R.S.O.L.
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Room for the Study Of Loneliness : space for contemporary art
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R.S.O.L. Art Space Deventer brings current developments in contemporary art into focus with presentations of limited size but great significance. Away from commercial interests and other aspects involved in the art world, R.S.O.L. Art Space shows new work by Dutch and international artists and connects it to a current development and theme. Currents and movements taking place below and on the surface in contemporary art are made visible and accountable. Anyone who wants to know what is going on in contemporary art cannot miss the presentations of R.S.O.L.!
R.S.O.L. is a not-for-profit enterprise and is not supported by governments or funds, but is funded entirely from its own resources, revenues and donations. Due to the recent move your support is needed twice as much. Be committed, support R.S.O.L. now!
Doubling is the linguistic phenomenon of saying something unnecessarily twice in a sentence. In art theory, doubling is something quite different, namely the doubling of reality in the work of art. A work of art is not an imitation of reality, but adds something to it that was not there before. An artwork does this through, with and in its specific form: the structure of the artwork. The linguistic term for such a structure is: syntax. Syntax plays a role in how a sentence, a text - and also a work of art - generates meaning. It matters where, which word is placed in a sentence. With the place of the word in the sentences syntax the significance of both the word itself, and the sentence it is in, subtly shifts.
If we were to look for a linguistic phenomenon like doubling in a work of visual art, it would be a doubling of an element in the construction of its structure. Such doubling adds a layer to the meaning of the work. In art, there is often talk of layering. This usually refers to the various layers (e.g. layers of paint) that have been applied (and that sometimes were partly removed again) in the process of creating a work of art. But the word layering can also be used to refer to the different layers of meaning that can be found in a work of art.
The extraordinary, Dutch artists Vincent Verhoef and Just Quist make work that at first glance may seem flat, stark and unembellished rather than layered. But this simplicity and ‘flatness’ is merely an outward appearance. For, in fact, substantively there are many and complex meanings in them. The works may refer, for instance, to the position of the stars at specific places and times, or to events in a personal history. Or they play a game with the significations of words and of artworks, or of exhibition spaces.
The presentation syntactic doubling, semantic layering in R.S.O.L. Deventer adds in a double way something to reality that was not there before. The central question is: how do doublings work in the structure of works of art - and in the syntax of an exhibition? How can such doublings ‘make sense’? What does doubling elements from different works add to each other? And how do they allow the meanings of those same works to shift as a result? Right up to the ultimate question of how these shifts can renew our view of the realities we are ourselves and in which we exist.
If we were to look for a linguistic phenomenon like doubling in a work of visual art, it would be a doubling of an element in the construction of its structure. Such doubling adds a layer to the meaning of the work. In art, there is often talk of layering. This usually refers to the various layers (e.g. layers of paint) that have been applied (and that sometimes were partly removed again) in the process of creating a work of art. But the word layering can also be used to refer to the different layers of meaning that can be found in a work of art.
The extraordinary, Dutch artists Vincent Verhoef and Just Quist make work that at first glance may seem flat, stark and unembellished rather than layered. But this simplicity and ‘flatness’ is merely an outward appearance. For, in fact, substantively there are many and complex meanings in them. The works may refer, for instance, to the position of the stars at specific places and times, or to events in a personal history. Or they play a game with the significations of words and of artworks, or of exhibition spaces.
The presentation syntactic doubling, semantic layering in R.S.O.L. Deventer adds in a double way something to reality that was not there before. The central question is: how do doublings work in the structure of works of art - and in the syntax of an exhibition? How can such doublings ‘make sense’? What does doubling elements from different works add to each other? And how do they allow the meanings of those same works to shift as a result? Right up to the ultimate question of how these shifts can renew our view of the realities we are ourselves and in which we exist.
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