{"id":16302,"date":"2025-04-30T10:43:31","date_gmt":"2025-04-30T08:43:31","guid":{"rendered":"https:\/\/phoebusfoundation.org\/beleef\/het-komt-allemaal-goed-in-the-keizerskapel\/"},"modified":"2026-05-08T11:22:33","modified_gmt":"2026-05-08T09:22:33","slug":"het-komt-allemaal-goed-in-the-keizerskapel","status":"publish","type":"beleef","link":"https:\/\/phoebusfoundation.org\/en\/beleef\/het-komt-allemaal-goed-in-the-keizerskapel\/","title":{"rendered":"‘Het komt allemaal goed’ in the Keizerskapel"},"content":{"rendered":"\n

When visiting an exhibition, one mostly sees the end result: artworks presented in a carefully considered setting, ready to move, surprise, or provoke thought. But behind that apparent effortlessness lies an intense process that takes months of work by an entire team. For Het komt allemaal goed<\/em> in the Keizerskapel, the initial idea came from writer-singer Rick de Leeuw and Executive Director Dr Katharina Van Cauteren. In the months that followed, they collaborated with a diverse team of project coordinators, scenographers, art handlers, and exhibition builders to bring the exhibition to life.<\/p>\n\n

A spur-of-the-moment idea at the office on an ordinary weekday about a suitable location unexpectedly leads to a Sunday visit to Jean-Pierre De Bruyn, the owner of the Keizerskapel. The concept for the exhibition Het komt allemaal goed<\/em> immediately appeals to him. Less than a week later, scenographer Lee Preedy joins the conversation. Her experience with scenography in sacred spaces proves to be of immense value. She knows how to respect the centuries-old context while simultaneously creating something that is visually striking. With twelve artworks in mind \u2013 carefully selected by Rick de Leeuw \u2013 she begins to sketch. Everything revolves around a balance between restraint and impact.<\/p>\n\n

\"Exterior
The Keizerskapel. \u00a9 Fris Visuals<\/figcaption><\/figure>\n\n

As soon as the concept is finalised, the art handlers take over. In their workshop, they build each component of the installation with the utmost precision. From the wooden base structure to the fine finishing touches, everything receives careful attention. Once all the elements are ready, they are transported to the Keizerskapel. There, the construction begins with the installation of a raised floor\u2014the foundation of the entire scenography. This floor quite literally and figuratively lifts the visitor above the everyday. In doing so, the space begins to tell its new story.<\/p>\n\n

\n
\n
\n
\n
\"Interior<\/figure>\n<\/div>\n\n\n\n
\n
\"Installation<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n

With the floor in place, the walls follow, clad in warm red velvet. The deep colour creates an intimate atmosphere that suits the chapel. Here and there, mirrors are integrated\u2014subtly, but with purpose. They break up the perspective and make the space appear larger than it is. Some parts of the box allow you to see beyond, letting your gaze wander through the room. These visual openings create rhythm and curiosity. The visitor is invited to explore.<\/p>\n\n

\n
\n
\"Installation<\/figure>\n<\/div>\n\n\n\n
\n
\"Technician<\/figure>\n<\/div>\n\n\n\n
\n
\"Detail<\/figure>\n<\/div>\n<\/div>\n\n

Once the structure stands firm, it is time for the artworks themselves. One by one, the twelve pieces are carefully hung, each with attention to light, line, and proportion. The lighting is fine-tuned down to the smallest detail to ensure each work comes into its own. At the same time, security systems are installed and the audio guides are tested. The introductory video also receives a prominent spot at the start of the exhibition route. The entrance area is given one final makeover, including a welcome desk and custom wall coverings.<\/p>\n\n

\n
\n
\"Installation<\/figure>\n<\/div>\n\n\n\n
\n
\"Installation<\/figure>\n<\/div>\n\n\n\n
\n
\"Video<\/figure>\n<\/div>\n<\/div>\n\n

And then the moment arrives: the doors can swing open to the public.<\/p>\n\n

\"Gallery
\u00a9 Fris Visuals<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

When visiting an exhibition, one mostly sees the end result: artworks presented in a carefully considered setting, ready to move, surprise, or provoke thought. But behind that apparent effortlessness lies an intense process that takes months of work by an entire team. For Het komt allemaal goed in the Keizerskapel, the initial idea came from writer-singer Rick de Leeuw and Executive Director Dr Katharina Van Cauteren. In the months that followed, they collaborated with a diverse team of project coordinators, scenographers, art handlers, and exhibition builders to bring the exhibition to life. A spur-of-the-moment idea at the office on an ordinary weekday about a suitable location unexpectedly leads to a Sunday visit to Jean-Pierre De Bruyn, the owner of the Keizerskapel. The concept for the exhibition Het komt allemaal goed immediately appeals to him. Less than a week later, scenographer Lee Preedy joins the conversation. Her experience with scenography in sacred spaces proves to be of immense value. She knows how to respect the centuries-old context while simultaneously creating something that is visually striking. With twelve artworks in mind \u2013 carefully selected by Rick de Leeuw \u2013 she begins to sketch. Everything revolves around a balance between restraint and impact. As soon as the concept is finalised, the art handlers take over. In their workshop, they build each component of the installation with the utmost precision. From the wooden base structure to the fine finishing touches, everything receives careful attention. Once all the elements are ready, they are transported to the Keizerskapel. There, the construction begins with the installation of a raised floor\u2014the foundation of the entire scenography. This floor quite literally and figuratively lifts the visitor above the everyday. In doing so, the space begins to tell its new story. With the floor in place, the walls follow, clad in warm red velvet. The deep colour creates an intimate atmosphere that suits the chapel. Here and there, mirrors are integrated\u2014subtly, but with purpose. They break up the perspective and make the space appear larger than it is. Some parts of the box allow you to see beyond, letting your gaze wander through the room. These visual openings create rhythm and curiosity. The visitor is invited to explore. Once the structure stands firm, it is time for the artworks themselves. One by one, the twelve pieces are carefully hung, each with attention to light, line, and proportion. The lighting is fine-tuned down to the smallest detail to ensure each work comes into its own. At the same time, security systems are installed and the audio guides are tested. The introductory video also receives a prominent spot at the start of the exhibition route. The entrance area is given one final makeover, including a welcome desk and custom wall coverings. And then the moment arrives: the doors can swing open to the public.<\/p>\n","protected":false},"featured_media":18766,"template":"","soort_artikel":[223],"class_list":["post-16302","beleef","type-beleef","status-publish","has-post-thumbnail","hentry","soort_artikel-behind-the-scenes"],"acf":[],"yoast_head":"\n'Het komt allemaal goed' in the Keizerskapel - The Phoebus Foundation<\/title>\n<meta name=\"description\" content=\"A behind-the-scenes look at the exhibition Everything Will Be Alright at the Keizerskapel, where collaboration, scenography, and careful decision-making shape the final result.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/phoebusfoundation.org\/en\/beleef\/het-komt-allemaal-goed-in-the-keizerskapel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"'Het komt allemaal goed' in the Keizerskapel - 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