Unfolding Worlds: Part 2
Dear visitor,
It is not really the custom to address the visitor directly in the accompanying text of an exhibition. There are many ways to familiarise the viewer with the art on view in a venue text, but generally, a neutral, objectifying style is chosen.
I am sorry to be making an exception to introduce you to the exhibition 鈥楿nfolding Worlds鈥� featuring the landscapes of Jean-Marie Bytebier, Elger Esser and Tinus Vermeersch, but you will understand that my decision to opt for a more personal and subjective tone in writing this text has to do both with the style, which is simply the easiest for me, and with the choice of works that the gallery owners have brought together here.
This personal way of writing allows me to confess my absolute love of these three artists鈥� lyrical landscapes and to focus on a more theoretical and art historical point I would like to make.
It鈥檚 not that I want to overwhelm you with theoretical concepts and arguments based on my authority as a doctored art historian on the representation of the Flemish landscape in contemporary art (see: 鈥榃ay of Flanders鈥� 2013) in order to increase the artistic value of the landscapes shown, nor because I assume that when these works of art are theoretically underpinned you must accept my subjectivity as an objective fact. Rather, I am very curious about your own personal aesthetic experience.
In short, I love the landscapes shown here and ask myself whether you, as a visitor, share that love or not? And why or why not? Let鈥檚 start this imaginary dialogue from a distance and begin with the resident Hopstreet artist Tinus Vermeersch, for whom the 鈥榠maginary landscape鈥� occupies such an important place.
Recommended for you
Dear visitor,
It is not really the custom to address the visitor directly in the accompanying text of an exhibition. There are many ways to familiarise the viewer with the art on view in a venue text, but generally, a neutral, objectifying style is chosen.
I am sorry to be making an exception to introduce you to the exhibition 鈥楿nfolding Worlds鈥� featuring the landscapes of Jean-Marie Bytebier, Elger Esser and Tinus Vermeersch, but you will understand that my decision to opt for a more personal and subjective tone in writing this text has to do both with the style, which is simply the easiest for me, and with the choice of works that the gallery owners have brought together here.
This personal way of writing allows me to confess my absolute love of these three artists鈥� lyrical landscapes and to focus on a more theoretical and art historical point I would like to make.
It鈥檚 not that I want to overwhelm you with theoretical concepts and arguments based on my authority as a doctored art historian on the representation of the Flemish landscape in contemporary art (see: 鈥榃ay of Flanders鈥� 2013) in order to increase the artistic value of the landscapes shown, nor because I assume that when these works of art are theoretically underpinned you must accept my subjectivity as an objective fact. Rather, I am very curious about your own personal aesthetic experience.
In short, I love the landscapes shown here and ask myself whether you, as a visitor, share that love or not? And why or why not? Let鈥檚 start this imaginary dialogue from a distance and begin with the resident Hopstreet artist Tinus Vermeersch, for whom the 鈥榠maginary landscape鈥� occupies such an important place.
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