Stijn Ank

 

Biography

1977   Born in Brussels, BE
Lives and works in Brussels, BE and Berlin, DE

 

TRAINING & EDUCATION

2002 - 2004 Studio Arriolafiol, Barcelona

1997 - 2002 Sint-Lucas Architecture LUCA (Master in Architecture), Brussels

 

SOLO EXHIBITIONS

2017

Stijn Ank - Purity, Nunu Fine Art Gallery, Taipei, TW
Stijn Ank - Unvoid, curated by Huang Yi-Han, MoCA Museum of Contemporary Art, Taipei, TW
Stijn Ank - Fresco, Galerie Michael Janssen, Berlin, DE
Stijn Ank - Fresco, curated by Christoph Tannert, Kunstlerhaus Bethanien, Berlin, DE

2015

Stijn Ank - Unvoid, Netwerk Art Center, Aalst, BE

2014

Stijn Ank - Vector, curated by Kevin Muhlen & Christine Walentiny, Casino Luxembourg - Forum d‘art contemporain, LU
Stijn Ank - diSTANCES, Galerie Michael Janssen, Berlin, DE

2012

Stijn Ank - Interval, curated by Thomas Caron, S.M.A.K. Ghent, BE

2011

Stijn Ank, CIAP art center, Hasselt, BE

2007

Stijn Ank, CCHA Gallery, Hasselt, BE

2006

Stijn Ank, Galerie Jan Colle, Ghent, BE

 

GROUP EXHIBITIONS

2018

Petersburger Saloon, Galerie Michael Janssen, BE
Infinity Appearances, Innoart, Hsinchu, TW

2017

Drawing Ambience, deSingel, Antwerp, BE
Endless, Cwart, Knokke, BE

2016

The Extension of Medium, Nunu Fine Art Gallery, Taipei, TW
Open Studios, Künstlerhaus Bethanien, Berlin, DE
The Biennial of Painting, Roger Raveel Museum, Machelen, BE

2015

Queering Taste - Total Affirmation, Kreuzberg Pavillon, Berlin
(re)view, CCHA Gallery, Hasselt, Belgium

2014

'Endless Column', VOLTA 10, Markthalle Basel, CH

2013

I could have lived here, M-Museum, Leuven, BE

2012

Facade, Netwerk art center, Aalst, BE
Efemeer, Museum van Deinze en Leiestreek, Deinze, BE

2011

group 1, Entrepot Fictief, Ghent, BE
Benefit Show & Auction, Museum Dhondt Dhaenens, Deurle, BE
Ename Actueel - Sediment, curated by Hans Martens, Provincial Archeological Museum, Ename, BE

2010

Public Private Painting, Provincial Museum of Modern Art - Mu.ZEE, Oostende, BE
Open Studio, Organized by Museum Dhondt Dhaenens, Deurle, BE
Group 5, Galerie Tatjana Pieters, Ghent, BE
Chipka - Prototypes, Netwerk art Center, Aalst, BE

2009

Folding, Witte Zaal Ghent, BE

2007

La jeune création belge, La Pommerie, Saint Sétiers, FR
Jamal‘s Poets Cafe, Beursschouwburg, Brussels, BE
Antigone, National Theatre, Ghent, BE

2006

Jette–Sur–MerC Atelier 340 Museum, Brussels, BE
A-parckunst, Musées Royaux d‘Art et d‘Histoire, Brussels, BE

 

PUBLIC COLLECTIONS

MOCA - Museum of Contemporary Art, Taipei, TW

MUDAM - Musee d'Art Moderne Grand-Duc Jean, Luxembourg, LU

S.M.A.K. the Municipal Museum of Contemorary Art, Ghent, BE

 

BOOKS / CATALOGUES

2017

BE24, Künstlerhaus Bethanien, Berlin, DE

2016

The Biennial of Painting, Roger Raveel Museum, Machelen, BE

2015

Traces, Casino Luxembourg - Forum d‘art contemporain, LU

2014

Stijn Ank - Vector, Casino Luxembourg - Forum d‘art contemporain, Graphic Design by Ward Heirwegh, Luxembourg, LU

2013

I could have lived here, Emannuel Lambion, M-Museum, Leuven, BE

2012

Stijn Ank - Interval, S.M.A.K, Graphic Design by Ward Heirwegh, Ghent, BE

2011

Ename Actueel 2011 Sediment, PAM, Hans Martens, Ename, BE

2010

PPP, Public Private Painting, Mu.Zee, Oostende, BE

Chipka, Netwerk, Aalst, BE

2009

Folding the landscape, Witte Zaal, Veronique Boone, Ghent, BE

2006

Mumures de sirènes, Atelier 340 museum, Paul Gonze, Brussels, BE

Intro

Ank’s body of work can be considered as an extensive research into the relationship between matter and void and the various ways in which contemporary sculpture can be defined in relation to its surrounding space.

He creates a mould with a variety of materials such as wood, aluminium, lead and rubber marking off the boundaries of a certain chosen space, which he then casts in plaster. During the casting process Ank mixes pigments with the liquid plaster, letting the material render their ultimate appearance. The works created by this process are both fragile and robust, delicate and solid, light as a feather and heavy as lead.

For Ank his works are not merely sculptures placed in space but 'stances' or 'subjects' that appear out of the space itself. They do not refer to any reality or to themselves as objects and define themselves on the basis of the relationships with both the viewer and the space thus continuously changing.

Press text 'Fresco' (2017)

Michael Janssen and Künstlerhaus Bethanien are proud to present two parallel solo exhibitions with Belgian artist Stijn Ank. Both exhibitions are entitled STIJN ANK - FRESCO.

During his residency at Künstlerhaus Bethanien, Ank digs deeper into ‘the surface of the work’. Essentially his quest comes down to the question of where the surface in his work ends, and where space begins.

Ank finds answers in approaching a fresco as the translation of an act from which the artist is trying to make himself absent. The work itself activates space, and makes us see that space afresh. Using the back of a painting's canvas as a mould in which layers of pigmented plaster are poured, works appear that cannot be defined as sculptures, because they behave too much as surfaces. Nor can they be called paintings, because they have a body that reflects their subjective willingness to find a space behind and within the canvas. Therefore we should look at them as subjects, creatures with a life of their own, frozen in the space of the canvas.

On show at Michael Janssen is a selection of this new series of works in the canvas, originating from a daily studio investigation during Ank's residency period in Bethanien.

At the Künstlerhaus, Ank has made his most challenging site-specific work so far. Having researched the nature of the surface of a fresco in a canvas, he wanted to do the same with a fresco in space. How substantial can a surface be? The Künstlerhaus fresco activates its surroundings by an act that is essentially a questioning of space, light, color and time.

Press text 'diSTANCES' (2014)

Galerie Michael Janssen Berlin is proud to present its first solo exhibition with Belgian artist Stijn Ank (b. 1977) entitled diSTANCES.

Ank’s body of work can be considered as an extensive research into the relationship between matter and void and the various ways in which contemporary sculpture can be defined in relation to its surrounding space. Because of the hypothetical and non-referential nature of his pieces Ank simply numbers them chronologically, avoiding giving them titles and thus letting them exist in a pure and autonomous way.

Ank creates a mold with a variety of materials such as wood, aluminum, lead and rubber marking off the boundaries of a certain chosen space, which he then casts in plaster. During the casting process Ank mixes pigments with the liquid plaster, letting the material render their ultimate appearance. The works created by this process are both fragile and robust, delicate and solid, light as a feather and heavy as lead.

For Ank - who trained as an architect - his works are not merely sculptures placed in space but 'stances' or 'subjects' that appear out of the space itself. They do not refer to any reality or to themselves as objects and define themselves on the basis of the relationships with both the viewer and the space thus continuously changing.