The meridian of the heart 
Celan logo 2 kopie.jpg

On the occasion of the guest exhibition De meridiaan van het hart you are cordially invited to

de MIDDAG VAN DE MERIDIAAN   ~   FEBRUARY 13, 2022   2.30 - 4.30 PM

Paintings  ~  Poetry  ~  Readings  ~  Music  

language Dutch

Free admission, registration is required

Register by sending an e-mail to: with reference to 'registration February 13'

Museum Kazerne Dossin  Panorama Room and Auditorium

Goswin de Stassartstraat 153, B-2800 Mechelen, Belgium

in cooperation with Poëziecentrum Ghent

The guest exhibition The meridian the heart is hosted by Kazerne Dossin on the occasion of Paul Celan's 101st day of birth, November 23. 

The poems of Paul Celan (1920-1970) have a special power: they invite translation, or even stronger, they force a translation - not only in the usual sense, but also in the form of other, non-language responses, for example for the theatre, in music and in the visual arts. 


Artist Jan Mulder visualises the emotions and thoughts that Celan's poems evoke in him.

Alongside other titles Jan Mulder's series of paintings entitled Stehen Die Niemandsrose is on display for the first time at Kazerne Dossin. In edition to the paintings, the exhibition includes information about Celan's life, poems and a photo impression of a journey the painter made in the poet's footsteps. 



“At first sight it is real action-painting, the bright colors rapidly applied to the canvas all at once. But the addition of dripping grids, of sudden rectangular blocks of color in one of the two parts, once again restores order. And this is all done with great command of painting techniques. A poetic translation in paint of the condition humaine, which, as described by philosopher Octavio Paz, is characterised in our culture by being constantly torn between rationality and romanticism.” 


Jan Hein Sassen, former Conservator of the Stedelijk Museum Amsterdam

(…) To a remarkable degree, Mulder has mastered the full and exacting use of voids to express fulness. François Cheng, the historian of Chinese art, in his Empty and Full, makes the point when he writes , in reference to the space in Chinese paintings, is emptiness that foster interaction, even transmutation, between heaven and earth, and thereby, between space and time.

 ‘The Dark (Light) Inside the Light (Dark)’ 2005,  Dominique Nahas, New York City