Studio adress:
Cas-co, Vaartstraat 94, 3000 Leuven, Belgium

No, no! Only as fast as possible without stress  

  • September 2023 
  • ‘Nee, nee! Gewoon zo snel mogelijk zonder stress’
  • ‘No, no! Only as fast as possible without stress’
  • ART AU CENTRE, Liège, BE


No, no! Only as fast as possible without stress’ plays on the conventional distinctions between art and utility. It features a hanging lamp, seemingly hand-drawn but computer-aided, casting light on its own fabricated elements. Paired with a non-functional bench held together by knee mats and F-clamps, it challenges the concept of comfort and transience. The enigmatic title, derived from a text message, prompts reflection on the elusive nature of rest in current times.

Two paintings of a wing mirror without reflection evoke the absence of looking back, focusing on the mirror as an object. This mirror symbolizes safety and control, probing the viewer's role as a motorist, highlighting themes central to the artist's work. ‘No, no! Only as fast as possible without stress’ beckons you to contemplate the paradoxes of comfort, the impermanence of rest, and power dynamics ingrained in the fabric of our modern world.

No wing mirror. (Acryilics on canvas, 80 x 90cm, 2023)
 

Even a stopped clock is right two times a day  

  • April 2022 
  • Duo show with Bram van Breda
  • ‘Even a stopped clock is right two times a day’
  • Les Brasseurs, Liège, BE

As much as we fear repetition, it gives meaning to our actions, relations and is fundamental for how we engage with others, our surroundings.
Even a stopped clock is right two times a day explores the open space taking shape within this loop, where existing meanings and interpretations become echoes.

A collective space takes shape through the works of Jan Duerinck, Bram Van Breda and writer Gerlinde Van Puymbroeck, in which their utterances intertwine with those of the visitor.

Stack of mnemonic devices, just in case. (Epoxy resin, memory cards, steel ring, 10 x 15 x 3cm 2023) 
Untitled. (Electric wires, aluminum, Alupex tubes, epoxy resin, fluorescent light, 130 x 10 x 10cm, 2022)
A Windings mnemonic device. (Plaster, jutte, steel, acrylics, inkjet print, wood glue, 110 x 120 cm, 2022)
Untitled. (Acrylics on canvas, 80 x 90cm, 2020)
Untitled ({). (IN SITU) (Plaster, jutte, 45 x 180 cm, 2022)
Untitled. (Electric wires, aluminum, Alupex tubes, epoxy resin, fluorescent light, 130 x 10 x 10cm, 2022)



1 Trolleys are good for heavy tiles. (Slate tiles, oil, trolley, 100 x 120 x 50cm, 2020)
2 I fixed 6 fluorescent lights during quarantine. (Concrete, wires, fluorescent lights, Alupex tubes, 2022)

A Windings mnemonic device (Plaster, jutte, steel, acrylics, inkjet print, wood glue, 110 x 120 cm, 2022 - In ‘Even a stopped clock is right two times a day‘, Les Brasseurs, Liège, 2022)

support as supposed  

September 2021
Curator: Karen Verschooren
Solo show
‘Support as supposed’
STUK, Leuven, BE

When an object carries experience; Jan Duerinck mediates meaning in different materialities. When objects are stripped of their obvious functionality, they ask to be placed in context anew. Banality thus becomes the subject of reflection. Nothing just is, or is only what it is. In his solo exhibition, he zooms in on pins.


Painting of twelve hairpins in a set (Acrylics on canvas, 170 x 200 cm, 2021)
A single cotter pin, casted (IN SITU. Concrete, steel, 325 x 97 x 55 cm, 2021)
A single cotter pin, casted (IN SITU. Concrete, steel, 325 x 97 x 55 cm, 2021)
Six hairpins in a plane, repeated eight times (Plaster, jutte, 360 x 110cm, 2020)


Six hairpins in a plane, repeated eight times (Plaster, jutte, 360 x 110cm, 2020)


Seven pins in a set. (3D printed steel, ± 2 x 8 x 1cm, 2021)

de geleefde stad - lived space  

September 2021
Curator: Maarten Vanermen
Group show
‘De geleefde stad’
‘Lived space’
PILAR, Brussels, BE

With work by: Emma van der Put, Lola Daels, Sophia Holst, Koba De Meutter & Hannelore Van Dijck en Jan Duerinck
 
“The right to the city is like a cry and a demand…[and] …cannot be conceived of as a simple visiting right or as a return to traditional cities. It can only be formulated as a transformed and renewed right to urban life.” 
— Lefebvre, 1996

Where is the line between constructed space and lived space? ‘The city as it is made and conceived’ versus ‘the city as it is lived, experienced and filled in’. The tension between and within the lived and planned city. “De Geleefde Stad” shows works that investigate and question this dispersion in public space.

Installation view (Photo: © Silvia Cappellari)
Installation view (Photo: © Silvia Cappellari)
Installation view (Photo: © Silvia Cappellari)
Not a collapsible gate. (Aluminum, rivets, 2020) (Photo: © Silvia Cappellari)
Installation view (Photo: © Silvia Cappellari)

Not a collapsible gate model. (Aluminum, rivets, 40 × 55cm, 2020) (Photo: © Silvia Cappellari)
Anti bird spikes. (Acrylics on canvas, 160 x 200cm, 2020) (Photo: © Silvia Cappellari)
Not a collapsible gate. (Aluminum, rivets, 2020)(Photo: © Silvia Cappellari)




For all inquiries you can email me at: contact@janduerinck.be