Joachim Beens is a contemporary visual artist currently working and living in Helsinki, Finland.
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My works are inquiries into the techniques used to represent apparent (visual) reality on the flat surface.
This involves contemporary as well as traditional methods.
Apart from the history of art and traditions of painting itself, I have always been inspired by video games that attempt to imitate reality. This construction, translation, or simulation of apparent reality on a two-dimensional surface it shares with all arts that have aimed for realism, and especially with painting.
What's important are not the images that are generated, but how they are generated - what techniques are used in 3D computer graphics and throughout art history. In my work, I combine these two diverging fields - painting and CGI - that have the mutual purpose of constructing a virtual world.
My reference material often is random - photographs of textures I find fascinating, pictures I finds in books or on the internet, consumer objects - and it's the history and tactility of the subject, the technical possibilities of its translation, and the implications of such a transition that trigger my work.
Computer Generated Images are mostly projected unto flat surfaces, but consist of flat surfaces, too. A painting can be a simulacrum of a single object, as well as show a representation of several objects. As an example, a door in a virtual environment can be a simple rectangular polygon with an image of a door mapped unto it, adequate to convey the message, whereas a door-sized painting of a door could be mistaken for a real one.
The effect is often theatrical, as it undermines the nature of materiality and function, like props taken out of context.
A painting of that same door within an interior (where, incidentally, it loses its relative levelness) becomes harder to accept as a part of our current paradigm of reality. Suspension of disbelief plays an important role in this context.
These parallels have consequences for the reading of images. They put an emphasis on the character of the image, and its frame.
My works touch upon matters of objecthood, iconography, spatial construction, light simulation, and spectatorship:
Reversely, through videos and animations I emphasize the crudeness and fallibility of digital reconstructions, which allow for a more playful and erratic practice, through which I emphasize the obscure symbolism of CGI and the fallacy of virtual realism.
|with Charlotte van Renterghem, Maika Garnica, Ilja Kleinjans, Saori Kuno, Mathias Prenen, Winnie Claessens, Sanne Vaassen, Olivier Goethals|
|Out of the Blue|
|Greylight Projects||Hoensbroek, Belgium||2017|
|Please Let Me Die Already|
|Kvit gallery||Copenhagen, Denmark||2016|
|with Joakim Almroth, Erdal Bicili, Eva Zar, Peter Phobia, Yannick Val Gesto, Graeme Arnfield, Magnus Humle|
|Van Gogh museum||Amsterdam, the Netherlands||2015|
|with Winnie Claessens, Kelvin Pater, Isadora Tomasi, Tobia Tomasi, Leslie Bell|
|De Gemene Deler | The Common Denominator|
|Hole of the Fox||Antwerp, Belgium||2015|
|with Arnaud De Wolf, Saskia van der Gucht|
|Correction Lines (Secondary Narratives)|
|with Frederiek Weda, Raumte|
|If it Fits in it Goes On|
|Have You seen this Exhibition?|
|Kunstvlaai||Amsterdam, the Netherlands||2014|
|But I'm a Lousy Conformist So I Put it Here|
|Lokaal 01||Antwerp, Belgium||2014|
|with Pieter Jennes, Maxime Peeters, Valérie De Ghellinck, Mathias MU, Yasmine van der Rauwelaert, Dennis Ramaekers, Karolien Chromiak, Karina van Leengoed, Alex Herzog, Kylian van der Have, Jonathan Huygens, Winnie Claessens, Karina Beumer, Liesje de Laet|
|What Do you Mean What Does it Mean|
|Extra City||Antwerp, Belgium||2013|
|Language is not Transparent|
|Objectif Exhibitions||Antwerp, Belgium||2013|