The WIELS contemporary art centre hosts from June 7 the Group exhibition "Film as Sculpture" composed by young international artists.

Film as Sculpture: The distances between sculpture and audiovisual
Brussels - JUL 03, 2013
As if we were in a gallery of sculptures, the viewer walks between a series of film cameras, fragments of projection film or video screens, where the most important seems to be the recreation in the physical aesthetics, in volumes, of the film material exposed above the footage.
Film as Sculpture: The distances between sculpture and audiovisual
Installation view of Film as Sculpture (07.06 – 18.08.2013) with Zbynek Baladrán & Jirí Kovanda : The Nervous System (2011) at WIELS, Brussels. Photo : Filip Vanzieleghem.
Colors, transparencies, textures and environments that attempt to bridge the gap between the possibilities of video and cinema and its reproducibility as a means of enjoyment, and the classical and static rictus of sculpture. The shape varies from one artist to another, but ultimately unites them in the intention of presenting the video as a more sculptural aspect and not merely as temporary or production, highlighting the more aesthetic volumetric values of the objects and giving new meaning to art film without forgetting its original significance. This is the common bond shared by the artists in this exhibition.
Film as Sculpture: The distances between sculpture and audiovisual
Installation view of Film as Sculpture (07.06 – 18.08.2013) with Ulla von Brandenburg : Segel (2012) at WIELS, Brussels. Photo : Filip Vanzieleghem.
In the huge rooms of WIELS, a former Belgian beer brewery, in a wide and open room, we are received by the work O2, a fan pointing to the wall that seems to project a circular burst of something shiny. Looking closely, we can see that it is a fragment of a digital video tape bound by its ends, which the strength of the air forces to remain suspended against the wall and rotate in the direction the fan blades. This work by Lithuanian artist Zilvinas Kempinas clearly exposes the distinctive sculptural character that sets the pace of the exhibition, leading us to a series of works, such as Rosa Barba's, where the sense of space is very present in the "filmed works". The Italian artist presents a projector hanging from the ceiling, lit and maintained in suspension by extended recording movie film, and that in turn projects a white light on the wall. The work Stating the Real Sublime exemplifies the clear aesthetic and sculptural sense that the artist considers existing in the more technical aspects of cinema or video, like in her piece Boundaries of Consumption, where color and motion generated from a projector are the protagonists.
Film as Sculpture: The distances between sculpture and audiovisual
Installation view of Film as Sculpture (07.06 – 18.08.2013) at WIELS, Brussels. Photo : Filip Vanzieleghem.
But certainly one of the most sculptural and filmic work in equal parts of the exhibition is the piece by the Czech artist Zbynek Baladrán, The nervous system, in collaboration with the also Czech Jiri Kovanda, which presents a forest of transparent threads that hold large pieces of shot film and invite the viewer to walk among them freely, recreating a movie through the text contained in the recordings and from the experience of the viewer.

Karthik Pandian with his piece Carrousel takes us to a more atmospheric space enclosed by a red curtain in a dark room, where three slide projectors elevated on platforms display at different speeds a series of stills from different movies or from their creation, allowing the viewer to think about the illusion of the sense of motion generated by the speed at which the frames of a the movie are displayed, and to stop to look at the details and sculptural the value of every moment filmed.
Film as Sculpture: The distances between sculpture and audiovisual
Installation view of Film as Sculpture (07.06 – 18.08.2013) with Rachel Harrison : AA (2010) at WIELS, Brussels. Photo : Filip Vanzieleghem.
The artist Rachel Harrison proposes a composition based on the projection of a video, where we can see a "home recording" of a pen with a little lamb, on a block lined with a yellow shirt. Her work, characterized by the incorporation of elements drawn from everyday life as sculptures exhibited next to the film, in this occasion incorporates a yellow trolley to transport a mobile film support (projector, dvd player, speakers, cables ...) and a series of curlers, scissors, tweezers and other objects from a hairdresser. A new approach to what might be called ready-made where the artist seeks links between the textures and colors of the exposed elements and the selection of objects gathered from different contexts.

WIELS presents the work of these and other young artists in Film as Sculpture until next August 18 and offers during this time a number of conference cycles by specialists and the artists themselves, as well as activities related to the exhibition.

ArtDiscover
Estefanía Sánchez Pérez

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