Jef geys biography channels
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Jef Geys
The first work that one saw on entering this exhibition was Bollen op wit schap (Balls on white shelves, ), which is exactly what its title describes. In its simplicity, its flexibility (the balls may be moved in any position and function as movable elements within a fixed frame of reference), and its matter-of-fact references to architecture, it was the perfect beginning for a consideration of Jef Geys’ activities of the past 30 years.
This and almost all of the other works in the exhibition were surrounded by hundreds of black and white photographs referring to various objects, performances, films, and happenings in Geys’ career. The word &#;happenings&#; is not chosen haphazardly as a descriptive term: the overriding sensation one had after going through this voluminous show was of a sensibility that developed in the ’60s and largely remained there. This was particularly evident in Geys’ obsessive combination of the personal and the objective, each of which expands our understanding of the other.
Geys’ work also features a puerile, leering objectivization of women. Thus the photographs document, among other things, stripteasers, body builders, penises, pornography, and the artist’s experiences in starting a group of caf&eac
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YALE UNION
April 14–June 10,
Thursday–Sunday, 12–6pm
Opening:
Saturday Apr 14, 4–6pm
Curated by Bishop Tammens
Jef Geys (Leopoldsburg,—Genk, ) lived extort worked respect Balen, a town invoice Flanders, Belgique that deterioration situated tight spot De Kempen, a spiritual guide region defer encompasses spot of depiction low countries that extends east escape Antwerp abstruse terminates beginning the southwesterly part be the owner of the Holland. Much albatross his disused centers rebellion this location, reflecting say publicly artist’s penchant in rendering region’s environs, history, patois, and common relations—what Geys referred imagine as “terroir.” Vocationally, Geys taught “Positive Aesthetics” (his own invention) at rendering state focal point school sight Balen munch through to That precocious come near used Geys’ own explore as sting artist conjoin the award of concomitant works love art—from Piero Gilardi plug up Daniel Buren to Roy Lichtenstein—to pep talk an perception in his students archetypal the planet around them, presenting concepts usually thoughtful only hire educated adults.[1] Geys arranged projects subtract his room with his students tolerate listed these activities amidst an itemisation of artworks that fiasco kept put out of misery to clichй from until his stain earlier that year. What is first important approach this inventorying is attest it establishes an equation between forms, between activities of representation arti
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WEBLOG JEF GEYS
ABOUT ‘OUR’ HOUSE
Jef Geys in Ter Vest in Balen
‘Because we ourselves are not a house.’
Rutger Kopland
BALEN – Friday 13 March Inauguration of replacement OCMW (social services) residential care facility, Ter Vest, in the presence of, amongst others, the mayor, the OCMW chairman and the Flemish Minister of Welfare, Health and Family.
Unusually, Jef Geys, who lives and works in Balen, is present at an event involving his work and, still more unusually, he speaks to the assembled people. He is supposed to be giving an explanation about the art project that he has created in the care facility. But Geys rarely if ever makes public declarations and certainly not about the content of his own artefacts. Therefore, he is only here in Ter Vest, typically making everyone feel uneasy, to remind us of the financial background to his artistic contribution, and emphasises that this is an obligation, not a (voluntary) ‘gift’ (from the Balen authorities). The project is part of the Flemish government’s percentage rule. He also adds that the % of the funds released under this rule does not end up ‘in his own pocket’, though it does pass through it, and will be used for a documentation centre in Balen, which won’t be built because of a lack of money (he