Experiences and Sketches

Ann Veronica Janssens
November 1 – December 17, 2008

From back to front:

 

Test pour le Théâtre National, 2002 (left)
Table, neon tube, electrical equipment

Scrub Colour II, 2002 (right)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop

 

Untitled, 1990-2002 (wall, right)
Aluminium, plinth

 

Cocktail Sculpture, 2008 (center, left)

Glass, destilled water, paraffin oil, wooden pedestal

 

Test E-LITE (digiflex), 2000 (center, right)
Table, electric cables, fluorescent light

 

The artist has transformed the gallery into a darkened laboratory. Her installations are test scenarios that can be experienced temporarily, leading the viewer's visual perception into a field of possible sculptures. The artist traces her own artistic production in terms of experience with the material. In this way, she documents her experiments and preliminary studies in approaches to space and light. Some works, in larger form, have already been part of other shows and projects.

 

Photo © Carsten Eisfeld

Back to front:

 

Test pour le Théâtre National, 2002 (left)
Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer.

 

Scrub Colour II, 2002 (center)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop
The work consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.

 

Untitled, 1990-2002 (right, wall)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Cocktail Sculpture, 2008 (floor, center)
Glass, destilled water, paraffin oil, wooden pedestal
A glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Test E-LITE (digiflex), 2000 (front, detail)
Table, electric cables, fluorescent light
The work shows a test strip for fluorescent light on a workbench. The work is arranged as a test scenario. Originally the artists wanted to the flexible fluorescent plastic to create a space which is entirely enlightened by its walls.

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008 (front, center)
Glass, destilled water, paraffin oil, wooden pedestal

A glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Untitled, 1987-2002 (floor, left)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Test pour le Théâtre National, 2002 (right)
Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer. 

 

Claudio, 2009 (wall)

Photography

Claudio is photographed in front of Infinite Spaces (2005), a sculpture by Ann Veronica Janssens, the edges of which he has just finished gluing together. 

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008
Glass, destilled water, paraffin oil, wooden pedestal
In this work a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Scrub Colour II, 2002 (reflection in Cocktail Sculpture)

Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop

The work consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.


Untitled, 1987-2002 (floor, left, partly hidden)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Test pour le Théâtre National, 2002 (right, partly hidden)

Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer. 

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008 (center)
Glass, destilled water, paraffin oil, wooden pedestal
In this work a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Scrub Colour II, 2002 (reflection in Cocktail Sculpture)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop
The work Scrub Colour II consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.

 

Test pour le Théâtre National, 2002 (back, left)
Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer. 

 

Untitled, 1990-2002 (floor, right)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008 (center)

Glass, destilled water, paraffin oil, wooden pedestal
In this work a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Test pour le Théâtre National, 2002 (back, left)
Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer. 

 

Scrub Colour II, 2002 (back, right)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop

The work consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.

 

Untitled, 1987-2002 (floor, right)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008 (front, detail)

Glass, destilled water, paraffin oil, wooden pedestal
In this work a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Scrub Colour II, 2002 (back, left)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop

The work consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.

 

Untitled, 1990-2002 (back, wall)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Cocktail Sculpture, 2008 (front, left, detail)
Glass, destilled water, paraffin oil, wooden pedestal
In this work a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Scrub Colour II, 2002 (center)
Single channel video, DVD, DVD-Player
Duration: 5:30 minutes, loop
The work consists of a frantic succession of thousands of superposed horizontal rectangles of different sizes and colours. The work combines experiments with ocular spectra and experiments with the hypnotic effect of changes in rhythm.

 

Untitled, 1990-2002 (wall, right)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Untitled, 1990-2002 (detail)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Untitled, 1990-2002 (detail)
Aluminium, plinth
Two aluminium pieces are mounted opposite to each other along two walls of the space. Depending on the viewer's position the floor is enlarged by the mirrored effect of the surface. The floor is not plane anymore.

 

Photo © Carsten Eisfeld

Claudio, 2009 (wall)

Photography

Claudio is photographed in front of Infinite Spaces (2005), a sculpture by Ann Veronica Janssens, the edges of which he has just finished gluing together. 

 

Cocktail Sculpture, 2008 (detail; front)
Glass, destilled water, paraffin oil, wooden pedestal

A glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it.

 

Photo © Carsten Eisfeld

Test pour le Théâtre National, 2002
Table, neon tube, electrical equipment
The work is a test model for an artistic intervention in the lighting system of the National Theatre in Brussels. The light flickers every 60 seconds, but hardly to be perceived by the viewer.

 

Photo © Carsten Eisfeld

From front to back:

 

Test pour le Théâtre National, 2002
Table, neon tube, electrical equipment

 

Cocktail Sculpture, 2008
Glass, destilled water, paraffin oil, wooden pedestal

 

Test E-LITE (digiflex), 2000
Table, electric cables, fluorescent light

 

Rouge 106 - Bleu 132, 2003

Semi-transparent surface, vibrating colours

 

Slow Light, 2007 (wall, right)
DVD projection
Duration: 10:50 minutes

Petite danse avec l'etoile (Jupiter), 2008 (wall, back)
DVD loop, 9 seconds

 

The artist has transformed the gallery into a darkened laboratory. Her installations are test scenarios that can be experienced temporarily, leading the viewer's visual perception into a field of possible sculptures. The artist traces her own artistic production in terms of experience with the material. In this way, she documents her experiments and preliminary studies in approaches to space and light. Some works, in larger form, have already been part of other shows and projects.

 

Photo © Carsten Eisfeld

From left to right:

 

Test E-LITE (digiflex), 2000 (left, center)
Table, electric cables, fluorescent light

 

Rouge 106 - Bleu 132, 2003 (back)

Semi-transparent surface, vibrating colours

 

Slow Light, 2007 (wall, right) 
DVD projection
Duration: 10:50 minutes

 

Cocktail Sculpture, 2008 (center, right)
Glass, destilled water, paraffin oil, wooden pedestal

 

Untitled, 1990-2002 (wall, right, partly hidden)
Aluminium, plinth

Test pour le Théâtre National, 2002 (right, detail)
Table, neon tube, electrical equipment

 

The artist has transformed the gallery into a darkened laboratory. Her installations are test scenarios that can be experienced temporarily, leading the viewer's visual perception into a field of possible sculptures. The artist traces her own artistic production in terms of experience with the material. In this way, she documents her experiments and preliminary studies in approaches to space and light. Some works, in larger form, have already been part of other shows and projects.

 

Photo © Carsten Eisfeld

Rouge 106 - Bleu 132, 2003
Semi-transparent surface, vibrating colours

The artist has positioned blue and red light at the upper edge of a semi-transparent, walk-in box. The light flickers at a rapid 7.5 Hertz, a frequency that corresponds with human brain activity, causing the primary colours to create a glaring white that is unstable and barely visible to the human eye.

 

Slow Light, 2007 (right, wall)
DVD projection
Duration: 10:50 minutes
Here the artist works with decelerated illumination of a light bulb and a neon tube, making visible the near-imperceptible light that is the precondition of visual experience.

 

Photo © Carsten Eisfeld

Untitled (Access to Hollywood), 2005 (left)

LCD light, duct tape, power cable

The light is so intense that you can't look at it straight, as the form of the light will create an after-image on the eyes.

 

Espace Infini, 1999 (right)

Metal structure, plaster, wood
The rounded corners within the model blur the borders of the defined space, denying human cognitive perception its usual spatial frame of reference. This preliminary study served to realize the larger-scale version in Brussels.

 

Photo © Carsten Eisfeld

Experiences and Sketches

Ann Veronica Janssens
November 1 – December 17, 2008
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For her third exhibition at Esther Schipper, Ann Veronica Janssens has transformed the gallery into a darkened laboratory. Her installations are test scenarios that can be experienced temporarily, leading the viewer’s visual perception into a field of possible sculptures. In Experiences and Sketches—eleven models from the past ten years—Janssens traces her own artistic production in terms of experience with the material. In this way, she documents her experiments and preliminary studies in approaches to space and light. Here, the models and exhibition fragments are brought together in a laboratory of her oeuvre, documenting Janssens work as a field of potential experiences. Some works, in larger form, have already been part of other shows and projects.

 

For Rouge 106 – Bleu 132, Janssens positions blue and red light at the upper edge of a semi-transparent, walk-in box. The light flickers at a rapid 7.5 Hertz, a frequency that corresponds with human brain activity, causing the primary colours to create a glaring white that is unstable and barely visible to the human eye. Human sensory apparatus turns the technical construction into a natural spectacle. This piece was realized on a large scale in 2003 at the Musée d’Orsay. High-frequency light and direct engagement of individual perceptive faculties as part of the work is a central moment in Janssens’ works. In the projection Slow Light, this is reversed. Here, the artist works with decelerated illumination of a light bulb and a neon tube, making visible the near-imperceptible light that is the precondition of visual experience. In Untitled, a glass cube is filled with a layer of distilled water and a layer of paraffin oil. Here, light becomes perceptible as a material in the sculptural arrangement because the different density of the two liquids refracts and separates it. Test E-LITE (digiflex) shows a test strip for fluorescent light on a workbench. In 2002, SCRUB COLOUR II was projected onto a large indoor surface in cooperation with the gallery in Berlin. Here too, the physical and chemical phenomenon is translated into a series of aesthetic experiences, this time via a sequence of different coloured fields, projected at various intervals and sizes.

 

Another table bears a neon tube and some electrical equipment, a test model for an artistic intervention in the lighting system at the National Theatre in Brussels (Test pour le Théâtre National). Every sixty seconds, the light flickers on briefly and almost imperceptibly.

 

Espace Infini deals with the way we experience space and our surroundings. The rounded corners within the model blur the borders of the defined space, denying human cognitive perception its usual spatial frame of reference. This preliminary study, too, served to realize the larger-scale version in Brussels.

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