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Dat klinkt strijdvaardiger dan het is. Maar toch. Misschien is het eerder een fluwelen revolutie die hij wil ontketenen."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"De jonge kunstenaar - hij is fotograaf en sinds kort ook schilder - wil dat wij als toeschouwer anders gaan kijken. Hijzelf is ook anders beginnen kijken naar de werkelijkheid. En hij is anders gaan werken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Twee versregels van Herman De Coninck uit het gedicht ‘De plek’ (1994)"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"zijn daarbij toepasselijk:"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"‘Je moet niet alleen, om de plek te bereiken,"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"thuis opstappen, maar ook uit manieren van kijken.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Dat is precies wat Artur Eranosian wil dat wij doen: opstappen uit manieren van kijken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"Artur Eranosian was aanvankelijk straatfotograaf en fotojournalist. Henri Cartier-Bresson en Martin Parr waren zijn helden. Eranosian was meteen al zo’n uitstekende fotograaf dat men hem in het KASK, de academie van Gent, ineens in het tweede jaar wilde laten starten. Men bestempelde hem als de volgende Magnum-fotograaf, wat een enorme druk op z’n schouders legde."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian ging werken voor De Morgen en De Standaard, kreeg een aantal internationale onderscheidingen voor zijn foto’s, maar was eigenlijk niet tevreden. Hij wilde niet de zoveelste straatfotograaf zijn. ‘Ik wilde zoveel meer doen,’ zegt hij daarover. ‘Ik dacht aan abstracties, maar durfde dat niet te zeggen.’"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"En hij begon te experimenteren. Aanvankelijk met reflecties in het water. Dat lijkt nogal voor de hand te liggen, maar wat Eranosian deed was zeer grafisch, leunde tegen de abstractie aan en zong zich los van de waarneembare werkelijkheid."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"De voorbije jaren heeft hij zich daarop toegespitst. Hij focust op details uit onze waarneembare omgeving. Hij fotografeert dàt waar wij in ons dagelijks bestaan achteloos aan voorbijgaan en geen oog voor hebben. Hij staat stil bij een patroon in een vlag, de organische structuur van een boom, de constructivistische wirwar van takken, de pixels van een zebrapad, de rimpeling van water,…"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Telkens gaat het om onze vertrouwde omgeving maar hij fotografeert die op zo’n manier dat ze onherkenbaar wordt. Het onderwerp mag dan banaal zijn, de foto’s zijn dat niet. Integendeel. Artur Eranosian is op zoek naar een nieuwe vormtaal. Wat is fotografie, vraagt hij zich af. En: ‘Kan ik iets bereiken dat nooit eerder gedaan is?’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"‘Ik kijk als een schilder’, zegt hij. De naam van Raoul De Keyser valt – als groot voorbeeld. Dé schilder die in zinnelijk opgebrachte verf telkens weer de grens tussen figuratie en abstractie aftastte."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Tijdens het fotograferen denkt Artur Eranosian na over onder- en overbelichting, over inzoomen en kadreren, over kleurzetting en hoe hij het diepste zwart of helderste blauw kan bereiken. Inderdaad, hij gaat te werk als een schilder. Probeert met licht te schilderen, camera in de hand. Achteraf manipuleert hij de beelden niet. Er komt geen fotoshop aan te pas."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Op zijn jongste tochten heeft zijn collega-fotograaf Jimmy Kets hem gevolgd. De video die Jimmy maakte kan u tijdens deze tentoonstelling bekijken. Het geeft een schitterend beeld van de werkwijze, de gedrevenheid en de passie van Artur Eranosian."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Zijn foto’s hebben de schilder in hem wakker gemaakt. Er is een kruisbestuiving ontstaan tussen de twee disciplines: schilderkunst vormde de inspiratie voor de foto’s, de foto’s zijn op hun beurt een inspiratiebron voor de schilderijen geworden."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"‘Pas een jaar geleden ben ik echt beginnen schilderen’, zegt hij. ‘Het is een verkenning. Ik had het nooit eerder gedaan. Net als in de fotografie ben ik ook op dat vlak een autodidact. Ik ben maar één jaar op het KASK in Gent gebleven. Er was geen ruimte om te falen. Terwijl net dat belangrijk is. Strikt genomen bestaat er geen falen. Je leert van je mislukkingen, accidenten zijn productief, je werkt door.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian beoefent de ‘platste’ vorm van schilderkunst. Daarmee bedoel ik: zijn werk is ondiep, er is geen spel met perspectieven, wel met structuren, geometrie en kleur. Denk aan de vroege abstracten, de monochromie van Malevitsj, denk aan Matisse en aan de Amerikaanse colorfield painters."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur schildert op papier, met gouache en waterwerf. Er is in zijn schilderijen geen penseeltrek te zien, het lijkt alsof ze niet geschilderd zijn. ‘Ik heb ooit een rood vlak dertig keer opnieuw geschilderd. Tot ik het goed kreeg.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Nu toont Artur Eranosian voor het eerst zijn foto’s en zijn schilderijen samen. Hij wil verwarring stichten in onze manier van kijken. Hij wil ons kijken ontwrichten, onze zekerheden onderuit halen. Want waarnaar zijn we aan het kijken? Een foto? Of toch een schilderij? Opzettelijk brengt hij geen labels aan. ‘Je kijkt anders naar een foto dan naar een schilderij’, zegt hij. ‘Je stelt je daarbij andere vragen.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian wil dat we opnieuw leren kijken. In alle vrijheid. Hij daagt ons als toeschouwer uit. Hij wil vooral dat we beter, langer en langzamer kijken. Dat we de verwarring omhelzen. Dat we de schoonheid van zijn werk zien. En aanvoelen. Ontwapenende schoonheid. Of het nu om een foto of een schilderij gaat."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"En dat we vervolgens ook beter naar de zo vaak veronachtzaamde werkelijkheid kijken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"Eric 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39","position":0,"index_text_layout":"Center","cover_text_size":"M","move":null,"site_id":"200711ba-fa71-4c90-b2c2-fe426e833b93","video_loop":true,"site":null,"slideshow_show_count_enabled":true,"id":"492743b9-1a78-41bc-8b8b-2a0c5a7d4041","video_autoplay":true,"cta_page_id":null,"content_size":"Default","index_text_media_size":"M","part_of_stacked_page":true,"inserted_at":"2020-04-29T15:47:01Z","imagegrid_caption_enabled":false,"horizontalscroll_size":"M","menu":null,"text_vertical_alignment":"Center","online":true,"homepage":false,"text_content1":{"ops":[{"attributes":{"bold":true},"insert":"A New Language"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"bold":true},"insert":"“Ik faal nog liever terwijl ik iets moeilijks aan het proberen ben dan dat ik applaus krijg voor iets waar ik maar weinig energie in moet steken.” Met een nieuwe taal exposeren in het MUHKA nog voor je ze echt onder de knie hebt: Artur Eranosian (28) kiest ook nu niet voor de makkelijkste weg. Dat is Artur ten voeten uit: de man die de lat hoog legt en doet wat hij moet doen om er over te geraken. En ook de man met passie praat over zijn werk, over hoe hij de dingen ziet, over wat hij ons wil laten zien, maar ook over de moeilijkheden die hij onderweg tegenkomt en de onzekerheid die knaagt."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"De nieuwe taal combineert fotografie met schilderkunst. Artur Eranosian zoekt de grenzen op van de fotografie, daar waar de foto louter een grafisch beeld is geworden. In de witruimte rond de foto gaat hij schilderen. “Dat schilderen is in juni 2017 begonnen. Ik had een expo bezocht in Bozar – Yves Klein met zijn blauwe vlakken. Dat blauw was zo puur, zo echt. Het was een magische ervaring om het in het echt te aanschouwen, want ik kende zijn werk enkel uit boeken.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Toen ik thuis kwam voelde ik de energie van die tentoonstelling nog en ben ik dezelfde avond voor het eerst beginnen experimenteren met het schilderen op papier. Een paar maanden later zijn dan de eerst drie geschilderde werken ontstaan die ik toonde tijdens mijn tentoonstelling in Dendermonde. Het is daar dat Liliane De Wachter, de curator van het MUHKA, mijn werk heeft ontdekt en me heeft gebeld met het voorstel om te exposeren in het museum.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"attributes":{"bold":true},"insert":"Je bent fotograaf, geen schilder. Heb je 'les' gehad, formeel in een academie of informeel van een vriend of collega die..."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Toen in december 2017 de vraag van MUHKA kwam, ondertussen zes maanden geleden, had ik de zotste ideeën en begon ik meteen met veel enthousiasme nieuw werk te maken. Maar ik voelde al heel gauw dat het niet ging. Ik kreeg mijn ideeën niet geschilderd zoals ik het wou. Ik had tot dan toe impulsief die drie kleine hoekige' werken gemaakt, meer ervaring had ik niet. Ik moest dringend gaan studeren en bijleren als ik een half jaar later iets van kwaliteit wou tonen in het MUHKA. Ik besloot om te starten bij de basis. En de basisfiguren van de abstracte kunst, dat zijn rechthoeken, vierkanten en lijnen. Gewoon werken trachten te creëren met simpele vormen en het hoekige even achterwege te laten. Wat kan je met een paar eenvoudige vlakken maken? Wat is de kracht van een compositie? Hoe schilder je een perfect geometrisch vlak?”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Iedereen kan een vierkant schilderen van vijf op vijf centimeter: daar is niets moeilijks aan. Het moeilijke van de zaak is het vierkant dat ik in mijn hoofd heb op papier geschilderd te krijgen. Niet zomaar een vierkant, maar dát vierkant. Dat is de studie. Soms wil ik iets schilderen zonder dat je de penseeltrekken ziet: hoe doe je dat? Ik wil dat je de structuur van het papier perfect ziet doorlopen in de verf: hoe pak je dat aan? Ik wil een vlak schilderen dat perfect grafisch afgelijnd is: is dat wel mogelijk? Dat ga je dan onderzoeken.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik heb de afgelopen vijf maanden heel wat zaken bijgeleerd, wat ik kan en vooral ook wat ik nog niet kan, en met de ervaring van die vijf maanden moet ik nu de komende twee weken alle werken maken...”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"bold":true},"insert":"Is het niet een beetje hautain om te zeggen 'ik heb vijf maanden gestudeerd en nu kan ik schilderen'? Er zijn mensen die járen kunstacademie doen."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik voel me ook geen schilder. Ik heb meer het gevoel dat ik aan het verven ben.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"“Ik laat die twee werelden aan elkaar grenzen”"},{"attributes":{"align":"right"},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Met zijn nieuwe werken, brengt Artur Eranosian zijn publiek in verwarring. Elk werk start met een foto, een rechthoekige, niet-bewerkte foto waar rond is geschilderd. Weten dat er een foto aan de basis ligt, doet toeschouwers haast automatisch zoeken naar waar die dan wel precies zit. We kijken, we turen, we zoeken naar de grens tussen de realiteit van de foto en de geschilderde toevoeging."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Hij lijkt zich tegelijk te storen aan én te amuseren met de vraag naar waar de foto nu precíes zit. Wat staat er op de foto, Artur? Waar heb je die genomen? Waar stopt de foto en begint het schilderij?"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik wil niet iets laten zien, ik wil iets laten voelen”, zegt hij wanneer ik nog maar eens probeer fictie van realiteit te onderscheiden. “Ik heb jarenlang beelden gemaakt om specifiek iets te laten zien op straat. Een situatie, een gebeurtenis, een tafereel... Door dat nu achterwege te laten en de grenzen van de fotografie op te zoeken, kan je ontdekken wat je met dat medium allemaal kan doen. Je kan schilderen met je fototoestel.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur legt de vinger op de wonde: we zijn geconditioneerd. Zodra iets een foto is, gaan we op zoek naar wat er is gefotografeerd. Zo zijn we ingesteld. En als we niet weten wat het is, raken we een beetje in de war, stelt hij vast. Dan vragen we of het beeld is gefotoshopt en beginnen we lukraak te raden wat het eventueel zou kunnen zijn. We vergeten te kijken naar het werk."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Hoe anders als we exact hetzelfde beeld zien, maar dan geschilderd. Dan hebben we het niet over photoshop, maar over de interessante compositie die de kunstenaar koos, het fascinerende lijnenspel, de sprekende kleuren..."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik vond het altijd heel frustrerend dat een foto niet op die manier werd bekeken. Ik liet dan abstracte beelden zien en kreeg steeds de vraag wat het was en of het wel echt was. Terwijl een schilder die twee strepen zet...” Hij moet er om lachen, om de verwarring die hij schept, om de totaal verschillende verwachtingen die we hebben al naargelang iemand het over fotografie dan wel schilderkunst heeft."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Vandaag leg ik die twee werelden tegen elkaar en laat ze aan elkaar grenzen. Maar ik zal ze nooit laten overlappen en zal nooit een druppel verf op de foto aanbrengen.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"“Het is een nieuwe realiteit die wordt gecreëerd”"},{"attributes":{"align":"right"},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"De taal waarin hij werkt, is van hemzelf. Maar realiteit en abstractie in één beeld, dat haalt Artur Eranosian bij Raoul De Keyser (1930-2012). “Vijf, zes jaar geleden keek ik heel veel naar abstracte schilderkunst, met Mondriaan, Pollock, Newman en zo voort. En toen kwam Raoul De Keyser daar en viel mijn frank: dat is niet zomaar abstract, maar puur realiteit. En inderdaad, als je verder gaat opzoeken, dan lees je dat De Keyser nooit zomaar iets uit fantasie gaat schilderen. Hij start altijd vanuit iets reëel: een hoek, een kleur, een vorm uit zijn dagdagelijkse omgeving. Dat is mijn grootste inspiratie geweest om ook op een andere manier te gaan kijken.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Op straat ontdekte Artur overal Raoul De Keyser: in de contouren van een stoeprand of de beschildering op een vrachtwagen. Hij ging de 'gevonden' De Keysers gaan fotograferen, en zette ze op zijn computerscherm naast de echte om zo te ontdekken dat het dezelfde kleuren en lijnen waren die de ene schilderde en de andere fotografeerde."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Zodra je een foto print op papier, wordt het papier de nieuwe realiteit. Je kijkt niet meer naar een detail van een blauwe garagepoort die ik heb gefotografeerd, maar je kijkt naar inkt op papier, zoals je ook kijkt naar verf op een doek...”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"bold":true},"insert":"Dat is niet Raoul De Keyser, maar Magritte: 'Ceci n'est pas une pipe'!"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"“Het is een nieuwe realiteit die wordt gecreëerd. Het is rond die nieuwe realiteit dat je dan een nog nieuwere realiteit gaat schilderen. Ik wil geen blauwe poort laten zien, maar ik vind het echt belangrijk dat jullie weten dat die foto gemaakt is, in jullie straat, ergens in jullie vertrouwde omgeving. Maar wat het precies is – een"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"blauwe poort of een blauwe jeansbroek – maakt niet zo uit. Met dat idee is alles begonnen, met Raoul De Keyser zijn filosofie.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"bold":true},"insert":"Is wat jij doet dan een vervolg op Raoul De Keyser?"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"“Neen, zijn werk is een aanzet geweest.”"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"\n"}]},"cover_image_id":null,"cover_media_navigation":false,"viewer_image_title_enabled":true,"subtype":null,"parent":{"browser_title":null,"menu_disabled":false,"row_description_alignment":"Center","slug":"timothy-vermeir","text_content2":{},"do_not_index":false,"cover_media_autoplay":false,"published":true,"horizontal_viewer_enabled":false,"stacked":true,"parent_id":null,"slideshow_transition":false,"cover_image":null,"summary":{},"cover_media_size":"L","invert_colors":false,"slideshow_show_caption_enabled":true,"imagegrid_align":"Center","viewer_count_enabled":true,"cover_text_color":null,"cta_url":null,"description_content":{},"tags":null,"text_color":null,"description_content_html":null,"updated_at":"2020-06-01T14:32:04Z","slideshow_show_backstory_enabled":false,"text_columns":"One","type":"index","content_text_size":"One","set":null,"viewer_backstory_enabled":false,"order_date":"2020-04-29T15:46:56Z","slideshow_size":"M","index_text_size":"M","imagegrid_layout":"Columns","background_color":null,"imagegrid_ratio_orientation":"Landscape","logo_disabled":false,"imagegrid_gutters":"S","text_image_enabled":false,"tag_ids":[],"published_at":"2020-04-29T15:46:56Z","slideshow_show_image_title_enabled":true,"imagegrid_horizontal_align":"Justified","layout_direction":"column","cta_label":null,"slideshow_ratio":"4:3","path":"timothy-vermeir","horizontalscroll_align":"Center","text_media_video_url":null,"horizontalscroll_gutters":"S","menu_id":null,"viewer_size":"L","meta_description":null,"hide_from_menu":false,"imagerid_viewer_enabled":true,"index_grid_item_grow":false,"location":"","imagegrid_ratio":"1:1","viewer_caption_enabled":true,"hide_text_in_menu":false,"menu_representation":"page","image":null,"title":"Timothy 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44","position":0,"index_text_layout":"Center","cover_text_size":"M","move":null,"site_id":"200711ba-fa71-4c90-b2c2-fe426e833b93","video_loop":true,"site":null,"slideshow_show_count_enabled":true,"id":"d1405488-bf7b-4f95-9301-fce60a2ffb53","video_autoplay":true,"cta_page_id":null,"content_size":"Default","index_text_media_size":"M","part_of_stacked_page":true,"inserted_at":"2020-04-29T15:55:04Z","imagegrid_caption_enabled":false,"horizontalscroll_size":"M","menu":null,"text_vertical_alignment":"Center","online":true,"homepage":false,"text_content1":{"ops":[{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"bold":true},"insert":"DE EIGENZINNIGE TAAL VAN ARTUR ERANOSIAN"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Ik leerde Artur kennen als zesjarige Armeense jongen die wat onwennig mijn klas binnentrad en nauwelijks Nederlands sprak. Ik wist al snel dat hij zeer leergierig was. Hij slorpte zowat alles op wat ik als leraar aanbood: lezen, schrijven, rekenen... In die tijd improviseerde ik al vertellend mijn verhalen en ik speelde gitaar. Artur genoot er zichtbaar van. Na zoveel jaren weet ik me nog altijd zijn lachende gezicht voor te stellen. Op zich is dat al veelzeggend."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Mijn boek ‘Kleuren maken alles mooi’ (Kok, NL, 1998) schreef ik met Artur voor ogen. Het verhaal speelt zich nochtans af in heel andere setting. Het meisje Halima, de protagoniste, vluchtte samen met haar ouders weg uit Algerije. Als schrijver heb je die vrijheid. Je kan een jongen in een meisje veranderen. In een gedachte verander je het land van afkomst. Niets is vaak wat het lijkt te zijn."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Ik ben Artur altijd blijven volgen. Als leraar ben ik sowieso trots op wat mijn oud-leerlingen realiseren. Ik voel me voorgoed met hen verbonden. Als meester van een eerste leerjaar geef je kinderen heel wat basisvaardigheden mee. Je zit voorgoed in hun handschrift, soms in hun passie voor lezen, het beoefenen van muziek... ‘Alles is verbonden. Door de invloeden en beslissingen van andere mensen ontvouwt mijn leven zich verder’, zegt Artur. Een filosofische stelling die ook de mijne is."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur heeft ook mij beïnvloed want hij is wellicht ook een van de redenen dat ik op internationaal vlak zo passioneel met de rechten van het kind bezig ben. We moeten alle kinderen, van welke afkomst ook, welkom heten en alle kansen geven. Elk kind heeft recht op het beste wat een maatschappij te bieden heeft. Een andere cultuur of een andere taal mag hiervoor geen hindernis zijn, integendeel. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur heeft zich eerst ontwikkeld tot een bekend fotograaf en hij bewandelt nu een nieuwe weg als beeldend kunstenaar. We mogen trots zijn dat hij in ons land terecht is gekomen. Hij werpt een nieuwe blik op de kunst. Hij verrijkt onze samenleving door zijn passie en door zijn kunst."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur wil iets creëren dat nog nooit gecreëerd is. Hij wil ons een nieuwe taal aanreiken. Als fotograaf liet hij de toeschouwer al zien dat foto’s meer kunnen zijn dan een weergave van de realiteit. Artur leerde het werk van Raoul De Keyser kennen. Volgens de Vlaamse kunstkenner Ludo Bekkers ligt de betekenis van het werk van De Keyser niet in de herinnering van de realiteit, maar in het zoeken naar het uiteindelijke schilderij waarvan de voorgaande stappen de herinnering zijn. Dat gaf Artur een soort schokeffect."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":" Artur zoekt de straat op om foto’s te nemen van een andere realiteit. De mensen kijken hem soms vreemd na. Hij probeert alles en iedereen van zich weg te duwen om zich te concentreren. Rondom de details van een foto schildert hij zijn nieuwe werkelijkheid."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Een nieuw kunstwerk is voor Artur, zoals een woord. De kunstwerken samen vormen zinnen die in een poëtisch geheel moeten uitmonden. Hij wil niet zozeer iets laten zien. Hij wil bij de toeschouwer emoties doen ontstaan. Een nieuwe abstracte taal is ontstaan. De eigenzinnige taal van Artur Eranosian."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Wally De Doncker, 10 juni 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Especially the influence of Belgian abstract painter Raoul De Keyser (1930-2012) has been decisive. For Artur this artist truly stands out, because - unlike other abstract painters – De Keyser finds his inspirations in reality, and revalues the everyday scenery he observes when he opens the front door of his house: the typical Flemish landscape with its soccer fields, tents and washing lines. Artur studied his work meticulously, which changed his perception of the things around him. He himself started developing a different interpretation of the villages, towns and cities he visited all around the country: the streets of Belgium became his atelier. All of the abstract images were found, framed and created there. And whoever looks at his pictures must admit: our day-to-day reality becomes a different world in the hands of Eranosian. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Step by step, he developed his own way of perceiving things. “It’s not about the lines or the shapes”, he says. “An image needs to have a soul. You need to feel swept away by it, it has to linger in your mind and it has to be so strong, that you simply can’t get it out of your head.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Some artists try to achieve a malerisch effect in their photographs by abusing imperfections such as blur, haze or extremely long shutter speeds, or they manipulate their photos after the have been taken. Eranosian doesn’t. He respects the art of the photographic technique. By combining correct diaphragm sizes, shutter speeds, and ISO values with a flash and natural elements such as the sun, shadows, rain and air, he captures the raw essence of whatever finds itself in front of his lens. These basic elements suffice to create stunning images and, as often, the key to beauty and elegance resides in the supposed simplicity of his artistic process."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Often, his are pictures are purely visual, so that they don’t seem to be photos anymore. That is a conscious choice and decision. His photos have little to do with conventional, classic, traditional or mainstream photography. A hard flash on the surface of things or the idiosyncratic composition takes away the feeling of depth in the images. It becomes hard to consider them as photographs, since we’re not use to seeing the technique being used in this way."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Eranosian: “For me, the subject doesn’t matter. Actually, I have only one, prevalent criterion to decide on the quality of an image: can I still see and recognize the subject or object an image? Then the picture is no good. But when the act of watching the image has become a purely visual experience, then I know that it’s a good picture. I do not have the intention to show something. Rather, I want to evoke a feeling or a sentiment in the minds, or hearts, or souls of the people watching.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"The influence of painting is clearly visible in his work. Some people even experience his photographs as if they were paintings. “I have no intention to mimic paintings, or to match the experience one has while watching them. Honestly: I couldn’t care less. To me it’s essential to trigger questions such as: where are the boundaries of photography? When does a picture cease to be a photo, a visual description of something we know, and become an image that shows us unexpected and unknown things, that pushes our understanding of the world think we know?”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Often, people wander about a contemplative path, after a confrontation with Eranosian’s work, because it raises fundamental questions about the medium photography itself and plants seeds of doubts in our minds. These questions need not be answered. Not by the work, nor by the spectator. The questions, the doubt and the thoughts are an end to itself."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"When we look at an abstract painting, we talk about linear patterns and colors. In our imagination, we can even see the painter in front of his easel, working hard to create his masterpiece, with great care, attention, discipline, concentration, and yes: with sentiment and feeling. That’s not so in the case of abstract photography. We look at an image and the first question that comes to our mind is: what is this? Our rational thoughts push our emotions aside. The two behave as a master and his emissary. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Eranosian wants to break the purely cognitive perception of photography. A photographic image can have the power to outrun our cognitive categories; we can learn to let go of our modern reflex to learn or to know what is on display, and appreciate it from a purely aesthetical perfective. If a painter and a sculptor have the ability and the right to trigger these processes, then why shouldn’t a photographer? We live in an era dominated by Google and Wikipedia, instruments that focus on only one aspect of our existence: the cognitive processing of the world around us. And yes, having all this knowledge at our disposal is wonderful, useful, and quite often downright amazing, but sometimes it is good not to know. We are not familiar with this feeling anymore, but it tingles our fantasy, and our imagination, which are two things that are undervalued and underestimated in our contemporary education system and our societies."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Imagination works in completely different ways when we look at a photo, or at a image. When we look at a photo, we look for objects, for subjects. We see landscapes, things or people. We judge the image using two main criteria: how is the subject displayed? And how do we feel about that? Everything depends on the subject. When we look at photos in wherein no single focused subject can be found or defined, when the image is difficult to read, we don’t know how to feel, react or respond to the image. We want to know what it is, in order to make it fit our mental schemata. Eranosian wants people to experience photography differently, by allowing them the freedom to approach his images from a purely visual perspective, which allows emotions to roam freely."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Often, it’s easier for people to identify themselves with a photographer, than with a painter. Everyone has taken a picture at least once in his life. Today, the opportunities to take photos are omnipresent: we all carry cameras with us, always and everywhere, in our mobile phones. We think we know how the technique works, and we’re all very aware that there’s plenty of software to alter images after the photo has been taken. Therefore, we respond in a self-conscious, critical - maybe even aggressive - manner, to the medium of photography. We look at an abstract photo, and we think: what is this? Where was this picture taken? Was the picture digitally improved or altered in any way? Has the photographer tampered with it? Is this even real? Photography has always had to put up a fight to be recognized as an art. On the other hand: only a small minority of us have ever painted, or sculpted. Thus, when we find ourselves in front of a work of art made utilizing these techniques, we respond to it with awe and wonder. But how would we perceive a painting, if we could paint 50 panels a day, using our phones? It would radically change our vision on and perception of painting."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"For Eranosian, the medium should not be the message. He is eager to develop his vision. It’s not something that comes to an end here. He will continue to experiment. Every new fieldtrip, every visit to a friend, or every time he leaves his house, he sees opportunities to start filling a blank canvas with his works of art. And he does so, time and time again, he starts over and embraces the idea he has to reinvent his ideas about photography – and maybe even photography itself - every time he leaves his house, and steps out on the street, for that is when he enters his atelier."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"\n"}]},"cover_image_id":null,"cover_media_navigation":false,"viewer_image_title_enabled":true,"subtype":null,"parent":{"browser_title":null,"menu_disabled":false,"row_description_alignment":"Center","slug":"inkernaut","text_content2":{},"do_not_index":false,"cover_media_autoplay":false,"published":true,"horizontal_viewer_enabled":false,"stacked":true,"parent_id":null,"slideshow_transition":false,"cover_image":null,"summary":{},"cover_media_size":"L","invert_colors":false,"slideshow_show_caption_enabled":true,"imagegrid_align":"Center","viewer_count_enabled":true,"cover_text_color":null,"cta_url":null,"description_content":{},"tags":null,"text_color":null,"description_content_html":null,"updated_at":"2020-06-01T14:32:07Z","slideshow_show_backstory_enabled":false,"text_columns":"One","type":"index","content_text_size":"One","set":null,"viewer_backstory_enabled":false,"order_date":"2020-04-29T16:01:56Z","slideshow_size":"M","index_text_size":"M","imagegrid_layout":"Columns","background_color":null,"imagegrid_ratio_orientation":"Landscape","logo_disabled":false,"imagegrid_gutters":"S","text_image_enabled":false,"tag_ids":[],"published_at":"2020-04-29T16:01:56Z","slideshow_show_image_title_enabled":true,"imagegrid_horizontal_align":"Justified","layout_direction":"column","cta_label":null,"slideshow_ratio":"4:3","path":"inkernaut","horizontalscroll_align":"Center","text_media_video_url":null,"horizontalscroll_gutters":"S","menu_id":null,"viewer_size":"L","meta_description":null,"hide_from_menu":false,"imagerid_viewer_enabled":true,"index_grid_item_grow":false,"location":"","imagegrid_ratio":"1:1","viewer_caption_enabled":true,"hide_text_in_menu":false,"menu_representation":"page","image":null,"title":"Inkernaut","position":1572290594,"index_text_layout":"Center","cover_text_size":"M","move":null,"site_id":"200711ba-fa71-4c90-b2c2-fe426e833b93","video_loop":true,"site":null,"slideshow_show_count_enabled":true,"id":"29df016a-f6da-4687-bcc1-10f8025c3833","video_autoplay":true,"cta_page_id":null,"content_size":"Full","index_text_media_size":"M","part_of_stacked_page":false,"inserted_at":"2020-04-29T16:01:56Z","imagegrid_caption_enabled":true,"horizontalscroll_size":"M","menu":null,"text_vertical_alignment":"Center","online":true,"homepage":false,"text_content1":{},"cover_image_id":null,"cover_media_navigation":false,"viewer_image_title_enabled":true,"subtype":"text","parent":null,"index_text_vertical_alignment":"Center","alignment":"Center","image_id":null,"content_size_type_text":false,"rank":null,"index_grid_item_width":"1/2","children":null,"description_alignment":"Left","text_media":"None","set_id":null,"horizontalscroll_layout":"Equalheight","description_enabled":false,"viewer_video_autoplay":null,"link_page_url":null,"cover_media_fit":"contain","index_caption_enabled":false,"cta_overlay":false,"imagegrid_columns":"M","text_enabled":false,"icon":"none","index_layout":"Grid","video_controls":false,"child_ids":null,"horizontalscroll_caption_enabled":false},"index_text_vertical_alignment":"Center","alignment":"Center","image_id":null,"content_size_type_text":false,"rank":null,"index_grid_item_width":"1/2","children":null,"description_alignment":"Left","text_media":"None","set_id":null,"horizontalscroll_layout":"Equalheight","description_enabled":false,"viewer_video_autoplay":null,"link_page_url":null,"cover_media_fit":"contain","index_caption_enabled":false,"cta_overlay":false,"imagegrid_columns":"M","text_enabled":false,"icon":"none","index_layout":"Text","video_controls":false,"child_ids":null,"horizontalscroll_caption_enabled":false},{"browser_title":null,"menu_disabled":false,"row_description_alignment":"Center","slug":"untitled-46","text_content2":{},"do_not_index":false,"cover_media_autoplay":false,"published":true,"horizontal_viewer_enabled":false,"stacked":false,"parent_id":"d6eac0df-84a7-480d-9992-c516f997a588","slideshow_transition":false,"cover_image":null,"summary":{},"cover_media_size":"L","invert_colors":false,"slideshow_show_caption_enabled":true,"imagegrid_align":"Center","viewer_count_enabled":true,"cover_text_color":null,"cta_url":null,"description_content":{},"tags":[],"text_color":"#0f0f0f","description_content_html":null,"updated_at":"2020-04-29T16:26:15Z","slideshow_show_backstory_enabled":false,"text_columns":"Two","type":"text","content_text_size":"One","set":null,"viewer_backstory_enabled":false,"order_date":"2020-04-29T16:12:44Z","slideshow_size":"M","index_text_size":"M","imagegrid_layout":"Columns","background_color":"#f3f3f3","imagegrid_ratio_orientation":"Landscape","logo_disabled":false,"imagegrid_gutters":"S","text_image_enabled":false,"tag_ids":[],"published_at":"2020-04-29T16:12:44Z","slideshow_show_image_title_enabled":true,"imagegrid_horizontal_align":"Justified","layout_direction":"column","cta_label":null,"slideshow_ratio":"4:3","path":"geert-stadeus/untitled-46","horizontalscroll_align":"Center",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46","position":0,"index_text_layout":"Center","cover_text_size":"M","move":null,"site_id":"200711ba-fa71-4c90-b2c2-fe426e833b93","video_loop":true,"site":null,"slideshow_show_count_enabled":true,"id":"e2d35a8f-1b92-4704-bdee-ae98903cc9d2","video_autoplay":true,"cta_page_id":null,"content_size":"Default","index_text_media_size":"M","part_of_stacked_page":true,"inserted_at":"2020-04-29T16:12:44Z","imagegrid_caption_enabled":false,"horizontalscroll_size":"M","menu":null,"text_vertical_alignment":"Center","online":true,"homepage":false,"text_content1":{"ops":[{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"bold":true},"insert":"De Belgische fotograaf Artur Eranosian werk te zich in de belangstelling met zijn opmerkelijke straatfoto’s. De ene keer vrolijk, de andere keer ontluisterend, tonen ze zijn scherpe blik op de wereld – en hoe hij die wereld altijd een paar tellen voor blijft."},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"De foto’s van Artur Eranosian (°1989, Armenië) waren en zijn te zien in o.m. De Standaard en De Morgen, en hij werkt onder meer voor BOZAR en het Zilver- museum. Zijn naam maakte hij toen hij enkele jaren geleden zijn straatfoto’s begon te bloggen. Dat be- zorgde hem zijn eerste opdrachten. Dat hij zelfs aan zijn vroegste straatfoto’s nog veel meer te danken heeft, daar twijfelt hij niet aan."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"De straatfotografie van Artur Eranosian is zelden van humor gespeend. Denk maar de foto die hij maakte in het Brusselse Zuidstation, waarop tienduizenden treinreizigers onmiddellijk het als zebra uitgedoste paard herkennen van Sam’s Café. Artur Eranosian: “Ik had die zebra natuurlijk al ontelbare keren gezien en telkens als ik in het station was, ging ik eens kijken of daar niets leuks gebeurde. Meestal viel dat tegen. En dan ineens zie ik daar die man met dat zwart-wit gestreepte truitje zitten. Dat kun je niet laten liggen. Al blijft het altijd moeilijk om mensen te fotograferen. Hier ook, er zaten mensen aan die andere tafeltjes, je moet daar zo onopvallend mogelijk tussen sluipen. Mijn truc is dan dat ik eerst dat"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"paard in de zoeker neem vanuit verschillende hoeken, zodat iedereen denkt dat ik alleen maar foto’s van dat beeld wil maken. Ik maak ook geen oogcontact. Niemand mag de indruk krijgen dat ze ook in beeld komen.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Het is een typisch beeld voor de foto’s die Artur tot voor enkele jaren vooral maakte. Veel mensen, veel combinaties. “Nu ga ik liever op zoek naar iets kleiner – één persoon in een lege ruimte bijvoorbeeld. Dat is veel interessanter. Vandaag hou ik het liever mysterieus en focus ik op de emotie. Het moet ook niet altijd ludiek zijn.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik heb destijds niet genoeg genoten van die straatfoto’s. Ik wist dat ik met fotografie mijn brood wilde verdienen en die straatfoto’s waren heel toegankelijk, ik viel ermee op en kreeg er opdrachten door. Maar ik wilde mezelf ook aldoor bewijzen. Het was één grote sollicitatie. Het is sowieso heel goed voor mij geweest. Ik was voortdurend op stap met mijn camera. In een paar jaar tijd heb ik enorm veel ervaring opgebouwd. Die pas ik vandaag toe in mijn professionele opdrachten. Ik was erbij toen Bart De Wever de verkiezingen won, ik was erbij toen Barack Obama BOZAR bezocht in Brussel. Dan ben je daar samen met tientallen andere fotografen en dan is de grote uitdaging dat je met een ander beeld naar huis gaat dan de anderen. En dat ‘andere beeld’ herken ik gemakkelijker omdat ik zo veel straatfoto’s heb gemaakt. Omdat het daarbij zo belangrijk is om snel te zijn en vooral om vooruit te denken. Het is meer dan afdrukken op het juiste moment. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Het komt er vooral op aan dat je ziet dat iets gaat gebeuren dat visueel leuk of boeiend wordt. Dan moet je soms nog razendsnel de beste positie zoeken van waaruit je dat beeld kunt maken. Je moet scherp zijn en focussen. Vanuit een andere hoek waren veel van de foto’s die je hier toont gewoon niet gelukt.” Typisch Belgisch, hoor je vaak als het over deze foto’s van Artur Eranosian gaat. Hij heeft oog voor het traditionele, al blijft hij onvoorspelbaar. “Toen ik in Laarne een pro- cessie ging fotograferen, maakte ik mijn favoriete beeld van twee mensen die toekeken. De processie is er niet op te zien. Wel die twee wat oudere mensen, die door de spijlen van hun hek naar de optocht kijken. En zo nors, de man bijna dreigend. Gefotografeerd op dat ene moment van verbazing - “wat doet die gast?”. Ik stel die mensen ook niet te kijk, ik kwets niemand. Je moet voor je afdrukt inschatten of ze op de foto willen of niet. Natuurlijk weet ik dat zij twee seconden later wellicht met een brede glimlach naar de straat keken, maar dat doet er niet toe. 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Those shimmering surfaces possess all the qualities of abstract painting. His work shows us a tremendous variation of colours and textures of water surfaces, augmented by tidal movement and the play of the light. These works explore the thin line between photography and abstract painting."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"“For me, the subject doen’t matter. When the act of watching the work has become a satisfying visual experience, then I know that it’s a good picture. I don’t have the intention to depict anything. Rather, I want to evoke a feeling or a sentiment in the minds of the people watching."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"attributes":{"bold":true,"color":"#000000"},"insert":"2014 - 2016"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"After Artur Eranosian came to Belgium, he became deeply fascinated by the country's contemporary art. Especially Raoul De Keyser, whose works he studied intensively. It completely changed the way how he looked at the country."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"From the country side to the cities, he travelled the whole country, armed with his camera and his new way of looking. Initially very experimental but gradually he developed his own visual language within photography. A visual language closely related to painting."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"Due to the strong visual impact of these images, Eranosian pushes his medium beyond the boundaries of classical photography. Hardflashes on surfaces take the perspective out of the image. The idiosyncratic compositions no longer allow us to recognize objects."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"“I have no intention to mimic paintings or to match the experience one has while watching them. To me it’s essential to trigger questions such as: what are the boundaries of photography?”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"Besides the fact that Eranosian’s work walks on the line between photography and painting, we are still looking at a photographic image. He uses his medium as a specific quality. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"Knowing that we are watching a photographic image raises the question of what is depicted. Because the fact that we don’t recognize thinks, that there is no narrative in the works, Eranosian gives us the time and pleasure to watch. Just to watch. In times where we are confronted with more images than any generation before, we don’t take the time to watch anymore. Everywhere we go, there is a potential Eranosian to be found. We just have to learn to enjoy watching."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"attributes":{"bold":true,"color":"#000000"},"insert":"2018 - 2019"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"The art of painting and photography intertwine in Eranosian's work, \u0003fulminating in a true cross-fertilisation of these two worlds. He explores \u0003the boundaries of each medium, and is able to blend them seamlessly.  "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"He invariably finds his subjects in the commonplace. A wall, the sea, a tree \u0003or a church tower: he photographs our familiar surroundings using highly \u0003stylized techniques in a manner that is virtually unrecognisable. The photo-\u0003graphic image transcends the banality of his own everyday context."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"Eranosian takes the white space surrounding the photograph and \u0003uses it to create a new reality. He applies the gouache with such meticulous \u0003care that it becomes almost impossible for the observer to distinguish the \u0003painting from the photograph. Which is the original, and which is the new \u0003contribution? \u0003\u0003"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"A year later in 2019, Eranosian started making individual paintings for the \u0003first time. He uses gouache or aquarel and presents his paintings exactly \u0003in the same way as his photographic images.The sense of disconcertion \u0003that arises is what typifies Artur Eranosian's abstract work."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"color":"#000000"},"insert":"It is a balancing act in which the artist experiences and interprets \u0003photography and painting in a non-conventional 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Wael."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"attributes":{"align":"justify","header":2},"insert":"\n"},{"attributes":{"bold":true,"color":"#000000","underline":true},"insert":"Anders zien"},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":"Het werk van Artur Eranosian is een daad van verzet. Dat klinkt strijdvaardiger dan het is. Maar toch. Misschien is het eerder een fluwelen revolutie die hij wil ontketenen. "},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"De jonge kunstenaar - hij is fotograaf en sinds kort ook schilder - wil dat wij als toeschouwer anders gaan kijken. Hijzelf is ook anders beginnen kijken naar de werkelijkheid. En hij is anders gaan werken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Twee versregels van Herman De Coninck uit het gedicht ‘De plek’ (1994) "},{"attributes":{"header":5},"insert":"\n"},{"insert":"zijn daarbij toepasselijk:"},{"attributes":{"header":5},"insert":"\n\n"},{"attributes":{"italic":true},"insert":"‘Je moet niet alleen, om de plek te bereiken,"},{"attributes":{"header":5},"insert":"\n"},{"attributes":{"italic":true},"insert":"thuis opstappen, maar ook uit manieren van kijken.’"},{"attributes":{"header":5},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Dat is precies wat Artur Eranosian wil dat wij doen: opstappen uit manieren van kijken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"Artur Eranosian was aanvankelijk straatfotograaf en fotojournalist. Henri Cartier-Bresson en Martin Parr waren zijn helden. Eranosian was meteen al zo’n uitstekende fotograaf dat men hem in het KASK, de academie van Gent, ineens in het tweede jaar wilde laten starten. Men bestempelde hem als de volgende Magnum-fotograaf, wat een enorme druk op z’n schouders legde."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian ging werken voor De Morgen en De Standaard, kreeg een aantal internationale onderscheidingen voor zijn foto’s, maar was eigenlijk niet tevreden. Hij wilde niet de zoveelste straatfotograaf zijn. ‘Ik wilde zoveel meer doen,’ zegt hij daarover. ‘Ik dacht aan abstracties, maar durfde dat niet te zeggen.’"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"En hij begon te experimenteren. Aanvankelijk met reflecties in het water. Dat lijkt nogal voor de hand te liggen, maar wat Eranosian deed was zeer grafisch, leunde tegen de abstractie aan en zong zich los van de waarneembare werkelijkheid."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"De voorbije jaren heeft hij zich daarop toegespitst. Hij focust op details uit onze waarneembare omgeving. Hij fotografeert dàt waar wij in ons dagelijks bestaan achteloos aan voorbijgaan en geen oog voor hebben. Hij staat stil bij een patroon in een vlag, de organische structuur van een boom, de constructivistische wirwar van takken, de pixels van een zebrapad, de rimpeling van water,…"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Telkens gaat het om onze vertrouwde omgeving maar hij fotografeert die op zo’n manier dat ze onherkenbaar wordt. Het onderwerp mag dan banaal zijn, de foto’s zijn dat niet. Integendeel. Artur Eranosian is op zoek naar een nieuwe vormtaal. Wat is fotografie, vraagt hij zich af. En: ‘Kan ik iets bereiken dat nooit eerder gedaan is?’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"‘Ik kijk als een schilder’, zegt hij. De naam van Raoul De Keyser valt – als groot voorbeeld. Dé schilder die in zinnelijk opgebrachte verf telkens weer de grens tussen figuratie en abstractie aftastte."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Tijdens het fotograferen denkt Artur Eranosian na over onder- en overbelichting, over inzoomen en kadreren, over kleurzetting en hoe hij het diepste zwart of helderste blauw kan bereiken. Inderdaad, hij gaat te werk als een schilder. Probeert met licht te schilderen, camera in de hand. Achteraf manipuleert hij de beelden niet. Er komt geen fotoshop aan te pas."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Op zijn jongste tochten heeft zijn collega-fotograaf Jimmy Kets hem gevolgd. De video die Jimmy maakte kan u tijdens deze tentoonstelling bekijken. Het geeft een schitterend beeld van de werkwijze, de gedrevenheid en de passie van Artur Eranosian."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Zijn foto’s hebben de schilder in hem wakker gemaakt. Er is een kruisbestuiving ontstaan tussen de twee disciplines: schilderkunst vormde de inspiratie voor de foto’s, de foto’s zijn op hun beurt een inspiratiebron voor de schilderijen geworden."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"‘Pas een jaar geleden ben ik echt beginnen schilderen’, zegt hij. ‘Het is een verkenning. Ik had het nooit eerder gedaan. Net als in de fotografie ben ik ook op dat vlak een autodidact. Ik ben maar één jaar op het KASK in Gent gebleven. Er was geen ruimte om te falen. Terwijl net dat belangrijk is. Strikt genomen bestaat er geen falen. Je leert van je mislukkingen, accidenten zijn productief, je werkt door.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian beoefent de ‘platste’ vorm van schilderkunst. Daarmee bedoel ik: zijn werk is ondiep, er is geen spel met perspectieven, wel met structuren, geometrie en kleur. Denk aan de vroege abstracten, de monochromie van Malevitsj, denk aan Matisse en aan de Amerikaanse colorfield painters."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur schildert op papier, met gouache en waterwerf. Er is in zijn schilderijen geen penseeltrek te zien, het lijkt alsof ze niet geschilderd zijn. ‘Ik heb ooit een rood vlak dertig keer opnieuw geschilderd. Tot ik het goed kreeg.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Nu toont Artur Eranosian voor het eerst zijn foto’s en zijn schilderijen samen. Hij wil verwarring stichten in onze manier van kijken. Hij wil ons kijken ontwrichten, onze zekerheden onderuit halen. Want waarnaar zijn we aan het kijken? Een foto? Of toch een schilderij? Opzettelijk brengt hij geen labels aan. ‘Je kijkt anders naar een foto dan naar een schilderij’, zegt hij. ‘Je stelt je daarbij andere vragen.’"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur Eranosian wil dat we opnieuw leren kijken. In alle vrijheid. Hij daagt ons als toeschouwer uit. Hij wil vooral dat we beter, langer en langzamer kijken. Dat we de verwarring omhelzen. Dat we de schoonheid van zijn werk zien. En aanvoelen. Ontwapenende schoonheid. Of het nu om een foto of een schilderij gaat."},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"En dat we vervolgens ook beter naar de zo vaak veronachtzaamde werkelijkheid kijken."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"Eric 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Dat is Artur ten voeten uit: de man die de lat hoog legt en doet wat hij moet doen om er over te geraken. En ook de man met passie praat over zijn werk, over hoe hij de dingen ziet, over wat hij ons wil laten zien, maar ook over de moeilijkheden die hij onderweg tegenkomt en de onzekerheid die knaagt."},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"insert":"De nieuwe taal combineert fotografie met schilderkunst. Artur Eranosian zoekt de grenzen op van de fotografie, daar waar de foto louter een grafisch beeld is geworden. In de witruimte rond de foto gaat hij schilderen. “Dat schilderen is in juni 2017 begonnen. Ik had een expo bezocht in Bozar – Yves Klein met zijn blauwe vlakken. Dat blauw was zo puur, zo echt. Het was een magische ervaring om het in het echt te aanschouwen, want ik kende zijn werk enkel uit boeken.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Toen ik thuis kwam voelde ik de energie van die tentoonstelling nog en ben ik dezelfde avond voor het eerst beginnen experimenteren met het schilderen op papier. Een paar maanden later zijn dan de eerst drie geschilderde werken ontstaan die ik toonde tijdens mijn tentoonstelling in Dendermonde. Het is daar dat Liliane De Wachter, de curator van het MUHKA, mijn werk heeft ontdekt en me heeft gebeld met het voorstel om te exposeren in het museum.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n"},{"attributes":{"bold":true},"insert":"Je bent fotograaf, geen schilder. Heb je 'les' gehad, formeel in een academie of informeel van een vriend of collega die..."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Toen in december 2017 de vraag van MUHKA kwam, ondertussen zes maanden geleden, had ik de zotste ideeën en begon ik meteen met veel enthousiasme nieuw werk te maken. Maar ik voelde al heel gauw dat het niet ging. Ik kreeg mijn ideeën niet geschilderd zoals ik het wou. Ik had tot dan toe impulsief die drie kleine hoekige' werken gemaakt, meer ervaring had ik niet. Ik moest dringend gaan studeren en bijleren als ik een half jaar later iets van kwaliteit wou tonen in het MUHKA. Ik besloot om te starten bij de basis. En de basisfiguren van de abstracte kunst, dat zijn rechthoeken, vierkanten en lijnen. Gewoon werken trachten te creëren met simpele vormen en het hoekige even achterwege te laten. Wat kan je met een paar eenvoudige vlakken maken? Wat is de kracht van een compositie? Hoe schilder je een perfect geometrisch vlak?” "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Iedereen kan een vierkant schilderen van vijf op vijf centimeter: daar is niets moeilijks aan. Het moeilijke van de zaak is het vierkant dat ik in mijn hoofd heb op papier geschilderd te krijgen. Niet zomaar een vierkant, maar dát vierkant. Dat is de studie. Soms wil ik iets schilderen zonder dat je de penseeltrekken ziet: hoe doe je dat? Ik wil dat je de structuur van het papier perfect ziet doorlopen in de verf: hoe pak je dat aan? Ik wil een vlak schilderen dat perfect grafisch afgelijnd is: is dat wel mogelijk? Dat ga je dan onderzoeken.” "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik heb de afgelopen vijf maanden heel wat zaken bijgeleerd, wat ik kan en vooral ook wat ik nog niet kan, en met de ervaring van die vijf maanden moet ik nu de komende twee weken alle werken maken...”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"bold":true},"insert":"Is het niet een beetje hautain om te zeggen 'ik heb vijf maanden gestudeerd en nu kan ik schilderen'? Er zijn mensen die járen kunstacademie doen."},{"attributes":{"header":5},"insert":"\n\n"},{"insert":"“Ik voel me ook geen schilder. Ik heb meer het gevoel dat ik aan het verven ben.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"“Ik laat die twee werelden aan elkaar grenzen”"},{"attributes":{"align":"right"},"insert":"\n"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"Met zijn nieuwe werken, brengt Artur Eranosian zijn publiek in verwarring. Elk werk start met een foto, een rechthoekige, niet-bewerkte foto waar rond is geschilderd. Weten dat er een foto aan de basis ligt, doet toeschouwers haast automatisch zoeken naar waar die dan wel precies zit. We kijken, we turen, we zoeken naar de grens tussen de realiteit van de foto en de geschilderde toevoeging. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Hij lijkt zich tegelijk te storen aan én te amuseren met de vraag naar waar de foto nu precíes zit. Wat staat er op de foto, Artur? Waar heb je die genomen? Waar stopt de foto en begint het schilderij? "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik wil niet iets laten zien, ik wil iets laten voelen”, zegt hij wanneer ik nog maar eens probeer fictie van realiteit te onderscheiden. “Ik heb jarenlang beelden gemaakt om specifiek iets te laten zien op straat. Een situatie, een gebeurtenis, een tafereel... Door dat nu achterwege te laten en de grenzen van de fotografie op te zoeken, kan je ontdekken wat je met dat medium allemaal kan doen. Je kan schilderen met je fototoestel.” "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Artur legt de vinger op de wonde: we zijn geconditioneerd. Zodra iets een foto is, gaan we op zoek naar wat er is gefotografeerd. Zo zijn we ingesteld. En als we niet weten wat het is, raken we een beetje in de war, stelt hij vast. Dan vragen we of het beeld is gefotoshopt en beginnen we lukraak te raden wat het eventueel zou kunnen zijn. We vergeten te kijken naar het werk. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Hoe anders als we exact hetzelfde beeld zien, maar dan geschilderd. Dan hebben we het niet over photoshop, maar over de interessante compositie die de kunstenaar koos, het fascinerende lijnenspel, de sprekende kleuren... "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Ik vond het altijd heel frustrerend dat een foto niet op die manier werd bekeken. Ik liet dan abstracte beelden zien en kreeg steeds de vraag wat het was en of het wel echt was. Terwijl een schilder die twee strepen zet...” Hij moet er om lachen, om de verwarring die hij schept, om de totaal verschillende verwachtingen die we hebben al naargelang iemand het over fotografie dan wel schilderkunst heeft. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Vandaag leg ik die twee werelden tegen elkaar en laat ze aan elkaar grenzen. Maar ik zal ze nooit laten overlappen en zal nooit een druppel verf op de foto aanbrengen.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n\n\n"},{"attributes":{"italic":true},"insert":"“Het is een nieuwe realiteit die wordt gecreëerd”"},{"attributes":{"align":"right"},"insert":"\n"},{"attributes":{"header":5},"insert":"\n"},{"insert":"De taal waarin hij werkt, is van hemzelf. Maar realiteit en abstractie in één beeld, dat haalt Artur Eranosian bij Raoul De Keyser (1930-2012). “Vijf, zes jaar geleden keek ik heel veel naar abstracte schilderkunst, met Mondriaan, Pollock, Newman en zo voort. En toen kwam Raoul De Keyser daar en viel mijn frank: dat is niet zomaar abstract, maar puur realiteit. En inderdaad, als je verder gaat opzoeken, dan lees je dat De Keyser nooit zomaar iets uit fantasie gaat schilderen. Hij start altijd vanuit iets reëel: een hoek, een kleur, een vorm uit zijn dagdagelijkse omgeving. Dat is mijn grootste inspiratie geweest om ook op een andere manier te gaan kijken.” "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Op straat ontdekte Artur overal Raoul De Keyser: in de contouren van een stoeprand of de beschildering op een vrachtwagen. Hij ging de 'gevonden' De Keysers gaan fotograferen, en zette ze op zijn computerscherm naast de echte om zo te ontdekken dat het dezelfde kleuren en lijnen waren die de ene schilderde en de andere fotografeerde. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“Zodra je een foto print op papier, wordt het papier de nieuwe realiteit. Je kijkt niet meer naar een detail van een blauwe garagepoort die ik heb gefotografeerd, maar je kijkt naar inkt op papier, zoals je ook kijkt naar verf op een doek...”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n\n"},{"attributes":{"bold":true},"insert":"Dat is niet Raoul De Keyser, maar Magritte: 'Ceci n'est pas une pipe'!"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"“Het is een nieuwe realiteit die wordt gecreëerd. Het is rond die nieuwe realiteit dat je dan een nog nieuwere realiteit gaat schilderen. Ik wil geen blauwe poort laten zien, maar ik vind het echt belangrijk dat jullie weten dat die foto gemaakt is, in jullie straat, ergens in jullie vertrouwde omgeving. Maar wat het precies is – een"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"blauwe poort of een blauwe jeansbroek – maakt niet zo uit. Met dat idee is alles begonnen, met Raoul De Keyser zijn filosofie.”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"attributes":{"bold":true},"insert":"Is wat jij doet dan een vervolg op Raoul De Keyser?"},{"attributes":{"align":"justify","header":5},"insert":"\n"},{"insert":"“Neen, zijn werk is een aanzet geweest.” 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Especially Raoul De Keyser, whose works he studied intensively. It completely changed the way how he looked at the country."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"From the country side to the cities, he travelled the whole country, armed with his camera and his new way of looking. Initially very experimental but gradually he developed his own visual language within photography. A visual language closely related to painting."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Due to the strong visual impact of these images, Eranosian pushes his medium beyond the boundaries of classical photography. Hardflashes on surfaces take the perspective out of the image. The idiosyncratic compositions no longer allow us to recognize objects."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"“I have no intention to mimic paintings or to match the experience one has while watching them. To me it’s essential to trigger questions such as: what are the boundaries of photography?”"},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Besides the fact that Eranosian’s work walks on the line between photography and painting, we are still looking at a photographic image. He uses his medium as a specific quality. "},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"Knowing that we are watching a photographic image raises the question of what is depicted. Because the fact that we don’t recognize thinks, that there is no narrative in the works, Eranosian gives us the time and pleasure to watch. Just to watch."},{"attributes":{"align":"justify","header":5},"insert":"\n\n"},{"insert":"In times where we are confronted with more images than any generation before, we don’t take the time to watch anymore. Everywhere we go, there is a potential Eranosian to be found. We just have to learn to enjoy watching."},{"attributes":{"align":"justify","header":5},"insert":"\n"}]},"cover_image_id":null,"cover_media_navigation":false,"viewer_image_title_enabled":true,"subtype":null,"parent":{"browser_title":null,"menu_disabled":false,"row_description_alignment":"Center","slug":"info3","text_content2":{},"do_not_index":false,"cover_media_autoplay":false,"published":true,"horizontal_viewer_enabled":false,"stacked":true,"parent_id":null,"slideshow_transition":false,"cover_image":null,"summary":{},"cover_media_size":"L","invert_colors":false,"slideshow_show_caption_enabled":true,"imagegrid_align":"Center","viewer_count_enabled":true,"cover_text_color":null,"cta_url":null,"description_content":{},"tags":null,"text_color":null,"description_content_html":null,"updated_at":"2020-06-01T14:32:04Z","slideshow_show_backstory_enabled":false,"text_columns":"One","type":"index","content_text_size":"One","set":null,"viewer_backstory_enabled":false,"order_date":"2020-01-12T23:25:44Z","slideshow_size":"M","index_text_size":"M","imagegrid_layout":"Contained","background_color":null,"imagegrid_ratio_orientation":"Landscape","logo_disabled":false,"imagegrid_gutters":"S","text_image_enabled":false,"tag_ids":[],"published_at":"2020-01-12T23:25:44Z","slideshow_show_image_title_enabled":true,"imagegrid_horizontal_align":"Justified","layout_direction":"column","cta_label":null,"slideshow_ratio":"1:1","path":"info3","horizontalscroll_align":"Center","text_media_video_url":null,"horizontalscroll_gutters":"S","menu_id":null,"viewer_size":"L","meta_description":null,"hide_from_menu":false,"imagerid_viewer_enabled":true,"index_grid_item_grow":false,"location":"","imagegrid_ratio":"5:4","viewer_caption_enabled":true,"hide_text_in_menu":false,"menu_representation":"page","image":null,"title":"info3","position":-1785433406,"index_text_layout":"Center","cover_text_size":"M","move":null,"site_id":"200711ba-fa71-4c90-b2c2-fe426e833b93","video_loop":true,"site":null,"slideshow_show_count_enabled":true,"id":"217435f8-8a0c-4e6d-8c14-45b3e9650656","video_autoplay":true,"cta_page_id":null,"content_size":"Default","index_text_media_size":"M","part_of_stacked_page":false,"inserted_at":"2020-01-12T23:25:44Z","imagegrid_caption_enabled":true,"horizontalscroll_size":"M","menu":null,"text_vertical_alignment":"Center","online":true,"homepage":false,"text_content1":{},"cover_image_id":null,"cover_media_navigation":false,"viewer_image_title_enabled":true,"subtype":"text","parent":null,"index_text_vertical_alignment":"Center","alignment":"Center","image_id":null,"content_size_type_text":false,"rank":null,"index_grid_item_width":"1/2","children":null,"description_alignment":"Left","text_media":"None","set_id":null,"horizontalscroll_layout":"Equalheight","description_enabled":false,"viewer_video_autoplay":null,"link_page_url":null,"cover_media_fit":"contain","index_caption_enabled":false,"cta_overlay":false,"imagegrid_columns":"M","text_enabled":false,"icon":"none","index_layout":"Text","video_controls":false,"child_ids":null,"horizontalscroll_caption_enabled":false},"index_text_vertical_alignment":"Center","alignment":"Center","image_id":null,"content_size_type_text":false,"rank":null,"index_grid_item_width":"1/2","children":null,"description_alignment":"Left","text_media":"None","set_id":null,"horizontalscroll_layout":"Equalheight","description_enabled":false,"viewer_video_autoplay":null,"link_page_url":null,"cover_media_fit":"contain","index_caption_enabled":false,"cta_overlay":false,"imagegrid_columns":"M","text_enabled":false,"icon":"none","index_layout":"Grid","video_controls":false,"child_ids":null,"horizontalscroll_caption_enabled":false},{"browser_title":null,"menu_disabled":false,"row_description_alignment":"Center","slug":"untitled-14","text_content2":{},"do_not_index":false,"cover_media_autoplay":false,"published":true,"horizontal_viewer_enabled":false,"stacked":false,"parent_id":"217435f8-8a0c-4e6d-8c14-45b3e9650656","slideshow_transition":false,"cover_image":{"aspect_ratio":"1913:818","asset_id":null,"cover_image":true,"description":{"ops":[{"insert":"\n"}]},"duration":0,"filename":"b79a0afa-d1d1-4181-bb1f-5c0346670523.jpg","filesize":158431,"height":818,"hidden":false,"id":"b79a0afa-d1d1-4181-bb1f-5c0346670523","inserted_at":"2020-01-13T09:33:59Z","name":null,"orientation":"Landscape","original_filename":"Still 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