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Ronny Heiremans & Katleen Vermeir [Videonale 13]

* 1962 Heist-op-den-Berg BEL,  lives in Brussels BEL
Studied at BEMIS, Center for Contemporary Art, Omaha USA, at Academia Belgica, Rome ITA and at Hoger Instituut voor Schone Kunsten, Antwerp BEL


* 1973 in Bornem BEL, lives in Brussels BEL
Studied at Hoger Instituut voor Schone Kunsten, Antwerp BEL and at Hogeschool voor Wetenschap en Kunst, St.-Lukas, Ghent BEL


Exhibitions [selection]:


2012 Vermeir & Heiremans - The Residence (a Wager fo the Afterlife), ARGOS, Brüssel BEL

2011 Le Rayon Vert, Le Pavillon, Palais de Tokyo, Paris FRA
        VIDEOEX – International Experimental Film & Video Festival, Zürich SUI

2010 Salon5, Argos, Brüssel BEL

2009 Passing Through / Cabinet Jurino, Museum van Hedendaagse Kunst, Antwerpen BEL

2008 Brüssel Biennial, Brüssel BEL
        e-flux video rental film festival, Lissabon POR

2007 Cabinet Reclus / Potential Estate, Netwerk - Centrum voor Hedendaagse Kunst, Aalst BEL




Ronny Heiremans & Katleen Vermeir [Videonale.13] x

The Good Life, 2009, 16:00 min., sound, colour [Videonale.13]

The meeting of art and life has been the aspiration of various avant-garde art movements of the 20th century. Artists have been striving to remove the boundaries between art and life, so that people's creative powers might transform the world into a better place. Heiremans and Vermeir's video literalizes this concept by using ironic hyperbole. In their video they posit a future scenario of an art institute trying to sell its bricks and mortar to be transformed into luxury apartments. A real estate agent leads a guided tour around a fictional art museum. The agent sprinkles her power talk with high-flown architectural vocabulary, out-of-context quotes from various artists and staple inspirational mottos from life-style magazines. In this dystopian inversion living the life-style of art means having a bedroom where Andy Warhol's painting once hung, and enjoying your morning croissant and coffee on a sun deck reminiscent of a Renaissance palazzo. In spite of its fictitious nature, Heiremans and Vermeir's scenario produces the uncanny effect of something that could almost be plausible. In the inescapable interplay of artistic institutions and commerce, does business really recognize the value of culture? Or is its engagement with arts simply a two-faced ploy to generate greater financial profits?

Olena Chervonik

Ronny Heiremans & Katleen Vermeir