In 2019 Lustwarande has been celebrating a special anniversary, a jubilee. Delirious was the tenth exhibition at De Oude Warande, featuring predominantly new works by twenty-five international artists.
Isabelle Andriessen (NL) – Nina Canell (SE) – Steven Claydon (UK) – Claudia Comte (CH) – Morgan Courtois (FR) – Hadrien Gerenton (FR) – Daiga Grantina (LV) – Siobhán Hapaska (IR) – Lena Henke (DE) – Camille Henrot (FR) – Nicholas Hlobo (SA) – Saskia Noor van Imhoff (NL) – Sven ’t Jolle (BE) – Sonia Kacem (CH) – Esther Kläs (DE) – Sarah Lucas (UK) – Justin Matherly (US) – Win McCarthy (US) – Bettina Pousttchi (DE) – Magali Reus (NL) – Jehoshua Rozenman (IL/NL) – Bojan Sarčević (FR) – Eric Sidner (US) – Filip Vervaet (BE)
Chris Driessen (artistic director) & David Jablonowski (co-curator)
Delirious reflected recent developments in contemporary sculpture. These are characterized by great diversity. In addition to reflections on current themes such as fluid identities, migration, scientific innovations, our changing awareness of the relationship between humans and nature, the hyper-acceleration of everyday life as a consequence of new technologies, the emphasis placed on material is undeniable and striking. This is largely a result of the strong focus on new paradigms that has been evident in the discourse around visual art in recent years.
Current philosophical frameworks have a direct influence on contemporary art. The constant emphasis placed on the importance of matter has prompted a new generation of artists to bring an old philosophical question back to the fore: How does matter influence us and how do we influence matter? In the context of technological progress, increasing digitization, homogeneity through globalization, and a necessary redefinition of our worldview, there is renewed attention for the physical production of images and for the reinvestigation of existing and new materials. Just as in the mid-1980s, the focus is once again on the skin of sculpture, but this time in an unprecedented mix of combinations. Metals, plastic, new synthetics, 3D prints, earth, pigments, textiles, glass, clay, and – making a comeback – wood and marble and other varieties of stone, and found objects: these are all scrupulously assembled and patched together, often with a conceptual impact. The title Delirious refers to this inclination towards a renewed physical sculptural practice, which is both rampantly euphoric and critically reflective.