Here you can already discover 9 of the 19 art works of Beaufort 2018.
Wondering what the other works look like? We will announce them on March 26!
Jos de Gruyter en Harald Thys – De Panne
De Drie Wijsneuzen van De Panne, 2018
sculptuur in glasvezelversterkt composiet materiaal 1500 x 300 x 300 cm
With their monolithic posture and stark gaze, the Drie Wijsneuzen (‘Three Wise Noses’) of De Panne tower over the coastline. They are part of a tradition of heroic-realistic monuments such as the Statue of Liberty in New York, the Cristo Redentor in Rio de Janeiro or the Colossus of Rhodes. These are statues that served originally as beacons or signposts and have now become tourist attractions in their own right. The ‘wise ones’ gaze over each other’s heads toward England, France and Belgium respectively. Their enigmatic knowledge extends presumably in the direction of those three regions, but reaches much further still.
Ryan Gander – Koksijde
Really Shiny Things That Don’t Really Mean Anything, 2018
stainless steel, 220 cm diameter
Ryan Gander's sculpture consists of a large ball composed of a multitude of shiny objects whose functions are unrecognizable. The artist doesn't give a fixed explanation regarding what the sculpture means, and realizes that a wide range of meanings will be created by the viewers. He welcomes these interpretations, which are ever-changing depending on context and audience, and sees them as a contribution to the work. According to Gander, it is part of the human condition to like shiny things, as people get mesmerized by their own reflection.
Nina Beier – Nieuwpoort
found bronze statues 500 x 200 x 250 cm
Nina Beier’s work ‘Men’ takes from the sculptural tradition of public equestrian. Beier zooms in on the ebb and flow of power through the element of the horse as elevating display structure for different male characters. The artist collected several found sculptures and put them into formation at the edge of the sea. This allusion to an army absurdly draws lines across time and place, as the statues are being engulfed and uncovered in the tide.
Simon Dybbroe Møller – Middelkerke
The Navigator Monument, 2018
bronze 500 x 1000 x 60 cm
Since the dawn of the Internet our browsers have been anchored in the mythologies of early globalization and have taken names such as ‘Navigator’, ‘Explorer’ or later, ‘Safari’. This work is based on the logo of the discontinued search engine ‘Netscape Navigator’, which lost its web dominance to Microsoft Explorer in the late nineties. The sculpture is positioned against the backdrop of the natural spectacle of the North Sea, but out of sight a mesh of submarine communication cables, the physical make-up of the Internet, run along the seabed. How fitting that Westende, a municipality developed by the family of Paul Otlet, a prescient of the Internet, hosts this manifestation of an influential but short-lived Internet software application.
Stief DeSmet – Oostende
Monument for a Wullok, 2018
sculpture in bronze 460 x 250 x 250 cm
Every whelk (pronounced in West Flanders as ‘wullok’ rather than ‘wulk’) is fashioned with the secret logic of the sea: every part of the shell is in perfect proportion to every other part. Stief DeSmet tried to reproduce a whelk in line with its natural form. Knowing that he would fail in the endeavour, he made Monument for a Wullok a monument to the power of the sea and the secrets that it refuses to reveal. He allowed the salty sea air to conquer the bronze, which the artist forced, with visible seams and traces of the founding, to be modest in the face of a nature that will always be a superior ‘creator’.
Katja Novitskova – Bredene
- Pattern of Activation (Mutation), 2018
digital print on aluminum, cut out display; steel and aluminum armature
For the work Pattern of Activation (Mutation) that you can find on the beach of Bredene, Katja Novitskova has researched changes in the ecology of the Belgian coast due to climate change and the construction of pipelines and windfarms, noticeable through the washing up of unusual animal bodies. If this change is slow to observe, she introduces a species manipulated to its utmost form, namely the C. Elegans worm. The worms are used in medical and biotechnological research. Since decades, the genes of the worm have been mutated so their test results are more readable, the very composition of the species needing to adapt along with technology. The work shows the eggs of this worm, blown up to grotesque size, like an egg nest of a futuristic mutant species or a small Stonehenge.
- Earth Potential (E. Coli), 2017
Earth Potential (Lizard, Earth), 2017
Earth Potential (C.Elegans, Saturn’s Moon Titan), 2017
digital print on aluminum, cut out display; steel and aluminum armature
Katja Novitskova focuses on how the size and type of an image and the way the image reaches us, influences our interpretation. The Earth Potential sculptures feature online-sourced images created through advanced imaging techniques like a microscope or a satellite orbiting the Earth. She combines images of Earth, distant moon, and enlarged, seemingly alien but actually terrestrial, organisms like E.coli bacteria, the roundworm C. Elegans and a gecko, reflecting on dichotomies between reality and fiction that arise from visual media. Through scientific and poetic lenses, Novitskova reflects on the ways in which Earth’s creatures have a potential to look at each other and identify mutual bonds.
Xu Zhen (produced by MadeIn Company) – De Haan
Eternity - Poseidon, 2017
sculpture in bronze on granite pedestal 230 x 220 x 70 cm, plinth 60 x 130 x 70 cm
This statue is based on the Artemisian Bronze, a Greek statue from 400 BC that represents either Poseidon or Zeus. Xu Zhen copied the sculpture and put pieces of Beijing Duck, a Chinese national symbol, on its arms,thus mixing elements that are at the root of Western and Eastern culture. He acknowledges that in real life there is a reluctance towards cultural exchange, but criticizes a fixed understanding of our own culture that is based on mythology. The fact that the statue might be either Poseidon or Zeus is just one example that shows that historical interpretations are not as fixed as we wish to believe.
Rotor – Zeebrugge
Who’s Eating the Chinese Mitten Crab, 2018
This project is part of a collaboration with the Bruges Triennial. In Bruges, Rotor presents its research into the Chinese mitten crab, while on the beach in Zeebrugge, dishes based on this exotic crab species can be tasted each month. Larvae of the Chinese mitten crab came from China to Hamburg in the early twentieth century in the ballast water of freight ships. Today, this freshwater crab has spread and poses a threat to local biodiversity. Rotor developed a project that does not demonise the crab but looks for ways in which we can live with it. The possibility of eating the crab, which is a delicacy in China, is being given serious thought and critical appraisal.
Jean-François Fourtou – Knokke-Heist
Beach Castle, 2018
sculpture from steel, painted wood cabins 1200 x 800 x 600 cm
At the entry point of the city of Knokke-Heist, Jean-François Fourtou constructed a tower of beach cabins. The tower looks as if a storm has lifted the cabins up in the air and has thrown them around, after which they got stuck together in a formation by coincidence. Given his fascination for architecture, it is logical that Fourtou chose to work with beach cabins, the most typical architectural structure along the Belgian coast, which has a differently regulated size and shape in each coastal municipality. The sculpture gets the allure of a totem that embodies the whole coast.
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