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In October and November Galerie Gerhard Hofland shows paintings by Koen Delaere (NL, 1970) and Daniel Schubert (D, 1984). A combination of two abstract painters. It is not the first time that Koen Delaere partners up with another artist when he exhibits his work. Last year he exhibited his work together with the French painter Jean-Baptiste Bernadet in the show Wichiti at Galerie Gerhard Hofland.  More recently, he collaborated with artist Jeroen Doorenweerd in an exhibition curated by Lorenzo Benedetti at De Vleeshal in Middelburg where the exhibition period began with a painting performance in which visitors could wander around and friends and other artists were invited to respond or integrate through lectures, yoga sessions, music performances and workshops. This interactive and energetic aspect of the presentations of Delaere’s works is a reflection of the essence of his paintings. Delaere’s paintings are the result of a physical and energetic interaction with the material: canvas, thick layers of paint, colours and textures. For Delaere painting is not meant to arrive at aesthetic perfection but to involve the viewer into the layered and dynamic work process that was necessary to come to a finalised painting.  The performative character of Delaere’s works can be compared to experiencing a live music performance or to making music in which a meaning evolves while actively listening.
In October and November Galerie Gerhard Hofland shows paintings by Koen Delaere (NL, 1970) and Daniel Schubert (D, 1984). A combination of two abstract painters. It is not the first time that Koen Delaere partners up with another artist when he exhibits his work. Last year he exhibited his work together with the French painter Jean-Baptiste Bernadet in the show Wichiti at Galerie Gerhard Hofland.  More recently, he collaborated with artist Jeroen Doorenweerd in an exhibition curated by Lorenzo Benedetti at De Vleeshal in Middelburg where the exhibition period began with a painting performance in which visitors could wander around and other artists were invited to respond in their own way or integrate through lectures, yoga sessions, music performances and workshops. This interactive and energetic aspect of the presentations of Delaere's works is a reflection of the essence of his paintings. Delaere's paintings are the result of a physical and energetic interaction with the material: canvas, thick layers of paint, colours and textures. For Delaere painting is not meant to arrive at aesthetic perfection but to involve the viewer into the layered and dynamic work process that was necessary to come to a finalised painting. The layers of paint and the gestural way in which it is is applied are the subject matter of Delaere's compelling paintings. The performative character of Delaere's works can be compared to experiencing a live music performance or to making music in which a meaning evolves while actively listening.
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zinging website

 

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scenarios
This painting is a recorder.
1 transitivity: as expressing an action which passes over to an object.I can think of no better term to capture the status of objects within networks, which are defined by their circulation from place to place and their subsequent translation into new contexts than this Notion of passage.
(David joselit , painting besides itself *)
This painting is a photographic object.
2 using aesthetic means to take the physical connection between the starting State (input) and the result of the artistic transformation (output) as a theme, the transformationprocess initiated by the artist becomes the central element of aesthetic knowledge explicitaly taking cause-effect relationships as a theme whereby the process employed remains transparant for the recipiënt.
(Markus Kramer , photographic objects*)
This painting is a score .
3 the idea of free improvisation and abstraction has references and parallels with music. Composer C. Cardew ‘s musical scores and compositions can be regarded as open instructions for a loosely defined performance. (…)paintings can be seen as embodying a similar kind of open-ended potential/at the same time they function quitte basically as a record or documentation of an already performed interpretation .
(Tim Rollins and K.O.S., an index)
This painting is connected to energy.
4 the first audience is the community where we make the things (family,friends,schools,local folk).
The making of the works involves the lifes of others,so there is this connection and energy before the works are displayed elsewhere.
(Tim Rollins and K.O.S., an index)
This painting is a performance document.
5 The performance document is best understood not as a secondary representation of a prior event but as a presentational space-whether that of photography,audio recording, video or the written word-in which performance takes place for the beholder. The crucial relationship is not the one between the document and the performance, but the the one between the document and its audience.
(…)As audience, our imaginative realization of a performance from its documentation is not primarily a process of retrieving information About something that took place in the past, but the activation of a performance in our present, in which we take part.
(Philip auslander, pictures of an exhibition/ the performativity of performance art documentation)
This painting presents itself to us.
6 (…)as the phrase “presents itself to us” suggests, Gadamer conceives this relationship as a dialogen. An object or event presents itself to us in such a way as to evoke our responce: understanding begins when something adresses us.(Hans georg gadamer, truth and method / between zones, on the representation of the performativity and the Notion of movement , migros museum)
This painting is a zinging tangerine.
7 ” the black paintings” are striking for their electric combinations of cool aquas, deep plums, sizzling Puces and zinging tangerines, perhaps inspired by the artists motorcycle crash in southern italy, where they were executed. Nine vertically oriënted large format canvasses evoke the opening to the black world in all iTS dazzling ColorS and emptiness.there is an intangible drama in the apotheosis of non-gestraald action and the artists struggle to land hard aesthetic facts on Each elusive canvas. Red and yellow and green and Brown and Scarlett and black and ochtend and Peach and Ruby and olive and violet and fawn and lilac and gold and chocolate and mauve and Cream and crimson and silver and rosé and azure and lemon and ruset and gray and purple and white and pink and orange- a battery of ColorS and their deployment in stage-like and other performative and theatrical platforms….

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Gilbert Sorrentino, from The Orangery
Variations 2
The pale moon sails out blank.
Green fruit in the trees and
in the green trees oranges.
They are limes they
are oranges. The n is a kind
of fly that lands on
nothing. The birds flash
in morning silver light.
glitter and buzz of
the transparent.
flash of green.
handful of silver coins
caught by the girl the
comedienne. Madame Mystère.

DSCF6426

 2013 , 180x110 cm, oilpaint / acrylics on canvas, collection Centraal Museum Utrecht (NL)

2013 , 180×110 cm, oilpaint / acrylics on canvas, collection Centraal Museum Utrecht (NL)Ice baby
I saw your girlfriend and she was
Eating her fingers, just another meal
But she waits there in the levee wash
Mixin’ cocktails with a plastic tipped cigar
My eyes stick to all the shiny robes
She wears on the protein delta strip
In abandoned house but I will wait there
I’ll be waitin’ forever
Waitin’
Waitin’
Waitin’
Waitin’, go
Minerals, ice deposits daily, drop off
The first shiny robe
I’ve got a lot of freinds, I, I want
Not here, babe, you took ‘em
Every time, I sit around, I find I’m shot
Every time, I sit around, I find I’m shot
Every time, I sit around
Every time, I sit around
Every time, every time
Every time, every time
Every time
You’re my
Summer babe
Summer babe
Summer babe
Summer babe

 

 

 

 

 

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untitled 2013, 50x70 cm , enamel/ acrylics/cyanotype on canvas, collection Centraal Museum Utrecht