What Is Manipulated Is the Real Rather Than the Symbolic – Made in China

Koenraad Dedobbeleer

What Is Manipulated Is the Real Rather Than the Symbolic – Made in China, 2019200.02 x 299.72 x 59.69cmSign in to view price
Details
MaterialGallery
powder coated stainless steel, chrome plated stainless steel, brass, plasticClearing
Description
Human-crafted. AI-refined.

The artwork depicts a pair of minimalist sculptures with a bold, geometric composition. The pieces feature a striking contrast between the stark black backgrounds and the large, white circular shapes that punctuate the surfaces. The overall design creates a sense of visual rhythm and balance, showcasing the artist's keen eye for form and negative space. The sculptures' sleek, industrial appearance and the use of simple, repetitive motifs suggest an exploration of abstraction, material, and the relationship between positive and negative elements. This contemporary work likely reflects the artist's interest in exploring the fundamental principles of visual perception and the nature of sculptural form. ...

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Koenraad Dedobbeleer
Artist
Koenraad Dedobbeleer
B.1975, Belgian

Koenraad Dedobbeleer constructs sculptural environments, often resembling elements of 1970s Space Age interior design, futuristic aesthetics for an imagined realm. Assembled together with Dedobeleer's original fabrications, his installations incorporate humorous modifications and recontextualisations of readymade objects. Through placing formerly mundane articles within the artist’s constructed worlds, he elevates and liberates them from their formal quality and function, asking the viewer to reevaluate them in a new context. This play between original sculpture and transformed object creates intriguing dynamics and contextual rifts, questioning the value and provenance attributed to objects, and how they can be altered within fresh frames of reference. Written by Goldsmiths CCA ...

Koenraad Dedobbeleer: Artworks
Victims of Structural Change Can Also Be Intolerant
Koenraad Dedobbeleer
Victims of Structural Change Can Also Be Intolerant, 2019
139.7 x 55.88 x 55.88cm
What Is Manipulated Is the Real Rather Than the Symbolic – Made in China
Koenraad Dedobbeleer
What Is Manipulated Is the Real Rather Than the Symbolic – Made in China, 2019
200.02 x 299.72 x 59.69cm
A Society that Believes Commerce Is Virtue
Koenraad Dedobbeleer
A Society that Believes Commerce Is Virtue, 2020
137.16 x 19.05 x 24.13cm
It Is Unironically Disturbing
Koenraad Dedobbeleer
It Is Unironically Disturbing, 2022
220 x 130 x 140cm
A Living Symbol of the Lurking Failure
Koenraad Dedobbeleer
A Living Symbol of the Lurking Failure, 2022
95cm ⌀53cm
Life Is Nothing But Dead and Taxes, All the Trees that Get the Axes
Koenraad Dedobbeleer
Life Is Nothing But Dead and Taxes, All the Trees that Get the Axes, 2022
76cm ⌀35cm
What You Speculate Beyond that Is Pure Nonsense
Koenraad Dedobbeleer
What You Speculate Beyond that Is Pure Nonsense, 2022
60cm ⌀26cm
It’s Symbolic Role as Polite Vortex of Sedentary, Liberal Consensus
Koenraad Dedobbeleer
It’s Symbolic Role as Polite Vortex of Sedentary, Liberal Consensus, 2022
50cm ⌀40cm
Aesthetic Luddities
Koenraad Dedobbeleer
Aesthetic Luddities, 2022
75cm ⌀32cm
Destroying the Past, Present and Future Too
Koenraad Dedobbeleer
Destroying the Past, Present and Future Too, 2022
50cm ⌀30cm
A New Cult of Impersonality
Koenraad Dedobbeleer
A New Cult of Impersonality, 2022
80cm ⌀28cm
An Uncanny, Untutored and Unerring Sense of what Simply Works
Koenraad Dedobbeleer
An Uncanny, Untutored and Unerring Sense of what Simply Works, 2022
66cm ⌀47cm
Disastrously Misplaced Optimism
Koenraad Dedobbeleer
Disastrously Misplaced Optimism, 2022
56cm ⌀35cm
A Commodity as Well as an Agency of Change
Koenraad Dedobbeleer
A Commodity as Well as an Agency of Change, 2022
40 x 30cm ⌀30cm
With a Sort of Furious Patience
Koenraad Dedobbeleer
With a Sort of Furious Patience, 2022
163 x 33cm
A Generation Politicised by Increasing Adversity
Koenraad Dedobbeleer
A Generation Politicised by Increasing Adversity, 2022
220 x 38cm
Our Present Age of Sophisticated Fatalism
Koenraad Dedobbeleer
Our Present Age of Sophisticated Fatalism, 2022
52 x 38cm ⌀28cm
The Neurotic, Morally Dubious Modernistic Stiffness
Koenraad Dedobbeleer
The Neurotic, Morally Dubious Modernistic Stiffness, 2022
95 x 40cm ⌀45cm
Impatient at Mankind’s Failure to Perfect Itself Overnight
Koenraad Dedobbeleer
Impatient at Mankind’s Failure to Perfect Itself Overnight, 2022
104cm ⌀50cm
Experimentation Is Considered Profligate, Decadent and a Distraction
Koenraad Dedobbeleer
Experimentation Is Considered Profligate, Decadent and a Distraction, 2022
67 x 33 x 33cm
Avant-garde Is the French for Bullshit
Koenraad Dedobbeleer
Avant-garde Is the French for Bullshit, 2022
74cm ⌀30cm
The Equivalent of an Adult Still Living with its Parents
Koenraad Dedobbeleer
The Equivalent of an Adult Still Living with its Parents, 2022
60cm ⌀36cm
Populist and Yet Brazenly Concealing their True Values
Koenraad Dedobbeleer
Populist and Yet Brazenly Concealing their True Values, 2022
55cm ⌀30cm
A Reflective Surface Affirms
Koenraad Dedobbeleer
A Reflective Surface Affirms, 2022
60cm ⌀41cm
Written Up in the Accepted Arthouse Vernacular of Critical Validation
Koenraad Dedobbeleer
Written Up in the Accepted Arthouse Vernacular of Critical Validation, 2023
172 x 42 x 42cm
It Is Unironically Disturbing
Koenraad Dedobbeleer
It Is Unironically Disturbing, 2022
220 x 130 x 140cm
The Future Will Be Like the AQ-resent, Only More So
Koenraad Dedobbeleer
The Future Will Be Like the AQ-resent, Only More So, 2023
50cm ⌀39cm
The Trompe l’oeil of a Peaceful, Moderate and Consensual Society
Koenraad Dedobbeleer
The Trompe l’oeil of a Peaceful, Moderate and Consensual Society, 2019
74.93 x 25.4 x 25.4cm
Showering Them with Screeds of Adjectival Praise
Koenraad Dedobbeleer
Showering Them with Screeds of Adjectival Praise, 2022
53cm ⌀34cm
To Retire into Retrospection
Koenraad Dedobbeleer
To Retire into Retrospection, 2022
Clearing
Gallery
Clearing
New York City, Los Angeles, Brussels

C L E A R I N G is a contemporary art gallery based in New York, Los Angeles and Brussels. The gallery was founded in 2011, with the focus of showing emerging art. It now represents over 20 living artists, providing many of them - such as Harold Ancart, Korakrit Arunanondchai, Chase Hall, Calvin Marcus and Marina Pinsky - with their first gallery exhibition. The gallery also represents the estates of Eduardo Paolozzi, Bruno Gironcoli and René Heyvaert. C L E A R I N G supports its artists by producing works, exhibitions and books, as well as working closely with public and private institutions. ...

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