2000
[B] Biographical Elements [G] Galleries [R] Reading [E / I] Encounters and Influences [TH / W] Themes and Works [EX] Exhibitions [A / ED] Assignments and Editions
at the Musée de la Tapisserie in Tournai, in the context of a group exhibition. This cutting up mainly took place for practical reasons, after which it turned out that the pieces as such were rather exciting. The large canvases were removed from their frame and cut into four, so that each part came with a white side of the unpainted edge. The pieces can be arranged as some sort checkers board on the floor. Before, I had exhibited canvases directly on the floor, such as the red canvas with the expressive folds. [In : Philippe Van Snick ‘Territorium’. Een gesprek tussen Philippe Van Snick, Wouter Davidts en Eva Wittocx, in Kunst Nu, Ghent, S.M.A.K., December 2000, nr. 6, p. 4-9; translated from Dutch]
— Lieu communs – Gemeenplaatsen, Brussels, Moving Art Studio, 6 – 8.10.2000. Ph. Van Snick exhibits : Glazen cylinders, 1989 ; Lingots [194], 1993 ; Pensées molles [208], 1995 ; Territorium [232, 235, 251], 1999. — Philippe Van Snick, Ghent, S.M.A.K., 8.12.2000 – 4.2.2001. Selective retrospective of the work since late 1984. [250 – 251] Catalog : Philippe Van Snick. Territorium, Ghent, S.M.A.K., 2000. With an introductory text by Jan Hoet : 0 1 2 3 4 5 6 7 8 9, p. 7-11, and an interview with Philippe Van Snick by Wouter Davidts : Tussen schilderij en sculptuur, p. 22-33. On this exhibition, Ph. Van Snick says :
[246] Big Tie, 2000
The starting-point of the exhibition at S.M.A.K. was not so much to make a large installation with colored surfaces, but rather to bring together existing works in a relevant way. In 1984, there was a major exhibition of my work at the former Museum van Hedendaagse Kunst, across the street. My work has since undergone various changes—changes that follow a certain pattern even if it is not immediately a clear one. In this context it seemed interesting to me elucidate the underlying basic principle of my oeuvre. It begins with the series Symmetrisch – Asymmetrisch and moves on to the large color installations and the very recent paintings. The canvases I gather here are also at the basis of the large site-bound installations that I realized over the past years. The underlying idea is the actual essence of the work, which is followed by their execution, gradually leading to certain paintings or very large installations. I would like to show the different steps, which in fact are very exciting but were never really center-stage. (…) Step by step, almost chronologically, I wish to bring together particular ensembles. Thereby several reconstructions of earlier exhibitions will be included as well, such as the exhibition at Waasmunster. In addition, there will be a room filled with sculptures, and a room devoted to the most
2000 - 2010
Chronology
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