Kristien Daem
‘Case Study #2 : Robert Smithson , 400 Seattle Horizons (Destroyed) , Instamatic Snapshots , 1969 , glued on wall .’
Curated by Komplot
14 January 2017 until 4 February 2017
Komplot
Chaussée de Forest, 90, Vorstse Steenweg, 1060 Brussels
Installation
View Case Study #2: Robert Smithson, 400 Seattle Horizons (Destroyed),
Instamatic Snapshots, 1969
View Case Study #2: Robert Smithson, 400 Seattle Horizons (Destroyed),
Instamatic Snapshots, 1969
Kristien
Daem, 400 Square Snapshots of Brussels Horizons
Daem, 400 Square Snapshots of Brussels Horizons
from the series ‘400 Square Snapshots of Brussels Horizons’
Case Study #2 : Robert Smithson , 400 Seattle
Horizons (Destroyed) , Instamatic Snapshots , 1969 , glued on wall is an
interpretation by Kristien Daem of a destroyed piece made by Robert Smithson.
It is the second part in the series of re-interpretations of disappeared pieces
from the conceptual sixties. The artist’s approach is both subjective and
historical. Subjective, in regard to the new images she makes from the
instructions. Historical, as she gathers traces of the work and interrogates
the witnesses and actors of the time about the memory of the actual original
piece and presentation. Together, these two opposite angles create the new
piece, an exploration of the historical momentum actualizing the landscape
from the time, with precision and freedom simultaneously; embracing the
fascination, which was entertained by the mystic of non
objective concept art. She lightly embraces this impossibility of our
contemporary culture, to recreate another entropic landscape in
movement from peripheral horizons ; the impossible purity of
the unreachable horizon, that is now filled with objects, trash,
layers of abandonment, dystopia and romanticism.
Horizons (Destroyed) , Instamatic Snapshots , 1969 , glued on wall is an
interpretation by Kristien Daem of a destroyed piece made by Robert Smithson.
It is the second part in the series of re-interpretations of disappeared pieces
from the conceptual sixties. The artist’s approach is both subjective and
historical. Subjective, in regard to the new images she makes from the
instructions. Historical, as she gathers traces of the work and interrogates
the witnesses and actors of the time about the memory of the actual original
piece and presentation. Together, these two opposite angles create the new
piece, an exploration of the historical momentum actualizing the landscape
from the time, with precision and freedom simultaneously; embracing the
fascination, which was entertained by the mystic of non
objective concept art. She lightly embraces this impossibility of our
contemporary culture, to recreate another entropic landscape in
movement from peripheral horizons ; the impossible purity of
the unreachable horizon, that is now filled with objects, trash,
layers of abandonment, dystopia and romanticism.