Kelly Schacht: It seems economical to make use of a character already in play.
26 Apr - 16 Jun 2013
KIOSK presents an exhibition that combines work by Swedish artist Annika Eriksson and Belgian artist Kelly Schacht.
Kelly Schacht responds to the exhibition space and Annika Eriksson’s work. For the duration of her show It seems economical to make use of a character already in play the empty rooms will be activated by temporary interventions or ‘characters’ whose performative presence will resound in the human absence emphasized by Eriksson. This approach is based in the uncertain and in coincidence: an openness that is prerequisite for Schacht’s ongoing research into the perception and practice of exhibiting and the dynamic space in which it takes place. By way of theatrical constructions, Schacht stages a fragmented dialogue between space and matter, illusion and reality.
In It seems economical to make use of a character already in play this approach results in a scenario, tailored to the exhibition space, that will unfold over the course of the seven weeks of the exhibition. Like a postscript, this minimal scenography will address what is hidden and appeal to the visitors’ imagination.
Both artists – each grounded in their respective generations – work with the same kind of ideas in presentations that rely on the staged and the imaginary, and on the factors of time, language, the viewer and social interaction. With their cinematographic constructions and minimal interventions they introduce the audience into a fragmented narrative dimension. Where Eriksson mainly directs the exhibition space through the use of film, Schacht manipulates it with the aid of objects and people. Both narrative styles make use of the reversal of time and language, giving their scenarios an aura both of recognition and of the indefinable, like blind spots or ambiguous vacuums in space and time
Kelly Schacht received the 2011 Young Belgian Painters Award and has showed her work at the Gwangju Biennial (2012); De Vleeshal, Middelburg (2011); Hoet Bekaert Gallery, Ghent; Cultuurcentrum Strombeek, Grimbergen; Coupe de ville, Sint-Niklaas (2010); Netwerk – Centre for Contemporary Art (2008); and in Coming People in S.M.A.K, Ghent (2006), among others. She is represented by Meessen De Clercq, Brussels.
Kelly Schacht responds to the exhibition space and Annika Eriksson’s work. For the duration of her show It seems economical to make use of a character already in play the empty rooms will be activated by temporary interventions or ‘characters’ whose performative presence will resound in the human absence emphasized by Eriksson. This approach is based in the uncertain and in coincidence: an openness that is prerequisite for Schacht’s ongoing research into the perception and practice of exhibiting and the dynamic space in which it takes place. By way of theatrical constructions, Schacht stages a fragmented dialogue between space and matter, illusion and reality.
In It seems economical to make use of a character already in play this approach results in a scenario, tailored to the exhibition space, that will unfold over the course of the seven weeks of the exhibition. Like a postscript, this minimal scenography will address what is hidden and appeal to the visitors’ imagination.
Both artists – each grounded in their respective generations – work with the same kind of ideas in presentations that rely on the staged and the imaginary, and on the factors of time, language, the viewer and social interaction. With their cinematographic constructions and minimal interventions they introduce the audience into a fragmented narrative dimension. Where Eriksson mainly directs the exhibition space through the use of film, Schacht manipulates it with the aid of objects and people. Both narrative styles make use of the reversal of time and language, giving their scenarios an aura both of recognition and of the indefinable, like blind spots or ambiguous vacuums in space and time
Kelly Schacht received the 2011 Young Belgian Painters Award and has showed her work at the Gwangju Biennial (2012); De Vleeshal, Middelburg (2011); Hoet Bekaert Gallery, Ghent; Cultuurcentrum Strombeek, Grimbergen; Coupe de ville, Sint-Niklaas (2010); Netwerk – Centre for Contemporary Art (2008); and in Coming People in S.M.A.K, Ghent (2006), among others. She is represented by Meessen De Clercq, Brussels.