COMING UP – NEXT EXHIBITIONS:

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1 December 2019 – 15 december 2019

‘De tentoonstelling is niet wat we ervan verwachten, maar het is wel een kantelpunt in onze carrière‘ De Wasserij – Lokeren, Thomas Vandenberghe, Jo Michiels, sabine oosterlynck. Performance op 1 december om 14u.

21 december – 4 januari 2020 WORKS OF ART group expo Kasteelstraat 1 Watou

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02.06.19 Petrified Future – permanent kunstwerk – ter hoogte van Terneuzenlaan 12_15 Muide GENT

Een nieuw, permanent kunstwerk in de openbare ruimte op een steenworp van Experimental Intermedia. Vervlecht sabine oosterlynck het persoonlijke met het publieke, het voortdurende met het tijdelijke: Petrified Future. Petrified Future (versteende toekomst) kadert binnen haar 20-jarig kunstenaarschap en staat toe om haar gelaagde oeuvre via een nieuw werk te ontdekken en te verkennen, in relatie tot haar verleden en haar perspectieven. Het weerspiegelt een traject dat wordt getekend door vragen over identiteit, positie en verbondenheid en dat performances en acties, installaties, video’s, objecten en artistieke samenwerkingen omvat.

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ICONOCLASH #01 – 07.04 – 05.05.2019 Pavilion Contemporary Art Kasteelstraat 1 – WATOU

foto: Hilde Vandaele , performance 07.04.19

29.03 _ 09.06.2019  EI, STEEN, HUIS

performance EI, STEEN HUIS, PERFORMANCE 29.03.19 met ieke trinks en sabine oosterlynck Sassekaai GENT

   so sabine oosterlynck makes multidisciplinary art : instagram #so.oosterlynck

  • from performance art to video
  • from collages to objects
  • from small objects to big installations
  • from an idea to a concept
  • from visual poetry to art concret
  • from explicit to intimate & fragile
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large scale projects:

2017: installation on water – Braine le Comte copie-coupé cousu

2017-2018: installation on walls : collage gratuit

+ hanging installation blanco pendant –  NEST Ghent

2017: installation on water, floating identities OUDE DOKKEN – Ghent

+ fountain Zuidpark Ghent waterLijnen

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A multitude of white labels climbs the blue tiled walls at the fifth floor of a former library. Together, the labels form amorphous shapes, indeterminate compositions. The lines sprawl, meet other ends or grope in the rarefied. They are like drawings, searching for someone who recognizes what they may represent, without really striving for this recognisability – like clouds. The labels are, one by one, manually mounted on the walls. The act transforms time. 

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In another place, the labels carry a date. They are affixed to the leaves of trees – or to the branches of those same trees which, in autumn, lost their leaves. They guide the eye again and again to the same moment at a different place.

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In yet another place, labels are strung together, creating long cords. They float on the surfaces of ponds and fountains. The play of lines affected by the movement of the water.

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Small infiltrators, tags: labels – again carrying a date – are discreetly mounted near artworks in museums, in a gallery, in the margins of visibility. The labelling itself is an unnoticed act, covertly.

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Labels hiding a face, sometimes even a whole body; the labeller indicates a rhythm. Labels, partially detached from the big, white surfaces out of which they were punched. Labels in unexpected materials, personal, cherished.  

text by jonas lescrauwaet

publications: 

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