Reformator Universalis Turnhout

October 25 2018
Installation of the permanent integrated art project Reformator Universalis at CAW De Kempen, Turnhout (BE)

Art and Automation: The Role of the Artist in an Automated Future

October 23 2018
Rapid development in automated technology is the catalyst for a paradigmatic change in society. Exponential growth of machine learning and AI applications may bring to an end the monopoly on creative production currently claimed by the arts. In this new world, the position of the artist as the producer of authentic human experience wavers. Considering various models of an automated future, this research aims to outline the possible modus operandi of the artist in changing productive environments.

Neoliberalism and Automation 
Through the past few decades our society has grown increasingly neoliberal in its principles, foregrounding certain fundamental economic ideas — e.g. efficiency, marginal utility, computability, standardization, specialization, globalization — above others. These principles have bled into our personal, sensory understanding and making of the world around us; as such, it is safe to speak of a dominant neoliberal hegemony, unconsciously built into our daily habits. [1] Neoliberal conceptualizations of an endless, expansive commodity market influence our views on, for instance, labor, freedom, safety, authenticity, humanity, and value. Too, they reappear and reiterate themselves in our human interactions.

The purpose of this study is to focus on one of the major excesses of the neoliberal thinking: the rapidly increasing application of automation. Automation can be seen as the installation of devices, physical or virtual, that replace repetitive or regular actions. Normalization of this sort is based on conventions or statistics amassed through experience, and hinges on the predictability of the future. It is the logical extension of an archaic human habit —that is, to control and anticipate the future, to augment and transcend the human condition of the unknown.

Efficiency and Authenticity
Yet, under influence of neoliberal thought, automation is mostly an instrument of efficiency. The quest for efficiency, in fact, drives the engine of the automatization altogether. Inefficiency is seen as the source of all problems, as something to be solved by means of ever-progressing technological advance. This constant yearning for efficiency has been largely a frustration of the markets of industry and everything that revolves around it: production, transportation, distribution, sales, stocks, information and services demand less and less loss from logistical friction. But when the world becomes the market, as in the neoliberal model — when the disruptive force of technology surpasses the threshold of commerce, and seeps into the spheres of private and community life — the agency of automation becomes more than a luxury commodity. It renders human action burdensome and ultimately redundant. Automation has become, in many aspects, the opposite of authenticity, creativity, culture, nature, and even humanity itself — the opposite of human production.

The all-encompassing influence of automation will continue to have a profound impact on the fabric of society, as data-driven research presents automation services that had never before existed. Entrenched local jobs are already being replaced by robots, services are streamlined by algorithms, and traditional enterprises are made superfluous by the disruptive technological economy. Through the development of machine learning in combination with the Internet of Things, among other technological advances, these automation services are bound the expand tremendously.

Estimates suggest that anywhere from 47 to 80 percent of current jobs are likely to be automatable in the next two decades. [2] Certain professions are more prone to automation than others, but nothing suggest that the practice of the artist, in its current form and convention, is immune to this evolution.

Still, history proves the malleability of the artistic profession: Under the influence of early industrialization, the anonymous craftsman became a creative author; 20-century advancements further transformed this craftsman into a avant-garde critic. Technological progress in materials production during the modernist era billed the artist as author of the authentic.

Authenticity, defined as the antithesis of automation, implies the involvement of human actions. It suggests that there is a human author, a person who has at some point made a creative decision to produce something: man must be behind the wheel. [3] Authenticity is the difference between something real and something fake; without necessarily rejecting the use of tools, machines or computers, authenticity defies mass production, standardization and reproduction.

Creativity in the Time of Machine Learning
Assuming that 
a) the role of the artist in society is ever adapting to new social situations, in many ways influenced by advancements of technology, currently pushing the profession into that of a producer of authenticity

b) the urge for authenticity originates from a reaction against the sprawls of the comprehensive generalization and globalization of everyday life, giving rise to the premise that only the human touch can create something genuine or original and

c) the outsourcing of human action through a rapidly accelerating development of information technology and data driven automation is laying the groundwork for a shift in the general mentality towards established traditions, of which the dispositions are not yet known it is possible to imagine a future in which art may deviate once again from its present purpose.

Computational learning, neural networking and other systems of data mining will have a profound impact on our perception of the authentic, not only in the field of art but far beyond. Lines will become blurred between human creation and the inauthentically re-created, between human production and the mindlessly re-produced, between imagination and the re-imagined.

What will the value of creativity be if it can be automated? The goal of this artistic study is not only to discover the effects of automated machine learning emulating the labor of the artist, but to imagine what an adaptation of the artist in relation to this evolution could entail. 

1. Srnicek, N., & Williams, A. (2015). Inventing the Future. Postcapitalism and a World Without Work

2. Frey, C.B., & Osborne, M. (2013). The Future of Employment: How Susceptible Are Jobs to Computerisation?

3. Dutton, D. (2003). Authenticity in Art in The Oxford Handbook of Aesthetics

Art & Automation

February 19 2018

The future of the artist in an automated society

If complexity presently outstrips human capacities to think and control, there are two options: one is to reduce complexity down to a human scale; the other is to expand humanity’s capacities. We endorse the latter.1

Estimates suggest that anything from 47 to 80 percent of current jobs are likely to be automatable in the next two decades.2 My research therefor focusses on the future of the creative and cultural sector and the opportunities that an imminent automation of work would entail.

Could the artistic profession become automated? The answer lies in the profound analysis of the differences and similarities between the intrinsic value of the artist in the society and that of other occupations. This comparison not only has an impact on the general artistry but questions the position of the artist regarding the labor market and visa versa.

In hindsight, the tendencies or the 'common sense' of a society are often easily formulated. In the present it becomes rather difficult. They are incentives, flows or movements towards the future; a general consensus or a public opinion; a collective memory. The common sense represents a framework that shift slowly but steadily, revealing certain topics and making them debatable, concealing others that were debatable before in the proces. 

Predicting, discovering and responding to these tendencies is a very powerful methode of operation. It gives a grip on the currents of a society, sometimes in short term, mostly on the long run. The methode enables the artist, designer, writer, thinker … to install a progressive construction that impacts the current generation and helps shape the future. 

In the past 30 years, our current, western society has become more and more based upon neoliberal principles, spearheading certain fundamental ideas: efficiency, direct economic utility, computability, standardisation, specialisation, globalisation.… These principles have seeped deep into our common sense, making it safe to speak of a neoliberal hegemony. They influence our perception about labor, freedom, safety, authenticity, humanity, value, up to a extremely personal level. It is therefor very difficult to form an objective view on this complex social structure. 

As a result, the purpose of this study its to focus on one of the mayor excesses of the neoliberal thinking: the increasing general application of automation.  

The key questions are: how can the artist renew his relevance in a society affected by an ever accelerating wave of automation? How can the artist make use of this social shift to control or steer this tendency? Can the artist get a grip on the dimensions of automation and use this to construct the automated future?
1 Srnicek, N., & Williams, A. (2015). Inventing the Future. Postcapitalism and a World Without Work
2 Frey, C.B., & Osborne, M. (2013). The Future of Employment: How Susceptible Are Jobs to Computerisation?

The Intercratic Experiment

February 19 2018
Automating Democracy

Democratic regimes all around the world have fallen under though times. The very concept of democracy is being increasingly challenged by reactionary movements and populist demagogues, who express a general distrust in the system and the established power, and painfully expose its shortcomings. These movements and tendencies defy the ever more globalising and economised politics by suggesting a return to a system that is based on what they refer to as 'better times'. Times when the political apparatus of representative democracy could keep up with the context of the world, or in others words: when simple people could still understand simple problems. 

Of course this logic hangs by a fine thread, since times change and going back would be a nonsensical if not impossible task. However, it does present a very clear issue: the world is becoming ever so complex that we have great difficulty keeping up with this complexity. Rather than attempting to overcome this growing rupture between the local and the global, between the simple and the complex, tendencies as described above choose to oversimplify the unfathomable in the form of yes-or-no questions (referenda), pushing blame onto specific but unknown others (refugees, illegal aliens), finding reasons for failure in the actions of the invisible elite (conspiracy theories) or attacking the alleged incompetence of contemporary power (anti-parties). 

Increasingly, multipolar global politics, economic instability, and anthropogenic climate change outpace the narratives we use to structure and make sense of our lives. Each of these is an example of what is termed a complex system, which features nonlinear dynamics, where marginally different inputs can cause dramatically divergent outputs, intricate sets of causes feedback on one another in unexpected ways, and which characteristically operates on scales of space and time that go far beyond any individual’s unaided perception.1

The Intercratic2 Experiment is an attempt to transcend this individual incapability to grasp the complex, specifically in the political field. The technological advances made in communication and information processing over the past twenty years, such as mobile and smart devices, the internet and an overal wave of automation of the daily life, have found their cradle in economic, social, industrial and corporate spheres of influence, but are strictly avoided on a political level. The Experiment therefor seeks to investigate the possibilities of incorporating contemporary technology into policy-forming and decision-making. 

Through the use of an online platform or network, certain aspects of decision-making can be automated (representation, nationwide vote, coalition-forming). Some parts can be elaborated (discussions, deliberations), others can be augmented (real-time authority, flexible jurisdiction). Most importantly, systems of governance can be completely reformed. For instance, where they are now organised on a varying amount of levels (local, interlocal, national, international, …), with each its own constituency and jurisdiction, the Intercratic system would consider each matter of discussion as a separate and unique case with each a different electoral district and area of influence. 

The main goal of the experiment is to explore the opportunity to bring the complex and the simple closer together, to give the individual the feeling that tangible agreements can be made on a global scale, to get a grip on the near infinite mosaic of opinions and visions that sprout from the members of society every day. Most of all, it is a proposal to think about new ways of organising society, without romanticising the successes of the past. 

1 Srnicek, N. & Williams, A. (2015). Inventing the Future, Postcapitalism and a World Without Work. (Londen: Verso). p.13
2 Inter: between (as in internet); cratic: to rule (as in democratic)

Jonge Academie

June 22 2017
Jonge Academie
I was selected as one of the new members of the Jonge Academie of Flanders. I will be a part of the organisation for the next 5 years

100% Cultuur

March 10 2017
Artist in residence, Cultuurcentrum Zwaneberg Heist-op-den-Berg

Weimarer Algemeine

November 21 2016

Lodewijk Heylen in conversation with Frederiek Weda (2013)

July 25 2016
Concrete Evidence: 1m
One meter of highway

Concrete Evidence: 1m (2013) is the realization of one meter of highway by the Belgian artist Lodewijk Heylen (b. 1989 in Hulshout, Belgium). This monumental sculpture was built during his residency at the Verbeke Foundation in Kemzeke in Belgium. In this interview Heylen talks about the social infrastructure, the urge for connecting and the imperishability of the road.

F.W.: To start from the beginning, how did „Concrete Evidence“: 1m come about? 
L.H.: For a long time, I have had a fixation for connections and junctions, the tendency to plan roads myself and imagining places where streets, railways, canals or bridges could be built. This permanently present fantasy resulted in the idea of working with highway. I wanted to actually change something or intervene somewhere on the highway, but it is practically impossible because of safety regulations. One of my professors from Espace Urbain at La Cambre in Brussels where I study said: “Fait ton proper autoroute”, with the intention of having me imagine a highway. But I took that very literally.

F.W.: How did this develop further? 
L.H.: I’ve been working on it since November 2011. It started out as a pure conceptual work driven by the urge to build one meter of highway. The first idea was to build the highway on a place where a highway was planned in the past but was never constructed for political or economical reasons. I wanted, as an individual, to continue the construction of a greater plan. To create a moment for the road that doesn’t exist, a sort of tragedy for the highway. But in doing so I exceeded my actual goal, I wanted to build a highway with all the correct elements allowing its theoretical use. A real highway.

F.W.: A large-scale project for a single person!
L.H.: That’s right. It took me three years to actually realize the project. It became a point of fascination, frustration and fixation. In this period other works were influenced by the highway as well. I moved to Berlin, met new people and through these impulses and collaborations with others, I ended up at the Verbeke Foundation. The location of the Foundation convinced me to build it there. The highway (E34) is located next to it, not visible but tangible. Finally in December 2013 I could realize „Concrete Evidence: 1m“. It was an anchor point, the crown of my fascination. Closure too, but most of all a point from which I can continue future projects.

F.W.: The „Concrete Evidence“ in the title is a returning term in your works, can you elaborate on that?
L.H.: „Concrete Evidence“ started out as an interest for the material. Concrete is used in many ways as a supporting structure, but is rarely exposed. The entire world is supported by concrete! Generally it is covered and hidden behind different materials, because it is not the most appealing building material. It is gray, monotone and turns green and dirty with time. But by concealing it this ubiquity is forgotten. With „Concrete Evidence“ it try to expose this fundamental structure. 

F.W.: What do highways embody given this context?
L.H.: The highways are the cathedrals of the twentieth century. They are made for eternity. If we can speculate what will still exist of our current society in 400 years, it will probably be highways. As long as cities exist, roads will too. It is something that is in constant use, it is impossible to shut it down. 

F.W.: Being an inherent part of our urban structures, what does that say about us?
L.H.: It defines our current society. Not only in its material form, but as a basis of social connections. Direct connections, that’s what it is. It doesn’t have an esthetic function. Highways are pure practical in it purest form: you have to be able to drive 120 km/h (in Germany even faster), you have to be able to constantly drive straight ahead (a bend can turn this hard, a slope can be this steep), you’re not allowed to feel inconveniences. It is all calculated and calibrated to drive as efficiently as possible. How it looks is not relevant. It has to function. 

F.W.: And what happens when the system fails?
L.H.: Traffic jams! There are just so many cars nowadays. I have driven on the highway a lot lately and traffic jams are a real problem. Highways imply an easy connection and make it possible to commute between living and work, going out and shopping. It makes a country into a whole, into one zone or one big city. Once it is overused, the system collapses. Standing in a traffic jam turns the highway into a very stressful environment. 

F.W.: That’s true. Stressful and frustrating, because of the interruption of your journey.
L.H.: Exactly, because the highway changes from transit to (intermediate) destination. You expect to move on quickly. And even when you’re standing still you aren’t really doing nothing. You have to pay attention, your feet start to hurt from breaking-accelarating-shifting gear-breaking-stop and go. Someone blinks, someone else gets out of his car. After an hour the jam is gone, and you wait to see something lying in the middle of the street, a collision or construction works. You expect a cause, but most traffic jams happen out of the blue. There are just to many cars. I mean, isn’t it bizar that you can stand still in a traffic jam, lose an hour of your life, just because someone hit his breaks a little bit harder that the next.

F.W.: Nevertheless cars remains the most used means of transportation.
L.H.: There are faster, more efficient ways of getting around, but none so individual. The principle of the car is its individual use. It is proportionately very cheap for every one with a personal vehicle to get to their desired destination. At this point it’s not about speed anymore, it’s about the comfort and the luxury of being on the road alone.

F.W.: In the sixties and seventies, the Belgian highway network expanded rapidly. Today Belgium has the highest amount of kilometers highway per 1000 km2 in the European Union. Can you explain this development?
L.H.: In Belgium the highway has been a means of progress. Not all of it is useful, but it is a feature of prosperity and an acknowledgement of the welfare state and a first world country. It think a lot of developing countries now still see it as a status symbol. The construction of the highway is more than only a connection. For instance the ring road around Brussels serves as some kind of modern city wall, a new physical border. An other example, in villages the highway was used as a junction to the rest of the country. Entrances and exits to the highway were built, that would never exist if it was up to the engineer. Most of them are to close to each other or connected to a small street unfit to process lots of traffic. There are many absurdities in the Belgian road system.

F.W.: And why did you contribute one meter to this road network? 
L.H.: It is a random measurement, but nevertheless very standard. My idea was to build a real highway that meets the Belgian norms. I could give it an A or an E number. But because it’s only one meter, it implies that it is an exception. You can walk on it, look at it from up close. Something that isn’t possible on a highway in use.

F.W.: A monument for the highway?
L.H.: It wasn’t my intention to create a monument for the highway, but I would be ignorant to deny it. This is a recognition the highway deserves. Railways for example are part of our society since the nineteenth century and are considered an important connection between cities. If they lose their functions, they are converted into parks or cycling routes. Highways don’t lose their function, they aren’t closed down or transformed into a park or a monument. Highways stay in use permanently. 

F.W.: What is your favorite highway in Belgium?
L.H.: I have a few. Highways are fundamentally standard, constructed from the same principle. But every highway has characteristics. A different landscape, a different material. A few weeks ago I was driving from Hasselt to Leuven (E314). The road was dark when I entered an illuminated part of the highway. The lights were soft but dark red. That highway was suddenly very surrealistic. The sky was dark blue and in front of me the curving road was red. Behind the hills there were windmills blinking their red lights. That was very uncanny, like driving through a dream.

F.W.: What do we tend to overlook while driving 120 km/h?
L.H.: The highway itself. Being everywhere and nowhere whenever we’re on the highway. When driving from Antwerp to Brussels, I’m actually not in a certain location. The movement towards it doesn’t exists as such. I was in Antwerp, I was in Brussels, but I wasn’t in Berchem, in Kontich, in Zemst, in Mechelen or in Rumst. I wasn’t there, I drove past it. On the highway we are at all the places at the same time, and at the same time we’re nowhere at all.

At this moment Heylen plans to continue his work with the construction of „Concrete Evidence: 1m“ in Berlin. 
L.H.: It’s about a much larger concept than Belgium.

Frederiek Weda (b. in 1988 in Rhenen, the Netherlands) lives and works in Berlin as independent curator working together with Lodewijk Heylen on the construction of Concrete Evidence: 1m in Berlin.

Ringland Auction

June 14 2016

Article hArt Magazine

June 14 2016


June 14 2016
Cultuurcentrum Zwaneberg

Hardbakka Ruins

May 17 2016
Hardbakka 2016 :: Memento Mori

In the 4th year of the Hardbakka Ruins Project, we invite participants to reflect on the death of industrial architecture. Several industrial and military sites around Bergen - including the Hegreneset grain silo designed by architect Per Grieg, military bunkers in Sandviken and the famous German WWII submarine bunker ‘Bruno’ in Laksevåg - anchor our discussion about the shifting role of security and the changing nature of labour practices.

Ruins act as emblems in the built environment, used to prop up political and historical myth-making. What can we learn today from these leftover spaces concerning contemporary ideas of work and production? What does their disuse or obsolescence tell us about the current economic and political situation? How has the idea of work been altered over the last century? How is the city of Bergen ‘secured’ today?

During the 1-week workshop, we will visit, map and trace several former industrial and military sites in the Bergen area to gather research for a collaborative exhibition. Throughout the workshop we will also have regular discussions about the changing landscape of contemporary capitalism - from theories concerning the widespread ‘feminization’ of labour (generalized precarity, waning social security) to the ever-insidious practices of ‘securing’ individuals and nations.

The Hardbakka Ruins Project invites artists, architects, designers, filmmakers, theorists, geographers, historians (and more) to apply for our 2016 workshop in Bergen, Norway, taking place from Saturday June 25th - Monday July 4th.

Middelheim aan het woord

May 17 2016


JUNI 18 @ 19:30 - 23:00

Kunstenaars uit verschillende kunstdisciplines geven commentaar en delen hun indrukken bij de kunstwerken van hun voorkeur.

Het koperensemble van het Koninklijk Conservatorium Antwerpen onder leiding van Jan Smets sluit de jubileumviering af met fragmenten uit ”Schilderijen uit een tentoonstelling” van Modest Moessorsgki

Residency: Artistes en Résidence (Clermont-Ferrand)

January 27 2016

Residency: AIR Tailor Made (Antwerp)

December 04 2015
French artist Baptiste Croze and Belgian artist Lodewijk Heylen are making a joint presentation of their artistic research of the manipulation of artificial materials, often used for industrial applications. During this evening, Heylen is making some experiments on concrete, in a staged laboratory and Croze is showing the results of a series of experiments with concrete powder. Both artists are in residence together in the frame of the exchange program with Clermont-FerrandThursday, November 26th, in the Lock Keeper's House, from 8pm until 10pm.

ACC Galerie Weimar

December 04 2015
ACC Galerie Weimar and the City of Weimar   
22nd International Studio Program   
The Art of Simulation 

Lodewijk Heylenʼs (Belgium) proposal is to continue with his computer based formations and „self-running system [that] produces hundreds, thousand, maybe millions of abstract interchange models, questioning the purpose and the definition of universal standards“. In his practice he has managed to shift public space by his exacting sculpture and spatial relationships through flaneurship in the industrial context. 

Horst Arts & Music NOCTURNE

September 29 2015

Horst Arts & Music is een kunstenfestival dat experimentele elektronische muziek en in-situ beeldende kunst combineert op de historische site van het kasteel van Horst. Het muziekfestival vond plaats op 11 en 12 september, tevens de start van een expo van in-situ beeldende kunst met werk van Robbrecht en Daem architecten ism Mouton, Filip Dujardin, Lodewijk Heylen, Kaspar Hamacher, Koen Sels, Alexandra Crouwers, 88888, Wim Goossens & Arnaud Hendrickx en Children of the Light.
U bent van harte uitgenodigd op de nocturne op vrijdag 2 oktober:
19:00 kunstwandeling met curator Gijs Van Vaerenbergh
20:00 lezing Filip Dujardin
21:00 lezing Paul Robbrecht
22:00 bar & dj


Horst Arts & Music is a festival that combines experimental
electronic music and in-situ visual arts. The music festival took place
on the 11th and 12th of September, also the start of an exhibition of in-situ visual arts with works of Robbrecht & Daem icw Mouton, Filip Dujardin, Lodewijk Heylen, Kaspar Hamacher, Koen Sels, Alexandra Crouwers, 88888, Wim Goossens & Arnaud Hendrickx en Children of the Light.
You are kindly invited to the nocturne on Friday the 2nd of October:
19:00 guided walk with curator Gijs Van Vaerenbergh
20:00 lecture Filip Dujardin
21:00 lecture Paul Robbrecht
22:00 bar & dj

Gijs Van Vaerenbergh (Pieterjan Gijs & Arnout Van Vaerenbergh)


13/09/2015 - 11/11/2015
doorlopend open / gratis toegang
free access

Kasteel van Horst / Castle of Horst
Horststraat 28
3220 Holsbeek (B)


September 29 2015
AMOK strijkt neer in Tongeren! Ook ditmaal met jonge kunstenaars uit verschillende disciplines, die we onafhankelijk van instanties zoals galeries een kans willen bieden om hun werk te laten zien. Ditmaal op een unieke locatie namelijk in de oude Chocoladefabriek. 

De beginnende kunstenaars  

John Bijnens - Linde Boelen - Heleen Camilleri - Liesbeth Cox - Lisse Declercq - Julie Fontenelle - Tom Herck - Lodewijk Heylen - Susan Kuijpers - Clara Lissens - Matthias Mahieu - Jonas Nelissen - Lien Swerts - Geert Vanhovels - Merel Verschaeren 

Interview, forum voor beeldende kunst

September 29 2015
INTERVIEW laat de relatie van de kunstenaar tot zijn werk voorop staan. Vertrekkend vanuit dit verband werd elke deelnemer gevraagd om over zijn oeuvre te reflecteren. Wat is de beweegreden om tot een werk te komen? Wanneer is een werk af? Op basis daarvan kozen zij een werk uit dat typerend, onvoltooid is of nooit getoond werd. De rol van curator wordt tot een minimum herleid, het autonome kunstwerk wordt in vraag gesteld.

Interview, forum voor beeldende kunst, toont op zijn eerste editie werk van Niels Vaes, Lodewijk Heylen, Eva Claus, Jonathan Van Essche, Alexandra Bertels en Theodore Marković.

BIN, Belgisch Instituut voor Normalisatie

September 29 2015
Gedurende één jaar bezet BIN als groep beeldend kunstenaars en –denkers het voormalig winkel en magazijn complex van Zellien. Deze Groothandel in badkamers en energietechnieken kende voor zijn laatste verhuizing een lange geschiedenis in het hart van Turnhout.

Tijdens dit jaar blaast BIN leven in gevallen stof en brengt nieuwe invullingen voor oude structuren: waar ooit de magazijnen waren wordt nu plaats geruimd voor een atelierwerking en de showroom wordt als tentoonstellingsruimte ingericht.

Input à la minute naast projecten van langere adem: BIN speelt kort op de bal en werkt aan duurzame relaties. Anticiperend op vraag tracht BIN een veelzijdig antwoord te bieden aan een al even divers publiek.


September 29 2015
Het leegstaande winkel- en magazijncomplex van Zellien-Fabri in de Patersstraat in Turnhout is het komende jaar de thuisbasis van beeldende kunstenaars. Ze laten er hun creativiteit de vrije loop en organiseren tentoonstellingen .

"Waar vroeger de magazijnen waren, wordt nu plaats gemaakt voor een atelier. En de showroom van vroeger wordt als tentoonstellingsruimte ingericht", vertellen Lodewijk Heylen en Ruben Schotanus van BIN.


September 29 2015
Seit Mai 2015 ist im Hans-Baluschek-Park in Berlin-Schöneberg eine großartige Skulptur des belgischen Künstlers Lodewijk Heylen mit dem Titel „Concrete Evidence: 1m“ zu sehen. Die Skulptur besteht aus einem 1 Meter kurzen Autobahn-Abschnitt, der hinsichtlich seiner Abmessungen exakt den Standards der „Richtlinien für die Anlage von Straßen – RQ 36“ entspricht. Die Skulptur erreicht so eine Breite von 36 Metern mit je drei Fahrspuren, allerdings bei nur einem Meter Länge, so dass man beim Vorbeiradeln durch die Fahrrad-Rennstrecke des Hans-Baluschek-Parks genau hinsehen muss, um auf sie Aufmerksam zu werden.

Stadtteilzeitung Schöneberg

September 15 2015


September 15 2015

Horst Arts & Music Festival 2015

September 15 2015
courtesy of Jeroen Verrecht

Szpilman Award

September 15 2015

Cabine de projection

September 09 2014
Exhibition from:
13/09/2014 until 12/10/2014

E: Opening 18th of April

April 17 2014

[bækˈsteɪdʒ]: 28th of March

March 23 2014