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Heuninck uses self-built sensors and machines to explore contemporary landscape registrations. He keeps the processes simple and transparent, using computers and machines for their precision and repetitive nature. The results can be intricate and surprising, as the transitions between space and data evoke a sense of wonder.
Heuninck draws on the aesthetics of scientific images and integrates the technical aspects of digital image creation in his practice. Using a variety of media, his works consistently touch on the material of film and the notion of cinema. He gently disorients the observer by changing perspective in space, on paper, or in a digital data file.

Elias Heuninck

The objects presented in this video installation were found as stowaways in a 3D printer. Excess wax and resin are deposited in a drawer at the bottom of the printer. Molten waste material, solidified and clumped together when cooled, are ancient stalagmites in a high-tech machine. Because they were objects without intent nor a digital source file, they were given both. The surfaces were 3D-scanned and scaled to become immaterial islands in the video.
The image of the island was created for the white surfaces of the objects through the story, and viewers can project their imagination onto it. This work transforms objects into a cinematic experience and tests the various states in which an object can reside. From the physical, across the mental, to the digital. Wax, bytes, a script, and light. And so the objects, in view of each other yet separate, long to travel through appearances and states of matter.
Credits :
Writing and narration : Emi Kodama 
Video : Elias Heuninck 
Music : 1-100 by Michael Nyman, performed by a computer
Thanks to : 
&#8211; Simon Baetens 
&#8211; Anouk De Clercq 
&#8211; Jerry Galle 
&#8211; Stefaan Quix 
&#8211; Pieter Vereertbruggen 
&#8211; Lisa Wilkens
Produced by : 
&#8211; Werktank 
&#8211; Flemish Community
The Archipelago is part of Tools For Things And Ideas, a research project at KASK &amp; Conservatorium which is financed by the HOGENT Arts Research Fund.

The Archipelago

Espace Saintraint

Elias Heuninck & Emi Kodama

Momoko Seto was born in Tokyo in 1980. She studied Art 
at the École Supérieure des Beaux-Arts in Marseille, then at 
the Le Fresnoy National Studio of Contemporary Art.
She’s currently working as a film director at the CNRS 
(National Centre of Scientific Research) in Paris where she 
makes documentaries with researchers.
She has made several short films and documentaries that 
have been selected and acclaimed in various international 
festivals (Cannes, Locarno, Rotterdam…). Her short film 
PLANET Σ received the Audi Short Film Award at the 
Berlinale (2015), a prize for “avant-garde and artistically 
strong” films.

Momoko Seto

The world has become a vast dried out planet, where the growing of cotton, over exploited for economical reasons is the main cause of desertification. A saline desert covers acres of dried out land where strange salt trees appear.
This phenomenon echoes an even greater ecological disaster, the desertification of the Aral Sea. And man is always responsible&#8230;

PLANET A

Maarten Vanden Eynde (Belgium, 1977) is a visual artist who graduated in 2000 from the free media department at the Gerrit Rietveld Academy in Amsterdam (NL), participated in 2006 in the experimental MSA (Mountain School of Arts) in Los Angeles (US) and finished a post graduate course in 2009 at HISK Higher Institute for Fine Arts in Ghent (BE) where he is a regular guest tutor. Since 2020 he has been a PhD candidate at the University of Bergen in Norway, focusing on the history and evolution of external memory devices. In 2017 he was nominated for the first Belgian Art Prize and won the Public Prize.
In 2005, together with Marjolijn Dijkman, he founded Enough Room for Space, an interdependent art initiative that develops and coordinates events, residencies, research projects and exhibitions worldwide. Recent solo exhibitions include: Exhumer le futur at La Kunsthalle Mulhouse, FR (2022) ; Tracing Memories at NOME gallery, Berlin, DE (2022) ; Digging up the Future at Mu.ZEE, Ostend, BE (2021).
Recent group exhibitions include : Beaufort 21 Triennial, BE (2021) ; Z33 House for Contemporary Art, Design &amp; Architecture, Hasselt, BE (2020) ; Museum Morsbroich, Leverkusen, DE (2020) ; Tallinn Photomonth &#8211; Contemporary Art Biennial, EE (2019) ; 6th Lubumbashi Biennale, DRC (2019) ; RIBOCA/Riga International Biennial of Contemporary Art, Riga, LV (2018) ; Belgian Art Prize 2017, Bozar, Brussels, BE (2017) ; 2050. A Brief History of the Future at National Museum of Fine Arts, Taichung, TW (2018), Palazzo Reale, Milan, IT (2016) and The Royal Museums of Fine Art, Brussels, BE (2015) ; Réalités Filantes, 4th Biennale de Lubumbashi, CD (2015) ; Beyond Earth Art at Johnson Museum of Art, Ithaca, US (2014) ; Ja Natuurlijk, Gemeentemuseum Den Haag, NL (2013) ; The Deep of the Modern, Manifesta9, Genk, BE (2012) ; The Museum of Forgotten History, M HKA, Antwerp, BE (2012) and Dublin Contemporary in Dublin, IR (2011).
Vanden Eynde is represented by Meessen De Clercq gallery in Brussels, Belgium, and NOME gallery in Berlin, Germany.

Maarten Vanden Eyde

The five major oceanic gyres – the North and South Pacific Gyres, the North and South Atlantic Gyres and the Indian Ocean Gyre – collect and contain plastic from around the world. It was in the North Pacific Gyre in 1997 that Captain Charles Moore discovered a vast accumulation of plastic debris which came to be called the Great Pacific Garbage Patch. It led him to set up the Algalita Marine Research and Education Foundation in Long Beach, California.
It was from Captain Moore that Vanden Eynde acquired his first samples of plastic. Back in his studio he found that when it was melted the plastic took on a seemingly more natural form, resembling a colourful coral reef. The plastic rubbish gained a strange beauty whilst at the same time generating a double reference to both the worrying abundance of plastic in the ocean and the accelerating loss of coral reefs worldwide. Thus began the construction of Plastic Reef, a growing sculpture which over the next five years gained weight and size every time it was exhibited, helping to raise awareness of plastic pollution as well as alluding to its escalation. In total over 1000 kilograms of plastic debris from all five gyres was extracted from the oceans. By 2012, when it was exhibited in the Manifesta9 Biennial in Genk, Belgium, Plastic Reef had attained its maximum size of 450 × 500 centimetres. Subsequently, several smaller plastic reefs were created.
Ironically and tragically, in 2015 scientists discovered that natural coral was ingesting micro-plastics, poisoning itself in the process. Next to acidification and the rise in ocean temperatures, this is one of the main reasons why the Great Barrier Reef is disappearing.