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Maurice Bogaert: Wide / White

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Maurice Bogaert (1975, NL)
www.mauricebogaert.nl

Wide / White, 2018
Image: sketch of Wide / White, Maurice Bogaert

 

 


NL

Wide / White van de Nederlandse kunstenaar Maurice Bogaert is een ruimtelijke ingreep, een 'kijkmachine'. Een middel om naar de architectuur van de Electriciteitsfabriek te kijken als ware het een landschap. De installatie trekt de grootst mogelijke cirkel in de ruimte. Het doorsnijdt de ruimte en ontsnapt onderweg aan hindernissen, zoals de stalen fabriekskolommen.
In de kunstgeschiedenis was een panorama een manier om een ​​landschap te imiteren of te simuleren. De beleving van een landschap of zogenaamde natuur is niet eenduidig, maar onderhevig aan tijdgeest. Deze installatie is wit, en ontsnapt daarmee aan de romantische illusie van het weergeven van een idee over landschap. De bezoeker begeeft zich als het ware in een ongedefinieerde filmset.

Film en architectuur spelen een grote rol in de werken van Bogaert. 'Filmische architectuur', zoals Bogaert het noemt, is een manier om een fysieke ruimte te benaderen, zoals een camerabeweging of beeldmontage. Soms zijn het extreem grote ‘walkthrough’ installaties en op andere momenten juist oneindig kleine schaalmodellen en maquettes.
Met Wide / White wil Bogaert een filmische ervaring creëren, zonder een film te maken.

Dit is het eerste werk dat Bogaert in de context van programma van Satellietgroep in Nederland maakt. Eerdere artist-in-residencies met Satellietgroep waren in St. Petersburg (NCCA, Rusland, 2015) en Sinop (Sinopale, Turkije, 2012). Beide benaderingen, van cinematografisch tot schaalmodel kwamen daarbij tot expressie.
 

EN

Wide / White by Dutch artist Maurice Bogaert is a spatial intervention, an ‘observation machine’. A way to look at the architecture of the Electriciteitsfabriek as a landscape. The installation draws the largest possible circle in space. Crosses the space and escapes obstacles along the way, such as the steel columns of the factory.
In art history, a panorama was a way to imitate or simulate a landscape. The experience of a landscape or so called nature is not unambiguous, but subject to the spirit of the time.
This installation is white, and thus escapes the romantic illusion of projecting an idea of a landscape. The visitor enters, as it were, into an undefined film set.

Film and architecture play a major role in the works of Bogaert. 'Cinematic architecture', as Bogaert calls it, is a way to approach a physical space, like a camera movement or film montage. Sometimes as extremely large 'walkthrough' installations and at other times with infinitely small models and maquettes. 
With Wide / White, Bogaert aims to create an immersive film experience, without making a film.

This is the first work that Maurice Bogaert develops in the context of a program, curated by Satellietgroep in the Netherlands. During his artist-in-residencies with Satellietgroep in Kronstadt (on Kotlin Island, NCCA St. Petersburg Russia, 2015) and in Sinop (Turkey, Sinopale 2012) both approaches - cimematic and small scale - are expressed.


Showing a Stuffed Polar Bear What We Found Out About The Arctic, 2015
In St. Petersburg, Bogaert wrote the film script Showing a Stuffed Polar Bear What We Found Out About The Arctic.
The stuffed polar bear in the collection of the Arctic & Antarctic Museum of St. Petersburg plays the leading role.
Part of Now Wakes the Sea, international exchange artist-in-residency program of Satellietgroep, icw NCCA St. Petersburg, supported by the Netherlands Institute in St. Petersburg (NIP) and exhibited at the St. Petersburg PRO ARTE Foundation.
Parellel artist-in-residency with Ilya Grishav (RU).





 

‘Artist in Residence/Guest Worker - Konuk Sanatçı/Misafir İşçi' (6’23), Sinop, 2012
Bogaert left home for a place which he wasn’t familiar with. Within the first week, he found his first job. He started to work at Ülgens Model Workshop, helping build model boats for tourists. He bargained well however, and in return, received a promise to help him build a boat. Together they built his own reconstruction of the Ocean Wave, the boat Dutch artist Bas Jan Ader disappeared with in 1975.
Bas Jan Ader became a myth and source of inspiration of future generations of artists, connecting also global arts to the universal stories of coastal communities about lost men at sea.

Part of Now Wakes the Sea, international exchange artist-in-residency program of Satellietgroep, icw and exhibited at Sinopale in Sinop, Arts & Activism at GEMAK The Hague, Seminar at Museon The Hague, exhibited at Siemens Sanat, Istanbul.
Parellel artist-in-residency with Bahanur Nasya and Yilmaz Vurucu (TR).

 








 


'Everything Will Be Beautiful - Her şey Harika Olacak' (1’28 + 2’48), Sinop 2012
Walking and biking through Sinop, one of the things that struck Bogaert were the many construction sites. New roads and buildings are being constructed throughout the city. The sites seem to be preludes of a better, brighter future. But are they?
Everything Will Be Beautiful is a work about the better, brighter, and more beautiful future that is promised to us. Bogaert uses different media, like the digital billboards in the city centre to share the words Everything Will Be Beautiful as a wish, a poem, a mantra. But who is actually talking to us? Is it a poem? Or is it an official announcement? Is it the municipality that wants us to stay tranquil?
Everything will be Beautiful is an artwork that strongly connects to the hopes and aspirations of the Turkish pioneers, who set out in the sixties to look for work and a brighter future in The Netherlands as guest worker. People leave their homes and families every day, often due to geopolitical pressure.  
 






 

Documented in Now Wakes The Sea (publication by Satellietgroep, 2013), design by Jonmar van Vlijmen.

Location of Sinop on the coast of the Black Sea, Turkey

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