Stefaan Dheedene’s oeuvre reads both as a critical exploration of contemporary conventions on video work and especially sculpture and installation. As such, he focuses, respectively, on the documentary mode, on sculpture as a grammar of the object, and on the installation as a sculptural “situation”. However, Dheedene also formulates new proposals to circumvent these conventions. Based on the refusal to accept sculpture and installation as subjective, recuperated genres, he presents entirely new conceptual possibilities and infuses the sculptural practice with critical relevance.
Dries Verstraete, 2012