BEAUFORT TRIENNIAL 2018
Different Locations | Belgium
30 March - 30 September 2018
With Kader Attia, Nina Beier, Guillaume Bijl, Simon Dybbroe Møller, Jos de Gruyter & Harald Thys, Edith Dekyndt, Stief DeSmet, Jason Dodge, Anne Duk Hee Jordan, Jean-François Fourtou, Ryan Gander, Iman Issa, Basim Magdy, Katja Novitskova, Rotor, Frederik Van Simaey, Leon Vranken, Xu Zhen
Cultural and historic tourism project Beaufort brings national and international artists to the Belgian coast once every three years to exhibit their works in the natural setting of the coastal landscape.
The triennial’s 6th edition, Beaufort 2018, will be taking place from 30 March to 30 September 2018 curated by Heidi Ballet.
“For this edition we have chosen to work around the bohemian character of Art. It’s a very particular atmosphere that’s quite evident in the surrealism of James Ensor, for example, and one that attracted people like Marvin Gaye and Austrian author Stefan Zweig to the seaside. Coastal places are just very open and quite partial to a bit of anarchy, things we can feel even today.”
“But the people living at the coast look at things from a different perspective: the way they see the world is often affected by the fact that they’re always trying to stay in contact with the world behind the horizon. And it’s no different at the Belgian seaside. Zeebrugge, for example, was already trading with the Baltics and Southern Europe in the Middle Ages. And Ostend was connected to India and China in the 18th century. So it’s not surprising that the world’s Beau Monde flocked to the coast at the start of the 20th Century. Literally coming from anywhere between New York and Persia. But opposing this international frame of mind is the region’s intrinsically local character, shaped by the very valiant fishermen who braved the mighty waves of the North Sea every day. This year’s Beaufort projects take on the contradictions that have proven such a great source for adventurers, surrealists and anarchists, while questioning the importance of sculptures in public spaces anno 2018.”
Source: (Beaufort Triennial)