Birds No Longer Sing

{"id":13477,"grant_id":10,"user_id":25335,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":null,"story_id":18492,"place_id":null,"title":"Birds No Longer Sing","excerpt":null,"excerpt_raw":null,"body":"<p>BIRDS NO LONGER SING shows an outtake from an analysis of the correlation between time and place and of the historical landscape of Iran. How do places appear and disappear? How do we attach meaning to a certain site and in what way photography can deal with deconstructed icons in comparison to the (a-)historical and exotic form of a palm tree sticking its tongue out towards the straight forward photographed Iranian landscape. \r<\/p><p>Various historical sites are shown in a direct way in the photographs. You see composed images of desolated ruins, artefacts and cultural heritage sites, a brick \u2018Tower of Babel\u2019, sensual forms of nature, stones and the desert in all its emptiness. \r<\/p><p>Besides these photographs we also see the decor of a palm tree village. Here the photographs move in closer to the landscape in comparison to the other places documented. The village is small and serene. Palm trees appear all over the place, they are burned, bend, dry and dead. They resemble the same as the portrayed pillars and artefacts that are left behind on various historical sites and can be associated to land art installations. \r<\/p><p>The small desert village has been photographed obsessively and captured from every angle possible. Elements are positioned in the frame so that they are repeated in the next frame. The ruined facade recurs, the bend palms recur, the same lightning and the mountains in the background as well. \r<\/p><p>The installation is composed of framed photographs in two different sizes accompanied by a book (showing the palm tree village) that will be published by Art Paper Editions in 2019.<\/p>","body_raw":"BIRDS NO LONGER SING shows an outtake from an analysis of the correlation between time and place and of the historical landscape of Iran. How do places appear and disappear? How do we attach meaning to a certain site and in what way photography can deal with deconstructed icons in comparison to the (a-)historical and exotic form of a palm tree sticking its tongue out towards the straight forward photographed Iranian landscape. \r\n\r\nVarious historical sites are shown in a direct way in the photographs. You see composed images of desolated ruins, artefacts and cultural heritage sites, a brick \u2018Tower of Babel\u2019, sensual forms of nature, stones and the desert in all its emptiness. \r\n\r\nBesides these photographs we also see the decor of a palm tree village. Here the photographs move in closer to the landscape in comparison to the other places documented. The village is small and serene. Palm trees appear all over the place, they are burned, bend, dry and dead. They resemble the same as the portrayed pillars and artefacts that are left behind on various historical sites and can be associated to land art installations. \r\n\r\nThe small desert village has been photographed obsessively and captured from every angle possible. Elements are positioned in the frame so that they are repeated in the next frame. The ruined facade recurs, the bend palms recur, the same lightning and the mountains in the background as well. \r\n\r\nThe installation is composed of framed photographs in two different sizes accompanied by a book (showing the palm tree village) that will be published by Art Paper Editions in 2019.","is_shortlisted":1,"is_strong":1,"is_ongoing":1,"is_unpublished":0,"sent_first_email_reminder":1,"started_at":"2018-01-01 00:00:00","ended_at":null,"created_at":"2019-01-29 21:37:28","updated_at":"2019-03-07 18:01:17","place":null,"publications":[],"categories":[],"tags":[{"id":22125,"tag":"the historical landscape in comparison to the (a-)historical and exotic form of a palm tree.","created_at":"2019-02-20 15:47:30","updated_at":"2019-02-20 15:47:30","pivot":{"grant_submission_id":13477,"tag_id":22125}}],"blocks":[{"id":166228,"grant_submission_id":13477,"story_block_id":null,"image_id":280305,"position":-1,"created_at":"2019-02-20 11:29:02","updated_at":"2019-02-20 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His work functions as an analysis of the correlation between place and time and the ever recurring cycle of history.","long_bio":"<p>Sybren Vanoverberghe (\u00b01996, Kortrijk) is an artist based in Ghent, Belgium. His work functions as an analysis of the correlation between place and time and the ever recurring cycle of history. He searches for elements of myths, nature and heritage both within ordinary sites as in places of historical importance. By what process do we attach meaning to these locations? His practice deconstructs sites and brings together icons to form a new unity of the present. He is currently working on a new series \u2018Birds No Longer Sing\u2019, which is photographed in Iran. Here Vanoverberghe moves in closer on the landscape. The banality of a palm tree in a desolated dessert coincides with the aura of artefacts in cultural heritage sites, thereby exposing the transience of a place. Vanoverberghe his work has been published in books such as \u2018\u00a1P\u00edrate!\u2019 (2017) and 2099 (2018) by Art Paper Editions. He has exhibited at RIOT, Stieglitz19 and BredaPhoto. Vanoverberghe has collaborated with Ann Demeulemeester and his work has been published on American Suburb X, Paper Journal, GUP Magazine and De Standaard. Recently he co-founded the artist-run-spaces Pinguin in Brussels, BE and NO\/Gallery in Ghent, BE. He is currently finishing the MFA programme in Photography at the School Of Arts \/ KASK in Ghent, Belgium. This year he will publish Birds No Longer Sing (2019) with Art Paper Editions and will show his work at the UNSEEN Photofair in Amsterdam, NL.<\/p>","long_bio_raw":"Sybren Vanoverberghe (\u00b01996, Kortrijk) is an artist based in Ghent, Belgium. His work functions as an analysis of the correlation between place and time and the ever recurring cycle of history. He searches for elements of myths, nature and heritage both within ordinary sites as in places of historical importance. By what process do we attach meaning to these locations? His practice deconstructs sites and brings together icons to form a new unity of the present. He is currently working on a new series \u2018Birds No Longer Sing\u2019, which is photographed in Iran. Here Vanoverberghe moves in closer on the landscape. The banality of a palm tree in a desolated dessert coincides with the aura of artefacts in cultural heritage sites, thereby exposing the transience of a place. Vanoverberghe his work has been published in books such as \u2018\u00a1P\u00edrate!\u2019 (2017) and 2099 (2018) by Art Paper Editions. He has exhibited at RIOT, Stieglitz19 and BredaPhoto. Vanoverberghe has collaborated with Ann Demeulemeester and his work has been published on American Suburb X, Paper Journal, GUP Magazine and De Standaard. Recently he co-founded the artist-run-spaces Pinguin in Brussels, BE and NO\/Gallery in Ghent, BE. He is currently finishing the MFA programme in Photography at the School Of Arts \/ KASK in Ghent, Belgium. This year he will publish Birds No Longer Sing (2019) with Art Paper Editions and will show his work at the UNSEEN Photofair in Amsterdam, NL.","twitter_handle":null,"facebook_handle":"sybren.vanoverberghe.1","skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"vanoverberghesybren\/","vimeo_handle":null,"youtube_handle":null,"telephone":null,"show_explicit_content":"0","created_at":"2017-01-09 21:12:52","updated_at":"2019-01-29 21:48:25"}}}