About Frans van Lent

Posts by Frans van Lent:

Pepe Romero: Cartografie Doméstica, Permeabilidad 4

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But it was three months ago that I started an intense dialogue with the second material: the painting of one of the walls that was collapsing due to moisture and beginning to crumble. Some small fragments fell to the ground.
Cleaned up the debris right away and noticed larger blocks of paint coming off the sandy concrete showing cracks from which required action and speed.
I patiently stripped bits of paint off and gently rearranged them on a damp surface of scalyola bandage. I was moving them and experiencing the joy of that new arrangement and that new bracket.
And so I made new wall fragments, this time, more crazy, cheerful and invigorating. I could feel that from his interstitions I heard the words of a text that, at times, I could understand.

peperomeroescultor.wixsite.com

Absent Birds

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Today I received an email from Sarah:

Dear friends,I spent some time in Spring and early Summer bird watching at dusk as a part of a study to account for a rare bird. I didn’t see or hear the bird, which has a distinctive call. It made me think about recording something that is absent, or recording absence. I reached out to other bird watchers around the world who were listening at the same time as I, and here attached is a recording made in Missouri of the same, absent bird.(Thanks to Valerie Heemstra for the recording)Sarah

 

SarahBoulton.co.uk

Thomas Meijerman: One-Time View

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       Black envelop with printed instructions.

One-Time View is about the perception of a work.
After opening the envelope, the contents will begin to disintegrate until nothing remains.
Opening the envelope is a private, non-repeatable experience.

An optimal experience is created by strictly following the instructions.

Thomas Meijerman

Equinox – Same but Different

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Het Hof, Dordrecht
Sunday March 26 2023
13:00 – 14:00

Equinox – same but different is an international event for public action for freedom for all people. Every year on the Equinox (around 20 March and 21 September), the duration of day and night is roughly equal around the world. In the spirit of cosmic equality, the event is a global connection for people performing together in public space.
This sharing of time and space brings us closer together, as a temporary (global) community to encourage, through performance art, non-violent expressions for locally specific conditions.
Equinox – same but different  takes place at the Hof in Dordrecht.
Everyone is welcome to participate with openness and in solidarity, embracing and embodying diversity while acknowledging each other’s individual circumstances, difficulties and conflicts.

There will be no programme of consecutive performances but everything takes place simultaneously, collaborations can arise spontaneously.
Participants: ieke Trinks, Peter Baren, Ienke Kastelein, Yvette Teeuwen, Lotte Werkema, Kirsten Heshusius, Kamila Wolszczak, Geerten Ten Bosch, Yvo van der Vat, Kathrin Wolkowicz, Gerwin Luijendijk, Anne Kolbe, Topp & Dubio, Ellen Rodenberg, Maarten Schepers, Jolanda Jansen, Liesje van den Berk, Marita Bullmann, Martine Viale, Philemon Mukarno, Nico Parlevliet and Frans van Lent.

Organized in cooperation with equinox2equinox.org

Esther Hoogendijk: Deken – Graswerk 3 (2022)

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“Thick heavy layers of grass lie like a blanket over the memories of the earth.
The ground, full of memories waiting patiently to be awakened.
I cover the grass, like you cover a child after a nice day.
All the memories of the day under a warm blanket, so they are never forgotten.
A blanket, to go to sleep safely under, to be awakened later.

By covering the grass I give all the vegetation present the chance to wake up again.
When moving the metal triangles the grasses make room for the other vegetation present.
This way I offer a chance for the memories hidden in the ground, to grow.
Taking care of the earth, precisely by covering it,
closing it off for a moment and then waking it up again in its full glory”.
Esther Hoogendijk

The artist placed five metal triangles on the field in front of the main house. These cover parts of the grass.
In the coming period these triangles will be moved three times, making a drawing in the grass.
As the metal triangles are moved, the grasses make way for the other vegetation present.
In this way the artist offers an opportunity to the memories hidden in the ground to grow.

Buitenplaats Doornburgh
Diependaalsedijk 17
3601 GH  Maarssen
Netherlands

estherhoogendijk.nl

Fred Vos

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For many years Fred Vos has been recording his existence through daily self-portraits and photographs of walks with his dog.
Always presenting in series of three, he captures the passage of time and the changes of his surroundings.
He considers the title (AD/year/month/day/time/place) an emphatic part of the work.

Fred Vos on Facebook

 

Fontein Maashaven 2022

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Behind the dike in a corner of the water, next to the tawdry Rotterdam-South Maashaven subway station,
Jeroen Jongeleen discovered a drain that occasionally makes water bubble or squirt out.
He decided to appropriate this drain as a work of art and gave it the name ‘Fountain’.
An incongruous and unpredictable fountain, it attempts to be a response to the bloated urban renewal plans,
which are being implemented and planned around Rotterdam-South,
a process in which art is supposed to be a tool.
The fountain rarely works, so there is not much point in traveling especially for it.
For the art tourist, this work will prove to be a disappointment. At best, it will be discovered by accident by a local resident walking past it.
The fountain is a work of art that refuses to go along with the city marketing, in which art is eagerly used as hip and ‘street art’,
but which is usually no more than a presentation of the process of gentrification.
It is an ode to the frayed edges and crumpled zones, to the city that does not try to pretend to be better than it is.

As a stepping stone to the work, a tile has been placed on the quay with the title of the work on it.

www.jeroenjongeleen.nl

MishMash: Over&over

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Number 1

          
Numbers 28, 96, and 275

There was plenty of time in the past year to think about the time.
How, layer after layer it turns shock into a routine, how you push it through yourself with difficulty, and how it softens sharp corners,
how every thing around counts the time from one point to another.

Since January 1, 2021, every day, I re-pack a wooden figure of number 1, building up the layers.
At the end of the year, there will be one piece, but 365 sculptures hidden inside it.

See the complete collection on Instagram:or on Facebook

mishmash.ru

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