Kris Vleeschouwer designs and produces sculptures where, via means of high-tech and low-tech, a junction is formed between knowledge and scepticism, relativism and absurdity. The sculptures seem most akin to factory production-lines, but without the production of anything "usefull". They are aesthetically charming and robust in their finish, aggressive in their action, and melancholic in their concept. They contain the drama and symbolism of unintentional accidents, with a lot of noise, dangerous broken glass and unnerving alarms. Small, trivial occurences (for example, a meandering golffish), consistently engender violent and clamorous consequences. The unpredictable connection between a (seemingly) trivial cause and the explosive effect is utterly fascinating, from a philosophical as well as a political point of view.
“Searching for urban impulses by which I could connect up with my monumental art work in Bozar, I came across five glass-recycling containers at points within the pentagonal inner ringroad around Brussels. They struck me by their formal nature, their banality and everydayness. Using cameras and sensors attached to these containers, there came into play an original interaction between the outside world, the city, the everyday life of a multicultural society that characterizes our capital city, and an art work set up in an art temple”.
The installation in the Palace for Fine Arts consists of four large, high racks, upon which sit thousands of bottles and jars. When someone throws his glass in the neighbourhood recycling container, glass also drops in Bozar. By this, an ongoing interaction is created between the city and its inhabitants. The noise of shattering glass echoes through the halls of the Museum, and so mirrors the hustle and bustle of life in Brussels.
The installation GlassWorks II at Arco is developed from this work.
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