Hempel, Simon, 2009. Plants and soil – the visual development of a structure, Maastricht: Jan van Eyck Academie, Post-Academic Institute for Research and Production in Fine Art, Design and Theory.
68 pp comprising 8 gatefolds, 17,4 × 26,9 cm, screenprinted clothbound hardcover, 40 fullcolour illustrations.
The operation the goddesses Juno and Iris perform is a transformation (an abstraction) – from the globe of the eye (from bulbus oculi) to a pattern of plumage, from the organ of sight to an ornament (to illustration). A symbolic transplantation, taxidermy of a concept. By making the peacock the lasting bearer of the notion of Argos’ multi-ocular gaze, Juno maintains Argos’ legacy. It is without doubt the many-eyed Argos (the Panoptes – the All-Seeing) who, by his surveying gaze, is enabled to gain an exhaustive conception of an image of the world.
With reference to the latest theory of colour introduced by his contemporary Franciscus Aguilonius, Rubens based his allegory of seeing – and notably Iris’ accompanying rainbow – on a blue-red-yellow colour scheme. Aguilonius – otherwise known as Francois d’Aguilon – was a Brussels-born jesuit mathematician, a physicist and architect, the author of a six-volume treatise on optics and active in Antwerp at the same time as Rubens. Rubens contributed the frontispieces and several illustrations to his ‘Six Books of Optics’. In his comprehensive study Aguilonius explicates, inter alia, the principles of stereographic projection. Stereographic projection is a geometric function that projects a sphere onto a plane. It is used to make a coherent two-dimensional illustration from the three-dimensional thing – such as a map from the terrestrial globe.
The book ‘Plants and Soil – The Visual Development of a Structure’ contains a photographic sequence comprising forty images. Identified here as the pivotal element of a certain spacial configuration in an urban setting in the city of Hamburg, the photographs portray a topiary-like garden sculpture in the shape of a peacock.
Availability: a – b – c – d – e
Arbeitstisch im Lesesaal, 2012, colour photograph (chromogenic colour print, hand proof).
… Of those who inhabit rooms. (11 November – 7 December 2013). Brussels, BE: Twelve Cells for the Intoxicated.
Hempel, Simon, 2013. EIN ANDERER APPARAT; ANOTHER APPARATUS; UN AUTRE APPAREIL, Hamburg: Freie und Hansestadt Hamburg, Kulturbehörde.
32. Arbeitsstipendium für bildende Kunst der Freien und Hansestadt Hamburg. (9 – 31 March 2013). Hamburg-Harburg, DE: Deichtorhallen – Sammlung Falckenberg.
Arbeitstisch II – Zeichnung 1; Zeichnung 2, 2012, pencil and marker on paper.
No touching. No. (Curators: Agata Jastrzabek and Dirk Snauwaert). In: Curated by_vienna 2012. (21 September – 10 November 2012). Vienna, AT: Galerie nächst St. Stephan – Rosemarie Schwarzwälder.
The structure of the image; The structure of the book. In (conference): The Inevitable Structure of the Book*. (28 April 2012). Brussels, BE: Wiels, Contemporary Art Centre.
Hempel, Simon, 2009. Plants and soil – The visual development of a structure, Maastricht: Jan van Eyck Academie, Post-Academic Institute for Research and Production in Fine Art, Design and Theory.
Ekstasen / ecstasies (preview). (9 – 14 February 2009). Maastricht, NL: Jan van Eyck Academie, Post-Academic Institute for Research and Production in Fine Art, Design and Theory.
All contents copyright © 2017 SIMON HEMPEL unless otherwise noted
Website realised by SALOME SCHMUKI