The exhibition Dog Day Cabinet 2 at the Brussels art platform Le Clignoteur concentrates on how nature and culture relate to each other, in the sense that humans long for connection with nature but at the same time they ought to be afraid of nature and it’s destructive potential, climaxing on a personal level in the nature of death.
Artist(s) Katrien De Blauwer, Giovanni Winne, Julie van der Vaart, David De Beyter, Bram Kinsbergen, Stanislas Lahaut, Sarah-Ann Cousein, Tine Guns, Caroline Lemaire, Danielle Luinge, Fia Cielen, Michel Vaerewijck, Patrice Deweer & Peter Waterschoot
Venue Le Clignoteur, Brussels
Installation images Sven Lambin
Dog Day Cabinet originated in the summer of 2015, as Michel Vaerewijck handed the keys of his artist gallery C41 in Antwerp to artist-curator Peter Waterschoot. It was the month of August, the month in which nothing much is going on; hot, lazy days called Dog Days. Peter stepped in this gap, and quite forcefully came up with a new concept combining photography with affiliated artists from other disciplines. After viewing this show, Le Clignoteur, (an art platform in Brussels led by Patrice Deweer and Delphine Navez) immediately offered their space for a second edition of Dog Day Cabinet in 2016.
For Dog Day Cabinet 2 Patrice Deweer and Peter Waterschoot worked further on DDC core-topics, which is a sense of unease that blends perfectly with the artistic choices made. Dog Day Cabinet revolves around 5 core-topics. 1. the relationship of art history with contemporary art, 2. the ‘cabinet’ tradition of eclectic collections, 3. the role of aesthetics, 4. the desire to install an exhibition with enhanced visitor-experience, as well as 5. focusing on the aspect of emotional layering in art.
Peter and Patrice chose the painting Wanderer über dem Nebelmeer by Caspar David Friedrich as startpoint, the perfect icon for a split attitude towards nature, where-in on the one hand we are driven by romantic feelings and a craving for nature, as on the other hand we are just as much and very much aware of how dependent we are of both comfort and safety.
The result of this course of thought is an exhibition which is meandering from tragic landscape up to ‘vanitas art’, with in the background a far humming of the perfect storm.