ABOUT WEBSITE: The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.
ABOUT THE ART COMPASS: The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.
The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.
Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.
LIEVE VAN MEEGEN - HOW TO SHOOT A PAINTING WITHOUT PULLING THE TRIGGER
I commissioned and instructed a painter to paint two paintings.
To translate an existent image into something new, to create a work to discuss.
The title of my project is a reference to the shooting of Andy Warhol by the radical feminist writer Valerie Solanas.
The idea for the work is personal, the implementation is distanced and methodical.
I want to translate emotions, events into something that is open for interpretation for the viewer.
The first painting is a copy of a painting titled : “Tampon”.
The copy which I commissioned, and that is shown here, was made after a reproduction of the original painting.
In the past I agreed on live modelling for the original painting, in which my body is depicted.
It shows my vagina with a tampon in it, as a focus point.
Whereas It does not show my face.
For the second paining I have instructed the painter to paint me in a revealing pose. I commissioned her to paint according to her own vision.
We did live modelling sessions.
With my face visible.
It is not my priority to make statements.
However I definitely want to take back control over the way my body is represented.
No matter if I paint, perform, collaborate: my art dissolves physicality and mind. You observe what is happening and you do something in response.