Belgian uses local materials to present universal ideas<\/p>\n
Text and photos by R. Fadjri<\/p>\n
YOGYAKARTA (JP): A journey often yields new ideas. Apart from
\nenriching our visual experience, our encounter with objects we
\nhave never seen before may also lead to a spiritual experience. A
\njourney may also introduce us to things that are similar to our
\npast experiences, although they may take completely different
\nforms or shapes.<\/p>\n
For an artist, a journey is more than just a physical
\npleasure. It works as a creative impulse that leads to the
\ncreation of new things.<\/p>\n
And that is exactly what Frank Liefooghe, 52, has achieved.
\nThis Belgian artist is now exhibiting his works at the Ardiyanto
\nGallery in Yogyakarta.<\/p>\n
Liefooghe, who prefers to refer to his works as \"objects\",
\nfeels a certain wave of vibration when he sees indigenous objects
\nhere, in Moscow, in Mexico, in China or anywhere he goes. During
\nhis 30 years as an artist he has made at least 175 cultural trips
\naround the world. They are eventually recorded in paintings,
\nsculptures, objects, performances or happening arts which are
\nalways displayed or performed while he is still in the place he
\nhas visited.<\/p>\n
Liefooghe came across objects in Indonesia that were
\npreviously alien to him, but familiar in terms of concept. He saw
\nblek, the tin container used to store chips; he saw dusters made
\nof chicken feathers; and he saw besek, the bamboo food container.
\nAll these became a new visual experience which he blended with a
\nphenomenon taking place in his home country. Thus Just like
\nBelgium was created.<\/p>\n
This work consists of three blek painted in blue, each with a
\nround lid and a transparent glass side to reveal a heap of red,
\nyellow and black eggs.<\/p>\n
Belgium, a former kingdom united by the glory of a king,
\nbecame a federal republic when the last king died. Just like
\nBelgium symbolizes the end of a unity that was replaced by
\nseparate federal blocks. The color blue symbolizes hope for unity
\n(the egg) that will never be. A simple but effective metaphor.
\nSomething starting out united but ending up as individual pieces
\nis an universal experience.<\/p>\n
Simplicity through the use of minimum symbols also appears in
\nhis World Fraternity First. This is a paradoxical depiction of
\nEurope today. On one hand, there is a movement for a united
\neconomy through the European Community, but on the other hand
\nthere is a stronger drive to maintain racial purity through the
\nneo-Nazi movement. The re-emergence of the fascist attitude among
\ncertain European societies has led to the elimination of one
\ngroup by another.<\/p>\n
This fascist attitude often surfaces in the form democracy
\nbut, in practice, it is ethnic cleansing. Look at Bosnia, which
\nis still coming to terms with genocide which has annihilated
\nhuman values. Or the crushing of freedom in Chechnya by the very
\nperson who is the symbol of democracy in Moscow.<\/p>\n
Liefooghe records all this with five dusters arranged on the
\nwall. Each of the dusters is adorned with a woven bamboo triangle
\npainted in blue and symbolizes the hope for borderless
\nbrotherhood.<\/p>\n
Future<\/p>\n
Frank Liefooghe's works are all heavily laden with current
\nproblems, or a projection of future lives. Liefooghe is telling
\nhis audience about today's reality and his dreams.<\/p>\n
Uniform of a New Look, is a very futuristic depiction of the
\nimpact of globalization on 21st century human beings. Uniform of
\na New Look is a human-size statue made of cloth. It is draped in
\nwhite cloth and stands rigidly with a 11-meter long trunk, also
\nmade of white cloth. The rounded trunk gets wider at the end and
\non top are seven small funnels which continually emit colorful
\nfluids, leaving colorful marks on the trunk.<\/p>\n
\"This is the view of the 21st century people, which is highly
\ninfluenced (colored) by other people's views,\" explained
\nLiefooghe.<\/p>\n
The statue speaks of an individual's helplessness against
\noutside influences. Is he trying to tell us of the nightmare that
\ncomes with the fact that state borders have become more
\ntransparent and the individual no longer has the power to remain
\nindependent? Or is this a nightmare of the advanced technology
\nwhich only results in the elimination of the individual? There
\nare many interpretations for Liefooghe's 21st century man.<\/p>\n
Liefooghe is obviously highly skilled in telling his stories.
\nUsing symbols that are familiar to all, he cleverly uses local
\nmaterials to present his universal ideas. There is the giant egg
\nmade of woven rattan and painted in blue. There is the besek
\ndiagonally arranged on the wall and there is also the arrangement
\nof bamboo fans. All serve as easily recognized metaphors,
\nregardless of the viewer's nationality.<\/p>\n
The only thing lacking in his exhibition is display
\norganization, which creates an impression that everything was
\nsimply dumped into the room. Nothing divides one work from
\nanother, causing the exhibition hall to look crowded.<\/p>\n
However, one may also argue that the unusual arrangement
\nreflects the reality of jumbled state borders.<\/p>\n
Frank Liefooghe's exhibition will last until Feb. 14.<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/belgian-uses-local-materials-to-present-universal-ideas-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }