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PILLOW TALKPutting one’s head on the pillow and listening to a story reminds one of childhood. With one small difference: during childhood the stories don’t come from the pillow, they go to it, either directly from the imagination, or listened to by the other ear. Neither do we see ourselves reflected in a black mirror, as is the case of this work by Noé Sendas. A story comes out of the pillow, told over the phone by Sendas himself, and the soundtrack changed over time, in three different versions. The voice that tells the story is aimed directly at the spectator, now transformed into a listener, personally implicated in the destiny of that voice that comes out of the pillow and builds a necessarily intimate relationship. A strange one. Strangeness and intimacy are the poles on which Noé Sendas’s work moves, no matter what medium he uses, from photography and collage, to video or sculpture. In any of the processes, in whatever medium, Noé Sendas’s path through the interior of the secreted, the whispered, the hidden, the failed, the unsaid, the implied and the mysterious is a strange and disturbing constant. It is as if Beckett’s ghost might peek in at any moment. Later on, because this work is from the beginning of his career, Noé Sendas produced a set of almost realist sculptures in which a character, whose face we cannot see, is sitting, standing, lying down or in many other situations in which its quality as an anonymous homeless person transforms it into a generic character from the playwright Sarah Kane – who indeed is directly referred to in one of his installations, in which we hear a text by Kane. Between the text which haunts the pillow and the characters who might haunt our dreams, Noé Sendas plays a theatrical game, but a theatre without a stage, where the characters and their voices are at eye level or, in this case, ear level.Delfim Sardo

Veelgestelde vragen

Is er een factsheet over "Pillow" door Noé Sendas voor studenten?

Er is een Informatieblad pagina beschikbaar voor "Pillow" door Noé Sendas: een printbaar informatieblad over het kunstwerk, ontworpen voor studenten en gebruik in de klas.

In welk museum is het originele werk "Pillow" te zien?

"Pillow" door Noé Sendas is te zien in Culturgest - Fundação Caixa Geral de Depósitos, Lissabon, Portugal. De vermelding van het museum heeft betrekking op het originele werk, niet op reproducties.

Hoe intens zijn de kleuren van "Pillow" door Noé Sendas?

De kleurintensiteit van "Pillow" is Monochromatic. Intensiteit geeft aan hoe krachtig de kleuren overkomen.

Vergelijkbare kunstwerken

Biografie kunstenaar

Noé Sendas: Exploring Loss and Literary Echoes

Noé Sendas, born in Brussels in 1972, is a Belgian artist whose work delves into profound themes of loss and draws inspiration from literary figures and cinematic narratives. His artistic journey began in the late 1990s, marked by an initial exploration of video art alongside sculpture, collage, drawing, and photography—a multifaceted approach that reflects his intellectual curiosity and commitment to challenging conventional perspectives. He currently resides between Berlin, Madrid, and Lisbon, fostering a dynamic creative environment where he continues to refine his artistic vision.

Early Influences: Sendas’s formative years were shaped by encounters with artists like John Baldessari and Guy Bourdin, whose pioneering techniques—particularly Bourdin's manipulation of Hollywood head shots—served as catalysts for his own experimentation with image alteration and appropriation.
Conceptual Framework: His artistic practice operates on a conceptual level, prioritizing reflection and questioning established norms within the visual arts. This includes examining the body’s materiality and perception mechanisms, alongside analyzing how exhibitions communicate ideas and narratives.
Academic Training: Sendas pursued formal education at the School of the Art Institute of Chicago (USA), Royal College of Arts (London), Arco and Atelier Livre (Lisbon), equipping him with a robust theoretical grounding that informs his artistic endeavors.

Exploring Cinematic Resonance

Sendas’s artistic vision is deeply rooted in cinematic references, mirroring the stylistic choices of directors such as Fassbinder, Fellini, Hitchcock, and Godard. He utilizes video art extensively, employing techniques like looping to prolong segments of films—a deliberate strategy that underscores the importance of repetition and invites contemplation on narrative structure. Notably, *Pursuit, Left Running* (2000) adapts Akira Kurosawa’s *Drunken Angel*, highlighting Sendas's fascination with cinematic storytelling and its ability to provoke emotional responses.

Film Adaptation: The artist meticulously analyzes film sequences, extracting elements that resonate with his artistic concerns—particularly the exploration of psychological states and the manipulation of time—resulting in artworks that transcend mere visual representation.
Symbolic Imagery: Recurring motifs within Sendas’s oeuvre—such as mirrors and ghostly figures—evoke symbolic imagery drawn from literature and mythology, enriching the narrative dimension of his creations.

Sculptural Explorations and Theatrical Engagement

Sendas's sculptural work distinguishes itself through its theatrical engagement, mirroring the dramatic conventions of theater and embodying a deliberate desire to disrupt conventional artistic boundaries. His sculptures depict figures that inhabit unsettling spaces—often reminiscent of furniture or walls—creating environments that stimulate sensory perception and invite viewers into immersive experiences. These pieces are characterized by a meticulous attention to detail and an exploration of materiality that contributes to their evocative power.

Materiality and Space: Sendas utilizes diverse materials—ranging from resin to metal—to construct sculptures that challenge spatial perceptions and provoke emotional responses.
Performance Art Influences: His artistic approach draws inspiration from performance art traditions, emphasizing the role of gesture and movement in conveying meaning and creating connections between artist and audience.

Notable Exhibitions and Recognition

Sendas’s artworks have garnered international acclaim, appearing in prestigious venues such as Yerba Buena for the Arts (USA), Kunsthalle Bonn (Germany), Akademie der Kunst (Berlin), Le Plateau (Paris), MEAC/ MUSAC/ Botin Foundation/ Foundation IC and Casa America (Spain). Furthermore, his participation in events like Photo London 2019 solidified his position within the contemporary art landscape. His work has been featured prominently in publications and exhibitions dedicated to exploring themes of loss, memory, and artistic influence—demonstrating a sustained commitment to intellectual rigor and creative innovation.

International Presence: Sendas’s artworks have traveled extensively across continents, fostering dialogue between artists and audiences worldwide.
Critical Acclaim: His work has been recognized by prominent art institutions and publications—affirming his contribution to the advancement of artistic discourse and enriching the cultural heritage of Belgium and beyond.

Concluding Thoughts

Noé Sendas’s artistic legacy resides in his unwavering dedication to exploring complex psychological states through innovative visual mediums—primarily video and sculpture—while simultaneously engaging with literary and cinematic references. His oeuvre stands as a testament to the transformative power of art, prompting viewers to confront uncomfortable truths and reconsider fundamental assumptions about perception and representation.

Noé Sendas

1972 - , Belgium

Belangrijkste feiten

Full Name: Noé Sendas
Nationality: Belgian
Date Of Birth: 1972
Place Of Birth: Belgium
Notable Artworks:
- Pillow
- En garde! & Indexing
- U-Turn (blue)
Artistic Movement Or Style: Contemporary Art
Artists Who Influenced This Artist:
- John Baldessari
- Guy Bourdin
- Robert Gober
- John Stezaker
Artists Or Movements Influenced By This Artist: ['Samuel Beckett']

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