Press Release
Day and Night Window
Simon Gheeraert, Baptist Gheeraert,
Laura De Jaeger, Luth Lea Roose,
Naama Roth
Day and Night Window
12.06.2020>18.06.2020
Laura De Jaeger, Luth Lea Roose,
Naama Roth
Day and Night Window
12.06.2020>18.06.2020
If you haven’t seen Nanni Moretti’s ‘Caro Diario’ yet, you should. Especially the scene in which Moretti’s preferred way of spending summer in Rome is filmed: to ride a motorbike while admiring the multitude of facades the city has to offer. The voyeuristic joy this brings along must sound somewhat familiar after a period in which walking through a slumbering urban landscape was one of the crucial methods of fighting boredom and staying physically connected to the outside world.
When we fix our gaze on the ‘face’ of buildings, it barely crosses our minds that maybe their facades are their way of looking at us. In the same way as with faces, we tend to take great care of facades as they are both on the border between inside and outside, thereby sharing a high degree of public visibility. Following this anthropomorphic logic, windows operate as the eyes of a house. Just like eyes, they have great seductive qualities and are able to reveal a layered interior without the use of words. If windows are their eyes, the blinds are their eyelids that are shut at night to seal off the interior from the many menaces darkness brings forth.
For the exhibition we decided to leave the blinds up and lights on 24/7, in that way creating an artistic space with hyperactive qualities, both a night owl and an early bird. The rules were clear: three walls, one window, a corona-induced closed door and only two viewpoints: one through a physical window and one online.
All artists where chosen because their works are visual reflections that each in their own particular way give a face to matters dealing with facade, windows and multilayeredness: fashion as a bodily facade, the merging of inside and outside in windows, the play between mental imagery and materiality in perception, the use of a digital screen that gives a face to deconstructed images and light as an instrument to make an image oscillate between flatness and depth.
When we fix our gaze on the ‘face’ of buildings, it barely crosses our minds that maybe their facades are their way of looking at us. In the same way as with faces, we tend to take great care of facades as they are both on the border between inside and outside, thereby sharing a high degree of public visibility. Following this anthropomorphic logic, windows operate as the eyes of a house. Just like eyes, they have great seductive qualities and are able to reveal a layered interior without the use of words. If windows are their eyes, the blinds are their eyelids that are shut at night to seal off the interior from the many menaces darkness brings forth.
For the exhibition we decided to leave the blinds up and lights on 24/7, in that way creating an artistic space with hyperactive qualities, both a night owl and an early bird. The rules were clear: three walls, one window, a corona-induced closed door and only two viewpoints: one through a physical window and one online.
All artists where chosen because their works are visual reflections that each in their own particular way give a face to matters dealing with facade, windows and multilayeredness: fashion as a bodily facade, the merging of inside and outside in windows, the play between mental imagery and materiality in perception, the use of a digital screen that gives a face to deconstructed images and light as an instrument to make an image oscillate between flatness and depth.