°Ghent (BE), 1947 | lives in Ghent (BE)
Leo Copers creates assemblages: he combines everyday objects in a surprising way in order to give them new layers of meaning. In this sense his work is determined not so much by the mastery of any sculptural technique as by the choices he makes when selecting and combining objects to which particular expectations are attached. The theme of violence and aggression recurs regularly, but is depicted in an ironic, poetic and aesthetic way. In this sense Copers is allied to the Futurists, who wanted to destroy all cultural symbols and embraced danger and tension.
For several years already Copers has been examining the potency and failure of museums. The ‘Museum Graveyard’ project, which is on display in Citadel Park for TRACK, forms part of this museum research. The monumental work, with granite tombstones for different museums, criticizes both the ‘museumalisation’ of famous graveyards - e.g. the touristic attraction Père Lachaise in Paris - as well as the contemporary popularisation of museums. According to Copers, the previous decades the museum has evolved from a silent mausoleum towards a leisure park of mass participation and so-called ‘art tourism’. Moreover, the use of own interpretation and classification codes has mutilated the authentic mystery of artworks. Copers combines these razor-sharp criticisms on content with a great formal attention. Also, ‘Museum Graveyard’ is as minimal sculpture a symbol of the absolute purity and beauty.
Citadelpark, Paul Bergmansdreef
Wheelchair accessible, with assistance
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