AMARE biënnale
www.xn--mare-zna.be/
1.08.2026-27.09.2026
groupshow
kunstroute Damme_Brugge BE
galery Ysebaert
vernissage en wine tasting 13.09.2026
11:00-18:00`
groupshow
https://galleryysebaert.be/kunstenaars
www.xn--mare-zna.be/
1.08.2026-27.09.2026
groupshow
kunstroute Damme_Brugge BE
galery Ysebaert
vernissage en wine tasting 13.09.2026
11:00-18:00`
groupshow
https://galleryysebaert.be/kunstenaars
In situ installation
Waiting for: Golden Hour (51°15'01"N, 3°16'38"E)
In my artistic practice, sunlight is the primary material: both subject and active actor. In the in situ installation Waiting for: Golden Hour (51°15'01"N, 3°16'38"E) I transform the traditional flag into a sensory measuring instrument. Where a clock records time and a thermometer measures heat, this series of flags visualises how atmospheric conditions constantly change the quality, colour, and fragility of light.
The starting point is a sunset on the Damse Schellemolen. From this observation I distilled 16 colour nuances and translated them into textile colour areas. Each flag acts as a chromatic benchmark: a material reference that allows the viewer to directly experience the transience and fragility of natural light.
Waiting for the perfect 'colour match' between fabric and sky is an essential part of the experience: a Beckettian exercise in attention and uncertainty. When a flag dissolves visually in the air, the work temporarily disappears; a quiet moment in which art and nature coincide. The installation forces to delay. Only by taking time does the paradox of waiting for what is completely beyond our control reveal itself.
The sun is not lying. Its long, red light waves make air pollution visible to the naked eye. For example, each flag acts as a paint test for the horizon. When a flag, coloured to the late evening sun, coincides with the sky during the day, this indicates an unnatural atmospheric abnormality. The installation makes the tension between our romantic nature and the unpredictable reality of the current climate crisis tangible.
OPEN CALL
16 flags, 16 colors: each color was selected from the sunset in Damme on May 23 at 9:41 PM
At what moment does this flag disappear into the sky?
Do you see a color match?
Take a photo, note the date, time and location
Share your observation with:
[email protected]
instagram @amare.brugge.damme
instagram @kaat_van _doren
16 flags, 16 colors: each color was selected from the sunset in Damme on May 23 at 9:41 PM
At what moment does this flag disappear into the sky?
Do you see a color match?
Take a photo, note the date, time and location
Share your observation with:
[email protected]
instagram @amare.brugge.damme
instagram @kaat_van _doren
Aesthetic Disillusionment
A Mini-History of Sunset Paintings
Most people are naturally drawn to gorgeous streaks of reds,oranges, yellows and pinks spanning the evening sky. As a result, people especially appreciate paintings of sunsets, such as those painted by Giorgione in the 16th century, Claude-Joseph Vernet in the 18th century and of course J.M.W. Turner, GustaveCourbet and the Impressionists in the 19th century. In fact, Claude Monet’s 1872 painting of a sunrise, Impression, soleil levant inspired the Impressionists’ name. While Turnerdramatized sunsets at sea and Courbet sought life-like naturalism, the Impressionists captured light’s transient quality.Just as painting styles differ, sunsets differ markedly. As we shall see, sunsets may share colors, but what causes them differs markedly.
What’s the real story behind these gorgeous paintings? Do art lovers appreciate fiery, red sunsets because artists painted them that way and thus made them desirable? Or is it their rarity that fascinates us? In 1889, Oscar Wilde wrote, “At present, people see fogs, not because they are fogs, but because poets and painters have taught them the mysterious loveliness of such effects. There may have been fogs for centuries in London. But…they did not exist till art had invented them…Where, if not from the impressionists, do we get those wonderful brown fogs?” (Wilde, 1989). If air pollution and volcanic ash cause beautiful sunsets, should we blame artists for painting sunsets that inspire people to prefer pollution’s effects to that of daily dust?
In 2023, two earth scientists, A.L. Albright and P. Huybers, published their study of 60 Turner paintings dating from 1796 to 1850 and 38 Monet paintings dating from 1864 to 1901 that “convincingly shows that both artists truly portrayed the impact of air pollution on the urban atmosphere” (Thornes, 2023). According to atmospheric chemist Peter Brimblecombe, “In the Victorian winter, more than a million coal fires mixed smoke and sulfur dioxide with the industrial outpourings from a myriad of chimneys, furnaces, processing plants, railway engines, steam driven barges and boats on the Thames, to produce a London Particular more than 200 feet (60 meters) thick.”
Meteorologist John Thornes adds, “Victorian London fog was probably the most famous global meteorological phenomenon of the 19th and 20th centuries and indeed became something of a tourist attraction.” Between 1899 and 1905, Monet painted 37 paintings of Charing Cross draped in a freezing fog, from the vantage of an eastward-facing balcony on the Savoy Hotel’s sixth-floor. That Monet faced east suggests his primary interest was fog not sunsets, which set in the west. In 1901 he told an interviewer, “The fog in London assumes all sorts of colors: there are black, brown, yellow, green and purple fogs, and the interest in painting is to get the objects as seen through all these fogs.” So accurate was Monet’s positioning of the sun to revealthese colors that scientists can pinpoint the day and time of eachpainting’s creation to the minute.
Today, it’s well known that molecules and small particles in the air scatter the light, while clouds reflect the sun’s rays, creating a more vivid sky. Each sunset is comprised of visible light (the rainbow comprised of red, orange, yellow, green, blue andviolet) that is splintered into various colors depending on the position of the sun and the molecules present in the atmosphere. On a clear day colors with shorter wave lengths are scattered the most, which makes the sky appear blue. When the sun is low on the horizon, as it is with sunsets, the blue and violet colors are scattered out of our sight lines, leaving the colors with longer wave lengths, the yellows, oranges and reds, to penetrate more. The sun looks red when it's on the horizon, since the atmosphere blocks the other colors.
As noted above, not all beautiful sunsets are alike. That is, not all compelling sunsets indicate pollution. A case in point are Courbet’s nine sunsets, which he painted either at the sea in Trouville, FR, which indeed affords a western-facing view, or onLake Geneva, where he lived in exile from 1873 until his death in 1877. During this period, he painted several fiery sunsets over the lake, whose light-refracting particles were caused by clouds and alpine mist, not pollution. Of course, Courbet’s sunsets at sea may have been caused by pollution blown in from London or Paris, just as the fiery sky depicted in Edvard Munch’s Scream (1893) was likely inspired by an erupting Indonesian volcano some eleven-thousand kilometers away. Munch described the sunset “as the flaming skies hung like blood and sword over the blue-black fjord and the city.” And yet again, there’s a benign explanation, the nacreous clouds familiar to Norway’s latitude.
A Critical Approach to Sunsets
I totally sympathize with Oscar Wilde’s worry that artists’ renderings of polluted atmospheres unwittingly cause people to admire atmospheres they might ordinarily abhor. But I also sympathize with artists wanting to paint such remarkable images, even if they know full well that such atmospheres are dangerous. During a three-day period in December 1873, 700 “extra” deaths were attributed to the fog. Apparently, 19 of those deaths happened when people accidentally slipped into the Thames, which they couldn’t see. Philosopher Cheryl Foster terms our realization that our aesthetic preferences are not so wonderful “aesthetic disillusionment.”
What I most appreciate about Kaat Van Doren’s project Waiting for: Golden Hour (51°15’01”N,
3°16’38”E) is her effort first and foremost to get spectators to pay attention to sunsets, in particular every sunset, and her attempt to invite us to question what’s behind the colors we may or may not appreciate. She calls her series of sixteen flags, each representing a specific color of the sunset that she recorded at 21:41 from the vantage of the Damse Schellemolen on 23/5/2026, an index since each color indicates its probablesource. I write “probable” since there could be alternativeexplanations, as the sunset paintings of Courbet and Munch suggest.
Just as clocks and thermometers register time and temperature, the flags register the relationship between what we visually perceive and the underlying atmospheric conditions. Van Doren adds, ‘each flag acts as a chromatic benchmark: a material reference that allows the viewer to directly experience the transience and fragility of natural light’. And of course, waiting is part of the experience, since avid sunset watchers await the moment the sun dips below the horizon and the sky suddenly goes dark. Such special moments can prompt a round of applause.
Absent dust and soot from traffic and domestic heating, the evening sky would be pitch black. Just as rainbows split into distinct colors, the various elements present in the atmosphere cause divergent colors. For example, micro-particles give the sunset its darkest blue, whereas exhaust from diesel vehicles produces a lighter shade, which Van Doren calls ‘Traffic Jam Diesel NO2’. Based on that day’s atmospheric conditions, sheenvisions every blue, not just the fiery reds, having a plausiblesource, whether it’s micro-particles, nitrogen dioxide, macro-particles, ammonium nitrate, summer smog, carbon monoxide, volatile organic compounds, or ammonia coupled with sulphurdioxide. Van Doren remarks that the dreamy lavender tint ‘marks the exact minute where the emissions of our collective daily lives and the last ultraviolet light enter into a chemical alliance’. She imagines oranges and reds being caused by events farther afield, such as Saharan dust, nitrogen compounds, salty North Sea air, smog, wildfires and fiery ashes, colliding with our daily lives. She describes the 16th flag, Apocalyptic Crimson CO & PM2.5, as ‘a breathtaking yet deeply warning glow: the color of pure combustion that closes the day with an apocalyptic spectacle’. Those who stop to study Van Doren’s installation will never experience sunsets the same again.
Finally, Van Doren invites viewers to match the sunset’s colors to the available flags, so they can have a better understanding of what may have caused the particular colors. Van Doren notes, this ‘installation makes the tension between our romantic nature and the unpredictable reality of climate change tangible’. She requests viewers to go one step further by uploading their image of the relevant colored flag flying adjacent the matching sunset to her website.
Albright, Anna Lea and Huybers, Peter (2023). Paintings by Turner and Monet Depict Trends in
19th Century Pollution. https://doi.org/10.1073/pnas.2219118120.
Brimblecome, Peter (1987). The Big Smoke. A History of Air Pollution in London Since Medieval
Times (London: Methuen).
Foster, Cheryl, “Aesthetic Disillusionment : Environment, Ethics, Art,” Environmental Values
1(3) : 205-215.
Thornes, John (2023). “Polluted Realism in the Art of Turner and Monet.”
https://doi.org/10.1073/pnas.2300462120
Wilde, Oscar (1987). “The Decay of Lying.” The Works of Oscar Wilde. (Leicester: Gallery Press).
Sue Spaid, PhD
13 August 2026
A Mini-History of Sunset Paintings
Most people are naturally drawn to gorgeous streaks of reds,oranges, yellows and pinks spanning the evening sky. As a result, people especially appreciate paintings of sunsets, such as those painted by Giorgione in the 16th century, Claude-Joseph Vernet in the 18th century and of course J.M.W. Turner, GustaveCourbet and the Impressionists in the 19th century. In fact, Claude Monet’s 1872 painting of a sunrise, Impression, soleil levant inspired the Impressionists’ name. While Turnerdramatized sunsets at sea and Courbet sought life-like naturalism, the Impressionists captured light’s transient quality.Just as painting styles differ, sunsets differ markedly. As we shall see, sunsets may share colors, but what causes them differs markedly.
What’s the real story behind these gorgeous paintings? Do art lovers appreciate fiery, red sunsets because artists painted them that way and thus made them desirable? Or is it their rarity that fascinates us? In 1889, Oscar Wilde wrote, “At present, people see fogs, not because they are fogs, but because poets and painters have taught them the mysterious loveliness of such effects. There may have been fogs for centuries in London. But…they did not exist till art had invented them…Where, if not from the impressionists, do we get those wonderful brown fogs?” (Wilde, 1989). If air pollution and volcanic ash cause beautiful sunsets, should we blame artists for painting sunsets that inspire people to prefer pollution’s effects to that of daily dust?
In 2023, two earth scientists, A.L. Albright and P. Huybers, published their study of 60 Turner paintings dating from 1796 to 1850 and 38 Monet paintings dating from 1864 to 1901 that “convincingly shows that both artists truly portrayed the impact of air pollution on the urban atmosphere” (Thornes, 2023). According to atmospheric chemist Peter Brimblecombe, “In the Victorian winter, more than a million coal fires mixed smoke and sulfur dioxide with the industrial outpourings from a myriad of chimneys, furnaces, processing plants, railway engines, steam driven barges and boats on the Thames, to produce a London Particular more than 200 feet (60 meters) thick.”
Meteorologist John Thornes adds, “Victorian London fog was probably the most famous global meteorological phenomenon of the 19th and 20th centuries and indeed became something of a tourist attraction.” Between 1899 and 1905, Monet painted 37 paintings of Charing Cross draped in a freezing fog, from the vantage of an eastward-facing balcony on the Savoy Hotel’s sixth-floor. That Monet faced east suggests his primary interest was fog not sunsets, which set in the west. In 1901 he told an interviewer, “The fog in London assumes all sorts of colors: there are black, brown, yellow, green and purple fogs, and the interest in painting is to get the objects as seen through all these fogs.” So accurate was Monet’s positioning of the sun to revealthese colors that scientists can pinpoint the day and time of eachpainting’s creation to the minute.
Today, it’s well known that molecules and small particles in the air scatter the light, while clouds reflect the sun’s rays, creating a more vivid sky. Each sunset is comprised of visible light (the rainbow comprised of red, orange, yellow, green, blue andviolet) that is splintered into various colors depending on the position of the sun and the molecules present in the atmosphere. On a clear day colors with shorter wave lengths are scattered the most, which makes the sky appear blue. When the sun is low on the horizon, as it is with sunsets, the blue and violet colors are scattered out of our sight lines, leaving the colors with longer wave lengths, the yellows, oranges and reds, to penetrate more. The sun looks red when it's on the horizon, since the atmosphere blocks the other colors.
As noted above, not all beautiful sunsets are alike. That is, not all compelling sunsets indicate pollution. A case in point are Courbet’s nine sunsets, which he painted either at the sea in Trouville, FR, which indeed affords a western-facing view, or onLake Geneva, where he lived in exile from 1873 until his death in 1877. During this period, he painted several fiery sunsets over the lake, whose light-refracting particles were caused by clouds and alpine mist, not pollution. Of course, Courbet’s sunsets at sea may have been caused by pollution blown in from London or Paris, just as the fiery sky depicted in Edvard Munch’s Scream (1893) was likely inspired by an erupting Indonesian volcano some eleven-thousand kilometers away. Munch described the sunset “as the flaming skies hung like blood and sword over the blue-black fjord and the city.” And yet again, there’s a benign explanation, the nacreous clouds familiar to Norway’s latitude.
A Critical Approach to Sunsets
I totally sympathize with Oscar Wilde’s worry that artists’ renderings of polluted atmospheres unwittingly cause people to admire atmospheres they might ordinarily abhor. But I also sympathize with artists wanting to paint such remarkable images, even if they know full well that such atmospheres are dangerous. During a three-day period in December 1873, 700 “extra” deaths were attributed to the fog. Apparently, 19 of those deaths happened when people accidentally slipped into the Thames, which they couldn’t see. Philosopher Cheryl Foster terms our realization that our aesthetic preferences are not so wonderful “aesthetic disillusionment.”
What I most appreciate about Kaat Van Doren’s project Waiting for: Golden Hour (51°15’01”N,
3°16’38”E) is her effort first and foremost to get spectators to pay attention to sunsets, in particular every sunset, and her attempt to invite us to question what’s behind the colors we may or may not appreciate. She calls her series of sixteen flags, each representing a specific color of the sunset that she recorded at 21:41 from the vantage of the Damse Schellemolen on 23/5/2026, an index since each color indicates its probablesource. I write “probable” since there could be alternativeexplanations, as the sunset paintings of Courbet and Munch suggest.
Just as clocks and thermometers register time and temperature, the flags register the relationship between what we visually perceive and the underlying atmospheric conditions. Van Doren adds, ‘each flag acts as a chromatic benchmark: a material reference that allows the viewer to directly experience the transience and fragility of natural light’. And of course, waiting is part of the experience, since avid sunset watchers await the moment the sun dips below the horizon and the sky suddenly goes dark. Such special moments can prompt a round of applause.
Absent dust and soot from traffic and domestic heating, the evening sky would be pitch black. Just as rainbows split into distinct colors, the various elements present in the atmosphere cause divergent colors. For example, micro-particles give the sunset its darkest blue, whereas exhaust from diesel vehicles produces a lighter shade, which Van Doren calls ‘Traffic Jam Diesel NO2’. Based on that day’s atmospheric conditions, sheenvisions every blue, not just the fiery reds, having a plausiblesource, whether it’s micro-particles, nitrogen dioxide, macro-particles, ammonium nitrate, summer smog, carbon monoxide, volatile organic compounds, or ammonia coupled with sulphurdioxide. Van Doren remarks that the dreamy lavender tint ‘marks the exact minute where the emissions of our collective daily lives and the last ultraviolet light enter into a chemical alliance’. She imagines oranges and reds being caused by events farther afield, such as Saharan dust, nitrogen compounds, salty North Sea air, smog, wildfires and fiery ashes, colliding with our daily lives. She describes the 16th flag, Apocalyptic Crimson CO & PM2.5, as ‘a breathtaking yet deeply warning glow: the color of pure combustion that closes the day with an apocalyptic spectacle’. Those who stop to study Van Doren’s installation will never experience sunsets the same again.
Finally, Van Doren invites viewers to match the sunset’s colors to the available flags, so they can have a better understanding of what may have caused the particular colors. Van Doren notes, this ‘installation makes the tension between our romantic nature and the unpredictable reality of climate change tangible’. She requests viewers to go one step further by uploading their image of the relevant colored flag flying adjacent the matching sunset to her website.
Albright, Anna Lea and Huybers, Peter (2023). Paintings by Turner and Monet Depict Trends in
19th Century Pollution. https://doi.org/10.1073/pnas.2219118120.
Brimblecome, Peter (1987). The Big Smoke. A History of Air Pollution in London Since Medieval
Times (London: Methuen).
Foster, Cheryl, “Aesthetic Disillusionment : Environment, Ethics, Art,” Environmental Values
1(3) : 205-215.
Thornes, John (2023). “Polluted Realism in the Art of Turner and Monet.”
https://doi.org/10.1073/pnas.2300462120
Wilde, Oscar (1987). “The Decay of Lying.” The Works of Oscar Wilde. (Leicester: Gallery Press).
Sue Spaid, PhD
13 August 2026
CUT OUT
spoor19.be/events/expo-cut-out-kaat-van-doren-david-boon-peter-van-eyck-kim-de-ruysscher/
19.08.26 finissage
groupshow
SPOOR 19 Morstel BE
spoor19.be/events/expo-cut-out-kaat-van-doren-david-boon-peter-van-eyck-kim-de-ruysscher/
19.08.26 finissage
groupshow
SPOOR 19 Morstel BE
A
LE DEJEUNER SUR L HERBE
Kasteel Hof d' Intere
till 30 June 2026
group show
Kasteel Hof d' Intere
till 30 June 2026
group show
ECSTASY as technology of the self
11.09.25-02.11.25
kadoc.kuleuven.be/3_onderzoek/33_onzeonderzoeksoutput/tentoonstellingen/2025/tt_2025_08_ecstasy_as_technology
kadoc.kuleuven.be/pdf/publicaties/expo/expoboekje37.pdf
Participating artists
Chiara Baldini & Rafael Kozdon-Simono Bouj-Sanne Freijdag-Sphia Abderrazak-Bogomir Doringer-Shir handelsman- Denys Shantar-Kaat van Doren-
Hanne Van Dyck-Sterre Van Herck
11.09.25-02.11.25
kadoc.kuleuven.be/3_onderzoek/33_onzeonderzoeksoutput/tentoonstellingen/2025/tt_2025_08_ecstasy_as_technology
kadoc.kuleuven.be/pdf/publicaties/expo/expoboekje37.pdf
Participating artists
Chiara Baldini & Rafael Kozdon-Simono Bouj-Sanne Freijdag-Sphia Abderrazak-Bogomir Doringer-Shir handelsman- Denys Shantar-Kaat van Doren-
Hanne Van Dyck-Sterre Van Herck
WAITING FOR GOLDEN HOUR, 2025 in situ installation (plexiglass, orange foil)
PASTORALE
A.J Heymans and his new contemporaries
13.09.2025 - 06.12.2025
“No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear,” – Ludwig von Beethoven, 1810
Participating artists
Arpaïs Du Bois- Bram Van Stappen-Catherine Rochtus-Chris Meulemans-Elise Corten-Floor Martens-Gert Motmans-Isabel Reine Devos-JM Bytebier-Joke Raes-Jonas Vansteenkiste & Veerle Michiels-Joris Van de Moortel-Kaat Van Doren-Kasper De Vos-Lara Gasparotto-Lieven Lefere
www.spazionour.com/post/pastorale-a-j-heymans-and-his-new-contemporaries-2?lang=nl
A.J Heymans and his new contemporaries
13.09.2025 - 06.12.2025
“No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear,” – Ludwig von Beethoven, 1810
Participating artists
Arpaïs Du Bois- Bram Van Stappen-Catherine Rochtus-Chris Meulemans-Elise Corten-Floor Martens-Gert Motmans-Isabel Reine Devos-JM Bytebier-Joke Raes-Jonas Vansteenkiste & Veerle Michiels-Joris Van de Moortel-Kaat Van Doren-Kasper De Vos-Lara Gasparotto-Lieven Lefere
www.spazionour.com/post/pastorale-a-j-heymans-and-his-new-contemporaries-2?lang=nl
From the series: Waiting for Golden Hour, 60’ sunlight, N 42°11’47” I W 0°-18’21, 05.05.2025
anthotype on canvas, 80x60cm (sunlight, kurkuma longa)
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From the series: Waiting for Golden Hour, 60’ sunlight, N 42°11’47” I W 0°-18’21, 05.05.2025
anthotype on canvas, 80x60cm (sunlight, kurkuma longa)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
. WIT BOEK
Fred&Ferry Gallery, Antwerp
WIT BOEK, an exhibition project about the artist's book, curated by Bruno Devos and Frederik Vergaert, which brings together 50 artworks and presents 50 unique book objects.
13.09.25 - 04.10.25, 2025
fredferry.com/
With contributions from: Leyla Aydoslu, Marie-Sophie Beinke, David Boon, Maxime Brigou, Michiel Ceulers, Winnie Claessens, Jana Coorevits, DD Trans, Sergio De Beukelaer, Susana Pilar Delahante Matienzo, Luc Deleu, Céline De Schepper, Margot Lecoutere, Stief DeSmet, Kasper De Vos, Eva Dobbels, Nico Dockx, Arpaïs Du Bois, Zoro Feigl, Robbert&Frank Frank&Robbert, Liesbeth Henderickx, Reg Herygers, Linda Jasmin Mayer, Mirthe Klück, Jóhanna Kristbjörg Sigurðardóttir, Geoffrey Lambert, Toon Leën, Tom Liekens, Bart Lodewijks, Rebekka Löffler, Emma Louise Johnson, William Ludwig Lutgens, Karen Maenhout, Bernadette Messiaen, Wesley Meuris, Flora Miranda, Gert Motmans, Marc Nagtzaam, Patrick Pleutin, Joke Raes, Subin Son, Piet Stockmans, Monique Thomaes, Adrien Tirtiaux, Joëlle Tuerlinckx, Thé van Bergen, Anne Van Boxelaere, Joris Van De Moortel, Ronald Van der Hilst, Filip Van Dingenen, Kaat Van Doren, Anne-Mie Van Kerckhoven, Annelies Vanoost, Bram Van Stappen, Thomas Verstraeten, Linda Vinck, The Importance of Being.
Fred&Ferry Gallery, Antwerp
WIT BOEK, an exhibition project about the artist's book, curated by Bruno Devos and Frederik Vergaert, which brings together 50 artworks and presents 50 unique book objects.
13.09.25 - 04.10.25, 2025
fredferry.com/
With contributions from: Leyla Aydoslu, Marie-Sophie Beinke, David Boon, Maxime Brigou, Michiel Ceulers, Winnie Claessens, Jana Coorevits, DD Trans, Sergio De Beukelaer, Susana Pilar Delahante Matienzo, Luc Deleu, Céline De Schepper, Margot Lecoutere, Stief DeSmet, Kasper De Vos, Eva Dobbels, Nico Dockx, Arpaïs Du Bois, Zoro Feigl, Robbert&Frank Frank&Robbert, Liesbeth Henderickx, Reg Herygers, Linda Jasmin Mayer, Mirthe Klück, Jóhanna Kristbjörg Sigurðardóttir, Geoffrey Lambert, Toon Leën, Tom Liekens, Bart Lodewijks, Rebekka Löffler, Emma Louise Johnson, William Ludwig Lutgens, Karen Maenhout, Bernadette Messiaen, Wesley Meuris, Flora Miranda, Gert Motmans, Marc Nagtzaam, Patrick Pleutin, Joke Raes, Subin Son, Piet Stockmans, Monique Thomaes, Adrien Tirtiaux, Joëlle Tuerlinckx, Thé van Bergen, Anne Van Boxelaere, Joris Van De Moortel, Ronald Van der Hilst, Filip Van Dingenen, Kaat Van Doren, Anne-Mie Van Kerckhoven, Annelies Vanoost, Bram Van Stappen, Thomas Verstraeten, Linda Vinck, The Importance of Being.
Waiting (F)or, 2017, video 21’ 17”
This phrase, a nod to Beckett's Waiting for Godot, depicts both the actual experience of time spent and the anxiety that arises from "not knowing" a final outcome. The video presented here captures how the wind turns the pages of a sketchbook and how shadows, including the aforementioned phrase, move across the pages, driven by the sun and the Earth's rotation.
© Lynn Van Oijstaeijen
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
This phrase, a nod to Beckett's Waiting for Godot, depicts both the actual experience of time spent and the anxiety that arises from "not knowing" a final outcome. The video presented here captures how the wind turns the pages of a sketchbook and how shadows, including the aforementioned phrase, move across the pages, driven by the sun and the Earth's rotation.
© Lynn Van Oijstaeijen
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
OUT OF ORBIT
CC Zwaneberg
Kaat Van Doren en Wesley Meuris
07.02.25-16.03.25
https://www.zwaneberg.be/nl/event/out-of-orbit
NG
For centuries, humans have looked at the stars with curiosity and wonder. In the past century, science and technology have made it possible for the first time to venture into the universe. For political world powers, this represented a new form of expansionism; for scientists, it marked a new quest for knowledge. Alongside the development of new technologies that enhance sensory perception—from telescopes and satellites to particle accelerators—humanity has also encountered their limitations. It is becoming increasingly clear that we cannot know everything. Most of the universe consists of dark matter and will remain unknown to us. Meanwhile, the climate crisis on Earth is becoming ever more urgent, shifting the desire to conquer space toward the pressing question of whether another planet exists where we might survive. Can we still find meaning in the face of so much uncertainty? Who are we as humans in this infinite universe, beyond the reach of our knowledge, experience, and language?
Kaat Van Doren
Kaat Van Doren’s artistic research largely revolves around the paradoxical relationship between humans and the sun. On the one hand, we long for a romantic sunset; on the other, the sky turns orange-red due to wildfires and other consequences of environmental pollution. Furthermore, the fossil fuels we consume have stored millions of years of sunlight deep within the Earth.
Wesley Meuris
Wesley Meuris analyzes the structures, methods, instruments, and language of science, juxtaposing them with sensory and material reality. By paraphrasing and placing these elements in an artistic context, he exposes their ambiguity: are scientific facts and natural laws as fixed as they seem? Or is there room for doubt and uncertainties, for complexity and dialogue?
In Out of Orbit, both artists take as their starting point the loss of gravity in space. Like astrophysicists, they shift their gaze between Earth and the universe, and back again. Observing Earth from the universe allows us to put our existence into perspective. Looking from Earth into space stirs a hunger for knowledge. The impermanence of our own planet, combined with the limitations of what we can know about the universe, destabilizes us.
Curated by Tamara Beheydt
NUEVA MANERAS DE HABITAR
Centro de Arte y Naturaleza CDAN
Museo Huesca Spain
25.10.24-04.05.25
https://www.cdan.es/exposiciones/
ENG
Concepts such as sustainability, accessibility, equality, solidarity, and so on have become irreversibly embedded in our imagination and are the driving force behind decisive action for improving our living environment. Around these concepts, creators, architects, and landscape designers are today working with particular attention to their immediate surroundings and the people who inhabit them.
The CDAN, in its endeavour to promote reflection and research in response to the challenges posed by contemporary life, and as a strategic partner of the New European Bauhaus, an initiative of the European Commission aimed at imagining and building new ways of living in a more sustainable and inclusive future, presents its new exhibition season: HABITAR.
In its main hall, the exhibition "New Ways of Living," curated by architect and university professor Sixto Marín along with the CDAN team, brings together artworks and projects in architecture and landscape design. The creators are already operating unequivocally and explicitly within a new intellectual and professional framework. This is a collective exhibition featuring projects from thirteen architectural firms and thirteen contemporary creators, with the narrative organised across various thematic areas: rural environments, the recovery of abandoned habitats, green spaces, public spaces, and urban contexts.
Participants include: aldayjover arquitectura y paisaje – Iñaki Bergera – Blancafort-Reus Arquitectura – Susana Blasco – Festival Concéntrico – CSO Arquitectura – Edra arquitectura – Isidro Ferrer – Fuertes-Penedo – Lacol – LANZA Atelier – Sixto Marín – Adela Moreno – Miguel A. Moreno Carretero – Nomad Garden – Carla Nicolás – Peris+Toral Arquitectes – Enrique Radigales – David Rodríguez – Barbara Schroeder – David Sebastian desarquitectes – Straddle3 – Kaat Van Doren – Jorge Yeregui.
Symposium Nuevas Maneras de Habitar, CDAN, 24.10.24-25.10.24
Concepts such as sustainability, accessibility, equality, solidarity, and so on have become irreversibly embedded in our imagination and are the driving force behind decisive action for improving our living environment. Around these concepts, creators, architects, and landscape designers are today working with particular attention to their immediate surroundings and the people who inhabit them.
The CDAN, in its endeavour to promote reflection and research in response to the challenges posed by contemporary life, and as a strategic partner of the New European Bauhaus, an initiative of the European Commission aimed at imagining and building new ways of living in a more sustainable and inclusive future, presents its new exhibition season: HABITAR.
In its main hall, the exhibition "New Ways of Living," curated by architect and university professor Sixto Marín along with the CDAN team, brings together artworks and projects in architecture and landscape design. The creators are already operating unequivocally and explicitly within a new intellectual and professional framework. This is a collective exhibition featuring projects from thirteen architectural firms and thirteen contemporary creators, with the narrative organised across various thematic areas: rural environments, the recovery of abandoned habitats, green spaces, public spaces, and urban contexts.
Participants include: aldayjover arquitectura y paisaje – Iñaki Bergera – Blancafort-Reus Arquitectura – Susana Blasco – Festival Concéntrico – CSO Arquitectura – Edra arquitectura – Isidro Ferrer – Fuertes-Penedo – Lacol – LANZA Atelier – Sixto Marín – Adela Moreno – Miguel A. Moreno Carretero – Nomad Garden – Carla Nicolás – Peris+Toral Arquitectes – Enrique Radigales – David Rodríguez – Barbara Schroeder – David Sebastian desarquitectes – Straddle3 – Kaat Van Doren – Jorge Yeregui.
Symposium Nuevas Maneras de Habitar, CDAN, 24.10.24-25.10.24
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Symposium Nuevas Maneras de Habitar, CDAN, 24.10.24-25.10.24
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Onderzoekstafel ROMANTIC PARADOX nr2, 2024 Vitrine met archief- en onderzoeks materiaal o.a. boeken, lens, artefacts, tumbnails, scherf van gedroogde aarde afkomstig van Parque Solar Pitarco Muel, Zaragoza, natuurlijke elementen uit Parque Natural de la Sierra y los Canones de Guara, zwarte plexie, upset sunset acryl op papier, Post Romantic Index: Tussen Bitumen en Zonlicht, 2019-2024geplooide poster 42x59,5 cm, XPS geëxtrudeerd polystyreen, aquarel van Jose Buelas (1921-2017), obsdiaan, iPhone, etc..)
From the series MIROIR NOIR Bitumina, 2017-2022 Beperkte editie, 2022
Digitale foto afgedrukt op museum etspapier, 350 g, 29,7 x 21 cm 
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SHIFTING SCENERIES FeliXart & Eco museum Drogenbos -BE 26 augustus 2023 - 28 januari 2024 Do/Thu – Zo/Su: 10:30 – 17:00 https://felixart.org/tentoonstelling/gist-shifting-sceneries With: Tina Gillen, Alice Vanderschoot, Isabel Fredeus, Maarten Vanden Eynde, Marjolijn Dijkman, Kaat Van Doren, Elias Cafmeyer en Suzette Bousema. NDL
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Cabinet of Romantic Paradox nr 1, 2023
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in situ installation
Waiting For:GOLDEN HOUR 22.08.23/ 13:30u
(orange foil, transparent tape and sunlight)
in dialogue with works by Isabel Fredeus , Marjolijn Dijkman, Tina Gillen
Waiting For:GOLDEN HOUR 22.08.23/ 13:30u
(orange foil, transparent tape and sunlight)
in dialogue with works by Isabel Fredeus , Marjolijn Dijkman, Tina Gillen
ESPERANDO LA HORA DORADA
(luz solar, vinilo naranja, cinta transparente)
permanent instalación in situ
48°52’ 25’’N, 0°24’ 58’’W
15.07.2023 till today
Centro de Arte Y Naturaleza Huesca, Aragon SP
http://www.cdan.es/arte-y-naturaleza/
5.11.2023 13:41u |
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15.07. 2023 13:45u
Klik hier om te bewerken.
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30.09.2023 13:35u |
30.09.2023 13:43u
30.09.2023 12:56u |
30.09. 2023 13:02u |
5.11.2023 13:29u
KAAT VAN DOREN
Instalación in situ
WAITING FOR GOLDEN HOUR / ESPERANDO LA HORA DORADA 48°52’ 25’’N, 0°24’ 58’’W
(luz solar, vinilo naranja, cinta transparente)
El título ESPERANDO LA HORA DORADA se refiere por un lado a mi añoranza por la Hora Dorada, la hora romántica de una hermosa tarde de verano cuando todo se sumerge en un cálido resplandor anaranjado.Por otro lado, es un ligero guiño a Samuel Beckett: “En attendant, il ne se passe rien”. Mi deseo es una paradoja romántica. Junto con esta hora romántica antes del atardecer, se graban en mi retina imágenes distópicas de la contaminación del aire (desde los incendios forestales y la contaminación del aire en todoel mundo, desde España hasta la industria petroquímica en Amberes). Cuanto más anaranjado se vuelve el cielo durante el día, más fuerte es la contaminación del aire. El sol no miente: con sus largas ondas de luz roja, hace que la contaminación sea visible a simple vista, mientras que todas las demás ondas de luzobservables son bloqueadas por las partículas contaminantes.
En contraste con “la velocidad” del movimiento continuo de la tierra como tal, los movimientos de la humanidad para contrarrestar el calentamiento global parecen durar para siempre. ¿Estamos esperandouna hora dorada permanente con hermosos cielos “románticos” en todo el mundo? La artista invierte sutiempo en la recolección y presentación del tiempo mismo; esto por sí solo está en marcado contraste conlas normas del trabajo económicamente rentable. Es más bien una labor de amor: como la hija de Butadesen el mito de Plinio, Van Doren registra, en diálogo con el sol, lo que le es querido; ella crea una indicación tangible de lo que pronto desaparecerá en la ausencia.
La instalación in situ ‘Waiting For Golden Hour’ se baña en el ciclo natural de la luz solar y activa la percepción sensorial y espacial y pone los conceptos de tiempo e (im)previsibilidad en una perspectiva poética. La disposición in situ es condicional, lo que se puede ver depende de si el sol brilla o no. Este aspecto condicional exige literalmente tiempo al espectador. A pesar de la tiranía contemporánea de la inmediatez y la velocidad, ¿esperará el espectador a que el sol arroje sus nuevas imágenes de luz en elpatrón de líneas previamente establecido? ¿Alguna vez una imagen de luz proyectada por el sol vuelve acaer en el mismo lugar? El arreglo in situ literalmente ilumina el encuentro humano con el tiempo solar. Unaimagen material cuenta cómo el sol juega a través del tiempo en el espacio en una interacción constante con la luz solar incorpórea.
Un homenaje a la belleza de la (in)certidumbre ya la voluntad condicional de la naturaleza, en la que el hombre ya no es el gobernante central de la tierra sino que está indisolublemente ligado a ella. Un intento de restaurar elcontacto humano con los fenómenos naturales a través de la imaginación. Siempre que las personas occidentales urbanizadas con mentalidad tecnológica presten más atención a la comprensibilidad de la naturaleza, la naturaleza puede educarlos nuevamente. La instalación in situ tiene como objetivo que el visitante se comprometa con el paisaje. Una reflexión sobre la(des) creencia occidental en la inteligibilidad de la naturaleza. Nos atrevemos amirar desde el futuro a lo que una vez se dio por sentado en todo el mundo: un rayo de sol llega a la tierra.
“La relación ambigua entre la humanidad y el resto de la naturaleza siempre ha jugado un papel en la obra de Van Doren. Entre otras cosas, le interesa cómo la cientificación e industrialización de Occidente va acompañada de una pérdida de conexión con la naturaleza. Para la clase media urbana, la naturaleza se está convirtiendo en un telón de fondo o decoración: algo que admiramos desde la distancia, en pinturas románticas o en espectaculares documentales sobre la naturaleza. Es la materia de los sueños y el arte: algo quevemos a través de un marco, pero a lo que nosotros mismos no pertenecemos. Nos hemos apartado significativamente de la vida del agricultor, que dependede la clemencia del tiempo, la tierra y el aire para su supervivencia y la nuestra también. Sobre todo, esto cuelga la sombra de las industrias extractivas que explotan la tierra, la crisis climática y un velo literal y figurativo decontaminación. La instalación in situ de Van Doren Waiting For Golden Hour es una especie de experiencia posromántica, sublime pero crítica, del sol como una fuerza de la naturaleza. El trabajo tiene el potencial de sugerir unanueva conexión entre el ser humano y la naturaleza, pero también plantea cuestiones ecológicas y existenciales”.
Beheydt, T. (2021). Sunlight as a primary material in the oeuvre of Kaat Van Doren. In
K. V. Doren, Waiting For: Golden Hour. Belgie: Stockmans Art Books.
in situ installation GOLDEN HOUR
long term research installation 2019-till unpredictable date
Artist run space_Guldenstraat 17_ Mechelen, BE
51°01’31”N - 4°28’37”E
The installation is visible from the street.
Visits by appointment [email protected]
(orange foil, sunlight, transparent tape)
in situ installation GOLDEN HOUR
long term research installation 2019-till unpredictable date
Artist run space_Guldenstraat 17_ Mechelen, BE
51°01’31”N - 4°28’37”E
The installation is visible from the street.
Visits by appointment [email protected]
(orange foil, sunlight, transparent tape)
Klik hier om te bewerken.
“Van Dorens' in situ installation Golden Hour is a kind of post-romantic, sublime but critical,
experience of the sun as a force of nature. The work has the potential to suggest a new connection between humans and nature, but also raises ecological and existential questions.”
uit: Beheydt, T. (2021). Sunlight as primary material /In K. V. Doren, Waiting For: Golden Hour. Belgie: Stockmans Art Books.
PRESS/PERS
Els, Roelandt "Klimaatstress en de romantische paradox"
H ART magazine, nr 227 gepubliceerd op 06/09/2022
https://hart-magazine.be/
klimaatstress_en_de_romantische_paradox.pdf
Danckaers, Tine, artikel “Ons tegensprekelijk geluk? Dat we kinderen van de zon zijn.”
MO Mondiaal Nieuws, gepubliceerd op 26/12/2020
https://www.mo.be/interview/ons-ontegensprekelijke-geluk-dat-we-kinderen-van-de-zon-zijn
‘ons_ontegensprekelijke_geluk__dat_we_kinderen_van_de_zon_zijn’_-_mo_.pdf
experience of the sun as a force of nature. The work has the potential to suggest a new connection between humans and nature, but also raises ecological and existential questions.”
uit: Beheydt, T. (2021). Sunlight as primary material /In K. V. Doren, Waiting For: Golden Hour. Belgie: Stockmans Art Books.
PRESS/PERS
Els, Roelandt "Klimaatstress en de romantische paradox"
H ART magazine, nr 227 gepubliceerd op 06/09/2022
https://hart-magazine.be/
klimaatstress_en_de_romantische_paradox.pdf
Danckaers, Tine, artikel “Ons tegensprekelijk geluk? Dat we kinderen van de zon zijn.”
MO Mondiaal Nieuws, gepubliceerd op 26/12/2020
https://www.mo.be/interview/ons-ontegensprekelijke-geluk-dat-we-kinderen-van-de-zon-zijn
‘ons_ontegensprekelijke_geluk__dat_we_kinderen_van_de_zon_zijn’_-_mo_.pdf
Golden Hour in situ installation: Sunlines (spring equinox 2019 till spring equinox 2021)
(sunlight, foil, transparent adhesive tape, vinyl, )
(sunlight, foil, transparent adhesive tape, vinyl, )
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GOLDEN HOUR
(NDL) In-situ-installatie in Mechelen, Guldenstraat 17 (B), 2019-2021 langlopend project Mechelen ligt op ongeveer 20 km van de haven van Antwerpen en zijn petrochemische cluster (1), midden op de industriële as Antwerpen-Brussel. In 1835 werd in Mechelen de eerste spoorlijn geopend. Voor het eerst in de geschiedenis reed een trein met stoomlocomotieven over het Europese continent, de motor achter het industriële succes van België in de 19e eeuw. Mechelen was ooit de hoofdstad en bakermat van kunst en cultuur van de Habsburgse Nederlanden. Op loopafstand van het standbeeld van Margaretha van Oostenrijk (2), staat een gildehuis De Gouden Zalm, oorspronkelijk gebouwd in de 16e eeuw. De neoclassicistische gevel uit de 18e eeuw is in de jaren vijftig op de begane grond verbouwd tot winkel. In de grote vitrine met veel aandacht voor invallend daglicht, kenmerkend voor de modernistische architectuur bevindt zich de installatie Golden Hour (3). De eigenschappen van het zonlicht veranderen de winkelpui in een "Golden Hour". Het oranje vinyl dat op de vitrine is aangebracht, met enkele perspectivische openingen, filtert het zonlicht (4). Door de tijd heen zijn op de muren markeringen aangebracht waar het zonlicht is geweest. Laat het heden zien dat de toekomst in het verleden ligt? Golden Hour is bedoeld als een poëtische metafoor voor een vloeiend proces van voortdurend worden en vergaan. Binnen de verstedelijkte context poogt de installatie de aandacht te vestigen op de organische tijd en de zintuigen opnieuw aan te scherpen voor de aanwezigheid en onze afhankelijkheid van natuurverschijnselen zoals zonlicht. Tegelijkertijd is het romantische verlangen naar het Golden Hour in de huidige Capitalocene situatie, met wereldwijd permanent oranje luchten als gevolg van luchtvervuiling (5), een paradoxaal verlangen. 1. Total in de haven van Antwerpen, op 19/02/2020, kleurde de hemel in Antwerpen vuurrood door een afflakking. Dit veroorzaakte twee dagen lang een rode gloed in de Antwerpse lucht. Die vlam zie je niet alleen, maar hoor je ook, zelfs met de ramen dicht. Volgens Total kan de afflakking erg luidruchtig zijn, maar brengt het absoluut geen gevaar met zich mee. De vlam bevindt zich op zo'n 200 meter hoogte en is dus op een veilige hoogte. De vlam is er 365 dagen per jaar, maar alleen tijdens het afflakkelen is het fenomeen zo duidelijk zichtbaar. 2. Margaretha van Oostenrijk was van 1507 tot 1530 landvoogdes van de Habsburgse Nederlanden en koos Mechelen als haar woonplaats. In 1521 veroverden de Spanjaarden onder leiding van H. Cortés Mexico op de Azteken. Op 20 augustus 1523 schonk keizer Karel V een groot deel van de waardevolle en unieke voorwerpen aan zijn tante, Margaretha van Oostenrijk, die ze gebruikte om haar goed uitgeruste bibliotheek aan haar hof in Mechelen in te richten en zo het eerste Azteekse museum in Europa te creëren. Deze collectie bevatte ook voorwerpen van goud en obsidiaan. In de astronomie van Meso-Amerika waren de zon, de maan en Venus de drie belangrijkste hemellichamen, en het was op hun bewegingen dat de verschillende inheemse kalendersystemen werden gebaseerd. 3. Gouden Uur verwijst naar het mooiste uur, ook wel "magisch uur" genoemd, waarmee de korte periode na zonsopgang of voor zonsondergang wordt aangeduid waarin er meer indirect zonlicht is, waardoor het licht roder en zachter wordt. Omdat de zon aan de horizon staat, legt het licht een langere afstand af door de atmosfeer. Rode lichtgolven zijn het langst, blauwe lichtgolven zijn korter en worden meer verstrooid, zodat het rode licht meer aanwezig is. 4. Zonlicht is het zichtbare deel van het totale spectrum van elektromagnetische straling dat door de zon wordt uitgezonden. Het zonlicht dat de aarde bereikt is maar een heel klein deel van de totale hoeveelheid, maar essentieel om het leven op aarde in stand te houden. Fijn stof is onzichtbaar voor het blote oog. Het wordt alleen zichtbaar door de eigenschappen van het zonlicht en bepaalde weersomstandigheden. 5. Primaire stofdeeltjes zijn het resultaat van verbranding, wrijving of verdamping. Voorbeelden zijn de verbranding van fossiele brandstoffen zoals olie, aardgas, steenkool en hout. |
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Follow the sun in The Golden Hour Installation MIDSUMMERDAY 21/06/2019 (from 16:47u till 18:30u )
Research fase 2019 |
GOLDEN HOUR long term research installation 2019-till unpredictable date (ENG) In-situ installation in Mechelen, Guldenstraat 17 (B), 17.03.2019, long-term project Mechelen is situated about 20 km from the port of Antwerp and its petrochemical cluster (1) in the middle of the Antwerp-Brussels industrial axis. In 1835 the first railway line was opened in Mechelen. For the first time in history, a train with steam locomotives ran on the European continent, the driving force behind Belgium's industrial success in the 19th century. Mechelen was once the capital and cradle of art and culture of the Habsburg Netherlands. Within walking distance of the statue of Margaret of Austria (2), stands a guildhall The Golden Salmon, originally built in the 16th century. The neoclassical facade from the 18th century has been converted on the ground floor into a shop in the 1950s. The large display case with great attention to incident daylight, characteristic of modernist architecture contains the installation Golden Hour (3). The properties of the sunlight turn the shop front into a “Golden Hour”. The orange vinyl applied to the display case, with some perspective openings, filters the sunlight (4). Throughout time, markings have been made on the walls where the sunlight has been. Does the present show that the future lies in the past? Golden Hour is intended as a poetic metaphor for a flowing process of constant becoming and decaying. Within the urbanised context, the installation attempts to draw attention to organic time and reawaken our senses to the presence and dependence of natural phenomena such as sunlight. At the same time, the romantic longing for the Golden Hour in today's Capitalocene situation, with worldwide permanent orange skies as a result of air pollution (5), is a paradoxical desire. 1. Total in the port of Antwerp, on 19/02/2020, the sky in Antwerp turned fire-red due to a flacking. This caused a red glow in the sky of Antwerp for two days. Not only do you see that flame, but you also hear it, even with the windows closed. According to Total, the flacking can be very noisy but it brings absolutely no danger. The flame is at a height of about 200 metres and is therefore at a safe height. The flame is there 365 days a year, but it is only during flacking that the phenomenon is so clearly visible. 2. Margaret of Austria was governor of the Habsburg Netherlands from 1507 to 1530 and chose Mechelen as her place of residence. In 1521, under the leadership of H. Cortés, the Spaniards conquered Mexico from the Aztecs. On 20 August 1523 Emperor Charles V donated a large proportion of valuable and unique objects to his aunt, Margaret of Austria, who used them to decorate her well-equipped library at her court in Mechelen, thus creating the first Aztec museum in Europe. This collection also contained objects made of gold and obsidian. In the astronomy of Mesoamerica, the sun, moon and Venus were the three most important celestial bodies, and it was on their movements that the various indigenous calendar systems were based. 3. Golden Hour refers to the most beautiful hour, also called “magic hour”, which indicates the short period after sunrise or before sunset in which there is more indirect sunlight, making the light redder and softer. Because the sun is on the horizon, the light travels a longer distance through the atmosphere. Red light waves are the longest, blue light waves are shorter and are scattered more, so the red light is more present. 4. Sunlight is the visible part of the total spectrum of electromagnetic radiation emitted by the sun. The sunlight reaching the earth is a very small part of the total amount, but essential to sustain life on earth. Fine dust is invisible to the naked eye. It only becomes visible because of the properties of sunlight and certain weather conditions. 5. Primary particulate matter is the result of burning, friction, or evaporation. Examples are the burning of fossil fuels such as oil, natural gas, coal, and wood. |