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In the titles of his works, Ronny Heiremans refers more than once to the notion of the model. Strictly speaking the model can be defined as an example – an ideal – on which basis a work (of art) is made. In his work, Heiremans seems deliberately not to want to make a work of art. He repeatedly builds in contrary elements. His exploration of and fascination with the model stop him from reaching any kind of finality. As becomes a model, simulation and inconstancy in many cases reign supreme. The model does not in itself need any context. Since the model is an explicitly diagrammatic version of reality, it understands itself to be its own surroundings. It is enough for itself. The model embodies Heiremans' unconditional choice of freedom. His control enables him to stop (or restrain himself) at the model, whereby the completion of the final work turns out to be an unnecessary luxury, an undesirable dystopia.
Ronny Heiremans uses landscape as a pretext to explore the construction and reception of images. Each of his site-specific works can be seen as a temporary observatory within which he proposes a model to activate the surrounding space. He doesn't only deconstruct the artificiality of images or so-called neutral spaces, Heiremans also proposes that the spectator moves, chooses his own position and so ultimately, creates his own perspective. The image only interests him in its double, performative role: how does the image build itself and what does the image propose to do?
In UTIL he presents a drawing, or rather the act of transition from plan to drawing. In his drawing the horizon determines the construction of the image. The attempt to contain what is "out of reach" needs to be continuously remade: a review of the image. Heiremans' wall drawing incites us to make use of a way of looking that is structured by voids and intermediate spaces as much as by the disorder generated by artefacts. This multiplicity of perspectives presents the opposite of a stable and complete vision of reality. What he is proposing to us is well and truly an "image to be rebuilt".