Koenraad Dedobbeleer

Your Best Interest Is My Priority, So Stop Ignoring Me, You Can't

Name: Your Best Interest Is My Priority, So Stop Ignoring Me, You Can't - Koenraad Dedobbeleer
Brand: Keijiban
Price: 8800.000000 JPY
Availability: InStock

2022

Twelve postcards in a paper folder and wrap-around band

Postcards: 10.5 x 14.8 cm
Folder: 14 x 18.3 (folded) / 32 x 24.2 (unfolded)

Edition of 77 numbered copies

Limited edition available here

Co-published with Gevaert Editions

Price

€66.00

Tax included・Free shipping in Japan

The edition

This edition was produced in collaboration with Gevaert Editions, based in Brussels. It reflects the conditions in which Koenraad Dedobbeleer simultaneously took over the spaces of Keijiban and rue_du_chapeau_10, a small message-board placed on the door of Gevaert Editions’ office and exhibition space. While the artist presented a black and white photograph in the Belgian venue, confronting the viewers to a medieval gate that is both open and impenetrable, the Japanese noticeboard hosted a hybrid structure (reminiscent of a kōsatsuba, the ancestor of keijiban) displaying a weekly selection of postcards from the artist’s collection. This series of twelve images composes, in four episodes, a story about the gaze, about the relationship of looking and performing, about seeing and being seen.

For the edition, reproductions of these postcards are enclosed in a paper folder, which viewers can activate to display the images one after the other, as in a kamishibai (紙芝居, literally a “paper theater”). Through this apparently simple device, Dedobbeleer sets up a complex network of visual and cultural references, where the notion of “exhibition” is unfolded in its many utterances.

The artist

Koenraad Dedobbeleer クーンラード・ドゥドブレール — Drawing by Claude Mannaerts

Koenraad Dedobbeleer was born in 1975 in Halle (Belgium). He is currently living and working in Brussels.

Dedobbeleer is known for his sculptures and installations in which everyday objects (such as lamp, key holder, door knob, or plant pot) are modified, assembled, and recontextualized with a distinctive tongue-in-cheek – and at times even burlesque – spirit. Adorned with absurd (randomly chosen) titles, his works can be seen as joyful collisions of language and matter. Yet, this approach is not merely an act of formal entertainment. Nourished by an in-depth knowledge of art history and (seemingly) inexhaustible technical resources, the artist’s work establishes an ongoing dialogue with a broader tradition of sculpture, including its relation to architecture, industrial design, DIY culture, images, and book making. The purpose of this ambitious endeavor seems to be an exploration of objecthood, of what being an object could mean.

Koenraad Deddobbeleer’s work has been widely exhibited in institutional venues such as WIELS (Brussels, Belgium); Kunstmuseum Winterthur (Winterthur, Switzerland); Kunstverein Hannover (Hannover, Germany); MMOMA (Moscow, Russia); Liverpool Biennial (Liverpool, United Kingdom); Extra City (Antwerp, Belgium); Credac (Paris, France); De Vleeshal (Middelburg, The Netherlands); Bienal do Mercosul (Porto Alegre, Brazil); Culturgest (Lisbon, Portugal); and Museum Abteiberg (Mönchengladbach, Germany).

His work is represented by C L E A R I N G (Brussels, Los Angeles, New York), Mai 36 Galerie (Zurich), Maniera Galerie (Brussels), and ProjectSD (Barcelona).

The exhibition