depôt 21 (01.06.2008 => 20.05.2008)

archief van het depôt 20

vorige/back

525 (01.06.08),  jean brusselmans (1884 - 1953)
het onweder
1938, oil on canvas
pmmk oostende

524 (29.05.08),  henri jacobs
AIR
1988, oil on canvas, 170 x 200 cm.

523 (20.05.08), 
pecha kucha # 4 in brussels
tuesday 20 mai 2008, 20:20 h., koolmijnenkaai 30, 1080 brussels.

my talk of 6 minutes and 40 seconds is to see & read at item 520 :

522 (20.05.08), 
pecha kucha # 4 in brussels
tuesday 20 mai 2008, 20:20 h., koolmijnenkaai 30, 1080 brussels.

my talk of 6 minutes and 40 seconds is to see & read at item 520 :

521 (20.05.08), 
pecha kucha # 4 in brussels
tuesday 20 mai 2008, 20:20 h., koolmijnenkaai 30, 1080 brussels.

my talk of 6 minutes and 40 seconds is to see & read at item 520 :

520 (20.05.08), 
good evening, i am henri jacobs
and i am a visual artist.
this short talk will be about symmetry.
symmetry not as narrow as
rohrschach symmetry,
but seen as contrasts or oppositions such as
black and white, day and night
or man and woman symmetry.

henri jacobs, journaldrawing 295, étude.
20 12 2006, ink on paper, 51 x 36 cm.

519 (20.05.08), 
WE SEE : back side of a painting painted on the front
side,
self portrait of the artist, a mirror and a open door.
its crowded in the bottom half of the painting,
emptyness in the top half of the painting.

already a bachelor machine 280 years before Duchamp

Diego Velazquez, Las Meninas.
1656, oil on canvas, 318 x 276 cm.
Prado - Madrid

518 (20.05.08), 
the symmetry in "salle à manger - salle à mourir" is
going into the depth of the illusion.
the doorpanel was taken from Velazquez Las Meninas.
we are positioned outside the Las Meninas Alcazar space
and are looking into it through the door.

my search for perforation of the canvas started here.

henri jacobs, salle à manger - salle à mourir.
1988 - 89, oil on canvas, 190 x 170 cm.

517 (20.05.08), 
perforation of the canvas because i want to get front- and backside together.
to see the image you need to enter the space by going through one of the
two doors.

doors were made from stretchers and strokes of canvas.


henri jacobs, l'or et l'argent exterior.
1996, canvas on wooden stretchers, 372 x 450 cm.
installed in De Pont Museum - Tilburg.

516 (20.05.08), 
once entered you see this large illusion of a flat surface in perspective.
daylight coming through the two doors turns the image into a dia - positive.
it is a scenery, a décor and a façade. a grid.

quote from Ludwig Wittgenstein : imagine the world as a white surface
with black dots here and there...

henri jacobs, l'or et l'argent interior.
1996, canvas on wooden stretchers, 372 x 450 cm.
installed in De Pont Museum - Tilburg.

515 (20.05.08), 
one can put a net with square meshes over the surface. the net makes it possible to
describe the dots.
it's a grid within the dots are related to one another.
only in the net the relations exist, not in the white surface.
you can put different nets over the surface, with a coarse-mesh, a fine-mesh,
triangular-mesh or circular meshwork.

henri jacobs, livre de mots no 1.
2002, cut out text in paper, 56 x 76 cm.

514 (20.05.08), 
those nets are our theories of the world. they arrange the world so we can describe it.
but they REVEAL nothing.

Duchamp reparing his large glass by puzzling the broken pieces of his damaged
bachelor machine back together.
the BRIDE and the BACHELOR.

left : la vie illustré de Marcel Duchamp par André Raffray
right : photo of back side Large Glass in Philadelphia Museum of Art.

513 (20.05.08), 
MOTHER and SON.
in the second commandment God forbids men to make images of living creatures.
because he is a very envious God end He is afraid men will adore those images.


Enguerrand Quarton, la Pietà de Villeneuve - les - Avignon.
1455, oil on panel.
Louvre - Paris

512 (20.05.08), 
thats why i treid to paint without icons of living creatures a PIETÀ evoked by a table in a room
with words on the walls :
BOUCHE COEUR AIR EAU SANG PISSE SPERME MERDE in the left panel.
in the right panel words of a landscape : AIR EAU SEL, TERRE ARBRE HERBE, FEU FUMEE NUAGE.

henri jacobs, MIDI (solange, paysage losange).
1989, oil on canvas, 190 x 160 cm. each.

511 (20.05.08), 
and i tried it again with icons of men and women.
with this "dejeuner sur l'herbe" i succesfully painted my
most ugly painting ever.
perhaps it's also my best painting till now.

henri jacobs, quartet.
1992, oil on canvas, 150 x 150 cm.

510 (20.05.08), 
the jealous God is in fact afraid of the invention of pornography.
He split the hermaphrodite because it was indifferent to Him.
When man lost his innocence and was kicked out of paradise by his creator, man
became inventive.
which results in art, literature and music with the major theme of LOVE.

left : henri jacobs, studie voor lieu d'incubation, 1991, pencil on paper, 68 x 42 cm.
right : henri jacobs, journaldrawing 237, 13 4 2006, fetisj / symbolon, 32 x 24 cm.
pencil, ink & watercolour on paper.

509 (20.05.08), 
LOVE and FREEDOM.
you need freedom to create
in these two images of reflection in the water we are locked up in symmetry.

we try to ALLAY the ever changing reality by composing static icons.

Rafaël, "acts of the apostels", carton and tapestry
Victoria & Albert Museum - London

508 (20.05.08), 
to lie, stand and sit symmetry after Rafaël.
as an artist i try to petrify an image, which is invented and constructed by a strange state
of being which is : concentration.

perhaps we are not trying to lose ourselves in a different reality but in :

henri jacobs, zeeland.
1995 - 97, pencil on paper, 27 x 21 cm. each.

507 (20.05.08), 


BEAUTY


Michiel Jansz. van Mierevelt, Delft 1567 - 1641.
portrait of a unknown Lady
Kunsthistorisch Mueum - Vienna.

506 (20.05.08), 
to see and feel beauty you need ugliness.
the surface exists by profundity.
devotion by indifference.
awake and asleep.
eating and shitting.
drinking and pissing.
the cast and its mould.

henri jacobs, journaldrawing 203, new nobody number ten (first state).
28 11 2005, watercolour on paper, 24 x 32 cm.

505 (20.05.08), 
APOLLO and DIONYSUS.
it seems to be the ultimate contrast but we are all living with these two anciently
determinated personalities in us.
we LIVE because we DIE.

henri jacobs, journaldrawing 203, new nobody number ten (second state).
29 11 2005, watercolour on paper, 24 x 32 cm.

504 (20.05.08), 
i feel a strong need for destruction.
to be able to continue every time with drawing and painting i have to start with nothing.
to start from scratch.
every beginning had violence and oblivion in it.
i need to be a hyperborean terrorist for myself.

henri jacobs, journaldrawing 203, new nobody number ten (third state).
30 11 2005, watercolour on paper, 24 x 32 cm.

503 (20.05.08), 
and then i get restricted freedom in return.
one day i am free to draw a certain detail of the universe.
the other day it's possible to draw or paint a pattern inspired by trees or smoke.

henri jacobs, journaldrawing 223, étude d'un certain détail.
21 2 2006, ink on paper, 24 x 32 cm.

502 (20.05.08), 
or i draw a decorative swirling calligraphy on a wall to take possession of the space.
in it's tumbling elegancy and virtuosity it looks totaly free.
but it is constructed on a severe grid.

i like my job although i am scared of the close relation to TOTAL EMPTYNESS.

henri jacobs, écriture pictographique
october 2007, pastel on wall, 382 x 1060 cm.
galerie Paul Andriesse - Amsterdam

501 (20.05.08), 

thank you for your attention.


franz xaver messerschmidt, charakterkopf "der schaafkopf".
1770, h = 41 cm.
Österreichische galerie Belvedère - Vienna.