MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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e situated on the borderline between the two. After her studies in film directing De Clercq made a few attempts at experimental films, after which she has been focusing on the moving image, making installations which appear to be mere environments. One of her best works is Echo, an installation in which she copied the space of Dhondt-Dhaenens Museum (Deurle) on a 1:1 scale. The title of the work refers not only to the repeating image in space, but also to the importance of sound for attaining perfect immersion. Together with Heidi Voet and Anton Aeki, De Clercq engaged in Hereisthere, an online collaboration in which not only the artists but also different places on a world map merge into one entity. _ I M E D I A _ Projects involving the internet, such as those of Jodi, Harvey & Samyn or Hereisthere give art a personal touch, partly caused by the media that are used and the way in which they are part of the users’ environment. In 2003 Els Opsomer (1968) created the first of a series of _imovies_: very personal videos dealing with very personal experiences (a trip to Palestine, known to her by the media, a trip to São Paulo known to her by one of her friends, a trip to Senegal known to her by her lover). The name _imovie_ refers to the video software Apple provides with its computers. It is part of the iLife package for iMac to iPod applications. The i refers to the internet era and helps software users to organize their digital environment. Els Opsomer uses the i in a completely different manner; i refers to zooming in, intermediary, imaginary or identity and therefore to the first person I, together with the i of immersion of course. In 2000, Els Opsomer, Herman Asselberghs and Rony Vissers made the computer-driven installation Mondophrenetic. Inspired by the film 2 ou 3 Choses que je sais d’Elle (1967) in which Jean-Luc Godard reflects on his (im) personal bond to the city of Paris, it is a work about urbanism in a globalized world. Opsomer’s images from this installation resurfaced in a.m./p.m., a video by Herman Asselberghs (1962), which was the first in a series of videos in which the artist tries to find a space both for himself and for the viewer in a world - known through the media. He looks at the world through media, where vague concepts start to take shape: the Palestinians, September 11, globalization, hostages and hostage takers, Fort Europe, illegal immigrants, life and death. a.m./p.m. was inspired by a trip to Palestine, Capsular by a trip to Ceuta. This is exactly why the city of Brussels – where Asselberghs lives and works –has a more or less important role in each of his videos: a recognizable image of a globalized world in a.m./p.m.; a place where the world and media meet in Proof of Life; the centre of Europe in Capsular; coda in Futur Antérieur. 1 7
N O E X T E R I O R Asselberghs demonstrates the absence of the exterior in a globalized and mediatized world. He has done this before in collaboration with Johan Grimonprez (1962), an artist who demonstrates the ways in which mass media infiltrate our lives and determine the course of history (Dial H.I.S.T.O.R.Y, 1997; Double Take, 2009). As a frequent lecturer, the influence of Asselberghs is noticeable in the work of a new generation of Belgian artists (or anti film makers, as Asselberghs tends to call them) such as Pieter Geenen (1979) who travels to border regions between Europe and Africa, Greek and Turkish Cyprus or the Republic of Congo and Rwanda by means of sound, video and slide installations such as nocturne, nostalgia or scènes troublées. This absence of the exterior is also widely demonstrated by the Brusselsbased Dutch artist Renzo Martens (1973). In 2009 Martens travelled, in search of himself, to the by war divided Chechen Republic. This resulted in the film Episode 1. The artist explicitly chooses a heavily mediatized war zone, hoping to meet the professional viewers (journalists, politicians, development-aid workers and other analysts) to tell him who he is or how he feels. In Episode 3 or Enjoy Poverty he travels to the Republic of Congo, which has been plagued by war, hunger and exploitation. With this film Martens demonstrated the complete absence of the exterior. There is no exterior for a Western European like himself, who takes the plane to eastern Congo in order to make a film in which he is constantly on screen. Even the Congolese people have no exterior, as in nowhere to go. This definitely applies to the viewer as well, who is constantly being confronted with his own involvement in the situation presented onscreen. There is no exterior. We are always in the middle of it. Complete immersion. Complete media art. F L A N D E R S ? When the notion of the exterior is no longer an option, when everything and everyone is always part of the globalized and mediatized world in which we live, what could Flanders’ role for media art possibly be? In order to find out, we visit Brussels: a shared, if not divided city. Brussels is not only the capital of Flanders, but also that of Belgium and Europe. In this city, in the centre of this nation, which is constantly moving, this old world that forces itself to collaborate, we discover a unique biotope of organizations involved in media art. In the shadow of the 20th century archaic institutions is a completely new kind of 21st century hybrid organizations located. Organic and anti-institutional. 1 8
Page 1 and 2: M E D I A D I G I TA L I N A N D F
Page 3 and 4: C O N T E N T S 0 5 A Guide Through
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Page 9 and 10: M E D I A A R T I N F L A N D E R S
Page 11 and 12: T O W A R D C R O S S - D I S C I P
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Page 15 and 16: “I am a media artist. Mass media
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Page 21 and 22: combines video and film with public
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C I M AT I C S A ACB Factory Rue Ba
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Jeugdtheater, KHLIM Media & Design
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C O N T O U R A Sint- Romboutskerkh
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D E W E R K TA N K A Hoogstraat 33
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F O A M A Koolmijnenkaai 30/34, 1 0
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I M A L A Koolmijnenkaai 30 1 080 B
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L O G O S F O U N D AT I O N A Offi
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N A D I N E A (Plateau): Herdersstr
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O K N O A Koolmijnenkaai 30/34, 1 0
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Q - O 2 A Koolmijnenkaai 30 -34, 1
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S T U K A Naamsestraat 96 3000 Leuv
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T R A N S D I G I TA L E info@trans
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Z 3 3 A Zuivelmarkt 33 3 500 Hassel
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MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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