Painting as a sensory experience (dialogue and body tour)

Speakers: Gijs Frieling & Aukje Dekker
Location: Marres, Capucijnenstraat 98, Maastricht
Time: 7 – 9 pm
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Painting is such an obvious visual phenomenon that we rarely experience it as a call to sensory action. Instead of acting upon them, we read and try to understand paintings. We contemplate their themes and meanings. We discuss expression, gesture, emotion, and even the rules of representation. We don’t smell the paint, touch or lick it. We don’t allow our bodies to follow the brushstrokes. We rarely lie down and find new perspectives. We don’t imitate figures or animals in paintings. Paintings are thus radically emancipated from bodily movement or broad sensory perception. Why is that? Many will say that the body is not needed in the appreciation of painting. Today we are going to explore the opposite.

Gijs Frieling (1966) was educated at the Rietveld academie (1986-1991) and the Rijksakademie (1994-1996) both in Amsterdam, He won the Royal prize for painting in 1994, the Prix de Rome in 1999 and the Cobra art prize in 2009. Frieling makes permanent and temporary wall paintings related to ornamental and decorative traditions. From 2006 – 2010 he was director and chief curator of W139 art space in Amsterdam. Currently he works as the art advisor for the Dutch Chief Government Architect. He is a supervisory board member of the Mondrian Fund and a member of the jury for the Dutch Royal prize for painting. Gijs Frieling is director of the colossal mural exhibition The Painted Bird in Marres.

Aukje Dekker (1983) is a visual artist educated at the Rietveld Academy, the Sandberg (2002-2006) and the Central St Martins, London, UK (2006-2008). She is co-founder of the Eddy the Eagle Museum that features a subversive, fearless and outrageous collection of exhibitions and initiatives by all kinds of makers, artists and innocents. Her works were exhibited nationally and internationally in the UK, Germany, Russia and Japan. Her latest project Societeit Sexyland (2016) received funding from the Amsterdams Fonds Voor de Kunst.