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Archive for the ‘Petervan Productions’ Category

IMG_4612 cropped

“Dancing Girl in Flemish Fields”. Acryl on canvas, about 100cm x 80cm

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Globe3 cropped

Globe3 - Petervan Productions 2017 - Acryl on canvas - 70x70cm

 

 

Strillingen

Stille trillingen

Koude rillingen

Van verderf

Bewust gevaar verkennen, de schaamte voorbij

Een hond bekijkt haar keutel, reutel, geleuter

Niets is waard wat het is

De zon gaat op en laat me alleen

Het gezoem van de banden op asphalt verstilt

Ik hoor alleen nog de hitte van het tarmac

Lucht trillingen en fata morganas

Warmte rillingen van genot

Een vluchtheuvel te ver

Begraven maskers en strelingen

Strillingen

(very) rough translation

Hidrations

Still vibrations

Cold and chilling

Perditions

Explorations of dangerous awareness, beyond the shame

A dog inspects her dung, rattle, and drivel

Nothing is worth what it seems

The silencing humming of tires on asphalt

Only the heat of tarmac is left

Air vibrations and fata morganas

Warm shivers of pleasance

A hideaway too far

Buried masks and hidden cuddles

Hidrations

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art room

3D Art room by 12 years old at BKO Academy – Feb 2017

I recently realised that it’s almost seven months since I saw an airplane from the inside. That’s indeed the time I am into my long-term sabbatical as Petervan Productions. It also means I am about halfway: another seven months indeed between now and end 2017. If you are interested in my developing story, my Jan 2017 and March 2017 updates are still available.

A quick update:

March-April felt like a period of soul-searching and reflection. I constantly had the impression I was not doing much and progressing very little, but writing this update gave me some comfort: there still is some advancement towards my goal and that of Petervan Productions.

I feel less restless than in the first couple of months, and can accept that a day goes by without any concrete deliverable. I also made some minor changes to my daily schedule, which is now more in synch with nature. For example, when the weather is great, I go outside for a bike ride or some gardening, and that’s why I already got a nice pre-summer tan 😉 And when it rains, it’s time for desk work. As there is enough rain in Belgium, there is enough time for desk work.

Artschool

Artschool continued at +/- 9 hours per week practice in the art studio of the art academy. Got a challenging color-study from my coach, which also led into a remake of “The Drama”. I also started liking the use of many very transparent layers.

the-drama-2-cropped

petervan-astract-nr-364

Two completely different works
Both acryl on cotton canvas stitched on wooden board
122 x 82 cm

Performance

  • I had many 1-1 conversations with friends and relatives to collect feedback on the performance “Tin Drum Is Back”. Thank you so much for the very valuable feedback!
  • Did some site visits to find the ideal location for the performance. Nothing came really close for the final show: some spaces were great, but the acoustics awful. And for some good news I got commitment from two sponsors to use their space for the dry run and Avant-premiere.
  • I also received some first proposals for the visual identity of the show there is much more, but this would be the main theme:

tin drum visual

First mood board for “Tin Drum” performance

Events

Nothing special here. As you know from previous updates, I am not in active prospection mode, and every request is measured against my existing priorities:

  • There are 1-2 interesting speaking engagements that allow me to test some of the performance and/or structural change concepts.
  • One promising lead for an immersive learning expedition with artistic performances.
  • Little progress on the retreat-style event.

Other

I visited some great art exhibitions and had some very pleasant conversations with art curators.

Inspiring also were the visits to the new site of Axel Vervoordt along the canal in Wijnegem (Antwerp) and the visit to ceramist Piet Stockmans in Genk, and the premiere of the film about Dries Van Noten in Bozar.

Piet Stockmans blue

Piet Stockmans – Blue plate

dries film

Extract from film Dries Van Noten

And I also started experimenting with some poems, some out of the blue, others in relation to some of my artwork. A first collection via this link.

So, what’s next?

During May – June 2017, the plan is to work on:

  • My daughter’s communion is on 14 May 2017. We plan to keep things simple, invite some close family in our garden with a back-up tent in case of rain, and some quality food and drinks brought in by a local caterer.
  • Creating an installation for the June 2017 year end exposition of my art school; the installation will be called “TOKOMA”
  • A visit to a research facility in Germany that integrates artists in industrial research project work
  • The production aspects of the performance
  • Continue the research on structural Deep change – Good Change – Bad Change with some excellent feedback from my social media community.

This year’s summer promises to be different as well. We decided to move houses to be closer to the Flemish Primitives. Emptying the old house, refurbishing the new one, boxing and un-boxing will keep us busy most of the summer. The new house was previously a doctor’s practice, and the plan is to organise one space as an artist’s atelier/production studio where I plan to study, paint, write poems, compose music, and produce experiences.

Michael Landy atelier

Detail from Atelier Michael Landy

That’s about it for this edition. If there is something worth reporting, next update is for July 2017. Looking forward to hearing from your latest adventures as well.

Rebelliously yours,

petervan-signature

I am in the business of cultivating high quality connections and flows to create immersive learning experiences and structural change. Check out: https://petervanproductions.com/

 

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Petervan Astract Nr 364

Artschool 2017 > "Overlap" 
Acryl on canvas stitched on wooden panel 125 x 85 cm

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Tokoma Art installation - Petervan Productions 2017
With soundscape

 

Snijden zoals Fontana

Berekend, bere-sterk, een-malig

De kommer van het zwaard

Vervelt haar tot een paardekop

Geslagen en verslagen, moe

Moe ligt ze daar te verwezen

Wringend haar haar in nat

Mat

Patstelling van verwijten en verlangen

Toka haar platform

Ma haar ledigheid, lenigheid

Leeg-heid, licht-heid, of volledig

Haar canvas draait in eeuwigheid

 

Tokoma (rough translation)

 

Carving like Fontana

Calculated, bear-strong, one-time

Wistful sword

Molting hair to horse-head

Beaten, defeaten, dead

Lingering, languishing

Wringing her hair wet

Weary

Stalemate between blame and desire

Toka her platform

Ma her empty-ness, lithe-ness

Lite-ness, Light-ness, Full-less

Her canvas spins into infinity

 

tokoma

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I ask myself often whether organisations can change – really change – at all. I recently spoke to an HR person of a big worldwide corporation, and her answer was a strong “yes”. I am not so sure. Or maybe I am confused.

As organisations are made of people (humans), would you have the change the people in order to change the organisation? Is there another way? Some people say “you can’t change people, but you can change their behaviour”. Are we fooling ourselves with such statements?

I am seduced by the Robert Fritz’ premise that structure drives behaviour. Or Leandro Herrero‘s thesis that behaviour drives culture. And Jean Russell’s “Cultivating Flows“.

Robert Fritz for managers

There are plenty of metaphors to illustrate the relationship between structure and behaviour. From race cars, the team and the driver, to heroes hacking their way through forests (My friend Leda Glyptis wrote this excellent piece on the oscillating patterns – “Acts” in her post – that innovation heroes have to go through).

I am starting to think about a metaphor based on architecture, and the notion of “patrimony” of a building, which has to do a lot with knowledge stored as inheritance material in physical objects (Thanks, Tom Laforge for the insight).

kanaal solos

Kanaal Site – Axel Vervoordt – Old malt factory - Wijnegem, Belgium

Ricardo_Bofill_Taller_de_Arquitectura_La_Catedral_Barcelona_Spain_1-1440x592

Ricardo Bofill – The Cathedral – Old cement factory – Barcelona, Spain

 

“Patrimony” is an interesting term. The Dutch word “Erfgoed” maybe captures it better. “Erf” means inheritance, value that can be transmitted across generations. “Goed” stand for “good”, both as 1) something tangible, an art-i-fact and 2) something good, of value/worth/wealth/culture/DNA to be carried forward.

Both sites above are a good illustration: Ricardo Bofill’s “La Fabrica” and Axel Vervoordt’s “Kanaal”.

The architects decided to respect the patrimony, strip it to its essence – its skeleton – and create new perspectives and flows. They did not decide for “disruption”, aka breaking down the building and creating something completely new. They combine old and new, they combine tradition/patrimony/erfgoed with new flows, new structures.

The structure is not only the brick and mortar building itself, but includes the whole site, the landscape, the empty spaces, the social contracts, the tacit and non-tacit agreements of flow.

The structure comes alive when people live in it, add furniture, decoration, color, organise their areas for work, for creativity, for reflection.

What is the skeleton structure of the building, what do we need to keep, where do we need to create new perspectives to cultivate new flows of water, traffic, connections?

The metaphor building/organisation – like any metaphor – works only to a certain extent.

Haidt happiness

What’s missing is what makes us human and our motivations. I am reading Jonathan Haidt’s “The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom”, and am struck by all the noise humans put on the system. Some salient wisdom:

  • “We are all hypocrites”
  • “The rider (ratio) is not in charge”
  • “The elephant (the unconscious) is not motivated by happiness but by prestige.
  • “Most stories/narratives are confabulated after the facts”

So back to my initial question: can organisations change? Maybe the better question is: what quality of change are we aiming for? Or the more critical question may be: why would people change?”

Fritz’ suggestion is that if you have the right structure, people will naturally change their behaviour and the flows of information.

What are your thoughts?

petervan-signature_transparent_black_version2

I am in the business of cultivating high quality connections and flows to create immersive learning experiences and structural change. Check out: https://petervanproductions.com/

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The Drama 2 cropped

Re-interpretation of The Drama. Acryl on cotton canvas stitched on wooden panel 120x80cm.

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