MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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C A R G O / S T E F A A N D E C O S T E R E º 1 9 5 5 , K O R T R I J K E cargoweb@ pandora.be W cargoweb.org Installatie-arena WARUM 2.0 Tetris wall, contribution by students architecture of TU Delft For a long time Stefaan Decostere was a director and a producer for the Arts Department of the Flemish Belgian Television. Extremely critical towards the codes that uphold mainstream television programming, his work for television helped Decostere to develop his ideas about media analysis, structural experimentation and videographic creation. His documentaries display a search for a radically new visual language, approaching themes and subjects from several perspectives and challenging the viewer to take an active stance. After leaving television in 1998, Decostere has been working as a publisher for art reviews and as a curator. He is a coach designer for internet sites and has been the initiator of a workshops series about experimental media. Together with Margit Tamás he founded CARGO in 1998. One of his latest productions, the installation arena WARUM 2.0., which he developed together with a team of technical artists and with architect Paul Virilio and cameraman Daniel Demoustier, was premiered in February 2008 during the Artefact Festival in Leuven. It was restaged in 2009 at the media center V2_ during the Rotterdam Film Festival. In 2010 he developed RealTime, an city project for Oostende Flemish Cultural City. Decostere is a teacher/mentor at the Amsterdam Film Academy since 2009. 3 7 Warum Wir Männer Die Technik So Lieben A programme on technology, war and perception, by Stefaan Decostere with Paul Virilio, Jack Goldstein and Klaus Vom Bruch produced by BRTN (now VRT), 1985
W I M C AT R Y S S E º 1 9 7 3 , L E U V E N A Montignystraat 29 2 018 Antwerp E wim.catrysse@ skynet.be Inspired by the physical impact of film aesthetics, Wim Catrysse is strongly drawn towards cinematography. In his films Catrysse investigates the way the body relates to its environment. In his video installations, he examines image configurations, seeking to translate them into cinematographic structures. For this he draws upon architectural and topographical structures. The works take their departure in simple deeds or actions in self-build or altered small-scale environments. Catrysse involves us in the intimate making-off of the staging of the scene. Besides the actors and the spectators, the camera should be considered as a third participant to the event. It is involved in the scene in a constructive manner. ‘By this means our understanding of both the mechanism and the resulting image-pattern is made part of a synoptic apprehension of something approaching a ‘totality’.’ (Jon Thompson). DUSK<strong>IN</strong>G (2009) 3-channel video-installation, colour, non-spoken, 8’15” 3 8
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Page 15 and 16: “I am a media artist. Mass media
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S T U K A Naamsestraat 96 3000 Leuv
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MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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