Deurle - Museum Dhondt-Dhaenens - Thomas Bogaert | Sophie Kuijken | Christopher Williams
22/03/2011Thomas Bogaert
27 march 2011 - 05 june 2011
In the films of Thomas Bogaert (b. 1967 Dendermonde), images that are not spectacular in themselves become very special viewing experiences. This is achieved through the manipulation of the framing, the tempo, the soundtrack, and above all through the special colour and film qualities of the Super-8 movies. A seemingly banal daily moment is charged by Thomas Bogaert with a cinematic tension and atmosphere. Film stills then in turn become the starting point for "painting-objects". In this way, Thomas Bogaert takes the play with the physical and mental layeredness of the image steadily further.
Image: Thomas Bogaert, On the way to the peak of ecstasy, 2010-2011
Sophie Kuijken
27 march 2011 - 05 june 2011
At first glance, the works of Sophie Kuijken (b. 1965 Bruges) look like meticulously executed realistic portraits. The realistic technique she uses is of a deceptive nature. The people portrayed are in fact not historical figures, or acquaintances of the artist. Nor are the anonymous people one might encounter on the street. The subtle morphological changes make the human figures that populate the works of Sophie Kuijken seem unworldly and strange. Their strange physical appearance and often confrontational icy glance have a strange and even disturbing effect on the viewer. Sophie Kuijken's work confronts us with something elusive that is not part of our reality, but that leads us to another, unknown and mysterious reality.
Christopher Williams
27 march 2011 - 05 june 2011
The work of Christopher Williams (b. 1956 Los Angeles) is fundamentally auto-reflexive: it is photography that deals with the photographic medium. His works are very precise photo registrations, reminiscent of commercial product shots with a neutral background. The images are very difficult to associate with one another, but they are all photographed in the same formal way. The registration is so sharp and detached that it ignores the function of the photographed functional items, but is transformed into a representation of an object that has become alienated from its meaning.
More information: www.museumdd.be
