‘Done.Finished.’, was the third solo show by Stefaan Dheedene (Belgium, 1975) at DEWEER gallery. In existing recognisable objects, Stefaan Dheedene often sees an occasion to create a kind of sculptural ‘situations’. These arise from a process based on careful imitation, recombination and modification of formal elements. Another aspect that appears here is Dheedene’s fascination for instructions. A replica made precisely according to Gerrit Rietveld’s instructions, of the so-called ‘Military Table’, a design from 1923 that the Dutch architect and designer distributed for free afterwards, serves as a basis for the eponymous sculpture by Dheedene. On top of it Dheedene stacked popular games which, just like the Military Table, are crafted by following instructions found on the web. Even ‘Mono’, the sculpture that serves as a speaker or cave for anyone who wishes to crawl into it, is to a certain extent a sculptural instruction. The cavity also supposes an inversion; the speaker is turned inside out. ‘Reconstruction (An occasion for mistake) V’ and ‘Gravity’ deal with shifting contexts. The first object is a sculptural quote from a situation Dheedene photographed when working as a night guard. Here in the gallery the same photograph was taped to the wall in several places outside the exhibition halls. In the work ‘Gravity’, two opposed sculptural and cultural mentalities disturb eachother in an ironical way. The installation ‘Clap hands!’ reminds us of a garland but just like ‘Military Table’ it seems to suggest that the party is over. Equally disturbing is ‘Breaking News (II)’, a ‘waiting’-situation with Time magazines. Dheedene says about the show: “The works all arise from a repetition and reorganisation of extremely recognisable signs and objects. Although they were created separately, together they make a regulated apparatus in the form of an exhibition structure, a place that reminds us of an order. The works are pluralistic and heterogeneous and yet they distance themselves from the avantgarde credo of the unconditionally new. Here, art is treated as an interpretation, a disappointment, a translation, and, before anything else, a construction. As an artistic practice to which the aesthetic principles of chance, the incomplete and the irrational are crucial, the process of repetition also implies using the credit of thoughts that have condensed into ideas only recently. By dodging reality, imitation creates opportunities for reconsideration, thus becoming a mode of production in its own right. At a given moment, the experiment is stopped by a finding, not an invention. Accordingly, the works in ‘Done. Finished.’ are not materialized ideals, but expressions of an ending. They are moments, in which the carefully constructed could collapse and turn into decay.”