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pedestrianized shopping street. This project was conducted in close collaboration with the writer, the curator, the artist, the students who helped him build the hunting pulpit, as the spectator. Weidenbaum interacted with the different locations: the pedestrianized shopping street, the gallery, and the museum with which
Weidenbaum tears them out of their context. The students who constructed the hunting pulpit with him, became part of his artistic process. He extracted their activity out of the school structure and involved them in his creative activity. Curator Sven Vanderstichelen had this to say about the "lookout out of the box": "the ‘lookout’ project is not merely an installation, a video, a sketch or a painting. It's a search for what Peter Weidenbaum so aptly names as ‘the inner forest.' The place where every interactive process between the outside world and the self is getting interpreted."
487:, Weidenbaum successfully applied for a training course at the Higher Institute for Fine Arts (HISK). His investigations into images led to a cross-pollination between cartoon films and sculptural work. In 1999 he received an invitation from Stijn Huijts, director of the Civic Museum "Het Domein" in Sittard, The Netherlands. That interaction resulted in his first museum exhibition with the installation "Somebody puts something in my dreams." During this period, Weidenbaum also produced a few "fake reality" short films in which his brother played the lead role. After his HISK period, he worked for three years on a series "Out of the Forest," a set of cryptic sculptures, drawings, and paintings. During this period, Weidenbaum developed a close contact with the philosopher Willem Elias. In his book "Aspects of Belgian art beyond ‘45", he cited Weidenbaum under the heading of "
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in the
Montgomery district and creates a walking route where his paintings of recognizable city scenes are shown in surprising locations. It demonstrated the picture of a dignitary in a night shop and a painting of an independent immigrant in the embassy. This provided food for thought for the inhabitants of the district. He published a newspaper where the painted cityscapes show in combination with a poem by Agnieszka Kuciak, a Polish poet and different interviews with local inhabitants. This congruence of systems of signs finalized with a sculpture on Montgomery Square. He designs a very high lifeguard chair in stainless steel on a concrete slab in which one may read a poem of Kuciak. This is a symbolic gesture, where Weidenbaum invited the accidental passer-by to view the city from a bird's eye view, to reflect, to take distance, to integrate a moment of peace.
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Another work of
Weidenbaum is the artistic alter ego of the car. This damaged bronze vehicle, transformed by the artist into a sculptural aesthetic form is full of references. Transformed into an immobile piece of art, the euphoria of speed puts into question, and only the metaphor remains. For some,
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With the display "Daswald," Antwerp 2004 and the project "Lookout," Tienen 2005, he emerged from creative isolation. The "Lookout" project involved the construction of a hunting pulpit with students from a technical college. The shooting platform is constructed to a very high standard and placed in a
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Weidenbaum continues to reflect about the function of the artist and reaches the conclusion that an artist as merely a producer of work doesn't make much sense if there is no social dimension connected with it. This is because the artist through his work illustrates a different vision of reality and
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In 2006, at the request of Het
Beschrijf, Weidenbaum collaborated on an artistic project "Poëzie" in the city of Brussels. Using the title 'Passing by,' Peter Weidenbaum developed a multifaceted symbolism that corresponded to his artistic expression. He described his intervention as an infiltration
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It is at that time that the artist begins producing artistic integrations within the architecture of public buildings. 'Green Velvet' in the
Children's Psychiatric wing of the UZ Jette and 'Landscape' in Saint Agatha Berchem, in a children's day car center are both good examples of this. In both
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had a significant influence on the young artist. In 2014 the public broadcast service showed a two-series documentary concerning the 350th anniversary of the Royal
Academy of Fine Arts in Antwerp (KASK). In "Stream of Talent," such diverse artists like Fred Bervoets,
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works, several universes intermingle. An abstracted landscape was reconstructed in a public space. In a very urbanized environment, this became a landmark, an oasis for young residents.
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is the most prominent representative. Elias mentions "recontextualization" of reality and includes
Weidenbaum in his book, besides the likes of Ronny Delrue and
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In 2006 Weidenbaum commenced a series of paintings named "Out of the series Car Crash." This resulted in the monumental sculpture "Alter Ego" in 2008.
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it is a status symbol, for others an extension of their ego, which gives them the illusion of freedom and individuality. (Flor Bex, Honorary
Director
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of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be
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and, at the behest of Walter
Villain, he studied Monumental Art. During his time there, he sought inspiration from the literature of Sartre,
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Willem Elias, 2016, Een ontmoeting met zichzelf en de zijnen, p. 68-71, Staalkaart #32, Staalkaart vzw, Puurs, Belgium
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Sculptuur 'Passing By' Montgomery / Brusselse
Hoofdstedelijke Regering Painting 'Rotation' /
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He became acquainted with painting at an early age. He maintains that the confrontation with
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and Jung. This led to the series "Greetings from Faust" and a string of works by the poet
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Frank Snyders, J. Swinnen & E. Van den Eynden, 1999, 'Bouillon', pp. 64–70,
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File:Passing by, Artistic integration,Montgomery Square Brussels.jpg
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J. De Nys, 2010, FAKE!, p. 128-131, Stedelijk museum, Aalst, Belgium
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Arne Rombouts, 2013, Docu. Vrt Stroom van talent, Brussels, Belgium
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Please help to demonstrate the notability of the topic by citing
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from the article and its talk page, especially if potentially
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Sculptuur 'Alter Ego' / UZ Jette Integratie 'Green Velvet /
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Willem Elias, 2012, Aspecten van de Belgische kunst na '45
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S. Vanderstichelen, 2005, Lookout, Skin, Tienen, Belgium
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Work by the artist is held in the public collections of
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and Peter Weidenbaum reminisce about their time at the
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to it so that it can be listed with similar articles.
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because of this enriches the spectator's experience.
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A. Vanderscheuren, 2006, Montgomery, Het beschrijf,
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