Ephemera, transient structures of bamboo

EphemeraAntoon Versteegde

Transient structures of bamboo

Preface

15thInternationalLausanneBiennal•ContemporaryTextileArt

“And the whole earth was of one language, and of one speech. Until the

people made bricks to build a city, with hanging gardens and a tower

with a flag which reached unto heaven...”

Babel notwithstanding, the world was to be washed by a tide of

artistic rhetoric, of works of art that were made to last forever. The

dead weight of this legacy has grown heavier from generation to

generation. And thus the classical precepts have come to be a

millstone round the neck of the living artist. Only transient struc-

tures can give him back the freedom he has lost. A fragile object

will eventually disintegrate, like some organic time bomb, or be

wrecked by vandals. The artist’s dynamic creation can only truly come to life outside the

hierarchy of the museum. In the urban environment it ceases to be an objet d’art, and

instead becomes a focus for discussion. At the same time, there is interaction between

the freestanding textile sculpture and the elements. Plants, growing upwards, overrun

the wind, which the artist has made visible. His flags are transformed into garlands.

Antoon Versteegde

02 03Ephemera || Ephemera

Bamboo expresses verdant geometric beauty as it grows in nature, Antoon Versteegde uses both artistic vision and appreciation for human interaction to transform wild bamboo into temporary structural art. Many of these structural sculptures have become social events with spontaneous public participation. Public artistic happenings and workshops create a memory of solidarity and creativity in every person involved, the skills developed last a life-time, for fun, moments of reflection and times of real need.

Our life is dependent on air. And yet we are really only aware of air when it makes

its presence known, visible and palpable in the form of wind.

Wind

04

Wind05Ephemera |Flags on Hanging Gardens • 15th International Biennal Lausanne 1992| Ephemera

06 | Ephemera Ephemera | 07

The wind blows and carries light materials with it in its flow. Tissues, anchored

down bend in its path. Heavy objects appear to undergo its caress quite unmoved.

Fragile materials acknowledge their survival to their ability to flutter and wear in

the wind. So time flies in eternity.

Waving rhythm

Opus 54 • Gallery Art Show, Martinihal Groningen 1993

“Suchafleetingproject

should run through the

streetslikearumour.

Golikethis:“Haveyou

seenityet?”Itshould

all of a sudden be

there.Asifithadap-

pearedoutofthinair.”

The winds capriciousness provides a perpetual challenge.

Wind


The delicate structure is attached to the ground. The wind flows through the con-

struction causing a fluttering of the soft and pliable materials as though they

were about to take flight. But because they are held down, floating away remains

a dream. Their bid for freedom causes the ruin of their dwelling. This too appears

brief and short-lived.

The counterbalance

Chassée Park Project • Chasséepark Breda 2007

“Therearevarious

systemsforindicating

fromwhichdirection

thewindblows,butthe

mostbeautifulonere-

mainsthatoftheflag.“

The inspirational force of the wind must be visible.

Wind


It happens only all too often that a work of art appears out of the blue and catches

people by surprise. Even when the inhabitants rather like the object they still tend

to regard it as an intrusion in their own surroundings. They realise that it is never

going to go away: a vandal-proof, easily maintainable sculpture radiates that at

every turn. A temporary installation however, turns out to be itself rather like a

celebration, like an event that blends briefly with the festivities.

Swirling ideas

Cérémonie des Couleurs • La célébration du Bicentenaire Bar-le-Duc 1989

“Iconcernmyself

withtheartisticritual,

projectsofmineare

like celebrations:

lotsofpeople,lotsof

emotionsandmuch

workachievedatone

particularmomentand

thenitisallover.”

You never know their intention beforehand, what they are going to do with it.

Wind


Just as the wind plays with fire, so too does it play with flags. Adhering to the

same choreography, they dance their dance of death. And yet: it is the wind that

emerges every time as the sole conqueror. It fans the fire and converts energy into

movement.

Soaring flames

Top Secret • Odapark Venray 1993

“Thewindistheinvis-

ibleopponentofmy

constructions.Flags

provideavisualshape;

witnessingitsstrength,

bindingittightlytothe

installation.”

In the sound of the wind you can hear the crackling ofablazingfire.

Wind

Water is the most important constituent in all living organisms. Man, in his being,

is more liquid than solid.

Water

14

Water15Ephemera |Water Ringen • Wateringen 1997| Ephemera


Water is a liquid substance in which one is able to drown. The surface of the water

forms a natural boundary. Yet man has an ancient pact with water. This boundary

is in our imagination less rigidly present. Floating constructions are not acces-

sible, but exactly because of this inaccessibility they stimulate the conception of

a new dimension: the silhouettes of Utopia.

Floating on the reflection

1000 Flags • Life Dialogue Wageningen 2007

“Imaginationandreality

flowintoone,providing

thebeholderwithan

imageofanotherworld,

oneinwhichhecan

losehimself.”

Water

The public’s enthusiasm is an indispensable element.


The flash of an idea forms the core around which the project concepts can con-

dense themselves. The different fantasies congeal as one during a process of

selection and preparation. Only then does the work of art take on its true form.

The only thing that counts then is the act, the moment in which fantasy becomes

reality.

Dropping a drop in the ocean

Negatieve Navigatie • Floating Islands Leiden 1991

“Climbingplantshave

asingulargoal,an

individualpattern.

Theyoverrunmobile

installationsandwill

eventuallyrenderthem

immobile.”

Water

When a project has been completed, I can spend days in silence atthewater’sedge,lostinreflection.


The starting point lies in the surroundings. Human size plays a crucial part,

equally so that of the beholder’s perception of the en vironment. Some images

will fit into an artist’s head but not into an artist’s studio. A vision out of a dream,

a spatial experience that is to be undergone by others at a later stage. By using

depictive constructions thoughts can be indicated.

The world reflects

12 Days in the Dessert • Unesco Bad Urach 2007

“Theatmospherein

museumsissodeathly

initspresencethatit

hasupsettheinter-

actionwithart:itisas

thoughitwerecorpses

adorningthewalls.

Onehastheimpres-

sion of finding oneself

inthecatacombs.”

Water

The upward force of the water terminates at the surface of the water.


The onlookers can take part in the construction of a work of art, actively contribut-

ing towards the realization of a vision from a dream. Their physical participation

is an essential element in the whole process. The work does not consist only of

ideas and materials but also embraces the physical energy contributed, required

to effect the realization.

A vortex

Wigwamsterdam • Vondelpark Amsterdam 1985

“Itisfarmoreexciting

tomakefragilecon-

structionsandwaitfor

thestormtobreakthan

itistoplaysafe.To

resorttoattemptingto

safeguardit,drivesall

thelifeoutofit.”

Water

Thereflectionformsanirrevocablesymmetry.

The ground, the solid earth under our feet is the foundation of our territory, the

starting point for exploring our surroundings.

Land

24

Land25Ephemera |Tweehuis • Beeldige Kleding, Odapark Venray 1991| Ephemera


Art only supplies a positive contribution to its surroundings when those involved

really are involved in the realization of the work of art. The place and the sur-

roundings where the work will take its shape are more than just a foundation for

the ultimate work. They provide the only significant link in a meaningful form of

communication.

Background

Bamboe Arena • Novib Festival Mundial Tilburg 1986

“WitheachprojectI

seek a confrontation

withthesurroundings.

Iwanttodevelopthe

valueoftheexperience

attheproject’sloca-

tion.Myinstrumentis

artisticintervention.”

Land

It is the same ground, on which we build and cultivate.


Placed on land and anchored to the ground, a piece of art provides us with a dura-

ble gauge for indicating that time is passing. Transient projects make us aware of

the place or position that we hold in the cycle of existence. And so art stimulates

our powers of imagination.

Shadows on land

Pettelpoort • Vestingstad van Europa ‘s-Hertogenbosch 2005

“Onlytheribsofthe

spacesareindicated,

oroccasionallyasingle

surfaceThemost

importantthingisthe

action,themoment

inwhichtheimageof

thefantasybecomes

reality.”

Land

It is as if the work of art had burst out of the earth’s crust of its own accord.


The crust of the earth is the territory on which we live because - in contrast to

water - it is solid and not impassable. We build houses and cultivate crops. And

furthermore we are just there because we are living. And as long as we live on, we

are able to create objects to give a form of expression to our existence and doing

so communicate with each other.

Building and cultivating

Bamboo Super Circle • Vitra Design Workshops Boisbuchet 2000

“Evenwhenthetran-

sient installation has

passedfromsight,

theafterimageofthe

projectlivesoninthe

thoughts and tales

ofthosewhowere

involved.”

Land

A project should be embarked on at sunrise. At dusk it should be brought to a close.


The setting up of temporary constructions leads to an object that can amaze or

inspire. Sometimes the public is expressly invited to colour the work of art from

own experiences. But just as frequent, active participation on the part of the

public is expected in the building of the work of art. The celebratory character of

the event strengthens the perception of the work.

Autonomy

Stonehenge Bamboohenge • Park bij de Euromast Rotterdam 2004

“Thepublicisobliged

to take on continu-

allychangingstances.

Everysingleperson’s

presenceisunique

andthatbestowson

eachspectatorhisown

significancewithinthe

project.”

Land

Art generates art: the vicious circle of existence permits us no other choice.

35Ephemera |34 | Ephemera

Antoon Versteegde (1953)Address: Zeelandsedijk 34, NL-5408SM Volkel, The Netherlands

1978 Graduated from Royal Academy of Art ’s-Hertogenbosch, specializing in ephemeral installations and interactions.1982 Study-trip trough Southern Europe and Northern Africa.

Major installations and interactions

1984 Staketsels ’84 part 1, NL-Centrum Amsterdam Staketsels ’84 part 3, Oerol Festival Terschelling Staketsels ’84 part 8, Willem II ’s-Hertogenbosch1985 Wigwamsterdam, Vondelpark Amsterdam Le Kiosque à Musique, Nieuw Herlaer St.Michielsgestel De Zes Windstreken, Beelden in de Delftse Hout Delft1986 Vechtvloot, Expo op de Vecht Hardenberg Schansskulptuur, 13x Vorm Vlissingen Droomkolk, Autour de Vincent Zundert1987 La Fugue Toute Nue, Beeld-en-Route Diepenheim Expo Hedendaagse Kunst, Gemeentehuis Uden Vlaggeninstallatie, Grensland Zundert1988 GeoGenese II, Vondelpark Amsterdam Memoires de Mort, Stadsbeelden Emmen Inventer 89, La Grande Halle - La Villette Paris (F)1989 Cérémonie des Couleurs, la célébration du Bicentenaire de la Révolution française, Bar-le-Duc, Ibos-Tarbes, Bruay-la-Buissière, Pau, Chamalières(F)1990 You can’t sit down..., Kunst en Zitwerk Slot Zeist Floating Quartet, Gouverneurstuin Assen Between Two Walls, KEG Beeldenroute Schijndel1991 Bouwkunde Bibliotheek, TUe Eindhoven Negatieve Navigatie, Floating Islands Leiden Tweehuis, Beeldige Kleding OdaparkVenray1992 Biënnale Internationale de la Tapisserie, Lausanne (CH) Monumentaal Tijdelijk Feesttuig, TUe Eindhoven Gekooide Weemoed, Aa Kunst 92 Groningen1993 Bomba Organica a Orologeria, Miniartextil Como(I) Beek-Schip-Brug-Hof, BBKK Waterbiënnale Bathmen Binnenstebuiten, Provinciehuis ’s-Hertogenbosch1994 Gevleugelde Woorden in de Wind, OB Doetinchem Mondriaanproject, Brabants Dagblad Uden Beeldenstorm in Kloostertuin, Franciscanessen Veghel1995 Le Mobile à Musique, Textiel Plus Utrecht PentAne, Kunst in het Vechtdal Ane-Gramsbergen Zonder illusies vaart niemand wel, Odapark Venray

E-mail:[email protected] • Website: www.versteegde.nl

1996 Ogen op Steeltjes, Galerie Ann’s Art Groningen Big Big Bamboo, Wirework SintTruiden(B) Vuur onder de Wereld, Gallery Art Show Groningen1997 Uden Titel Odder, Odder Museum Odder (DK) Sporen in het Vechtdal, Nordhorn (D) - Dalfsen (NL) WaterRingen, Waterpop Festival Wateringen1998 Sarong Sculptuur, Buys Business Events Groningen Quartimond, Artimond Kasteel Helmond Poorten naar Mundial, Festival Mundial Tilburg1999 Brandmeester Marinus van der Lubbe, CBK Leiden Observatorium De Vijf Windstreken, Assen Kathedraal Bouwen, Odapark Venray2000 Afterwards..., European Parliament Brussels (B) Raising the Bamboo Wheel, EBS Carwinnion (GB) Bamboo Super Circle, EXPO 2000 Hannover (D)2001 Rotterdamse Kunstdagen, Rotterdam Zonnewendehappening TNO, Apeldoorn Bamboeproject Informatiecentrum, Hoogvliet2002 Emplacement Wildervank, Star&Arts Groningen Stonehenge Rotterdam, Rotterdam Concentric Circles, Summer Festival Beograd (SR)2003 Kunstpassie 2000drie, Natuurtheater Best Tempus Arti Summer, Schijndel Installatie Horst d’Oeuvre, Horst2004 BamBoekel, St. Agathaplein Boekel TheHATERT, Colorfull City Nijmegen Bamboo Expo in i + i Centre, Delft2005 Afterwards, UN Headquarters NewYork (USA) Pettelpoort, Vestingstad ’s-Hertogenbosch Romeinse Wachttoren, Leidsche Rijn Utrecht2006 Int. Symposium d’art contemporain Baie-Saint-Paul (Ca) Kansen aan de Kust, Noordwijk Kwartiermakersfestival, Waalwijk2007 BambusBrückenBauproject, MülheimanderRuhr (D) 17° Mostra Internazionale d’Arte Tessile, Como (I) Chassé Park Project, Breda2008 12 Days in the Desert, Unesco Bad Urach (D) Bamboo Pavilion Sonsbeek MMKA, Arnhem 1000 Flags, Life Dialogue, Wageningen2009 Bamboo Gates to Circo Paradiso Heusden-Zolder (B) Ubuntu Festival, Goes Bamboo Skeleton Shelter, Lutteltuin Volkel

PublishedbyStichtingDeLutteltuin•Copyrights©AntoonVersteegde1984-2010•c/oPictoRightNL•ISBN 90-800898-1-8

ThispublicationwasmadepossiblewithsupportofTheNetherlandsFoundationforVisualArts,DesignandArchitecture•fondsbkvb.nl

Antoon Versteegde has given lectures and workshops for many years; he organizes educational and solidarity projects with artists and amateurs, children, students and professionals. This work has taught him that we all benefit from the insights of others; students, for example, often suggest surprising approaches to structural solutions. Most of the photos above illustrate interac-tive projects with geometric shapes and structures, working with large groups of people who want to co-operate spontaneously.

Transient impressions of bamboo

Visual artist Antoon Versteegde mainly seeks his artistic freedom outside established institutes and ex-hibition spaces, in public locations with free access for everyone. He conceives life-sized constructions, which he designs as transient outdoor installations that he constructs with lightweight materials such as bamboo, flags, rope and rubber bands.

Versteegde gained ample experience with large-scale interactive projects. They have proven to be highly successful for realizing huge sculptures in a short time, working with groups of artists and volunteers. His self-developed construction technique is easily passed on to people who want to co-operate sponta-neously. For this end he designs spatial experiences that he wishes to share with others. In order to give shape to his thoughts he uses descriptive construc-tions. Because the public takes on an active role of participation, the necessary energy is released.

The images created as a result, appear only to disap-pear. What remains is the afterimage. The bamboo installation leaves an impression behind in the spec-tator’s memory. Versteegde’s dream image becomes the image of a collective memory. The majority of his works is made for temporary display and not intended to be long term or permanent, and consequently has vanished. Only memories and photographs remain after the artwork has been taken down.

Thepicturesinthisbookactasarecollection.

Ephemera

The definition of ephemera comes to us through Latin from the Greek epi (about), and hemeris (day). Ephemera is pronounced “efem’mera”. The contem-porary definition of ephemera is “something short-lived or transitory” especially all types of transient structures and installations, produced for a specific purpose and intended for special events. They are made from lightweight materials such as bamboo, bunting, rope and rubber bands and appear only just to disappear. What remains is the afterimage: ephemera leave a strong impression behind in the spectator’s memory.

www.versteegde.nl

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Ephemera, transient structures of bamboo