The wonderful world of in situ artist Leon Vranken
The Antwerp-based artist and former landscape architect Leon Vranken has created a playful, multi-faceted exhibition in Hasselt’s Z33
Nothing is what it seems
On the first floor, we just see the top of the fountain; a small, barely moving jet (pictured). Still, it’s the same fountain. The playfulness of the work and the idea that things are not necessarily as they first appear are illustrative of the Paper-Scissors-Stone exhibition by Antwerp artist Leon Vranken.
Becoming a visual artist was a late calling, Vranken tells me. “I studied landscape architecture, but after working for a year in posh gardens, I realised it wasn’t what I wanted to do with my life. So I decided to start studying again.”
Not spatial planning, as most of his colleagues did, but In Situ3, a course at the Antwerp Academy that focuses on art in the public space. And there Vranken entered a whole new world: “I hadn’t been interested in art; I never visited museums.” He smiles: “I thought I knew what the training would offer me. But I was wrong.”
Not that he ever regretted his choice. “In the first two years I focused on art in public spaces, but in the third year I started making works that could stand by themselves. I loved it, and I never stopped doing it.”
Later, he studied at Ghent’s prestigious Higher Institute for Fine Arts (Hisk).
An unparalleled artist
Vranken was born in 1975 in the border town of Maaseik; Paper-Scissors-Stone is his first big solo exhibition in Flanders. It’s not a retrospective – most of the works are recent, or even brand new, but, he explains, “I made sure to incorporate as many different aspects of my work as possible. I’ve been making art for a dozen years now; it was time to give an overview.”
I’ve been making art for a dozen years now; it was time to give an overview
Vranken creates objects in wood, metal, glass and paper. He also takes photos of objects. He plays with exhibition conventions by altering the pedestal or the framework. Because of the materials he uses and the shapes he creates, his work looks familiar, but it isn’t in the end, which lends it at times an uncanny undertone.
Although he can’t be viewed separately from art history – he names Lucio Fontana, famous for the cuts in his canvasses, and Dadaist Marcel Duchamp as some of his influences – his works have no parallel in contemporary art.
It’s difficult to precisely pin down what kind of artist Vranken is, but I’d call him in the first place a sculptor. Naturally, he doesn’t agree. “First of all, I’m doing a lot of different things, including video – though I had no room for one in this exhibition – and photos. And a sculptor, for me, makes statues in plaster, ceramic, you name it.”
So, how should we refer to him? “An in situ artist who sometimes decides to make a sculpture or painting, but isn’t a sculptor or a painter.”
In situ works are created for a specific location and that makes them very transient: Generally they will disappear once the exhibition is over. “That doesn’t bother me,” Vranken says. “I like how they arise and disappear again. Of course, I document every work thoroughly.”
Same work, different form
Sometimes a work will reappear later in a different form. “For an exhibition in Mechelen, I made a 180-metre long oak handrail that followed the walls of the different rooms,” he says. “I used it again, in a different form, in a gallery in Brussels.” And one of the rooms in Hasselt now also has a handrail, though made from different material.
He might see the same thing happen with one of the most impressive works in Z33, “Horizon”. The upper part of the four walls of a room is covered with bricks, supported by rusty scaffolding. If a museum is interested, I suggest, he could build a room with the same dimensions and recreate the work. “That doesn’t interest me,” he says firmly. “A copy-paste work? Certainly not. I would look for a space in the museum where I could create a similar work.”
A copy-paste work? That doesn’t interest me
Visual artists make a living from selling their works. That seems to be a problem for an in situ artist. “Indeed,” Vranken agrees, “I teach at two schools, and that pays the bills. Luckily, sometimes I sell one of my smaller sculptures or photos. But it’s always a challenge to create the works I’ve designed for an exhibition with the available budget. For instance, at Z33 we needed a sponsor to reach the budget, and the deal is that it will be compensated with a work of mine.”
In case you were wondering… part of the budget will be used to repair the hole in the ceiling that was created for “Flowing Line”.
Leo Vranken: Paper-Scissors-Stone, until 31 August, Z33, Zuivelmarkt 33, Hasselt
Photo by Kristof Vrancken
More visual arts this month
Rossella Biscotti: For the Mnemonist, S.
Italian artist Rossella Biscotti’s first solo exhibition shows her interest in historical processes and penal institutions, be it the former prison island Santo Stefano or a courtroom where radical leftist Italian intellectuals were judged in the 1980s. Don’t call her just an archaeologist of 20th-century history because she always searches for the 21st-century relevance of the artefacts she discovers (found objects, footage and recordings). Until 17 August, Wiels, Brussels
Thomas Ruff: Lichten
Five series of works from the German photographer Thomas Ruff give an overview of his artistic output from the end of the 1970s to now. The shift in focus in the spectrum between natural light and – due to the rise of digital photography – virtual light is the main theme of the exhibition. Ruff is a conceptual photographer: less interested in photographing reality than in portraying the realities of photography. Until 24 August, SMAK, Ghent
Ann Veronica Janssens
British-born artist Ann Veronica Janssens, who’s been based in Brussels for ages, has been called a sculptor of light and sound – she uses artificial fog or colour projections – creating elusive works that engage all the senses. This will be an important show for more than artistic reasons: It’s the first exhibition in Galerie Micheline Szwajcer, following its move from Antwerp, where it was one of the main galleries, to Brussels this spring – stressing once again the growing importance of the capital as a centre for contemporary art. 11 June to 26 July, Galerie Micheline Szwajcer, Brussels