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Chess players are madmen of a certain quality, the way the artist is supposed to be, and isn't, in general

Marcel Duchamp.

我相信,玩遊戲是你所做的一切的重要因素。你一輩子都下過國際象棋,我認為,就像玩家一樣,你總是接近你的工作?


 


絕對。從這個意義上說,我非常好玩,我相信這是唯一一種在這個世界並不總是很有趣的樂趣。


 


我傾向於詼諧。我認為幽默是生命中至關重要的成分之一。


 


另一方面,悲傷和痛苦根本不是必不可少的;他們沒有充分的理由,人們似乎覺得不得不經常哭,而不是笑。


 


1993年4月第27號藝術報,Jean Antoine採訪Marcel Duchamp,翻譯版權:Sue Rose,1993

Playing games is an important element in everything you do, I believe. You have played chess all your life and I think that, in the same way, you have always approached your work as a player?


Absolutely. I am extremely playful in that sense and I believe it’s the only form of fun possible in a world which isn’t always much fun.


I am inclined to be witty. I regard humour as one of life’s vital ingredients.


Sorrow and pain, on the other hand, are not at all essential; there is no good reason for them and people seem to feel obliged to cry much more often than they laugh.


The Art Newspaper No. 27, April 1993 Interview with Marcel Duchamp by Jean Antoine, translation copyright: Sue Rose, 1993

Het spelen van spelletjes is een belangrijk element in alles wat je doet, geloof ik. Je hebt schaak gespeeld gedurende je hele leven en ik denk dat, op dezelfde manier, je  altijd uw werk benaderd hebt als een speler?


Absoluut. Ik ben zeer speels in die zin en ik denk dat het de enige vorm van mogelijk  plezier  in een wereld die niet altijd veel plezier is.


Ik ben geneigd geestig te zijn. Ik beschouw humor als één  van de essentiële ingrediënten van het leven.


Verdriet en pijn, aan de andere kant, zijn helemaal niet van essentieel belang; er is geen goede reden voor hen en mensen schijnen zich meer verplicht  vaker te huilen dan te lachen.

 

The Art Newspaper No. 27 april 1993 Interview met Marcel Duchamp door Jean Antoine, vertaling copyright: Sue Rose, 1993

Contact :

gsm 0032 0477818162


bob.roes@telenet.be


Belgium,Antwerp


Initially abstract oeuvre, but from the beginning of the 90's a spectacular evolution with a literal destruction of all his older work to make room for figuration. With this clear gesture, the artist showed that he no longer doubted how he wanted to express himself and that the abstraction was finally closed.

Because of this style break, more clarity arose in the story that Roes wants, namely to tell in connection with alienation and absurdism in themes such as power and power relations.


Painting is the medium where Roes technically feels most at home but in recent years he regularly makes trips to other forms of expression. With installations in steel or 3D prints and wooden sculptures in smaller sizes, his "spielerei" also appears to manifest itself in spatial terms 


Emptiness is often unnoticed the subject of this artist. Almost all of Roes's works are blurred, fuzzy and brushed out. Wiping away his subject or part of it is his way of working. Sometimes a cross is made about the work. Making a cross also means letting it be forgotten, erased. In this way we come to the gaze of Roes, the key point in his work. In the works where cans are swept away, turned away, avoided, covered and denied, his core! The unrest and unease that many of his manipulated images evoke is undoubtedly the aim of Roes. Especially in the omissions and blurs, emptiness and lack are suggested, whereby the spectator can wonder whether there is something to be filled in or not.


Roes himself says that different interpretations of his works are possible and that the viewer has to decide for himself whether he plays the game and / or whether he dares to go deeper into the scene. (Roes himself is an avid chess player).


What immediately strikes you about watching the paintings of Bob Roes is the lack of faces. What happens when we remove the face? What look should be wiped, destroyed and broken down?


The ability to communicate. No contact can be made with the outside world. You can not be accepted (leads to loneliness), but also not rejected. Without a face, the figures are doomed to remain how they are. Is this perhaps a way to maintain control over his figures. Ensor put his figures on masks. These figures can neither be accepted nor rejected, but they can hide behind a mask. They measure themselves a different identity. The figures of Roes can not. They are doomed to undergo their lonely destiny.


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