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Chapter 3HREE

guest:
Maarten Spruyt

‘What is important now is to recover our senses’

Fri, Jan 24, 2020–Sun, Aug 2, 2020
About Chapter 3HREEA conversation with Maarten SpruytPortraits series: meet Maarten Spruyt

Chapter 3HREE

Artworks in the Exhibition

AnotherviewBianca BondiTessel BraamSander Breure and Witte van HulzenDavid ClaerboutElspeth DiederixDesiree DolronBram EllensJohn GerrardNoa GinigerChristie van der HaakTamar HarpazAnthony HernandezMaartje KorstanjeJuul KraijerJung LeeGeert MulDaniel MullenOssipCarla van RietMaria RoosenMaaike SchoorelTanja SmeetsJohn Smith
What is important now is to recover our senses
Susan Sontag
Chapter 3HREE

Artworks in the Exhibition

AnotherviewBianca BondiTessel BraamSander Breure and Witte van HulzenDavid ClaerboutElspeth DiederixDesiree DolronBram EllensJohn GerrardNoa GinigerChristie van der HaakTamar HarpazAnthony HernandezMaartje KorstanjeJuul KraijerJung LeeGeert MulDaniel MullenOssipCarla van RietMaria RoosenMaaike SchoorelTanja SmeetsJohn Smith

The private lives of non-human entities, 2019

Chapter 3HREE

Responding to the penetrating cellar architecture of Het HEM, Bondi invites us into an intimate installation setting that breathes the dynamics of being together without necessarily being physically present — is this from the past, from the future, or are we inside a memory. An abandoned dining table as a reminder of companionship; a feeling that is still present in the air or dissolved and fused with its surroundings.

Bianca Bondi

Bianca Bondi (1986) is an artist-alchemist. Her typical materials of choice are salt, copper, herbs and flowers, silver, precious rocks, gentian violet and other chemical solutions, latex, silk; a frame that provides an imaginative combination of animal and vegetal minerals, biochemical substances and tactile surfaces. She builds spatial installations which she then processes as a kind of test laboratory. The materials create their own unique bonds with each other. Bondi does not attempt to control the mutual reactions, but guides them to take their own course. In this process the most improbable creations develop: a play of colour, form and space.

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