With: Haseeb Ahmed, Michèle Matyn, Michiel Huijben, Paolo Patelli, Emiel Arends, Ralf Wetzel, Anja Isabel Schneider, Olivier Chazot, Leen Scholiers, Peutz Group, Barbara Baert, Piero Bisello, Modelvliegclub Europoort (MVE), Pieter Heremans, among others.
Rib presents Taming the Horror Vacui—a 1,5-year-long program unfolding the practice of artist Haseeb Ahmed (US/BE) in public, who has worked for over ten years with and around the phenomenon of wind exploring many of its guises. The trajectory consists of an evolving installation in Rib, a publication, and a series of workshops, lectures, and excursions.
The program entangles Ahmed’s practice with Rib and its global and local environment in Rotterdam-Zuid through the phenomenon of the wind. Wind is treated as a material and conceptual force, as model, instrument, and framework of architectural, meteorological, technological, mythological, art-historical, socio-political, economic, and recreational imagination. This program convenes practitioners from a variety of disciplines to elaborate on each of these aspects.
Over 12 public lecture and workshop sessions the program addresses the variety of metaphorical and material phenomena of fluidity. The accompanying publication by invited writer and art critic Piero Bisello is based on an exegetical model that makes public the materials made by Ahmed and the invited participants in the context of the installation at Rib, together with commentary by invited writers. It consists of 9 digital editions available on Rib’s website with a final compendium.
A wind tunnel resides at the heart of this project. Ahmed’s wind tunnel for Rib is designed to evolve with the topics of each lecture and available for use in workshops. Wind tunnels are made to model atmospheric conditions at a small and observable scale to aid in the design of vehicles, to cities, and garments. Because air has a fixed density, scaling realities into and out of wind tunnels is non-linear. Ahmed and Rib invite the public to ask, how can different realities exist at different scales simultaneously and how can we use the medium of the wind to understand the city, its architecture, and the experience of its inhabitants in ways other than those intended? A library of the winds archives public contributions made during workshops, neighbourly conversations, and collected and generated mythos of the wind. In a series of educational workshops with primary and secondary schools from the neighborhood we will open the topic of the wind to younger members of the public.
The concept of horror vacui dates back to Aristotle and is commonly known by the phrase “Nature abhors a vacuum.” Having a huge influence on physics, it is thought to be the reason why all fluids like air and water move—rushing to fill voids. The program takes its title from a 1979 essay by historian Richard Ettinghausen in which he explains the driving force of Islamic aesthetics throughout history to be the fear of empty space. Rich geometric ornamentation fills the emptiness of otherwise void desert spaces to create a sense of presence just—as fluid flows into voids. The link of psychology, art history, and physics already shows that ideology can be carried along with material. This concept, like the project at Rib expresses both artistic and scientific phenomena at once and what social anxieties and experiences move and are moved by them.
Haseeb Ahmed (b.1985) is a research-based artist. Originally from the US, he now lives and works in Brussels. He produces objects, site-specific installations, films, and writes for various publications. Often working collaboratively, Ahmed integrates methodologies from the hard sciences into his art production. His recently completed Wind Egg Trilogy blends art and aeronautics, myth and technology, to create new narratives for the present. It was developed with Von Karman Institute for Fluid Dynamics (VKI) in Brussels for and was the subject of his first solo exhibition Harlan Levey Projects in Brussels who now represents him, his solo exhibition at the Museum of Contemporary art of Antwerp (BE), as well as the topic of his PhD in practice-based arts completed in 2018 as a collaboration between the VKI, University of Antwerp, Saint Lucas Antwerp School of Art and Design,and Zurich University of the Arts. Ahmed has been a lecturer at the latter two art universities as well as the Royal Academy of the Art in The Hague. His work with the wind and science began during his Masters from the MIT Program in Art, Culture and Technology, completed in 2010. He holds a Bachelor of Fine Arts at the School of the Art Institute of Chicago. Ahmed has been a resident at the Jan van Eyck Academie in Maastricht (NL), the Skowhegan School of Sculpture and Painting (US), a EU Commission STARTS Vertigo resident at the Brain and Emotion Laboratory at the University of Maastricht, La Becque Foundation among others. His work has been exhibited internationally including the Museum of Contemporary Art Chicago (US), The Gothenburg International Biennial of Contemporary Art (SE), and De Appel in Amsterdam (NL).
Piero Bisello is Editorial Director at Conceptual Fine Arts, an online art writing platform and gallery visiting program in Milan. He has a background in art history and analytic philosophy, with degrees from KU Leuven and Erasmus University Rotterdam. Among other topics, his editorial work has focused on artist publications and artist books. He has been based in Brussels since 2011.
Within his practice, Michiel Huijben (NL, 1985) reads, writes, and speaks, always departing from architecture and its objects, to create texts, performance lectures and videos. These media provide a way for him to intervene in the seemingly rigid and unchangeable architecture of his immediate environment. He studied Fine Art at the St. Joost academy in Breda (BFA) and the Sandberg Institute in Amsterdam (MFA), where he finished in 2008. In 2013, he did a short track residency at De Ateliers in Amsterdam, followed by an MA in Architectural History and Theory at the Cass, London. Shortly afterward, he started the publishing project Flat i. (welcometoflat-i.net). In recent years his work has been presented at, among others: UMPRUM, Prague; Kunsthalle Basel; Centre Culturel Suisse, Paris; die Angewandte, Vienna; De Appel, Amsterdam; W-O-L-K-E, Brussels; Stadsschouwburg, Amsterdam; Min-, Rotterdam; Extra City Kunsthal, Antwerp; Matt’s Gallery, London; and That Might Be Right, Brussels. He has lectured at several institutions and currently teaches artistic research at the Willem de Kooning Academy in Rotterdam, where he lives and works.
Michèle Matyn (BE) lives and works in Antwerp. She has developed a multifaceted practice that incorporates photography, sculpture, installation and performance. Her work looks at the ways myths and folklore are created in societies, often through our perception of and interaction with nature. Matyn’s works often begin with a journey, often to locations unfamiliar to the artist and with little sign of human interference, encountering places and situations that might inspire belief in the supernatural and the unknown. Her works typically feel ‘homespun’ evoking esoteric culture and the anthropomorphic gaze onto the outer world. The crux of Matyn’s work lies in seeking the intersection where human projection onto the non-human meets the natural world with its own existence outside of human consciousness. Matyn’s exhibition Breathing holes is being developed in response to recent travels the artist has undertaken in regions of France, North Ossetia and China. She has been producing a body of new photographs and sculptures that depict natural forms she encountered which are reminiscent of human or animal respiration systems, considering objects and spaces as living entities. Including a selection of recent works, Matyn’s exhibition will be formulated as an environment, bringing together different forms, characters and encounters. The artist will also use the space as a setting for performances—a central facet of her practice—which offer further reflection on the relations between humans and the natural world.
Paolo Patelli (IT, 1984) is an architect, artist, and researcher. Through often collaborative enquiries, he engages critically and by design with the materialities, scenes and atmospheres at the intersections of space and society, technologies and environments. Patelli has exhibited internationally, including in the Dutch Pavilion at the 16th International Architecture Exhibition La Biennale di Venezia in 2018. He led a collaborative project commissioned by MAO and Moderna Galerija for BIO26, the 26th Biennial of Design in Ljubljana. He has a research position at the Design Academy Eindhoven (Associate Lecturer Places and Traces), he is a Tutor at the Studio for Immediate Spaces at the Sandberg Instituut and a 2019/2020 Research Fellow at Het Nieuwe Instituut. He holds a PhD from Politecnico di Milano. Patelli lives and works in Amsterdam.