Thursday, 2 November 2017

Cultivated Memory: Archaeologies of the Imagined

Artists: Adler E, Mills C, Santana A, Sztencel A, Van Hoorebeke A
Curated by: Önol I
Opening reception: Friday, November 10, 7-9 pm 

Viewing Hours -  November 10 - 26, Sat-Sun: Noon - 7pm 

Peninsula Art Space
352 Van Brunt Street
Brooklyn NY 11231

A. Van Hoorebeke, installation view (studio) 2017, photo by Thisby Cheng

Ada Van Hoorebeke Artificial Weave, 2017, dimensions variable, 
batik, natural dyes and rust on discarded fabrics, drain grates, backdrop stand, temporary floor protection.

Sunday, 6 August 2017


From October 13, 2017 until January 7, 2018 Fake Calligraphy is part of „Something Stronger Than Me*“, WIELS Contemporary Art Centre, Brussels. More info and subscriptions >HERE

Fake Calligraphy - Wiels, Third Stage, 2017, Batik with natural dyes on cotton, aluminum, stainless steel, Mortar boxes, Dimensions variable (1 frame is 230 x 170 x 2,5 cm).  


Fake Calligraphy is a sculpture inspired by the calligraphic batik, Batik Besurek, a tradition from Bengkulu (Indonesia). Batik Besurek, originally conceived by Indonesian Muslims, is derived from the Arab script but the signs are not always readable as such. The Fake Calligraphy sculpture presented at WIELS is inspired by those calligraphic batiks that are playing with the aesthetics of a written language abstracted from its original meaning. The sculpture is made so that it can be activated, reminiscent of a workshop, where it serves as an environment to create a new interpretation of calligraphic batiks. In this sculpture different stages of batik production such as creating a design, transferring it in wax on textile and dyeing with natural dyes are used as a means of communication that goes beyond language barriers. Fake Calligraphyaims to be a platform for exchange of speech, body language and the sharing of different cultural knowledge in an artistic and social context.
Fake Calligraphy is Manoeuvre, collectieve for art in co-creation, Maartje Fliervoet, Ada Van Hoorebeke, as well as participants.

The activation of Fake Calligraphy in Wiels was spread over three clusters of three days, wherepeople could join us to a 1,45 minute shift in the creation process of calligraphic batik. This all took place inside the exhibition space.
The work 'Guide Rails' by Rita McBride was used as a very long working table to draw fake calligraphic signs in pencil and batik wax. The metal frame of the Fake Calligraphy sculpture was used as a drying rack in the activation process of dyeing and displaying Fake Calligraphy.  
Below you can see the process of Fake Calligraphy as it was activated during the exhibition Something Stronger Than Me* in WIELS contemporary Arts Centre Brussels.


 Session 1
13, 14 and 15.10.2017
Manoeuvre / Maartje Fliervoet / Ada Van Hoorebeke / Participants

Fake Calligraphy - Wiels, First Stage, 2017, Batik with natural dyes on cotton, aluminum, stainless steel, Mortar boxes, Dimensions variable (1 frame is 230 x 170 x 2,5 cm).  

Here you can see how we dyed samples for a fake calligraphic writing after spontaneously inventing and drawing signs in wax. This is the first stage in the activation of the piece called Fake Calligraphy.

(Photo by Kristien Daem)

(Photo´s by Ernst Maréchal)

(Photo by Sabine Bolk) 

Session 2
16, 17 and 18.11.2017
    Manoeuvre / Maartje Fliervoet / Ada Van Hoorebeke / Participants

Fake Calligraphy - Wiels, Second Stage (detail) 2017

In the second session the samples of fake calligraphic writing which were developed during the first session, were traced on chalk paper, cut out and assembled into 'sentences'. Those sentences were then traced with pencil on long strips of cotton. The cotton strips were placed in the sculpture and hung there, ready to be traced in wax and dyed during the third and last session.

(Photo´s by Maartje Fliervoet & Chris Rotsaert)

Session 3
14, 15 and 16.12.2017
Manoeuvre / Maartje Fliervoet / Ada Van Hoorebeke / Participants

In the third and last session of 3 days we traced all the pencil designs in wax, then dyed them first in an oak gall solution and then in a mix of oak gall and rust to obtain darker colours.  For the rust solution we used scrap iron collected earlier on the parking lot of Wiels.   The last session ends with boiling out wax and ironing the pieces. After cleaning up the dye pots and the frames of the sculpture, the fake calligraphic batik can be arranged in the sculpture. we ended up with 13 long stripes of Fake Calligraphic Batik.

(Photo´s by Ada Van Hoorebeke)
 Below:FAKE CALLIGRAPHY - Prototype, 2017, Manoeuvre kunstenplek / Maartje Fliervoet / Ada Van Hoorebeke.

Fake Calligraphy - Prototype, 2017, Batik with natural dyes on cotton, aluminum, stainless steel, Mortar boxes, Dimensions variable (1 frame is 230 x 170 x 2,5 cm). 

This is a prototype for Fake Calligraphy made in collaboration with Manoeuvre collective for art in co-creation and Maartje Fliervoet. Ghent, 2016-2017.

(Photo´s by Ernst Maréchal)

Friday, 16 June 2017



(Photograph by Lightgraph Studio)


Ada Van Hoorebeke: Where Batik Belongs - Frankfurt am Main, 2017. 

Ceramics, batik with natural dyes & urine by >Die Römischen Votzen, silkscreen with natural dyes, photo backdrop stands, video, two fairy tale batiks from the Rudolf G. Smend collection. 

Basis Project Space 24-25 June 2017.

(Photographs by Friethjof Kjer)

Photo Shoot (open to public)

Elisabeth Ida Mulyani & Ada Van Hoorebeke


Instax polaroids, 62 x 99 mm

Photo Shoot (open to public) Elisabeth Ida Mulyani in collaboration with Ada van Hoorebeke

24-25 JUNE, 1 - 3 pm, AIR_Frankfurt Studio, Gutleutstraße 8-12 
(Photograph by Friethjof Kjer)

Little Red Riding Hoods Travel Bag

Bag made for the occasion of Where Batik Belongs- Frankfurt am Main, includes dyestuff samples and my motivation letter for air_frankfurt 2017.

Little Red Riding Hoods Travel Bag
Iron gall ink & Pomegranate on cotton, motivation letter, dyestuff samples.
Small edition of 7
45 eur incl. shipping (EU)