RESEARCH
PhD, 2023-7, Royal Academy of Fine Arts Antwerp & University Antwerp
https://www.ap-arts.be/index.php/en/research/perpetual-becoming-sculpture-and-history-and-their-moments-convergence
Members of the PhD commission
chairperson dr. Nele Wynants
External member Anna Luyten
Supervisors prof. dr. Herman Van Goethem (UA), dr. Hans Theys (KASK Antwerp)
Keywords, questions
- the sensory qualities of sculpture
- witnessing from the arts
- embodied thinking
Can a work of art have a testimonial character regarding political events?
When does one acquire authority to reflect upon life changing events?
How autonomous can an artist or his, her, their work be?
I address these questions
- as a sculptor from within my artistic practice. This results in sculptures, performances, exhibitions
- as a historian who wants to revisit the oeuvres of other artists. This results in curating exhibitions, conferences, the writing of a book
Research components
My practice as a sculptor
The materials I have worked with until now are stone, copper, lead, water, steel, turmeric (kurkuma), soil, plants, fabric, bronze, paper, red-fired clay, wood worked with wax & turmeric, brass, liquid casting clay, …
When I talk about my work I use the words thinking through form or embodied thinking, because of the sensory engagement that can be triggered, together with the bodily and spatial awareness. Both influence the viewer’s perspective
Joseph Beuys
I will highlight and complement the current Beuys reception by revisiting a selection of his works and by questioning them from my previous research as a historian (WWII, transitional justice) and my current focus as a sculptor.
What did Beuys say and write about specific works, how does it fit into the genesis of his entire oeuvre?
Did and how did Beuys account for his war past in his oeuvre; how do others speak about his legacy in this respect?
I combine my knowledge of historiography on WWII and transitional justice. This helps me locate contemporary opinions and research on how to deal with large scale violence. At the same time, I find that literature is not always in touch with how decisions are made in an artistic practice. In this project I can bring both together.
Testimonial contemporary artists
Who has legitimacy to speak about which topics?
What conditions must be met to not be censored and enable public reflection?
How can antagonism be transcended?
International conference
I will invite specialists from multiple – including non-artistic – disciplines to discuss this topic (historians, politicians, museal institutions, heritage stakeholders, …)
How does the testimonial of a violent national past happen in other artistic oeuvres and public institutions?
How can these testimonials be placed in the way societies process a violent past since the second half of the twentieth century?
Book
Compile insights and new questions in publication of a new book.