Koen Kloosterhuis – Spaghetti Rain


Turning to Dust and Bones, part 2

Opening Saturday 25 June, 20.00 – 00.00 hrs
26 June – 31 July
Thu – Sun, 14 -18 hrs

1.
The garden of Koen Kloosterhuis’s father is a place that no longer exists, or only in his mind’s eye, where it lives on as a fictionalised memory  as well as a place of fiction that can be altered at will. As part of the surroundings where one grows up, the garden is a world on a reduced scale and a default setting to which one relates all other things.
The garden is also a place in between the private and the public, or rather: the most private of outdoor spaces. As such it is a contradictory domain – in the case of this specific garden a domain that was inhabited by a collection of  historical, mythological and animal figures that had no apparent reason to be there other than in their capacity of a seemingly accidental assembly of garden statues. This gathering remains a mystery to which there’s no conclusive solution to be made and therefore it is also a question that, for Kloosterhuis, precedes artistic production – born from the wish to make sense out of what wasn’t evident and to (re)connect these entities with each other and their now lost context. For Kloosterhuis this is the reason takes this particular garden as a starting point for his sculptural installation at P/////AKT.

2.
Artistic production thus becomes a means to bridge unbridgeable distances and to create unity from what appears to be random. To finish this process of putting things together and to realise a finished work eventually also leads to the artist’s own eviction from the work, which remains inanimate and ‘unfulfilled’. Kloosterhuis’s attempt to piece together the remnants of the lost garden statues and to bring  the into the present as a presence (into a new  eloquent and inhabited body) has a Frankensteinian twist to it, but is also reminiscent of other creatures that exist in popular culture and mythology. The statues themselves not only come from a lost world but also from the domain of kitsch, which is in itself a hollowed out form of visual culture – a reduction of something that once was extremely meaningful to something meaningless, of something functional or ritual to decoration (in terms of Vilém Flusser a spectacle or apparatus that leads to absence and death).  In order to create a living, inhabited sculpture, the maker should therefore somehow attempt to embody it with his own living matter and get it to speak about its (changed) role and context. 

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