Kuriu Vilniu

Proposed orchard with open-air-kitchen

“The main objectives of the “Kuriu Vilniu” programme aim to reveal the identity of specific public
spaces in the city and to promote positive aesthetic and social changes in the local community,
support the artistic installations in the city, bring together residents and artists, enliven the social
environment, activate business participation in the urban development, and stimulate the debate
on urban art forms.
We think that it is time to draw attention away from the Vilnius city centre and look at the
environment of its “true inhabitants” at the “sleeping districts” by inviting an artist who could think
about a public artwork proposal that would invite a new look to the spatial and cultural heritage
of the place, imagine new ways of collective experiences, or assign new aspirations to the
existing conditions.

  • The agriculture past / Current conditions vs. Future (How spatial configuration of “home”

Historical context: the population growth in urban areas at the time of Soviet regime (80s-90s)
brutally reshaped all largest Lithuanian cities. Many countryside landscapes were transformed
into districts representing modernist-socialist architectural fantasies of efficient and equal urban
living.
Unfortunately, the limited resources and current trends in prefabricated building structures led
the design of these new districts to uniform solutions that differ very little from one another.
Imagine, only a little bit more than 35 years ago, the micro-rayon Fabijoniskes, located at the
Northern part of Vilnius, was still a village. Named after Fabian, a name that derives from the
Latin faba for a broad bean, the area was famous for its agricultural fields since the 17th
century. And today it is the most populated city part that experiences the issues of an aging
population, worn-out buildings and public infrastructure, dominance of car parkings, and
more-than-ever individualistic lifestyle in the neighbourhood.
Put these issues aside, no one would say that Fabijoniskes misses the unique charm thanks to
its photogenic architecture and trees that slowly started to dominate and take over the green
areas. It is considered one of the safest neighbourhoods in Vilnius and continues to attract new
urban development projects.”
Sigita Simone

On Ice — A Dovecote

Groupshow On Ice
Curator Laurens Marien
Co-curator: Leontien Allemeersch
With CAMPO @ Kristalijn, Gent

Artists:
Willem Boel, Eva Vermeiren, Bert Huyghe, Kasper De Vos, Mathias Prenen, Jo Caimo, Buren, Lucie Renneboog, Frank&Robbert/Robbert&Frank, Dries Segers, Bert Jacobs, Elke Van Kerckvoorde, Dieter Durinck, Klaas Rommelaere, Roeland Van Trigt, Ingeborg Deglein, Marlies DC, Karina Beumer, Sibran Sampers, Eno Swinnen, Wim De Pauw, Neel De Bruycker, Rowan Van As, Oscar van der Put

https://laurensmarien.hotglue.me/?_onice

Enkele jaren geleden viel me op dat op tweedehands-websites verschillende Vlaamse duivenkoten gratis ‘te koop’ aangeboden staan. Dit fenomeen is een direct gevolg van enerzijds het verlies in interesse in deze hobby bij de jeugd, en anderzijds het uitsterven van het echte duivenmelkers-ras.
Door dit verlies blijven de duivenkoten, van uiteenlopende en vaak vindingrijke architectuur, leeg en onbenut in de tuinen, of op daken, van gepensioneerde of gestorven duivenmelkers.

Omdat de constructie van de duivenkoten vaak een mix van materialen is (hout, plaaster, plastiek, dakpannen, glas, asbest, OSB-platen, enz ) zijn deze bouwsels lastig af te breken en te recycleren. Het zijn meestal de erfgenamen die deze duivenkoten goedkoop of gratis proberen van de hand te doen. In ruil moet je ze zelf af breken en ophalen.

Voor On Ice stelde ik Laurens Marien, de curator, voor om samen een duivenkot te gaan afbreken in Scherpenheuvel, en te plaatsen op de schaatsbaan in Kristalijn te Gent.
Het duivenkot van Francois in Scherpenheuvel was oorspronkelijk 8 meter lang, ik denk 1,5 meter breed en 2.5 meter hoog. Het duivenkot was geïsoleerd door een tiental loodzware branddeuren. Uiteindelijk belandde het duivenkot in 2 delen als installatie op het ijs in de groupstentoonstelling On Ice.