Tentoonstelling: drawing on the past. implicit | explicit | complicit

8 maart 2013 (Gehele dag) - 30 maart 2013 (Gehele dag)

D R A W I N G  O N  T H E  P A S T
I M P L I C I T : E X P L I C I T : C O M P L I C I T

Tentoonstelling met unieke wandelroute langs verborgen plekjes in Leuven

Naar aanleiding van haar doctoraatsverdediging ontwikkelde Wendy Morris (LUCA arts - KU Leuven) een tentoonstelling, gekoppeld aan een unieke wandelroute door Leuven.

De beelden zullen opgesteld staan op drie historische locaties: de kapel van het Kadoc, de bibliotheek van het Hollands College en het Anatomisch Theater (voormalig atelier van Constantin Meunier, ter hoogte van de Kruidtuin).

Tussen het Hollands College en Anatomisch Theater werd een wandelroute uitgestippeld via de tuinen van het Justus Lipsiuscollege. Ze biedt de bezoekers een unieke gelegenheid om het idyllische brugje over de Dijle en de tuin van het Justus Lipsiuscollege, die normaal gesloten is, te bezoeken.

De tentoonstelling loopt van 8 t.e.m. 30 maart 2013.

De doctoraatsverdediging van Wendy Morris zal plaatsvinden op 14 maart in de Justus Lipsiuszaal, Blijde Inkomststraat 21 in 3000 Leuven. Aansluitend wordt een drink aangeboden in het Kadoc. Prof. dr. Ortwin de Graef, vicedecaan onderzoek aan de Faculteit Letteren, zal het woord richten tot de genodigden.

Meer info over de promovenda en haar werk vindt u hieronder en op haar blog wendymorris.blogspot.com.

Dit project kwam mede tot stand met de steun van de Commissie Actuele Kunst van de KU Leuven, het Kadoc en de Willame Foundation.



Doctorate in the arts: Wendy Morris
Promotors: Prof. Dr. Hilde Van Gelder (Kunstwetenschappen, KU Leuven) ; Dr. Maarten Vanvolsem (LUCA arts – campus Brussel)

Drawing on the past is a practice-based doctoral project about the desire to find an engaged position from which to ‘speak’ about the past. Central to the project are five short, associative, drawn films made between 2006 and 2012, and fifty-two thought-pieces written and posted weekly to five recipients in 2011. The thought-pieces, or Postings, articulate methodologies and investigate writing as an integral part of this particular artistic practice.

The project is to be defended in March with an exhibition of the three most recent films: Heir to the Evangelical Revival, Orlando’s Book and Perth+6hrs. work. Entitled Implicit: Explicit: Complicit, the exhibition will be held in three historical locations in Leuven: Kadoc chapel, the library of Hollands College, and the Anatomical Theatre. Together with the films there will be drawings out of which the films are created, and the journals kept as a form of research for the films. One such journal is the walking book, ‘Religious walks for an atheist’ that I kept while training for, and then walking, a part of the route to Santiago de Compostela. The exhibition is supported by the Commissie Actuele Kunst of the KU Leuven, Kadoc and the Willame Foundation. It runs from March 7-30.

Heir to the Evangelical Revival (2013) (7min)

A great number of my forebears fled or emigrated to South Africa out of religious convictions. French and Flemish Huguenots in the 17th century, English Protestant missionaries and clergy in the 19th century. Though I am atheist-agnostic-apostate I must trace my South African roots to the religious convictions of my ancestors. I love church spaces and architecture. I am fascinated by the history of religious dissent from the 12th century onwards. I balk at theological arguments, religious dogma, and organised religion. I will take no part in religious services. The film is an attempt to position myself towards the religious-historical baggage that I inherit.

Orlando’s Book (2012) (4min)

Orlando’s Book is a short film about the experience of ‘knowing’ places through having read about them. It is based on an 1860s book of engravings of English landscape that was given to a great-uncle who grew up on mission posts in the southern African interior. As a child growing up in South Africa the books I read were still written, published and illustrated in the UK. Which meant that my earliest literary memories, like Orlando’s a hundred years earlier, were of other places, for we never saw our place illustrated in books. This is why Orlando's book is interesting to me and it is this, the space between those accumulated memories of un-witnessed places and the experienced realities of the places in which we live, that I wanted to explore in this film.


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