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Philip Janssens’ body of work tends to evoke a certain frustration with its audience. He distances himself from methodologies inherent to conceptual art; his objects should not be considered as mediums carrying meaning and mental concepts waiting to be revealed. They rather question the true nature of the object itself and the essential contradiction they bear, of objects always being subject to the subjectivity of perception. His work explores the notion of the simulacrum, whereby the object itself only functions as a trigger for the mental image constructed in the mind of the viewer. The relationship between the objective image and its subjective memory stands at the foreground of his praxis.
In his current research on the possibilities and implications of working in a performative setting he collaborates closely with Camille Lancelin (fr. 1987). Together they use both Lancelin’s text ICEBERG un mirage sort a cheval and reoccurring sculptural theme’s by Janssens to form a base line for future development.
Text: Evelyn Simons
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