© Pierre de Mûelenaere
Lewis Carroll – Through the looking glass – excerpt of text – inspiration
© Sara Peeters
‘I don’t like my name to be pronounced in different ways‘
Installation, Juan Duque 2011
second-hand chair, 60 clays cast of inside of mouth, B/W digital print glued onto wall (0.80 x 1.20m)
Shown at collective exhibition organised by Nucleo – Lindenlei – Ghent
The swimming pool that used to be the spatial print and departure point at Bains::Connective is not here any more. The name remains but the activity is set in a new location…How do we read the traces of displaced memories, images and sounds?
How to relocate actions spatially, socially and culturally? These questions have brought me to the borders of immediacy and movement.
The athletics of the objects in this installation seek to link past and present memories where movement arises in the encounter between bodies and objects.
Immediacy is an improvised response as choreography between my body and the objects I have found in this room.
An unusual place emerges at the backside of a story.
Site specific installation, Juan Duque, 2011
Copyrights photos Sam De Vocht / Arnaud De Wolf / Juan Duque
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Juan Duque 2011
“temporary view”, video, loop and sound
“40 kg”, installation view
“40 kg”, still of video taped at Technical School Lindenlei Gent, 2010,
C-print on A4 format, folded, Juan Duque 2011
“40 kg”, still of video taped at Technical School Lindenlei Gent, 2010,
C-print on A4 format, folded, Juan Duque 2011
“40 kg”, still of video taped at Technical School Lindenlei Gent, 2010,
C-print on A4 format, folded, Juan Duque 2011
“40 kg”, videoprojection of video taped at Technical School Lindenlei Gent, 2010 at Rondo Studios
Juan Duque 2011
general view of installation
“Untitled”, clay casts of the artist’s inside mouth, 60 units, numbered, Juan Duque, 2011
“Untitled”, close-up of clay casts, Juan Duque, 2011
“Untitled”, leafs of a found notebook taped together, handmade cut, text typed on envelope
Juan Duque, 2011
detail of text on evelope
“Untitled”, found tree branches, peeled of, connected with rubber bands, positioned in space,
Juan Duque, 2011
detail, Juan Duque, 2011
“Palais de Tokyo”, overlapping C-prints on the same A4 sheet, detail of floor in Palais de Tokyo Paris,
Juan Duque, 2011
wooden sticks painted in white and green acrylic paint, 3 x 1 x 100 cm
cut rubber bands, knotted together, red elastic rubber, length approximately 120 cm
Juan Duque, 2011
detail of wooden sticks, Juan Duque, 2011
detail of knotted rubber bands, Juan Duque, 2011
2nd of July until 28th of August 2011
Antje Engelmann (GER), Bruno Jamaica (POR), Christina Kyriazidi (GRE), Christophe Ndabananiye (Rwanda/Germany), Cyrill Lachauer (GER), Dalila Dalléas (FRA/Algeria), Essi Kausalainen (FIN), Inês d’Orey (POR), Joris Vanpoucke (BEL), Juan Duque (COL/BEL), Lan Hungh (Taiwan), Lars Bjerre (DEN), Leena Kela (FIN),Magda Korsinsky (GER), Marcio Carvalho (POR), Michael á Grømma (DEN), Michael Zheng (USA/China), Microclimax (FRA), Paul Huf (GER/MEX), Roberto Duarte (Chile), Rudy Cremonini (ITA), Satch Hoyt (UK), Soavina Ramaroson (Madagaskar), Surya Gied (GER/S-Korea), Yasmin Alt (GER), Yingmei Duan (China)
Curated by Bonaventure S. B. Ndikung, Simone Kraft and Pauline Doutreluingne
An interview with curator Bonaventure Soh Bejeng Ndikung of SAVVY contemporary on the exhibition Nomadic Settlers – Settled Nomads, Bethanien Kreuzberg Berlin, 2011 – © Soavina Photography
“Somalian Inn”, site-specific installation, repositioned second hand, worked curtain and white curtain, gold spray paint, 1.80 x 2.10m, Juan Duque 2011
“Dysfunctional travelers”, B/W prints 190 gr., each 1.00 x 2.10m, Juan Duque, 2011
“Dysfunctional travelers”, folded and cut out B/W print 250 gr, 16,5 x 19,5 cm
overview of the exhibition
With the kind support of Kunst&Erfgoed (Flemish Community)
To celebrate Tate Modern’s 10th anniversary, the gallery will host No Soul For Sale – A Festival of Independents. For this free arts festival, Tate Modern is inviting over 70 of the world’s most innovative independent art spaces, not-for-profit organisations and artists’ collectives, from Shanghai to Rio de Janeiro, to take over the Turbine Hall. The festival will fill the iconic Turbine Hall space with an eclectic mix of cutting-edge arts events, performances, music and film on 14-16 May 2010.
To stage No Soul For Sale, Tate Modern is working in collaboration with artist Maurizio Cattelan and curators Cecilia Alemani and Massimiliano Gioni. The festival will bring together some of the most exciting and experimental new art from around the globe, displayed in an unconventional, do-it-yourself style. Ranging from monumental structures to witty interventions, epic performances to interactive installations, participants will exhibit alongside each other without partitions or walls, creating a pop-up village of global art for visitors to explore.
Juan Duque (Co) Sam De Vocht (Be) were invited by ‘Casa Tres Patios’ Medellin – Colombia (www.casatrespatios.org) to take part with ‘Transmission’, a site installation project.
Being a Colombian citizen living in Belgium for 5 years, I am at the moment not allowed to ‘move’ or cross any physical borders. Due to my actual residence permission status, I cannot leave the country.
The condition of ‘being frozen’ for a while against my human rights of moving freely, brings bout many questions concerning my art production.
‘Transmission’ is a collaborative site-specific installation project working together with Belgian architect Sam De Vocht. The project starts at my atelier in Gent-Belgium, it continues at the ‘Casa Tres Patios’ area in the Tate Modern turbine hall and finally returns again to my work space. Using paper as the main material and support, I covered 4 m2 of floor at my atelier, left it to rest for two weeks time while I transferred the different surface patterns underneath by implementing frottage and mixed media (charcoal, black ink, linseed oil). The paper collects different prints, traces and stains from my actions and from the time passing by. This ‘cartography of a place in my atelier’ (see picture above) set up as a carpet, invites the visitors to walk over and let their own prints and traces on the paper.
At the end of the action, the work was brought back to Belgium where it will be finalized as a large drawing.
photos © Viktor Jak
general overview of exhibition © Viktor Jak
overview of installation © Viktor Jak
overview of installation © Viktor Jak
action of leaving traces with shoes – photo © Viktor Jak
action of leaving traces with stamp – photo © Viktor Jak
photo © David Grandorge
“37 weeks”, general view of site-specific installation, secondhand furniture and fluorescent green/yellow construction thread
Juan Duque, 2011
rear view of installation “37 weeks”, Juan Duque, 2011
detail of installation “37 weeks” showing 3 cm dug out grass, Juan Duque, 2011
view from inside the pavilion “37 weeks”, Juan Duque, 2011
view of installation (entrance) “37 weeks”, Juan Duque, 2011
‘My intervention is a counterpoint action to the transparent character of the kiosk itself. Departing from the entrance which is located in the middle of the front facade, I want to give ground to the light construction (transparent) by extending this axis.
(Projecting and making physical the floor pattern of the axis into the surrounding area.)
The two chairs at the final points of the axis remind of the activity of waiting for a situation to happen.’
Juan Duque 2011
‘Voor Appendix 18 realiseert Juan Duque 37 weeks, een site-specific creatie waarmee hij inspeelt op de fysieke kenmerken van het paviljoen en op de geschiedenis van de plaats. Zijn interventie beschouwt hij als een actie waarin hij het transparante karkter van de ruimte doorbreekt. Vertrekkend van de ingang van het paviljoen visualiseert hij buiten door middel van een grid, die als centrale as door deze ruimte loopt. Het grid is een uitbreiding van de tegelvloer binnenin en de dradenconstructie beklemtoont de lichte en transparante constructie van het paviljoen. Twee stoelen, die in de grond verankerd zijn, begrenzen de centrale as. Ze herinneren aan het wachten op een nieuwe situatie. Herinneringen liggen voor Juan Duque niet besloten in de architecturale ruimte van het paviljoen, maar evenzeer in de hele omgeving, die onderhevig is aan voortdurende veranderingen.’
Benedicte Goesaert, 2011
photo Benedicte Goesaert
Final presentation Master of Research in Art and Design, St-Lucas Antwerpen at NICC – BE
“Ready to leave”, site-specific installation, second hand carpet worked with chlorine, peroxide and steel brush, wooden map hanger, 2.00 x 1.30 m
Juan Duque, 2011
“Ready to leave”, video 1’00”, loop shown on 13-inch tv-set
‘Uncertainty’
Juan Duque makes site-specific installations. He re-activates memories through interactions with places and explorations of its surfaces. Putting together tangible materials and leaving room to poetic abstraction, Juan Duque brings back textures and images of landscapes he lived through.
With the eyes of an architect, he develops his ideas on in-situ works where the specific characteristics of a selected site are the starting point; they can be floor patterns and prints, grids, marks, cracks in the walls, spatial angles, light conditions…
In 2009, he did an art residency of two months at De Stichting id11 Delft (The Netherlands), an institution that had created for one year an international art residence program placed at Poptahof neighbourhood, located in a community housing blocks outside the city of Delft. Due to urban gentrification the housing blocks were going to be demolished and the former community, mostly immigrants, re-located. Every time a flat was empty, Id11 called an artist to live and work with the community. Juan Duque created five in-situ installations with the following text as introduction:
A space…
How to approach it, making it your own…
When entering into 636 flat at Poptahof – Delft for the first time brought about these questions:
“How many times the doors have been opened and closed?”
“Under which circumstances in their inhabitants’ daily lives?”
Many people came to live in those spaces, many people left leaving traces.
I came as stranger, I observed, I imagined, I also had stories to tell…
I took the space as hostage, and worked there to render homage to those memories
Re-appropriation is a territorial struggle…
Working with materials found in the 636 flat – wooden doors, frames, curtains, carpets, newspapers, I constructed in-situ installations that alter the space.
Yet, bit by bit some things start taking place, having a shape, making sense…
Small Kitchen
A room with a carpet
A room with forgotten curtains
A large seating room with a great view to the horizon…
5 small chapels…
Visitors come to make evident the cracks in the surface of the status quo.
Intruders Welcome to flat 636…”
Duque re-presents and re-appropriates one of those in-situ installations in the exhibition space of SALON2060. The installation is a landscape he made out of the remains of a leftover curtain hanging in flat 636, in which he goes back to his own memories of landscapes in his home country of Colombia.
Pauline Doutreluingne – curator SAVVY Contemporary Berlin
“Uncertainty”, site-specific installation, cut second-hand curtains, gold spray paint, printed text
Juan Duque, 2011
Site-specific installation, Juan Duque 2011
Inkjet print on paper, fold in situ, objects found on site
Photocollage of general view of the installation, Juan Duque 2011
Detail of installation, Juan Duque 2011
10/09 – 09/10 – 02/11 …
mixed media, in-situ installatie, group exhibition Tussenruimte – Roger Raveel Museum – Machelen Zulte BE
with works from : Roger Raveel, Chantal Akerman, Jan De Cock, Joelle Tuerlinckx, Jacob Smits, J. Closson, David Claerbout, James Ensor, Guy Mees, John Baldessari, Raoul de Keyser, Albijn van den Abeele, Henri De Braekeleer, Jean-Marie Bytebier, Juan Duque – Curated by Jean-Marie Bytebier and Jan De Cock
“This work has been conceived as a work in constant elaboration. To me these paper works operate as a cartography of the site, a palimpsest;
They contain the traces of in-situ actions (folds, cuts and imprints) but are also a ‘translation’ of images, memories and objects.
Every time the work is executed on a new location, a new set of information is added.
10/09 – 09/10 – 02/11 … is a collection of actions and imprints from different site conditions, places and realities.”
“Dit is een werk in voortdurende evolutie. Deze papieren vouwwerken zijn voor mij een cartografie, een palimpsest van de plek waar ik ze geplooid heb.
Ze bevatten de sporen van vroegere plaatsgebonden handelingen (vouwen, snijden, afdrukken), maar zijn ook een ‘vertaling’ van beelden, herinneringen en objecten.
Telkens het werk op een nieuwe plek wordt her-plooid, voeg ik nieuwe lagen informatie toe;
10/09 – 09/10 – 02/11 … is een verzameling van afdrukken afkomstig van verschillende plaatsgebonden condities, plekken en realiteiten.”
Juan Duque (COL–BE) 2011
