​Hans Demeulenaere

Each exhibition will use an invitation process to form its composition; M|M invite the initial artist who is then extended the control to invite as many participants from any discipline. Those participants will then repeat the process one more step and invite whomever they wish. The three stages of invitations allow each element the experience of complete control and loss of control resulting in an exhibition catalysed through each artist reacting to one another forming a compound.

Be ALL AND END ALL centres on the idea of “presenting/exhibiting” and brings together three artists whom have collaborated on a group of new sculptures and wall drawings. In similar vain to the premise of Elements the objects have gone through a journey between artists allowing each to connect or to remove and to affect the makeup of the objects before handing control to the following artist repeating the process to complete a full circle.

Each object selected by Van Ingelgem contains functionality. A laundry basket, flowerpot and parasol holders have been passed to Demeulenaere and an answer or reply is formed when Demeulenaere’s autonomous sculptures
are placed beside, next to and on top of Van Ingelgem’s objects. For Demeulenaere the subjectivity of the spatial experience, perception and orientation are the basic elements, increasingly recognizing that reality never allows itself to be captured. The sculptures themselves border functionality through their relation to furniture and architectural structures. He removes them from their context and rebuilds them with respect to relationships and recognition. These are then passed back to Van Ingelgem for him to add, subtract or manipulate the current state of the presentation and continue the ever present conversation between artists and objects.

The wall drawings of Nagtzaam play an important role within the exhibition. The geometrical drawings are based on collages of images collected by the artist from magazines that caught and retained his attention long enough
to be preserved. Once selected, they are organized in irregular puzzle-like grids, photocopied, and then traced over, such that only the adjoining, rectilinear contours of the images remain, effectively eroding the content of the collaged images. The unsteady grids reveal a pattern heterogeneous enough to suggest some obscure organizing principle, while the ineffably personal touch is saving the grids from being absorbed into the anonymity of the magazine’s graphic language. The small drawings at first seem somewhat removed but by been drawn directly onto the gallery wall reinstates their embodiment of the exhibition and circumambient the dance of objects.