secondEvery step of the work of art produces a dazzling effect: Héctor Zamora’s walk-in sculpture “Strangler” brings visitors to this year’s Bruges Triennale up to 30 Meters of open space. The lattice cube is like a bright red scaffold made of steel, nestled on the branch of a black pine tree in the urban green belt. On the lower level of the building, you can still comfortably be embraced by the tree. But the stairs extend from above the crown to the last platform-with surprisingly low railings-with a bird’s eye view of the historic old town. For those who like fear, the motto of the open-air sculpture exhibition has turned into emotion.
“TraumA” with the suffix capitalized, Bruges third edition Triennial For contemporary sculptures in public spaces, I would like to invite you to take a walk in the city on the border of “dreams and nightmares, heaven and hell”. Thirteen artists intervened in churches, squares and canals. They carefully scratched away the outer wall of the picture book of this world heritage city, and the tourists gradually returned in this second Corona summer-wearing masks and heavily guarded.
Till-Holger Borchert, the curator of the Bruges City Museum, is also one of the curators of the triennial, and he admits to putting the exhibition into practice during the still unpredictable pandemic. Now, she should send out “signs of life”: contemporary art in Flanders is back on the streets. From an aerosol point of view, this is the safest exhibition venue anyway.
Through the darkness to the light
Self-discovery tours, scenic spots courses and prayer stations: “TraumA” provides artistic enjoyment that is very suitable for tourism without any prior knowledge. The information is provided by short text on the boards of the respective exhibition locations. “Niederwellig” is an ugly German word for these things. In Flemish art education, the attitude of no complaints and no regrets is the procedure.you should not Jeronimos Boss Through the tunnel of near-death experience to understand and “the ascension of the soul”, in order to feel the road to light in the darkness of the “black lightning” labyrinth.
Gregor Schneider was so fascinated by the last thing that he installed his device on church Theological Seminary-The surrounding nave became a dead space. Schneider explored this architectural concept as early as 2001 in the “Totes Haus ur” of the German Pavilion at the Venice Biennale (he won the Golden Lion Award). Even without this knowledge, the zigzag of textiles in black is still an immersive (corona-compatible) isolation experience, which completely exhausts the physical experience. Is that fun, scary, meditation? It depends on temperament.
The Brazilian Henrique Oliveira paved part of the medieval city’s fortifications with fake vegetation made up of leafless branches and rings, which also looks exceptionally beautiful. The so-called nature triumphs over culture is a decorative fake made from recycled materials, like the Oliveira installed in the Palais de Tokyo in Paris. In Bruges, the hallucinations of withered monster tendrils may refer to things that are difficult to hide even behind thick walls-Flemish Catholics may think of cases of abuse in the parish. “Banisteria Caapi (Desnatureza 4)” also evokes an ecological connection with uncontrollable nature and its destruction-and at the same time provides visitors with an excellent theme for selfies.
At the same time, Laura Splendid designed a dangerous bacteria worthy of admiration: even before the new crown virus crisis, the American artist had already dealt with the microbial structure. In the former Pest Hospital, Onze-Lieve-Vrouw ter Potterie Museum, a video installation in the form of a triptych digitally shows the new viral shape, black and white, like spool lace. The references to local craftsmanship are very up-to-date here. Amanda Browder (with eye-catching draped stitching printing) and Nnenna Okore (with alienated tower shell) also refer to the textile industry in the form of huge building packages.
