city is a defect and does not reset. Instead of building, destroying, and building anew, Brussels rather preserves, contains, reinterprets. Shifting of function is a constant property here. The buildings and pavement stones anchor memory and an intimate authenticity. So intimate, the thick historic layers cover up our urban awareness.
Among these avenues it becomes evident how the creative person builds the world in which he is destined to disperse himself. With time, every sign of her/his action changes in value diluting into vacuity.
Precisely in this rediscovered emptiness, it is possible for the human-citizen to finally detect land to Be.
Ricardo van Eyk considers himself a painter. His work arises from an amazement with regard to the urban environment and the way in which the city functions as a ‘support’ bearing the traces of human presence, the lapsing of time and signs of decay. Images from his surroundings that he finds meaningful are isolated and used within his own work in order to discover the logic of those images. Van Eyk works on the basis of wooden constructions: boards that are placed against each other, the saw-cut becoming a visual element, while paint is applied and sanded away and applied again. Found objects, as well as the use of everyday household materials, underscore his playful way of working.
Boris Steiner: “I am interested in creating a situation in which artistic labor, the artwork, and everyday activity merge together. The artwork is therefore best to be interpreted as the noun the work, as well the verb to work. Like Claes Oldenburg is “for an art that does something other than sit on its ass in a museum,” I am for an art that is a studio in motion. An art that is covered with saw dust, carries quick calculations and pencil markings, and smells like the entire inventory of a Brico store.”
︎ (19.03 - 12.04.2020) 25.06-19.07.2020
︎ Exhibition open by appointment: firstname.lastname@example.org