programme

Michèle Matyn. Foto Marcel de Buck
Michèle Matyn, After Laughter, installatie in het Van Abbemuseum, 2018. Foto Peter Cox
Michèle Matyn, After Laughter, installatie in het Van Abbemuseum, 2018. Foto Peter Cox
Michèle Matyn, After Laughter, installatie in het Van Abbemuseum, 2018. Foto Peter Cox
exhibition

After Laughter (Installation The Water Knows)

Michèle Matyn
15/01/2018 - 24/06/2018
on the wall next to Het Oog (The Eye)

From 15 January Michèle Matyn started After Laughter, a new creation in Het Oog and on the wall between the museum and the museum café. The installation in Het Oog ended on 15 April, the project on the wall runs until 24 June.

For After Laughter, Matyn has been inspired by the river Dommel that flows past the museum, where she understands water as a material but also as a metaphor. This combines them with her interest in laughter as something that is able to purify and connect people.

 

The Water Knows

Along the wall hangs a 46 meter long paper curtain that has been sewn by hand. Matyn's photographs have texture and materiality: the deep folds of the paper and close-ups of the Dommel penetrate the cool, white walls of the museum and envelop them.

 

The Laughter and Pulcinella 1

The organ, which produces laughter during play, evokes associations with the court jester, who is both comical and tragic and has the task of entertaining people and enjoying themselves. Such associations fit into Matyn's long-standing interest in various secular traditions, protocols and rituals. Matyn's ambitious series of images and associations form a whole that penetrates and flows out of the museum. She presents a collection of references, meanings and materials that engulf us with laughter, water and the shadows of rituals along the rivers.

Finally, you can see the video of the performance 'Catharsis'.

Performance "After Laughter - the laughter and pulcinella, 1"

Michèle Matyn

Michèle Matyn is an artist based in Antwerp. Matyn’s practice, which comprises photography, installation, sculpture and performance, encompasses a set of visual and material responses to the locations she researches. Often visiting places for the first time, recently the river Li in China or North Ossetia, Matyn looks for places un-touched by modern developments or the passage of time. As such the images and objects she produces embody a mystical, timeless quality, drawing on the inter-connected relationships between a place’s history, its ecology and the stories that have emanated from it. Her photographs, often taken with a Polaroid camera, of rock formations or plants, appear both abstracted and anthropomorphic, blurring the lines between the natural and the human.