09.05.16 — 05.06.16
Atelier Bildraum
Interne 3

1983°, Gent / 1976°, Ieper
Sociology, photography and scenography / Architecture

Atelier Bildraum is Charlotte Bouckaert and Steve Salembier, a photographer and an architect working together on performances, scenography, installations and visual art. As a solo-artist, Bouckaert has realized several performances and a series of exhibitions in the Brussels region. Salembier worked with Stéphane Beel & Lieven Achtergael architects, participating in the realization of several major public buildings. Between 2001 and 2009 he also taught design practice at the Henry van de Velde-Institute.

More info about the artist collective.


 

intake interview

Describe briefly the path (whether artistic or not) you have followed so far.

Atelier Bildraum is Charlotte Bouckaert and Steve Salembier, a photographer and an architect working together on performances, scenography, installations and visual art. In 2013 they started their cooperation as an artistic duo based on their shared fascination for the intertwining of time, space and image.

A first artistic milestone was realized in 2015 as their first major performance (“Bildraum”) was selected by Theater aan Zee and got awarded by the jury with the Big in Belgium-prize.

How would you describe your work in terms of themes, style, techniques, …?

Atelier Bildraum’s work consists of installations, photography, video and performances which reframe the correlation between time and space, image and imagination. As a consequence photography and architecture are the Atelier’s two basic disciplines. The artistic research focusses on how the photographic image can escape from its classical frames and becomes an integral part of the spacial context in which it is presented; on how photographic imagery derives its significance from the circumstances it is being made in and from the space in which it is shown; on how the spatial can be created through the photographic and vice versa. The work is about different notions of space & time in our contemporary image culture and it subsequently deals with conflicting themes such as the uniqueness of an image versus its’ current transient nature. Apart from the visual, the auditive is another essential element in the overall work. Sound carries a massive amount of information about spatiality and contributes largely to the sensorial imagination of an audience. The process of creating image and sound, of constructing, transforming, registering and representing space live, is thus often used as a layer of meaning. Consequently it becomes an integral part of the work.  

What would you consider your most important achievement (whether or not artistic) to date?

Taking the time to enable ourselves to answer questions thoroughly. Accepting that time will create only more questions. Cultivating impatience to keep on deliberating the concept of time.

Who or what has been an inspiration to your work?

Moving from Brussels to the countryside near Ronse, from an urban to a more quiet rural environment. It enables us to observe fewer things more intensively, to distill more thoughts from fewer stimuli. Having a horizon to stare at is incredibly fertile for us.

Which (art) disciplines other than the ones you’re familiar with, draw your attentention  or would you like to immerse yourself into?

Our two basic disciplines, architecture and photography, are above all applied arts and basically offer us a panoramic variety of potential applications. However, every new project creates a new field of fascination. For example; In the past we’ve worked on memory and how it interferes with the spaces we live in, currently we have a huge crush on gardens and landscapes since we’re working on a project dealing with Monet and his Giverny garden. But in the nearby future we plan to do some research on the notion of ‘control’ within the fields of art exhibitions versus performing arts. For this research we plan to have conversations with people from a multitude of different disciplines such as curators, gallerists, artistic directors and producers, writers, journalists, critics, technicians, philosophers and finally also other visual artists, performers and musicians.

Describe what your focus will be during your residency in Gouvernement?

Atelier Bildraum plans to work on two separate paths:

First we wish to continue our ongoing research on the intertwining of time, space and image and inject our artistic play within the specific context of Gouvernement in order to explore potentially new angles. This research deals with how the photographic image can  escape from its’ classical framing and become an integral part of the spacial context in which it is presented; on how photographic imagery derives its’ significance from the circumstances it is being made in and from the space in which it is shown; on how the spatial can be created through the photographic and vice versa. We plan to develop some new concepts and try them out in situ. A trial and error basis for potentially new work.

Second, we wish to initiate a more theoretical and comparative research into the notion of ‘control’ within the fields of art exhibitions on the one hand and performance art on the other. In order to create a proper conceptual framework, we will organise a series of interviews with people from a multitude of disciplines. These talks will raise questions such as; To which degree can exhibitions be constructed experiences in which the visitor’s senses are being controlled by the artist/curator? What’s the relationship between the need of the spectator for freedom of experience and interpretation and the need of the artist for his work being experienced in a well defined and particular way? What aspects can make exhibitions tend to become performed experiences or even theatre? To what extent is contemporary visual art becoming performative?

In which circumstances or environment would you consider yourself at your most creative?

In an environment that creates a certain isolation and enforces a kind of rhythm. A well defined place and time in which ideas get the space needed to develop and where you can retreat from on a regular basis. 

How does the approach of “INTERNEN” appeal to you specifically?

The idea that question marks are tolerated.

What do you expect from a residency in terms of personal artistic development and in terms of guidance and support?

Transforming question marks into colons. In other words: create windows with a broader view.

Who (close by/far away, realistic/utopic, living/dead) is granted lifetime membership to your ultimate (secret) society?

People who are enthused, who try and/or succeed in creating wide windows on the broader world from their own consciously restricted or narrowed down reality.


Announcement (19.05.2016 )

Children of the White Leaf performance on 02.06

Children Of The White Leaf, is a platform for artistic collaboration run by Stefaan Huyghe & Philip Janssens. During their live performances, COTWL combine the sound of fieldrecordings, samples, tapeloops and piezo-mics. Coincidence is an important and defining factor in the creation and experience of their sound & image.  They compose soundscapes and drones with modest harmonies that occasionally come to surface and eventually let the space vibrate heavily. In March 2013, they released their first COTWL CD # I. In the meanwhile they carried out projects in  Bolzano (Italië), Extra City, KW (Berlin) & at Hotel Charleroi.

Atelier Bildraum has a close connection and a strong affinity with the artist Philip Janssens who has his workspace at Charlotte and Steve’s home in Saint-Saveur.


Valid Lover (23.05.2016)

Valid Lover (UK) Live

Valid Lover presents a live performance for processed guitar and modular synth.
Layers of played and found sounds are collapsed together into waves of warm distortion, resonance and rhythmic subharmonics.
This performance will also include a unique sonic collaboration with Atelier Bildraum.
Think connections with Fennesz, Mammifer, Ben Frost, SunnO)))
Think cosmic pessimism leaving marks in the dust of this planet.

“There is a kind of music that can be thought of as perfect. That’s not a qualitative statement of taste so much as an attribution that recognizes how fierce dedication to an elegant scope can yield something singular, effecting, evocative. The term applies, certainly, to a series of live improvisations for digitally mediated electric guitar recently posted by Valid Lover” – Marc Weidenbaum (*author of 33 1/3 book on Aphex Twin’s Selected Ambient Works Volume II,*)