Daan Peeters & Ruben De Smet
PIECE FOR ZEVEN DRUMS
13.09 - 12.10.2024
Vernissage Fri 13.09 - 6PM
R: [00:00:00] What I don't understand so well.... I understood that you wanted to put those Leopolds in there to hide them, or show them by hiding them. And that you found that to be a metaphor for how we deal with our colonial past in Belgium and that that was the concept of what that you're doing there. But then I find it a contradiction that you also want to show them in those light boxes.
D: [00:00:41] That was because you asked for those light boxes, because you said that it wasn't clear.
R: [00:00:47] So for you we could drop the light boxes.
D: [00:00:50] I don't know if that will be clean enough or clear enough. Then we have two spaces, an organ, those seven drums and no more.
R: [00:01:05] But I don't know if those light boxes clarify that work. Do those clarify why you put Leopold two....
D: [00:01:21] You need a text for that, I think.
R: [00:01:23] Yes, but those Leopold two sculptures, are those custom made for you to put in those drums? Or are they sculptures that you wanted to make and are now presented in those drums?
D: [00:01:42] I made them to size for those drums. They have that size so they would fit inside those drums.
R: [00:01:53] I don't mean their size, but just the idea of making those Leopolds. Is that tailored to...
D: [00:02:00] For me, that drum represents a heartbeat, or a life of something and that's why I want to put something in there that still has an impact on your everyday being, but you're necessarily engaged in it. So that you feel that presence, but you don't perceive it directly in your everyday walking around, but it does give that sound of “I'm still here.
R: [00:02:33] Okay. And for you, does that have anything to do with my idea of the high pressure situation? Or is that to you more my interpretation of that work and do you see it differently? Did you continue on that? Or do you say no, I frame it this way?
D: [00:03:05] I do think that that patrimony is under pressure. And I also think that if I were to put any of my own work in there to be pressurized, that that would be difficult, because I wouldn't know what I have made that should be under pressure, you know?
R: [00:03:23] Yes.
D: [00:03:24] Because you could make something and then say that seems to be alive now and then we can talk about the gaze or the aura of of a sculpture, but I think that's yeah, pff, maybe just too easy.
R: [00:03:45] Yes, I get that.
D: [00:03:47] Because those statues that you come across, those nameplates or whatever, those are also things that don't have anything, anymore.... Those have no resonance, it is something solid, it is stationary in time. But by putting those under pressure with that high pressure chamber, they make space by making sound in space.
R: [00:04:05] Yes but would you rather just show that work, without thinking about the look of the show, without those light boxes?
D: [00:04:56] To me that's not fixed, those light boxes. But then I just wonder if we have enough. I did think those light boxes were complementary to the installation. They could work.
R: [00:05:13] But I think now maybe those become almost decorative. You know?
D: [00:05:23] I think it is justified to think about that.
Artists: Daan Peeters, Ruben De Smet