LANGS LOOISE STEEGJES EN STEKJES,
GRATIS RONDLEIDING MET GIDS op zondag 12 mei 2019 om 10.00 uur en om 14.00 uur. STARTPLAATS aan cultuurhuis | het LOO, op de Vismarkt.
Voor de plaatselijke kunstroute werd uit het Oeuvre van Tapiaco een straatdeksel uit Tessenderlo geselecteerd, uitgevoerd op Dibond en geplaatst in ’t Steegje Steendriesen
Praha 4 to 28 june
Camp is a collective name for cultural expressions that consciously use
kitschy elements. Camp is thus embracing mass culture with artistic
From the 1960s onwards, the notion of 'camp' became known to wider
groups, for example through Susan Sontag's Notes on Camp (1964) essay
and the use of camp elements in Pop art and post-modern art.
The ironic embrace of mass culture is characteristic of both camp and
postmodernism. Where modernism created an ivory tower of
incomprehensible "higher" art, and popular cultural expressions were
considered inferior, postmodernism questioned a (overly sharp) boundary
between high and low culture. Fooling with folk culture was a logical
consequence. Because these popular expressions were embraced with the
necessary artistic / philosophical intentions, we can speak of camp. In
Tapiaco's approach, the link is made between the subject of Kitsch & Camp
and its formal language based on an indefinite form between circle and
square and the name Rounded Square was given no geometric significance.
It developed from an initial abstracting of figures, landscapes, objects and
observations from nature and gradually evolved into a basic element
within successive series with the same number of themes such as: From
Bohemia with love, Round Squares, Signatures, Gold & Silver, Das
Kapital, Back to the Future, Targets & Ties, Classified, Street Covers,
Stepping Stones, Organics, Cuba Wheels, be-Mine etc.
It was the common thread in his work and became his trademark. It thus
became a symbol of universal communication for him because this form
was used in a variety of ways in all cultures and throughout human history
on all continents for its simplicity.
In the oeuvre of Tapiaco themes such as: With the Kitsch & Camp series he
makes an essential question about the experience of art in general:
What is Kitsch and what is art?
And when does Kitsch become art?
Another tricky issue is the issue of authenticity and authorship.
Can you use the work of others for your own inspiration and use it for
What is the meaning of a signature and what does it cover?
Can an artist put his signature on work made by others?
By Colleagues? Pupils? Staff members? Freelance artists? Craftsmen?
The exhibited paintings are work from others, nothing is wrong with the
method of the technique; only the question is if it is art or Kitsch.
And if it has become art now after the action of Tapiaco?
With the serial of Puzzles the approach is a bid different.
Puzzles are in se kitschy objects regardless of the theme which makes it
possible to use any subject.
Nevertheless the question remains the same, is it art now after the invention