COMING UP – NEXT EXHIBITIONS:

Review : 21.02.19 – 24.02.19 :
Ter gelegenheid van mijn 20 jaar kunstenaarschap laat ik uit mijn archief enkele sleutelwerken zien. Dus ouder werk.

How to wear an obstacle 1998-99, (foto’s, objecten, textiel)  Die Narben Des Gedächtnisses 2001-2004 (objecten, performances, foto’s, collages), Take-away Kid 2004-2007 (collages, objecten, video), Art & Position 2008 (catalogi), Sounds Like Patty 2011-2013 (catalogi) . Bezoek na afspraak.

24.01 – 24.03.2019 De Witte Muur #28 Gent

take-away performance 2019

Opening 24.01 – 19u

FILM:  24.03 The Lobster (2015) van Yorgos Lanthimos – 17u

Finissage 24.03 – 19u

Sint-Michielshelling 3, 9000 Gent Alle dagen open vanaf 12u

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29.03 _ 09.06.2019

Experimental Intermedia – Sassekaai 45, 9000 Gent (Muidebrug)

Muide (my old neighboorhood)

petrified future

   so sabine oosterlynck makes multidisciplinary art

  • 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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copie-coupé-cousu 2017

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: