10 Years Base-Alpha Gallery – Part II: Collaborations at Base-Alpha Gallery, Antwerp
10 Years Base-Alpha Gallery – Part II: Collaborations
Joachim Coucke, Alexandra Crouwers, Nicolas Pelzer, and Filip Vervaet
December 14, 2017 – February 2, 2018
Joachim Coucke (b. 1983) uses a wide range of media including assembly, installation and photomontages. Using pillar-like cable sculptures made of discarded network, USB and power cables, Coucke pushes our noses to the uncomfortable facts and downside of our modern era, dominated by technology and social media. In addition to freedom, through the presence of hyper-realistic manufactured images, our critical ability to keep reality and constructed images out of reach. In addition to the cable sculptures, 2 plastic bins are shown with technological still lifes consisting of broken screens, cables and various other hardware components. A plexi separates the viewer from the content of the bin, so that the idea of a display pops up even more. A mythical remnant of a long-gone digital era or just a doom scenario of outmoded smart machines and algorithms?
The work of Alexandra Crouwers (b. 1974) is realized in her ‘virtual’ studio. With a combination of 3D software and image editing, she produces digital collages, which are presented in prints, installations and video works. Despite the high-tech technology behind them, the work refers to a broad conception of art history: it is anchored in a way of thinking about ritual spaces, from prehistoric caves to the controlled, contemporary exhibition space.
Often relegated references to the natural sciences, physics, astronomy and geology also are playing a part: galaxies, landscapes and architecture often return as carriers for a mysterious, cosmic narrative.
In the visual language of Filip Vervaet (b. 1977), references to art history mixed with futuristic, pre-modernist influences, allusions to science fiction and everyday objects. With his sculptures Vervaet creates a field of tension between tangibility, naturalness and artificiality. Vervaet varies consistently with materials and techniques. By working surfaces in an unconventional and unexpected way, colors behave like chameleons, depending on the perspective, so that you as a viewer have to continuously adjust your perception and interpretation. By playing out proportions and proportions he challenges the viewer and takes them into an alienating universe.
From a fascination with our human and technological history, Nicolas Pelzer (b. 1982) investigates the similarities between prehistoric tools and recent technological developments. New digital developments and tools are being released at dizzying speed on our world. Moreover, these digital tools have more and more autonomy. Deliberately, Pelzer uses computer software to give this control during its creation and production process. With his works, Pelzer reveals, in addition to the limitations of our digital age, our adherence to technology.