check >>>> www.adavanhoorebeke.com
Monday, 14 March 2022
Friday, 17 September 2021
Stoff Stuk / Go-to Shapes
A collaborative work by Ada Van Hoorebeke & Luisa Muhr
Go-to Shapes, (Stoff Stuk) 2021, work in progress, detail (studio Ada Van Hoorebeke)
Group Exhibition
Stoff Stuk / Go-to Shapes (Ada Van hoorebeke + Luisa Muhr) is part of un/mute, an international exhibition of works from two collaborative online residencies during the global pandemic.
Fake Calligraphy Publication
Out now!
 |
Artists: Maartje Fliervoet, Ada Van Hoorebeke, Kato Six, Melissa Gordon, manoeuvre and Fake Calligraphy participants
Language: English, size: 340x240 mm, pages: 95, illustrations: colour, B/W, offset, format: Soft cover, texts: manoeuvre, Esma Moukhtar, Ada Van Hoorebeke and Fake Calligraphy participants, editors: Ada Van Hoorbeke, Maartje Fliervoet, Katja Gretzinger, Chris Rotsaert, designer: Studio Katja Gretzinger, published by: Bom Dia Books (Berlin)
Fake Calligraphy is a mobile sculpture consisting of a simple set of metal frames, batik, and tools that are used in repeated collective performances. The sculpture serves as a workshop where patterns based on pseudo-writing are collectively produced.
This book documents a joint making process along with some of the techniques that are applied here, such as dyeing with natural dyes and wax batik. Fake Calligraphy is an ongoing work made by many participants, developed and facilitated by Ada Van Hoorebeke, Maartje Fliervoet, and the artistic platform manoeuvre. Amongst other places, Fake Calligraphy was performed and shown at WIELS Contemporary Art Centre, Brussels, Kunsthal Gent, and at homes and studio’s of contributors in Ghent, Serekunda, Brussels, The Netherlands and Berlin.
Sunday 26 September 2021
ongoing from 11am - 6 pm
at Kunsthal Gent (Belgium)
with a collective book signing session and soundscape by D'Andrade, Fake Calligraphy and manoeuvre
Pokeberry Circuit
Pokeberry Circuit (Ada Van Hoorebeke)
2021, pokeberries, white wine, silk, cotton, wax, rope, clips, pvc gutters, shoes, footbath, cooking equipment, backdrop stands, offset printing plates,
At Spoiler (Berlin) there grows a Pokeberry plant (Phytolacca Americana). It was raining so much all spring and summer, which allowed the plant to thrive. The pokeberry gives dye colour ranging from bright red to light brown. This is not a stable dye: it fades and changes colour easily. That could explain why pokeberry was rather used in the food industry then the textile industry. For example: for colouring wine more red. This practice got abolished, as the berries are in fact poisonous. That is, when consumed without boiling them first. When boiled, they can be mixed in food, wine and used as a dye.
Van Hoorebeke shows Pokeberry Circuit an installation where one can have it all at once: a foot bath of pokeberry dyed wine, drinking and dyeing ones shoes at the same time. Proost!
Thursday, 25 March 2021
Pattern nor Painting - Ada Van Hoorebeke
Published with Bom Dia Books, Berlin
out now!
>Link to the online presentation
Book Presentations:
-What is the Common on this Ground?
Arts of the Working Class and BOM DIA BOA TARDE BOA NOITE present:
launch of multiple publications, performances, poetry, and screenings by Ayami Awazuhara, Nouria Behloul, Joel Mu & Alice Heyward,
Adrian Williams, Andreas Sell, Reto & Barbara Pulfer, Mascha Jacobs, O. Schrauwen, Esra Altin, Ada van Hoorebeke.
WERK.STOFF
Rose Family Factory, 2021, installation view (Ada Van Hoorebeke), photo: HDKV
WERK.STOFF Painting Award of the Andreas Felger Kulturstiftung and the Heidelberger Kunstverein.
Exhibition: 17/04/2021-13/06/2021
>Info
Artists (nominated by):
Mojé Assefjah (Chus Martínez)
Bradley Davies (Sergej Jensen)
Veronika Hilger (Jana Baumann)
Ada van Hoorebeke (Mathilde ter Heijne)
Anna Slobodnik (Julia Grosse & Yvette Mutumba)
The WERK.STOFF Painting Award conceives painting as an open concept. Beyond the connotation of the classical canvas painting, the prize embraces contemporary painterly practices that, among other things, expand the repertoire of materials and subjects by cross–culturally incorporating previously marginalized visual worlds and ways of working, extending into space, linking different media, and disrupting the common conception of painting. In this way, the prize emphasizes the polyphony of the medium, reflecting the ongoing transformation of artistic production and the plurality of experiences in a globalized world.
Monday, 22 March 2021
Printing With The Planet (in Progress)
above: paper made from the grass in this landscape
above: paper made from seaweed from this landscape
seagrass caught in recycled paper
above left: paper made from 100% seaweed; right: paper made from seaweed mixed with banana leaf paper pulp meets batik, natural dyes on cotton.
above: silkscreen print made with seaweed base and natural dyes on paper
above: silkscreen printing base made from seaweed
The first two weeks of March I was invited by Terraform, artist-in-residence program on Samseo island (Denmark).
As this residency is focussing on editions, printing and a a sci-fi approach on starting from scratch on an island. I tried to figure out a way to reinvent colours and inks for printing as well as the paper to print on: made from local natural weeds.
I learn that the fjords on the island were a place where Vikings fought against any other potential population and settled about 9th Century. Now pollution is a fact here: hidden for the eye literally buried under the ground and poured into the sea... and along with that, a disappearing sea life, which is also not visible from this point of view. I am a stranger here, in a new assembled family the landscape looks like nothing ever changed.
I don't know if in former times, people used writing supplies other than stone and parchment here. And if they did, would their paper look like this then?
If this is the future,
where the internet broke down,
and paper is no longer produced,
will we use the grass we find?
...Print on what is washed ashore:
dead bodies of seaweed
once dancing in the waves,
nursing harbor
for premature shells.
Seaweed also happens to be a perfect natural base for silk screen printing. It smells like death and rolls smoothly over the screen. The colour is golden sepia. Mixed with oak gal ink and madder root, the colours range from black, brown to red.
Thanks to Terraform: Hannah, Johan, Caspar and Tea for inviting me and hopefully many others in the future to take part in this great experiment.
Also many thanks to Ulla Enevoldsen for introducing us residents: Chris Shields, Wilfred Wagner & me to the craft of paper making.
Monday, 24 August 2020
Rose Family Factory
Rose Family Factory, Ada Van Hoorebeke
Photos: Helmut Claus
Rose Family Factory turns leaves into dye and berries into jam. The installation resembles a batik studio fused with a marmalade manufactory. Dye baths are made from oil barrels mounted on wheel barrows and industrial berry puree containers are used both in presenting and transporting this mobile workshop. In the Rose Family Factory textiles are dyed with leaves from plants that produce red fruits and belong to the Rosaceae or rose family. These are: blackberry leaves, strawberry - and raspberry leaves. Those leaves contain tannin, which results in different shades of earth colours ranging from pale ochre to black, when used in combination with different mordants such as alum and rust.
The installation contains large scale batiks to minuscule samples with an ever recurring sign; an edition of home made marmalade with a batik lid as well as all the equipment, tools and materials to proceed to production. This can happen in the form of a batik workshop which is open to the public and at the same time serves as a demonstration to other visitors.
Rose Family Factory by Ada Van Hoorebeke was first shown at the group exhibition:
Prozess_Farben
with work by Okka-Esther Hungerbühler, Sonja Yakovleva, Ulrika Segerberg, Ada Van Hoorebeke
30 August - 1 November 2020 at the Städtische Galerie Nordhorn
With a batik workshop on 18-19 September.
Batik Sample and stamp
10001
still: 10001, Team S, 08/02 (first video)
https://10001.undercurrent.nyc/exhibit/teams/clip/s-01
I am participating to 10001 a colaborative virtual project organised by Undercurrent and co-organized by the European Union National Institutes of Culture’s New York Cluster. I am paired with artist Luisa Muhr to start a collaboration. Our thoughts and work in progress can be followed here:
https://10001.undercurrent.nyc/exhibit/teams/clip/s-09
Wednesday, 4 March 2020
Fake Calligraphy #4
Fake Calligraphy #4
Ada Van Hoorebeke, Maartje Fliervoet, Kato Six, manoeuvre and participants
Kunsthal Gent
Lange Steenstraat 14
Friday, March 6, 20:00
opening and introduction by the artists
On view in Kunsthal Gent on Saturday and Sunday until 22 March, 11:00-18:00.
Activation sessions in presence of the artists: Saturday 7 & 14 March, between 14:00-16:45
Fake Calligraphy is a sculpture that can be activated as a working place to create batik patterns inspired on writing. Since 2016 Fake Calligraphy has been developed by Ada Van Hoorebeke and Maartje Fliervoet with participants and Manoeuvre art center for craft, co-creation and diversity in the Rabot in Ghent. Previous activations of the sculpture took place at Wiels in Brussels and CC De Ververij in Ronse. For Fake Calligraphy #4 at Kunsthal Gent, the sculpture is adapted to the context of the Kunsthal and its past as a monastery. A number of working tables in co-creation with Kato Six are integrated in this setup. In addition to a working environment in full activity, previous cycles of Fake Calligraphy can also be seen at the Kunsthal.
>>>more info
photo's: Michiel De Cleene
Fake Calligraphy #4
metal, mortar boxes, wax batik with natural dyes on cotton, batik tools, iron gall ink on paper, overhead projector, paper backdrop (orange).
Private Fountains - Public Baths - Zine
Private Fountains - Public Baths
Kato Six & Ada Van Hoorebeke
poster artwork with Katja Mater, printed with Colorama, Berlin, 2020
8p folder, 100 copies 4 colours, Risograph on paper 115 gr
Subscribe to:
Posts (Atom)